LEADER 03750nam 2200601 a 450 001 9910461583903321 005 20200520144314.0 010 $a988-220-979-3 010 $a988-8053-84-1 035 $a(CKB)2670000000133475 035 $a(EBL)863893 035 $a(OCoLC)770347403 035 $a(SSID)ssj0000608438 035 $a(PQKBManifestationID)11973864 035 $a(PQKBTitleCode)TC0000608438 035 $a(PQKBWorkID)10590949 035 $a(PQKB)10113589 035 $a(StDuBDS)EDZ0000054492 035 $a(MiAaPQ)EBC863893 035 $a(MdBmJHUP)muse3806 035 $a(Au-PeEL)EBL863893 035 $a(CaPaEBR)ebr10611785 035 $a(EXLCZ)992670000000133475 100 $a20121017d2011 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aChinese art and its encounter with the world$b[electronic resource] $enegotiating alterity in art and its historical interpretation /$fDavid Clarke 210 $aHong Kong $cHong Kong University Press$d2011 215 $a1 online resource (271 p.)$csome color illustrations$d26 cm 300 $apt. I. Trajectories : Chinese artists and the West -- pt. II. Imported genres -- pt. III. Returning home : cities between China and the world. 311 $a988-8083-06-6 320 $aIncludes bibliographical references and index. 327 $apt. I. Trajectories : Chinese artists and the West -- Chitqua : a Chinese artist in eighteenth-century London -- Cross-cultural dialogue and artistic innovation : Teng Baiye and Mark Tobey -- pt. II. Imported genres -- Iconicity and indexicality : the body in Chinese art -- Abstraction and modern Chinese art -- pt. III. Returning home : cites between China and the world -- Illuminating facades : looking at post-colonial Macau -- The haunted city : Hong Kong and its urban others in the postcolonial era. 330 $aThis book examines Chinese art from the mid-eighteenth century to the present, beginning with discussion of a Chinese portrait modeler from Canton who traveled to London in 1769, and ending with an analysis of art and visual culture in post-colonial Hong Kong. By means of a series of six closely-focused case studies, often deliberately introducing non-canonical or previously marginalized aspects of Chinese visual culture, it analyzes Chinese art's encounter with the broader world, and in particular with the West. Offering more than a simple charting of influences, it uncovers a pattern of richly mutual interchange between Chinese art and its others. Arguing that we cannot fully understand modern Chinese art without taking this expanded global context into account, it attempts to break down barriers between areas of art history which have hitherto largely been treated within separate and often nationally-conceived frames. Aware that issues of cultural difference need to be addressed by art historians as much as by artists, it represents a pioneering attempt to produce an art historical writing which is truly global in approach. It hopes to appeal both to those with a special interest in modern Chinese art and those who are only now becoming aware of this fascinating but previously under-explored field. 606 $aArt, Chinese 606 $aArt$zChina$xHistory 606 $aEast and West$xHistory 608 $aElectronic books. 615 0$aArt, Chinese. 615 0$aArt$xHistory. 615 0$aEast and West$xHistory. 676 $a709.51 700 $aClarke$b David$0548865 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910461583903321 996 $aChinese art and its encounter with the world$92484143 997 $aUNINA LEADER 02540 am 2200577 n 450 001 9910306638003321 005 20181113 010 $a979-1-03-510251-7 024 7 $a10.4000/books.psorbonne.14544 035 $a(CKB)4100000007522748 035 $a(FrMaCLE)OB-psorbonne-14544 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/55932 035 $a(PPN)267969279 035 $a(EXLCZ)994100000007522748 100 $a20190124j|||||||| ||| 0 101 0 $afre 135 $auu||||||m|||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 13$aLa pensée comme expérience $eEsthétique et déconstruction /$fMarc Jimenez, Vangelis Athanassopoulos 210 $aParis $cÉditions de la Sorbonne$d2018 215 $a1 online resource (160 p.) 311 1 $a2-85944-948-5 330 $aLes voix qui s'expriment ici entendent demeurer dans les parages de la déconstruction, et notamment de la pensée de Jacques Derrida. Autrement dit, elles ne séjournent pas sur le lieu même, mais restent dans le voisinage théorique d'une réflexion exigeante où l'expérience concrète ? celle de l'art en particulier ? précède toujours le passage au concept, loin de toute systématisation abstraite. Il ne s'agit pas de « déconstruire » une esthétique ou une philosophie de l'art, que l'auteur de La vérité en peinture a bien pris garde, au demeurant, de ne jamais élaborer, mais de s'approprier au plus juste les traces qu'il nous a léguées pour assurer notre présence dans le monde contemporain. 606 $aPhilosophy 606 $aesthétique 606 $adéconstruction 610 $aesthétique 610 $adéconstruction 615 4$aPhilosophy 615 4$aesthétique 615 4$adéconstruction 700 $aAthanassopoulos$b Vangelis$01309203 701 $aBrohm$b Jean-Marie$0235154 701 $aGaillot$b Michel$01309204 701 $aGenin$b Christophe$01279384 701 $aJimenez$b Marc$0188125 701 $aLageira$b Jacinto$01309205 701 $aLampropoulos$b Apostolos$01309206 701 $aLongo$b Anna$01309207 701 $aNancy$b Jean-Luc$0157114 701 $aRiado$b Benjamin$01309208 701 $aRieusset-Lemarié$b Isabelle$01298502 701 $aJimenez$b Marc$0188125 701 $aAthanassopoulos$b Vangelis$01309203 801 0$bFR-FrMaCLE 906 $aBOOK 912 $a9910306638003321 996 $aLa pensée comme expérience$93029331 997 $aUNINA