By Kang Liu
Even though chinese language Marxism—primarily represented through Maoism—is more often than not obvious by way of Western intellectuals as monolithic, Liu Kang argues that its practices and tasks are as diversified as these in Western Marxism, really within the region of aesthetics. during this comparative research of eu and chinese language Marxist traditions, Liu unearths the level to which chinese language Marxists contain rules approximately aesthetics and tradition of their theories and practices. In doing so, he constructs a totally new realizing of chinese language Marxism.Far from being secondary issues in chinese language Marxism, aesthetics and tradition are in truth relevant matters. during this recognize, such Marxists are just like their Western opposite numbers, even supposing Europeans have had little figuring out of the chinese language event. Liu strains the family tree of aesthetic discourse in either smooth China and the West because the period of classical German inspiration, exhibiting the place conceptual transformations and divergences have happened within the traditions. He examines the paintings of Mao Zedong, Lu Xun, Li Zehou, Qu Qiubai, and others in China, and from the West he discusses Kant, Schiller, Schopenhauer, and Marxist theorists together with Horkheimer, Adorno, Benjamin, and Marcuse. whereas stressing the variety of Marxist positions inside of China in addition to within the West, Liu explains how principles of tradition and aesthetics have provided a optimistic imaginative and prescient for a postrevolutionary society and feature affected a large box of concerns regarding the issues of modernity.Forcefully argued and theoretically refined, this e-book will entice scholars and students of latest Marxism, cultural reports, aesthetics, and glossy chinese language tradition, politics, and beliefs.
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Additional info for Aesthetics and Marxism: Chinese Aesthetic Marxists and Their Western Contemporaries (Post-Contemporary Interventions)
The task of fine art is to describe the suffering of life, and to point a way out of suffering. It will then allow us, the philistine crowd, to part with struggles of desire in life, within the world as a prison house, so that we may achieve a temporary equanimity. 47 This argument was presented in Wang’s celebrated study of Dream of Red Chamber. What distinguishes this as not only his magnum opus, but also a first in paradigmatic modern literary criticism in China, is Wang’s modernist interpretation.
The successes and failures of this Chinese alternative need to be assessed. It should not, however, be merely measured by Western modernity as a universal model. The Chinese attempt should be seen as an ipso facto alternative to Western capitalist modernity before it is labeled a failure or success. To judge it one must judge modernity as a whole, as a global experience or condition of existence that must include alternatives and challenges across the world. The concept of modernity itself has to be problematized and redefined in the first place.
What is this thing that can achieve all these [transcendence and forgetting], if not meishu [fine art]? . The task of fine art is to describe the suffering of life, and to point a way out of suffering. It will then allow us, the philistine crowd, to part with struggles of desire in life, within the world as a prison house, so that we may achieve a temporary equanimity. 47 This argument was presented in Wang’s celebrated study of Dream of Red Chamber. What distinguishes this as not only his magnum opus, but also a first in paradigmatic modern literary criticism in China, is Wang’s modernist interpretation.