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[null,"1.","Record Nr.",null,"UNINA9910227358003321"]
[null,null,"Autore",null,"Amblard Élisabeth"]
[null,null,"Titolo",null,"Traces du végétal / / Isabelle Trivisani-Moreau, Aude-Nuscia Taïbi, Cristiana Oghina-Pavie"]
[null,null,"Pubbl/distr/stampa",null,"Angers, : Presses universitaires de Rennes, 2017"]
[null,null,"ISBN",null,"2-7535-4947-8"]
[null,null,"Descrizione fisica",null,"1 online resource (291 p.)"]
[null,null,"Soggetti",null,"Humanities&#44; Multidisciplinary"]
[{"$nulls":4},"art"]
[{"$nulls":4},"traces fossiles"]
[{"$nulls":4},"histoire"]
[{"$nulls":4},"traces fossiles dans la littérature"]
[{"$nulls":4},"traces fossiles Histoire"]
[{"$nulls":4},"traces fossiles dans l'Art"]
[null,null,"Lingua di pubblicazione",null,"Francese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Sommario/riassunto","Dans ce terreau commun à plusieurs disciplines, un angle de convergence est ici ciblé, celui du végétal en tant que trace. La notion de trace ouvre à une certaine diversité : marque d'une absence, d'un passé largement, mais pas complètement disparu, elle correspond à une forme de présence réelle mais aussi à une dimension symbolique que sa représentation peut construire et entretenir. Les contributions réunies dans ce volume abordent le végétal comme un indice, puis le suivent dans d'autres usages, celui d'une création s'appuyant sur la connaissance du végétal vivant comme celui des détournements aux-quels il invite."]
[null,"2.","Record Nr.",null,"UNINA9910792145003321"]
[null,null,"Autore",null,"FitzGerald Carolyn"]
[null,null,"Titolo",null,"Fragmenting modernisms [[electronic resource] ] : Chinese wartime literature, art, and film, 1937-49 / / by Carolyn FitzGerald"]
[null,null,"Pubbl/distr/stampa",null,"Leiden ; ; Boston, : Brill, 2013"]
[null,null,"ISBN",null,"90-04-25099-9"]
[null,null,"Descrizione fisica",null,"1 online resource (362 p.)"]
[null,null,"Collana",null,"China studies ; ; v. 24"]
[null,null,"Disciplina",null,"895.1/09005"]
[null,null,"Soggetti",null,"Chinese literature - 20th century - History and criticism"]
[{"$nulls":4},"Sino-Japanese War, 1937-1945 - Literature and the war"]
[{"$nulls":4},"Sino-Japanese War, 1937-1945"]
[{"$nulls":4},"Motion pictures - China - History - 20th century"]
[{"$nulls":4},"Art, Chinese - 20th century"]
[{"$nulls":4},"Modernism (Literature) - China"]
[{"$nulls":4},"Modernism (Art) - China"]
[{"$nulls":4},"China History Civil War, 1945-1949 Literature and the war"]
[{"$nulls":4},"China History Civil War, 1945-1949 Art and the war"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"Preliminary Material -- Introduction Out of the Ashes: Towards a Wartime Aesthetics of Dissolution -- Chapter One A Sonnet in an Air-Raid Shelter: Mu Dan and the New Lyricism -- Chapter Two Intersections between Cartoon and National Art: Ye Qianyu’s Search for the Sinicized Cartoon -- Chapter Three Wang Zengqi’s Collection of Chance Encounters: The Shifting Essence of the Wartime Short Story -- Chapter Four Between Forgetting and the Repetitions of Memory: Fei Mu’s Aesthetics of Desolation in Spring in a Small Town -- Chapter Five Fei Ming’s After Mr. Neverwas Rides a Plane: Wartime Autobiography as History -- Epilogue Searching for Roots: Modernist Echoes in the Post-Mao Era -- Bibliography -- Index -- Plate Section."]
[null,null,null,"Sommario/riassunto","In Fragmenting Modernisms , Carolyn FitzGerald traces the evolution of Chinese modernism during the War of Resistance against Japan (1937-45) and Chinese Civil War (1945-49) through a series of close readings of works of fiction, poetry, film, and visual art, produced in various locations throughout wartime China. Showing that the culture of this period was characterized by a high degree of formal looseness, she "]
[{"$nulls":4},"argues that such aesthetic fluidity was created in response to historical conditions of violence and widespread displacement. Moreover, she illustrates how the innovative formal experiments of uprooted writers and artists expanded the geographic and aesthetic boundaries of Chinese modernism far beyond the coastal cities of Shanghai and Beijing."]