Full Description
This study constructs a framework of narratology for art history and rewrites the development of twentieth-century Chinese art from a narratological perspective.
Theoretically and methodologically oriented, this is a self-reflective meta-art history studying the art historical narratives while narrating the story of modern and contemporary Chinese art. Thus, this book explores the three layers of narrative within the narratological framework: the first-hand fabula, the secondary narration, and the tertiary narrativization. With this tertiary narrativization, the reader-author presents three types of narrative: the grand narrative of the central thesis of this book, the middle-range narrative of the chapter theses, and case analyses supporting these theses. The focus of this tertiary narrativization is the interaction between Western influence on Chinese art and the Chinese response to this influence. The central thesis is that this interaction conditioned and shaped the development of Chinese art at every historical turning point in the twentieth century.
The book will be of interest to scholars working in art history, critical theory, Chinese studies, and cultural studies.
Contents
Introduction: A Meta-Art History 1. Before 1949: Context and Modern Art 2. Since 1949: Possible Author and Realist Art 3. 1979-1985: Textual Space and Historical Transformation 4. 1985-1989: Unfolding the Events of the Avant-Garde Movement 5. The 1990s: The Postmodern Characterization 6. Towards a Conclusion: Conceptual Art through to the 2020s
