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Chinese poetry and painting in postwar Taiwan: Angst and transformation in the negotiation between tradition and modernity.

机译:战后台湾的中国诗画:传统与现代谈判中的焦虑与转型。

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摘要

This dissertation examines Taiwan's modern poetry and painting movements during the 1950s and 1960s, which represent a critical phase of the development of Chinese modernism during the 20th century. With the Communist takeover of China in 1949, the early promise of the May Fourth cultural movement to modernize Chinese poetry and painting was rapidly quenched. It was in postwar Taiwan---where although political intrusion in the arts did exist, it was relatively less severe---that we saw the only collective effort to further the previous endeavors to develop modernist works. Like their May Fourth predecessors, modern Chinese poets and painters in Taiwan were bound by the inevitable tensional dialogues engendered by the battles and negotiations between the intruding ideologies of the West and the resistant indigenous cultural strengths. Their appropriation of Western aesthetic strategies, however, must be considered a function of their anxiety and attempts to come to terms with the increasingly uncertain future of Chinese culture. As they were the first to look critically at the Western models which had previously been privileged at the expense of losing Chinese tradition, Taiwan's modern poets and painters were concerned about how to achieve a modernism that was Chinese, and their search for modern elements within the Chinese tradition had a profound impact on later generations in both Taiwan and Mainland China. The first chapter of this dissertation traces the development of the modern poetry movement and reviews proposals from its leading poets, including Ji Xian, Qin Zihao, Yu Guanzhong, Luo Fu, and Ye Weilian. Chapter two provides a reading of modernist Chinese poetry based on the specific social-historical and cultural condition in postwar Taiwan and explores the poets' inherent motives towards adopting a strategic ambiguity. Chapter three examines the paintings by two leading artists Liu Guosong and Xiao Qin, which provide prime examples of the negotiations that occurred between the East and the West, the traditional and the modern. Chapter four looks at the works of the modern poet-painter Chu Ge, who has reinvented the historically important literati tradition of using the interrelations between poetry, painting, and calligraphy.
机译:本文考察了1950年代和1960年代台湾的现代诗画运动,它们代表了20世纪中国现代主义发展的关键阶段。随着1949年中国共产党的接管,五四文化运动使中国诗歌和绘画现代化的初衷被迅速取消。正是在战后台湾-尽管确实存在对艺术的政治入侵,但相对而言还不那么严重-我们看到了唯一的集体努力,以推动先前的发展现代主义作品的努力。像他们的五四前辈一样,台湾的现代中国诗人和画家也受到西方入侵意识形态与反抗本土文化力量之间的斗争和谈判所不可避免的紧张对话的束缚。然而,他们对西方美学策略的挪用,必须被视为他们焦虑的一种功能,并试图适应中国文化日趋不确定的未来。台湾现代诗人和画家们是最早批判地审视以前因丧失中国传统而享有特权的西方模式的人,因此他们关心的是如何实现中国式的现代主义,以及他们如何在中国内部寻找现代元素。中国传统对台湾和中国大陆的后代都有深远的影响。本文的第一章追溯了现代诗歌运动的发展,并回顾了吉贤,秦子豪,于关中,罗夫和叶维廉等主要诗人的提议。第二章根据战后台湾特定的社会历史和文化状况,对现代主义中国诗歌进行了解读,并探讨了诗人采取战略歧义的内在动机。第三章考察了两位主要画家刘国松和肖琴的画作,它们提供了东西方,传统与现代之间的谈判的主要例子。第四章介绍了现代诗人画家楚格的作品,他重塑了历史上重要的文人传统,即利用诗歌,绘画和书法之间的相互关系。

著录项

  • 作者

    Kao, Yi-li.;

  • 作者单位

    University of California, San Diego.;

  • 授予单位 University of California, San Diego.;
  • 学科 Literature Asian.; Literature Comparative.; Fine Arts.
  • 学位 Ph.D.
  • 年度 2005
  • 页码 269 p.
  • 总页数 269
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 文学理论;艺术;
  • 关键词

  • 入库时间 2022-08-17 11:42:40

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