At the end of the 20th century and beginning of the 21st century, Vietnamese literature witnessed unprecedented innovations in the aesthetic thinking of writers and the narrative structure of their works. One of the m...At the end of the 20th century and beginning of the 21st century, Vietnamese literature witnessed unprecedented innovations in the aesthetic thinking of writers and the narrative structure of their works. One of the most interesting manifestations of this new movement was not merely the introduction of new aesthetic materials and factors, but the adoption and positive ＂reprocessing＂ of traditional factors---especially historical factors and folk narrative factors. Based on intertextual theory, we would like to address the strong penetration, reproduction, and transformation of some folk storytelling models and historical materials in Vietnamese literature since 1986. Two corresponding phenomena we examine are ＂historical rewriting＂ and ＂alternative fairy tales＂--as part of the whole process of incredulity towards grand narratives and postmodernism in the contemporary Vietnamese prose.展开更多
Where do we draw the line of divinely inspired visionary art, and Christian kitsch？ Folk artists such as the Rev. Howard Finster and Sister Gertrude Morgan straddled the fence of kitsch and visionary art because they...Where do we draw the line of divinely inspired visionary art, and Christian kitsch？ Folk artists such as the Rev. Howard Finster and Sister Gertrude Morgan straddled the fence of kitsch and visionary art because they created work that was blatantly polemical and didactic, yet lived lives that inspired thousands of people across the US. The so-called ＂Southern Folk Art＂ movement consists of self-taught artists from the American South who are self-trained and rely heavily on ＂visions＂ and ＂prophetic words＂ as the genesis of their art. This article contends that the art produced by folk artists is documentation of their visionary insights as opposed to detached works that are admired for aesthetic reasons. While folk art of the American South portrays the charismatic imagination with themes of eschatological community and the second coming, it is the ＂visionary artist＂ that is contemplated, rather than his or her bona fide message of redemption and re-creation.展开更多
The technical characteristics of Sichuan folk furniture were studied from craft aesthetic perspective. The features of Sichuan folk furniture material, technology and structure were analyzed through literature review,...The technical characteristics of Sichuan folk furniture were studied from craft aesthetic perspective. The features of Sichuan folk furniture material, technology and structure were analyzed through literature review, field investigation and expert interview methods, the technical characteristics of Sichuan folk furniture were re-analyzed from craft aesthetic perspective rather than the traditional material and technique research perspectives. The study shows that Sichuan folk furniture technical features contain not only cultural spirit and aesthetic consciousness, but distinctive aesthetic personality as well. Sichuan folk furniture technical characteristics convey Chinese traditional design philosophy, such as theory is based on objects, and it is highly concentrated and concise of aesthetic sentiment in Sichuan folk aesthetic temperament and interest.展开更多
Against the backdrop of Chinese culture, this paper offers a localized explanation of the Western concept of ＂archetypal criticism.＂ It proposes that four ＂thematic archetypes＂ can be observed in the relations bet...Against the backdrop of Chinese culture, this paper offers a localized explanation of the Western concept of ＂archetypal criticism.＂ It proposes that four ＂thematic archetypes＂ can be observed in the relations between folklore, legends and the novel in the new era （since reform and opening up） in China. The first is the coexistence of man and nature; the second, enduring suffering and realizing one＇s poterltial; the third, discontent with reality expressed in writing about imaginary worlds; and the last, criticism of the materialistic personality which places material gain above justice and lusts after gain. The presentation, dynamics of change, practical and cultural meanings and aesthetic values of these ＂thematic archetypes＂ in the novels of the new era reveal writers＇ reflections on ＂modernity＂ and the awakening of aesthetic consciousness in relation to their own land. This paper also argues that the world outlook that pursues harmony between man and nature, the view of life that prefers justice to material gain, and the values that affirm morality, life and human dignity contained in traditional Chinese folk culture and literature may supply us with important spiritual resources for responding to contemporary life, rebuilding the poetry of life and raising the quality of culture.展开更多
文摘At the end of the 20th century and beginning of the 21st century, Vietnamese literature witnessed unprecedented innovations in the aesthetic thinking of writers and the narrative structure of their works. One of the most interesting manifestations of this new movement was not merely the introduction of new aesthetic materials and factors, but the adoption and positive ＂reprocessing＂ of traditional factors---especially historical factors and folk narrative factors. Based on intertextual theory, we would like to address the strong penetration, reproduction, and transformation of some folk storytelling models and historical materials in Vietnamese literature since 1986. Two corresponding phenomena we examine are ＂historical rewriting＂ and ＂alternative fairy tales＂--as part of the whole process of incredulity towards grand narratives and postmodernism in the contemporary Vietnamese prose.
文摘Where do we draw the line of divinely inspired visionary art, and Christian kitsch？ Folk artists such as the Rev. Howard Finster and Sister Gertrude Morgan straddled the fence of kitsch and visionary art because they created work that was blatantly polemical and didactic, yet lived lives that inspired thousands of people across the US. The so-called ＂Southern Folk Art＂ movement consists of self-taught artists from the American South who are self-trained and rely heavily on ＂visions＂ and ＂prophetic words＂ as the genesis of their art. This article contends that the art produced by folk artists is documentation of their visionary insights as opposed to detached works that are admired for aesthetic reasons. While folk art of the American South portrays the charismatic imagination with themes of eschatological community and the second coming, it is the ＂visionary artist＂ that is contemplated, rather than his or her bona fide message of redemption and re-creation.
文摘The technical characteristics of Sichuan folk furniture were studied from craft aesthetic perspective. The features of Sichuan folk furniture material, technology and structure were analyzed through literature review, field investigation and expert interview methods, the technical characteristics of Sichuan folk furniture were re-analyzed from craft aesthetic perspective rather than the traditional material and technique research perspectives. The study shows that Sichuan folk furniture technical features contain not only cultural spirit and aesthetic consciousness, but distinctive aesthetic personality as well. Sichuan folk furniture technical characteristics convey Chinese traditional design philosophy, such as theory is based on objects, and it is highly concentrated and concise of aesthetic sentiment in Sichuan folk aesthetic temperament and interest.
文摘Against the backdrop of Chinese culture, this paper offers a localized explanation of the Western concept of ＂archetypal criticism.＂ It proposes that four ＂thematic archetypes＂ can be observed in the relations between folklore, legends and the novel in the new era （since reform and opening up） in China. The first is the coexistence of man and nature; the second, enduring suffering and realizing one＇s poterltial; the third, discontent with reality expressed in writing about imaginary worlds; and the last, criticism of the materialistic personality which places material gain above justice and lusts after gain. The presentation, dynamics of change, practical and cultural meanings and aesthetic values of these ＂thematic archetypes＂ in the novels of the new era reveal writers＇ reflections on ＂modernity＂ and the awakening of aesthetic consciousness in relation to their own land. This paper also argues that the world outlook that pursues harmony between man and nature, the view of life that prefers justice to material gain, and the values that affirm morality, life and human dignity contained in traditional Chinese folk culture and literature may supply us with important spiritual resources for responding to contemporary life, rebuilding the poetry of life and raising the quality of culture.
