Anti-Utopia and the Poetics of Ruins, 1978–2018: A View from Visual Art and Poetry

Kód výsledku v IS VaVaI

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Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Anti-Utopia and the Poetics of Ruins, 1978–2018: A View from Visual Art and Poetry

Popis výsledku v původním jazyce

Ruins feature pervasively in the post-1978 Chinese imagination. During China’s transformation following the socialist era, innumerable works of photography, cinema, literature, and art have turned demolition sites, construction debris, unfinished buildings, disaster areas, and the remains of ancient buildings into ruins. Moreover, intellectuals have portrayed their relationship with tradition, the demise of socialism, the shattering of reformist ideals, and the fate of their own work through the symbolism of ruin and decay. Following Xavier Ortells-Nicolau, we approach ruins as the product of a “discursive, conceptual, and visual intervention and framing.” The term does not merely describe broken and collapsed structures, but projects “expectations and culturally determined assumptions about the reality and meaning of these remnants, as well as their agency and aesthetic potential.” Drawing also on insights from Wu Hung and Kiu-wai Chu, this chapter advances a novel interpretation of ruin landscapes from the 1990s to the 2000s and analyzes two recent examples of ruin aesthetics, namely the short film Rumba II: Nomad (2015) by Cao Fei (b. 1978), and “Ruins” (“Feixu”, 2018), a poème en prose by Yaming. While Chinese intellectuals in the 1990s associated ruin imagery with utopias of national progress and dystopias of cultural crisis, Cao Fei’s film and Yaming’s writing depict heterotopias of ruins—vestiges haunted by a dislocated and alienated humanity, now bustling with non-human life.

Název v anglickém jazyce

Anti-Utopia and the Poetics of Ruins, 1978–2018: A View from Visual Art and Poetry

Popis výsledku anglicky

Ruins feature pervasively in the post-1978 Chinese imagination. During China’s transformation following the socialist era, innumerable works of photography, cinema, literature, and art have turned demolition sites, construction debris, unfinished buildings, disaster areas, and the remains of ancient buildings into ruins. Moreover, intellectuals have portrayed their relationship with tradition, the demise of socialism, the shattering of reformist ideals, and the fate of their own work through the symbolism of ruin and decay. Following Xavier Ortells-Nicolau, we approach ruins as the product of a “discursive, conceptual, and visual intervention and framing.” The term does not merely describe broken and collapsed structures, but projects “expectations and culturally determined assumptions about the reality and meaning of these remnants, as well as their agency and aesthetic potential.” Drawing also on insights from Wu Hung and Kiu-wai Chu, this chapter advances a novel interpretation of ruin landscapes from the 1990s to the 2000s and analyzes two recent examples of ruin aesthetics, namely the short film Rumba II: Nomad (2015) by Cao Fei (b. 1978), and “Ruins” (“Feixu”, 2018), a poème en prose by Yaming. While Chinese intellectuals in the 1990s associated ruin imagery with utopias of national progress and dystopias of cultural crisis, Cao Fei’s film and Yaming’s writing depict heterotopias of ruins—vestiges haunted by a dislocated and alienated humanity, now bustling with non-human life.

Druh

C - Kapitola v odborné knize

CEP obor

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OECD FORD obor

50901 - Other social sciences

Projekt

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Návaznosti

O - Projekt operacniho programu

Rok uplatnění

2023

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

Sinophone Utopias: Exploring Futures Beyond the China Dream

ISBN

978-1-62196-646-3

Počet stran výsledku

22

Strana od-do

287-308

Počet stran knihy

484

Název nakladatele

Cambria

Místo vydání

Amherst

Kód UT WoS kapitoly

000895793700015