In A Grand Materialism in the New Art from China, Mary Bittner Wiseman shows that material matters in the work of Chinese artists, where the goal is to call attention to its subjects through the directness and immediacy of its material (like dust from 9/11, 1001 Chinese citizens, paintings made with gunpowder, written words) or the specificity of its sites (such as the Three Gorges Dam). Artists are working below the level of language where matter and gesture, texture and touch, instinct and intuition live. Not reduced to the words applied to them, art's subjects appear in their concrete particularity, embedded in the stories of their materials or their sites. Wiseman argues that it is global in being able to be understood by all thanks to its materials and the stories that accompany it, and the art is contemporary in having to make the case for itself that it is art. Finally, it satisfies Arthur Danto’s characterization of art as any representation that puts its subject in a new light by way of a rhetorical figure that the viewer interprets. The material art from China is the paradigm for an art that is global and contemporary.

"Material matters in new Chinese art, which presents its subjects through the directness and immediacy of its material. This book applies theories by Osborne and Danto to new Chinese art to show how artists are working below the level of language to make each work of art prove that it is art"--

Dialogue and the New Cosmopolitanism: Conversations with Edward Demenchonok stands in opposition to the doctrine that might makes right and that the purpose of politics is to establish domination over others rather than justice and the good life for all. In the pursuit of the latter goal, the book stresses the importance of dialogue with participants who take seriously the views and interests of others and who seek to reach a fair solution. In this sense, the book supports the idea of cosmopolitanism, which—by contrast to empire—involves multi-lateral cooperation and thus the quest for a just cosmopolis. The international contributors to this volume, with their varied perspectives, are all committed to this same quest. Edited by Fred Dallmayr, the chapters take the form of conversations with Edward Demenchonok, a well-known practitioner of international and cross-cultural philosophy. The conversations are structured in parts that stress the philosophical, anthropological, cultural, and ethical dimensions of global dialogue. In our conflicted world, it is inspiring to find so many authors from different places agreeing on a shared vision.

What is art and what is its role in a China that is changing at a dizzying speed? These questions lie at the heart of Chinese contemporary art. Subversive Strategies paves the way for the rebirth of a Chinese aesthetics adequate to the art whose sheer energy and imaginative power is subverting the ideas through which western and Chinese critics think about art. The first collection of essays by American and Chinese philosophers and art historians, Subversive Strategies begins by showing how the art reflects current crises and is working them out through bodies gendered and political. The essays raise the question of Chinese identity in a global world and note a blurring of the boundary between art and everyday life.

In Modern Chinese Counter-Enlightenment: Affect, Reason, and the Transcultural Lexicon, Peng Hsiao-yen argues that a trend of Counter-Enlightenment had grown from the late Qing to the May Fourth era in the 1910s to the 1920s and continued to the 1940s. She demonstrates how Counter-Enlightenment was manifested with case studies such as Lu Xun’s writings in the late 1900s, the Aesthetic Education movement from the 1910s to 1920s, and the Science and Lifeview debate in the 1920s. During the period, the life philosophy movement, highlighting the epistemic debate on affect and reason, is connected with its counterparts in Germany, France, and Japan. The movement had widespread and long-term impact on Chinese philosophy and literature. Using the transcultural lexicon as methodology, this book traces how the German term Lebensanschauung (lifeview), a key concept in Rudolf Eucken’s life philosophy, constituted a global tide of Counter-Enlightenment that influenced the thought of leading Chinese intellectuals in the Republican era. Peng contends that Chinese intellectuals’ transcultural connections with others in the philosophical pursuit of knowledge triggered China’s self-transformation. She has successfully reconstructed the missing link in the Chinese theater of the worldwide dialectic of Enlightenment and Counter-Enlightenment. “This book can be considered a milestone in modern Chinese and cultural studies. It is also the most ambitious attempt in developing a new kind of interdisciplinary studies—an attempt that bears a philosophic weight and cuts across the disciplines of Sinology, comparative literature, intellectual history, and translation studies. At the same time, it seeks to demonstrate a new theory of ‘Transcultural Lexicon’ which should appeal to all scholars interested in cultural theories.” —Leo Ou-fan Lee, Chinese University of Hong Kong “In the age ruled by the myth of technoscientific triumphalism, this timely and refreshing book unearths a critical strand of thought and sensibility against enlightenment rationality in modern China. Drawing on historical archives and debates, Peng Hsiao-yen stages a compelling critique of industrial modernity and the pursuit of wealth and power at the cost of emotional ties, community, and organic lifeways.” —Ban Wang, Stanford University

Pagodas in Play analyzes the treatment of China in the imaginative and spectacular world of eighteenth-century Italian opera. It shows how Italians used perceptions of Chinese culture to address local and transnational developments, particularly Enlightenment and secular reform initiatives. Its focus on the texts and performance practices of opera, an entertainment form accessible to a wide public, reveals cultural operations and identities harder to detect in non-fictional reformist writings, the texts traditionally privileged to explain Italian mediations of Enlightenment ideas. In its close reading of nine libretti of the most salient Settecento operas treating China (opere serie and opere buffe by authors including Metastasio, Zeno, Goldoni and Lorenzi), Pagodas in Play differentiates Italian iterations of Chinese culture from French and English counterparts. It further challenges certain tenets of orientalism, showing how it operates when nationalist and/or colonialist projects are absent, and how orientalist practices in eighteenth-century Italy exhibit early on the complexity some scholars locate only in the twentieth century. Adrienne Ward teaches Italian literature and culture at the University of Virginia.

An examination of museums in China, surveying their development from the nineteenth century, and looking in particular at their incredible recent proliferation. Museums in China have undergone tremendous transformations since they first appeared in the country in the late nineteenth century. Futuristic, state-of-the-art museums have today become symbols of China's global cultural, economic and technological prominence, and over the last two decades, the number of Chinese museums has increased at an unprecedented rate, with China set to become the country with the highest number of museums in the world. But why have museums become so important? This book, based on extensive research in a number of the museums themselves, examines recent changes in their display methods, narratives, actors and architectural style. It also considers their representations of Chinese national identity, millenarian history and extraordinary cultural diversity. Through an analysis of the changes affecting not only what we observe through museums, but also the very medium of observation (i.e. museums themselves), this book provides a unique, original and timely exploration of the ongoing changes affecting Chinese society, and an evaluation of their consequences. Dr Marzia Varutti is apost-doctoral fellow at the Centre for Museum Studies, Department of Culture Studies and Oriental Languages, University of Oslo.

The Making of A Modern Art World explores the artistic institutions and discursive practices prevailing in Republican Shanghai, aiming to reconstruct the operational logic and the stratified hierarchy of Shanghai’s art world. Using guohua as the point of entry, this book interrogates the discourse both of guohua itself, and the wider discourse of Chinese modernism in the visual arts. In the light of the sociological definition of ‘art world’, this book contextualizes guohua through focusing on the modes of production and consumption of painting in Shanghai, examining newly adopted modern artistic practices, namely, art associations, periodicals, art colleges, exhibitions, and the art market.