Chen Jin： Right Yesterday

We all must be aware of changes happening around us-some comes in a big way while others come quietly. One day when we wake up, we find ourselves wrapped up by an urban jungle of concrete buildings. Old neighborhoods as well as cultural and sentimental milieus that our parents and we have been used to is being replaced or overwhelmed bv such modern monsters as skyscrapers and expressways.[第一段]     

My Love for Calligraphy

As a true calligraphy lover, I not only appreciate but also practice calligraphy. It is an important way for me to communicate with others,express my feeling, temper my will and exercise my body.     

My Mexican Friend Chabolla

Chabolla is a Mexican learning Chinese from me. His Chinese name is Xia Boyang, pronounced similarly with his Mexican surname. On one occasion,I told him that “Xia Boyang” is a translated name of the hero in a Russian novel, he felt quite surprised and said seriously to me, “I am not Russian. I am Mexican.”     

Jin Shangyi＇s Oil Exhibition Displayed in Beijing

Oil painting has been popular in China for one century. With endeavors of several generations of Chinese artists,oil painting has enjoyed an important position in modern Chinese art. On April 1, an oil painting review exhibition by Jin Shangyi, who had worked as president of Central Academy of Fine Arts, was held in National Art Museum of China. The total of 160 exhibits show Jin‘s lifelong pursuit of oil art.     

Jin Quan Museum Gives New Life to Ancient Coins

The saying goes that ““ancient coins are living history““. The rusty ancient coins that appeared in China‘s 5,000 years of history, such as seashells, Bu Bi (spade-shaped money), Dao Bi (knife-shaped money), Banliang coins from Qin Dynasty and Wuzhu coins from Han Dynasty, are all the reflections of the China‘s splendid traditions in politics,     

Jin Quan Museum Gives New Life to Ancient Coins

The saying goes that anclent coins are living history.the rusty ancient coins that appeared in china‘s5,000 years of history,such as seashells,     

My Wild Lily: a self‐criticism from a participant in the March 1990 student movement 1

Abstract

The ‘Wild Lily’ student sit‐in in March 1990 was often praised in the later political transformation process as a crucial moment when the ‘pure and innocent’ students facilitated democratization in Taiwan. From the perspective of a participant in the protest, the author argues that the sit‐in was actually a failure of the ‘popular democratic’ wing of Taiwan's student movement in the 1980s, which championed a more radical vision of democracy. The idea of ‘popular democracy’ was an anti‐elitist ideology arising from critiques on the elite‐led political reform movement. However, due to its historical constraint, practices along this line were unable to alter the bourgeois democratic character of 1980s' democratization process in Taiwan.     

60 YEARS OF PURSUIT OF PERFECITION Exhibition of Jin Shangyi＇s Donations held in National Gallery

The Exhibition of Jin Shangyi＇s Donations, jointly-organized by the Aft Department of the Cultural Ministry, the Central Academy of Fine Arts and Phoenix Press Group, was recently held in the National Art Museum of China, displaying the master artist＇s 39 latest oil works, sketches as well as his past donations to art museums.     

Salute to Johannes Vermeer Jin Shangyi’s solo exhibition held in the Central Academy of Fine Arts

<正>Jin Shangyi’s new solo exhibition "Salute to Johannes Vermeer" was recently displayed at the Museum of the Central Academy of Fine Arts (CAFA), highlighting ...     

Peasant cultures of the twenty‐first century 1

Abstract

In the last quarter of a century there has been a fundamental change in the historical situation of post‐coloniality. The new conditions under which global flows of capital, commodities, information and people are now regulated have created both new opportunities and new obstacles for post‐colonial countries. The old idea of a Third World, sharing a common history of colonial oppression and backwardness, is no longer as persuasive as it was in the 1960s. The phenomenal growth of China and India in recent years has set in motion a process of social change that, in its scale and speed, is unprecedented in human history. I will argue that the forms of capitalist industrial growth in the twenty‐first century may, in large agrarian countries like China, India and the countries of South‐east Asia, make room for the preservation of peasant production and peasant cultures, but under completely altered conditions. The analysis of these emergent forms of postcolonial capitalism requires new conceptual work.     

My Fascinating Adventure to Awancang

Gannan Tibetan Autonomous Prefecture is located at the conjunction of the west end of Qinling Mountain Range and Animaqing Motmtain,bordering with westem Qinghai, Gansu and Sichuan provinces. During Chinese lunar New Year, local monasteries hold diverse religious rites, such as doing Buddhist services, sprinkling holy water, demonstrating Buddhist treasures and setting things free. Religious celebrations reach the climax on the thirteenth of the first lunar month by displaying woven Buddha paintings. Other Buddhist celebrations include debating on sutras, presenting Tibetan dances, displaying butter light festivals, and holding Maitreya Buddha statues to turn around monasteries.[第一段]     

Cold War and the contested identity formation of Korean filmmakers: on Boxes of Death and Kim Ki-yo˘ng's USIS films

The definition of the Korean national cinema in the course of modern and contemporary history of South Korea has provoked controversy. This article examines the negotiations in the identity formation of Korean filmmakers examining specific objects from years of reconstruction following the Korean War. It pays attention to the time when state-building and nation-building became combined enduring heterogeneity of this process. Kim Ki-yo?ng's films depict such characters. His public information short films reflect the legacy of American war films. However, they also contain self-conscious moments when the director refuses to be identified as a mere successor of American documentary filmmakers. Kim's first commercial film, Boxes of Death (1955), an anti-communist thriller, shows great influence from Hollywood, but also with a strong auteurist impulse, theatrical tradition, and the Japanese colonial legacy. However, the most important aspect is the standing presence of America and the USIS-Korea in the identity of Kim Ki-yo?ng and his film. American agencies intervened in the work of Korean filmmakers in the interest of “Free World” bloc-building, and those filmmakers used such agencies to obtain resources. The heterogeneity in the process of the subject formation in Korean national cinema was one common characteristic of many filmmakers of the post-Korean War era.     

The ‘truth politics’ of anti‐North Koreanism: the post‐ideological cultural representation of North Korea and the cultural criticisms of Korean nationalism

Abstract

This essay questions the ‘truth politics’ of anti‐North Koreanism in which a ‘genuine’ figuration of North Korea is presumed to be achievable at the popular level. I define the truth politics of anti‐North Koreanism as the political‐cultural discursive formation obscuring the ideological powerfulness of anti‐North Koreanism that hinges on ‘the normality of nationalism’. The truth politics reinscribes and reinforces the populist and functionalist belief in national unification that justifies developmentalist agendas for North Korea. As an alternative, I discuss the post‐colonial cultural criticism that calls into question the identity politics of popular nationalism, which implicitly performs along the lines of the Sunshine Policy guidelines to naturalize the normality of nationalism under economic developmentalism. The questionable formation of nationalism prevents South Koreans from gaining self‐reflexive access to the way in which heterogeneous tropes of the nation rupturing in the discursive practice of popular nationalism are exploited. But I also critically interrogate the analytical framework presumed within the criticism, because it constrains its own scope and abilities of questioning the truth politics of anti‐North Koreanism the criticism ostensibly targets.     

My Impression About Painter Li Yan

The Japan-based Chinese painting artist Li Yan is preparing for her retrospective in National Art Museum of China this autumn and asked me to write something for her. Although I feel extremely flattered by her trust in me, I have little experience neither in writing nor in art despite my interest in painting. Thus I can only tell my impression about Li Yan＇s life and her paintings.     

Sun Daben： My Artistic Career

<正>Ibegan studying oil painting in the early 1950s when I was in my high school years.My early painting practices were heavily     

＂My Dream Comes True ＂

＂I have two more dreams fulfilled than others,＂ said Madam Sun Danwei, president of Wuyutai Tea Co., Ltd., ＂One is Wuyutai managed to offer tea service in the Olympic Village and the other is t myself, as a representative of Wuyutai, was selected as an Olympic torch bearer!＂     

Just‐Do‐It‐(Yourself): independent filmmaking in Malaysia

Abstract

This paper pursues the genealogies of mi-yi (secret doctors) as a threshold figure to attend to the questions of state-mediated governance and knowledge power concerning medical modernity in postwar Taiwan. To consider the mi-yi figure as symptomatic of Taiwan's medical modernity, I inquire into the question of how the scientific discourse of modernity as purported by the class of medical professionals converges with state power to discipline and regulate medical subjects and practices vis-à-vis the discourse of mi-yi. To this end, I analyze the anti-mi-yi discourse that emerged since the 1950s to discuss how the modern medical profession employed a language of science, rationality, and security that initiated an extended state surveillance of unregulated medical subjects and practices. The second part of the essay reads Chen Yingzhen's novella, Zhao Nandong as part of Taiwan's medical “archives” to explore the politics of embodied medical labor as a situated instance of the contradictions of medical modernity. I situate the literary imagination of Zhao Nandong in the social context of mi-yi discourse to frame the erased labor and violence, the ways in which the histories of these labors have been doubly obscured by the conflation of nationalistic historiography and positivist knowledge production of sociological categorizations of Taiwan's modernity.