Manhua Modernity

From fashion sketches of Shanghai dandies in the 1920s, to phantasmagoric imagery of war in the 1930s and 1940s, to panoramic pictures of anti-American propaganda rallies in the 1950s, the cartoon-style art known as manhua helped define China’s modern experience. Manhua Modernity offers a richly illustrated and deeply contextualized analysis of these illustrations from the lively pages of popular pictorial magazines that entertained, informed, and mobilized a nation through a half century of political and cultural transformation. “An innovative reconceptualization of manhua. John Crespi’s meticulous study shows the many benefits of interpreting Chinese comics and other illustrations not simply as image genres but rather as part of a larger print culture institution. A must-read for anyone interested in modern Chinese visual culture.” CHRISTOPHER REA, author of The Age of Irreverence: A New History of Laughter in China “A rich media-centered reading of Chinese comics from the mid-1920s through the 1950s, Manhua Modernity shifts the emphasis away from ideological interpretation and demonstrates that the pictorial turn requires examinations of manhua in its heterogenous, expansive, spontaneous, and interactive ways of engaging its audience’s varied experiences of fast-changing everyday life.” YINGJIN ZHANG, author of Cinema, Space, and Polylocality in a Globalizing Chin

Negotiating Traditions : Taiwanese Art Since the 1980s

Traditions, especially those that are non-Western, tend to be popularly perceived as very ancient. This is frequently not the case as shown, for instance, by Eric Hobsbawn and others in their studies demonstrating that traditions are "often quite recent in origin and sometimes invented." Employing this perspective as a starting point, it is my special interest to investigate how contemporary Taiwanese art came to develop an "active," creative relationship with tradition, provoked by the analysis of, the resistance against, or the programmatic re-presentation of that tradition. After Martial Law was lifted in 1987, the Taiwanese society witnessed an unprecedented era of rapid and continuous change. As a result, cultural resources and different traditions from the past, rooted in various timelines and localities, have concurrently surfaced and presented themselves as multiple opportunities for visual artists. The objective of this thesis is to examine how traditions are developed, constructed, incorporated, juxtaposed, forged, and processed; in short: how they are negotiated by the artists, and what kind of messages and ideas are expressed by them, by which means and for which reasons. After providing a historical survey of Taiwan’s artistic development, the study focuses on six major artworks by six contemporary Taiwanese artists including Huang Chin-ho, Yang Mao-lin, Lien Te-cheng, Wu Mali, Huang Chih-yang, and Hou Chun-ming. The primary issues subsequently examined are the artist’ visual languages, their artistic styles and development, and the iconographical sources from which they draw. Furthermore, contemporary writings and the artists’ statements are extensively consulted, evaluated, analyzed, and critically read in order to uncover the full meaning or hidden messages contained within the artworks. The study concludes that the project of Taiwan's contemporary tradition-making is ambitious and heterogeneous, encompassing cultures as diverse and hybrid as Western contemporary philosophical discourse, various artistic traditions, local popular and religious customs, the Chinese tradition, especially in its marginal and occult varieties, and, not least, the cultural impact of Japanese colonial rule

TECHNART 2017. Non-destructive and microanalytical techniques in art and cultural heritage. Book of abstracts

440 p.TECHNART2017 is the international biannual congress on the application of Analytical Techniques in Art and Cultural Heritage. The aim of this European conference is to provide a scientific forum to present and promote the use of analytical spectroscopic techniques in cultural heritage on a worldwide scale to stimulate contacts and exchange experiences, making a bridge between science and art. This conference builds on the momentum of the previous TECHNART editions of Lisbon, Athens, Berlin, Amsterdam and Catania, offering an outstanding and unique opportunity for exchanging knowledge on leading edge developments. Cultural heritage studies are interpreted in a broad sense, including pigments, stones, metal, glass, ceramics, chemometrics on artwork studies, resins, fibers, forensic applications in art, history, archaeology and conservation science. The meeting is focused in different aspects: - X-ray analysis (XRF, PIXE, XRD, SEM-EDX). - Confocal X-ray microscopy (3D Micro-XRF, 3D Micro-PIXE). - Synchrotron, ion beam and neutron based techniques/instrumentation. - FT-IR and Raman spectroscopy. - UV-Vis and NIR absorption/reflectance and fluorescence. - Laser-based analytical techniques (LIBS, etc.). - Magnetic resonance techniques. - Chromatography (GC, HPLC) and mass spectrometry. - Optical imaging and coherence techniques. - Mobile spectrometry and remote sensing

Script Effects as the Hidden Drive of the Mind, Cognition, and Culture

This open access volume reveals the hidden power of the script we read in and how it shapes and drives our minds, ways of thinking, and cultures. Expanding on the Linguistic Relativity Hypothesis (i.e., the idea that language affects the way we think), this volume proposes the “Script Relativity Hypothesis” (i.e., the idea that the script in which we read affects the way we think) by offering a unique perspective on the effect of script (alphabets, morphosyllabaries, or multi-scripts) on our attention, perception, and problem-solving. Once we become literate, fundamental changes occur in our brain circuitry to accommodate the new demand for resources. The powerful effects of literacy have been demonstrated by research on literate versus illiterate individuals, as well as cross-scriptal transfer, indicating that literate brain networks function differently, depending on the script being read. This book identifies the locus of differences between the Chinese, Japanese, and Koreans, and between the East and the West, as the neural underpinnings of literacy. To support the “Script Relativity Hypothesis”, it reviews a vast corpus of empirical studies, including anthropological accounts of human civilization, social psychology, cognitive psychology, neuropsychology, applied linguistics, second language studies, and cross-cultural communication. It also discusses the impact of reading from screens in the digital age, as well as the impact of bi-script or multi-script use, which is a growing trend around the globe. As a result, our minds, ways of thinking, and cultures are now growing closer together, not farther apart. ; Examines the origin, emergence, and co-evolution of written language, the human mind, and culture within the purview of script effects Investigates how the scripts we read over time shape our cognition, mind, and thought patterns Provides a new outlook on the four representative writing systems of the world Discusses the consequences of literacy for the functioning of the min

Boys' Love for the Love of it: Progressive prosumers and the proliferation of queer culture through Manga

Boys’ love (BL) manga (as a genre of Japanese comics) with either homoerotic or homosocial graphics and content, is largely produced by and for female readers. Much like the audacious women writers in Victorian Britain, these amateur female BL artists (dōjin) and their respective consumers in Japan have arguably empowered themselves as a subcultural community, as well as the represented LGBT community, through progressive and often radical means. Although much scholarly attention has focused on the readers’ gratifications and why BL has such a large female readership, little attention has been given to how, or the extent to which, the popularity of BL manga has potentially fostered LGBT visibility; or to the illustrators who have continued to independently publish such content at their own expense. Essenitally, I analyse the positive socio-economic effects and greater significance which lie in autonomous authorship, exclusive fan rituals, and their potential by-product of progression towards equality in terms of gender and sexuality. By comparing content, readership and fandom practices from the Victorian era and modern-day Japan, I demonstrate that the dissemination and consumption of cultural products which cater for and stem from a disempowered gender group may foster an explicitly queer space and its wider tolerance in the community. Determining if and how this phenomenon has fostered the empowerment of traditionally disenfranchised groups in Japan can provide insight into the subtle social and ideological shifts currently underway in Japan—shifts in which gender and sexuality are enmeshed, and occur in a contemporary context of an ageing population which is clinging onto the security found in traditions and conventions, albeit while adapting to the effects of globalisation

Doug und Mike Starn

Doug and Mike Starn: Evolution from Photography to Public Art investigates the pioneering installations and public art by Doug and Mike Starn, establishes their position within the complete oeuvre and examines the confluence of media they have worked in, while situating the artists and their work within the contemporary art historic context. Intrinsic characteristics of the Starn brothers’ work are the principles of interconnectedness, continuity, duality and change, a continuous evolution combined with a stunning ability to reinvent their work, redefining entire art genres in the process. Identical twins Doug and Mike Starn, born in 1961 and included in the 1987 Whitney Biennial at the age of 26, work collaboratively. The primary medium of photography characterizes their early work, evolving in the 1990s to include artist books, large-scale video projections, and installations. Incidentally, their first permanent public art commission is tied to the reconstruction of New York’s infrastructure following the tragedy of September 11, 2001. The goal is to delineate context, process, and significance of the artists’ foray into public art. An analysis and interpretation of artistic production, context, partnerships, process, scale and reception will reveal the transition from stellar gallery production to installation art and exceptional public art. Highlights of the pair’s stellar career include the completion of two important public art projects in New York City in 2008 and 2010, one permanent and one temporary: the permanent public art environment See it split, see it change on the concourse of South Ferry Subway Station at the tip of Manhattan and the temporary, monumental Big Bambú installation on the Metropolitan Museum’s roof garden. These outstanding works were preceded by years of artistic inquiry and development in the genre of photography, whose path the study explores.Das Œuvre von Doug und Mike Starn spannt den Bogen von der Fotografie zur Kunst am Bau und zur Kunst im öffentlichen Raum. Zwischen diesen Polen bewegt sich die Entwicklung der Künstlerzwillinge, die sich in ihrer Zusammenarbeit mit den Themen Licht, Kontinuität und Vergänglichkeit beschäftigen. Als junge Künstler entwickelten sie groß-formatige, mit Klebeband zusammengesetzte Foto-Collagen, die bereits 1987 zur Beteiligung am Whitney Biennial führten. Zu den Höhepunkten ihres künstlerischen Schaffens gehören zwei wichtige Projekte im öffentlichen Raum mit Standort New York. See it split, see it change (2008) wurde für die South Ferry Transitstation geschaffen und die monumentale, temporäre Installation Big Bambú (2010) war auf dem Dach des Metropolitan Museum of Art installiert. Ersteres Werk ist die umfangreichste Glasinstallation der New Yorker öffentlichen Verkehrsbetriebe, letzteres die größte Außenausstellung in der Geschichte des Metropolitan Museum. Den bahnbrechenden Arbeiten der Starns gingen zwei Jahrzehnte künstlerischer Entwicklung voraus, deren Zusammenhang mit dem späteren Werk in dieser Studie aufgezeigt wird. Sie steht im Brennpunkt technischer und politischer Umwälzungen, die durch fortschreitende Digitalisierung und den 11. September geprägt sind

How Japanese is Wii? The Reception and Localization of Japanese Video Games in America

With control over both store shelves and consumers' consciousness, Japanese video games have dominated the U.S. and global game markets over the past two decades and continue to prosper today. This thesis positions Japanese video games' popularity in America in the global flows of pop culture, and argues that the "Japanization" of pop culture, represented by the "Japanization" of video games, has challenged the cultural globalization process that is taken for granted as hegemonized by the Western, especially American, cultural imperialism. In this thesis I examine the cultural localization process (beyond technical and linguistic localization) of Japanese video games for the U.S. releases, to further demonstrate the transnationality of Japanese pop culture. Meanwhile, I investigate the American fan base for Japanese video games and identify the differences between American and Japanese game players, in terms of cultural preferences of game genres and game play

Visual semiotics : a study of images in Japanese advertisements

The thesis begins an exploration of the way in which Japanese visual semiotics works. In this it focuses on the formal representations of visual elements: visual syntax. Specifically, this thesis examines the way in which visual representations are realisations of three types of semiotic metafunctions: the Ideational, Textual and Interpersonal. In order to gain a clear idea about Japanese visual semiotics, I compare them with British counterparts in a relatively minor way. There is some consideration of Japanese and British cultural value systems as revealed through an analysis of the visual. It is widely accepted that language is rule-governed, and that the rules of this system are closely related to the social and cultural environment in which they are produced. This is the basis of most work in sociolinguistics, of a very wide variety. The same assumption, however, is not normally made of other semiotic modes such as the visual.\ud This study uses advertisements as the data; and it is through that data that the issue of visual semiotics is considered. Advertisements are examples par excellence of the connection of cultural values and visual semiotics; they are also a rich source for the study of visual communication, and are widely available and comparable across Japanese and British cultures. To some small extent it shows how similarly and differently they are manifested in Japanese and British examples.\ud The findings of the thesis point to quite specific organizations of visual representations in Japanese culture, and to differences between the two cultures. Such differences give rise to different kinds of reading with different meanings, and are therefore of great significance in a cross-cultural semiotic environment. \u