This paper examines the inextricable relationship between the uncanny effects of knocking down Shanghai’s central district and their traumatic post-colonial implications.The value of the Chinese ruin,with its apocaly...This paper examines the inextricable relationship between the uncanny effects of knocking down Shanghai’s central district and their traumatic post-colonial implications.The value of the Chinese ruin,with its apocalyptic and contemporary imagery,begs to be discussed from a western perspective of ruin admiration as a metaphor for decadence and melancholy.This points to a new consciousness of globalization as means of conceptualizing well-established post-colonial orders at the heart of the urban deterioration of cityscapes.As a potential concept to spark a dialogue of cosmopolitanism between China and the west,urban ruins can be analyzed as a transnational,creative ethos that reimagines the Chinese city as never before.Taking the work of the Canadian photographer Greg Girard(born 1955),this article examines how his photograph book presents a cosmopolitan image of Shanghai’s derelict‘community lanes’(longtang or lilong)built in the city’s International Concessions(1842–1949),in which the past,present,and future are interwoven and redeemed.The authors argue that his ruin photography not only retriggers material knowledge of the city but also repurposes transcultural and creative expressions of mutually spectral moments of destruction and production between the east and the west,in which a myriad of potential features are discovered.展开更多
From the classical Chinese literary masterpiece Investiture of the Gods to contemporary flm animation,Nezha’s image is profound.Examining the portrayals of Nezha,namely in those most celebrated animated flms,we argue...From the classical Chinese literary masterpiece Investiture of the Gods to contemporary flm animation,Nezha’s image is profound.Examining the portrayals of Nezha,namely in those most celebrated animated flms,we argue that his role as the epitome of a‘god like fgure’is in constant displacement and return.Using the framework of archetype and displacement as advanced by Northrop Frye,with a more pluralistic myth analysis extension found in the myth critique of Gilbert Durand,this article examines the multi-layered mythical mini structures within Nezha’s displacement and return in Chinese animation,to explore the themes,images,and archetype represented by the character from the perspective of Chinese history and culture.We argue that Nezha’s displacement and return in Chinese animation expresses the need and call for a traditional heroic image in a particular era.As such,Nezha’s intertextuality exposes the profound inner patterns that form and refashion the Chinese collective unconscious,performing as a recurring mirror that symbolically inform and transform human experiences in China.展开更多
文摘This paper examines the inextricable relationship between the uncanny effects of knocking down Shanghai’s central district and their traumatic post-colonial implications.The value of the Chinese ruin,with its apocalyptic and contemporary imagery,begs to be discussed from a western perspective of ruin admiration as a metaphor for decadence and melancholy.This points to a new consciousness of globalization as means of conceptualizing well-established post-colonial orders at the heart of the urban deterioration of cityscapes.As a potential concept to spark a dialogue of cosmopolitanism between China and the west,urban ruins can be analyzed as a transnational,creative ethos that reimagines the Chinese city as never before.Taking the work of the Canadian photographer Greg Girard(born 1955),this article examines how his photograph book presents a cosmopolitan image of Shanghai’s derelict‘community lanes’(longtang or lilong)built in the city’s International Concessions(1842–1949),in which the past,present,and future are interwoven and redeemed.The authors argue that his ruin photography not only retriggers material knowledge of the city but also repurposes transcultural and creative expressions of mutually spectral moments of destruction and production between the east and the west,in which a myriad of potential features are discovered.
文摘From the classical Chinese literary masterpiece Investiture of the Gods to contemporary flm animation,Nezha’s image is profound.Examining the portrayals of Nezha,namely in those most celebrated animated flms,we argue that his role as the epitome of a‘god like fgure’is in constant displacement and return.Using the framework of archetype and displacement as advanced by Northrop Frye,with a more pluralistic myth analysis extension found in the myth critique of Gilbert Durand,this article examines the multi-layered mythical mini structures within Nezha’s displacement and return in Chinese animation,to explore the themes,images,and archetype represented by the character from the perspective of Chinese history and culture.We argue that Nezha’s displacement and return in Chinese animation expresses the need and call for a traditional heroic image in a particular era.As such,Nezha’s intertextuality exposes the profound inner patterns that form and refashion the Chinese collective unconscious,performing as a recurring mirror that symbolically inform and transform human experiences in China.
