Fin-de-siecle Russia and Chinese Aesthetics : The Other is the Universal
by
Jinyi Chu
Book Details
Format
Hardback or Cased Book
Book Series
Global Asias
ISBN-10
0198920393
ISBN-13
9780198920397
Publisher
Oxford University Press
Imprint
Oxford University Press
Country of Manufacture
GB
Country of Publication
GB
Publication Date
Oct 3rd, 2024
Print length
192 Pages
Weight
480 grams
Dimensions
24.10 x 16.40 x 1.90 cms
Product Classification:
Literary studies: c 1800 to c 1900 European historyAsian history
Ksh 15,050.00
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This book presents a new cultural history of fin-de-siècle Russia in relation to the East. Drawing on literary texts, paintings, advertisements, official documents, and archival work, it reconsiders the place of Russia in the genealogy of global modernism by exploring the enduring impact of China on pre-revolutionary Russian culture.
Many are familiar with European modernists'' interest in Chinese art and poetry, however less well known is that Russian literature and art at the turn of 20th century also flourished in a sustained dialogue with China. In Fin-de-siècle Russia and Chinese Aesthetics, Jinyi Chu reconsiders the place of Russia in the genealogy of global modernism by exploring the enduring impact of China on pre-revolutionary Russian culture. This book argues that fin-de-siècle Russian ideas about increasing global cultural and socioeconomic interconnectedness emerged from their unsettling encounters with China. Drawing on literary texts, paintings, advertisements, official documents, and archival work in Russia, China, France, and the United States, Chu reconstructs surprising stories about cultural interactions. From Innokenty Annensky''s encounter with a Tibetan monk in Paris, Aleksei Remizov''s adaptations of Chinese ghost stories, and Lev Tolstoy''s translations of the Daoist canon, to Ilya Mashkov''s fauvist painting of a Chinese fairy, this book presents a new cultural history of fin-de-siècle Russia in relation to the East. Fin-de-siècle Russia and Chinese Aesthetics casts new light on the intricate relationships between geopolitics and transnational aesthetics. It moves beyond the idea that Russian literary and artistic representations of China were simply manifestations of Russia''s imperial ideology and Eurasian cultural identity. Instead, Chu shows that literature and art actively renegotiate and destabilize the preconceived world order at a time of intensifying geopolitical and cultural transformation when China shifted from Russia''s rival in Inner Asia to a target in the competition of global imperialist powers.
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