Ma Ke(馬可)의 작업에 반영된 도가미학 사상 이홍연; Hongyan Li; 임은혁 ...
Fashion & textile research journal,
12/2022, Letnik:
24, Številka:
6
Journal Article
Odprti dostop
The rapid development of the fashion industry in contemporary society has also caused various problems such as environmental pollution, material excess, and spiritual poverty. Accordingly, ...traditional Chinese Taoist aesthetics can solve the spiritual poverty that people are facing today, and the spiritual pursuit of returning to innocence. This study focuses on the works of first generation Chinese designer Ma Ke as an example to discuss the embodiment and application of Taoist aesthetics. The results are as follows: First, Ma Ke's works emphasize the value of handicraft through traditional handcrafting and natural fibers, which reflect the beauty of simplicity and the non-action of Taoist aesthetics. Second, the works acknowledge nature by using natural materials and retaining their original appearance, which embodies Taoist aesthetics of the beauty in non-action and living in harmony with nature. Third, the collections reflect a critical attitude toward the fashion industry and consumer culture by rethinking consumerism and advocating environmental protection, thus propagating the beauty in simplicity and the harmonious life with nature in Taoism aesthetics. In conclusion, Ma Ke's designs incorporating sustainability and handicraft exhibit the core features of Taoist aesthetics, including the beauty in simplicity, non-action, and living in harmony with nature while exploring the relationship between modernity and tradition, man and nature, and handicraft and fashion. This research can contribute to understanding Ma Ke's works in promoting critical thinking about the fashion industry through Taoist aesthetics.
Aesthetic Marx Gandesha, Samir; Hartle, Johan F
2017, 2017-10-19
eBook
The whole of Marx's project confronts the narrow concerns of political philosophy by embedding it in social philosophy and a certain understanding of the aesthetic. From those of aesthetic production ...to the 'poetry of the future' (as Marx writes in the Eighteenth Brumaire), from the radical modernism of bourgeois development to the very idea of association (which defined one of the main lines of tradition in the history of aesthetics), steady references to Dante, Shakespeare and Goethe, and the idea that bourgeois politics is nothing but a theatrical stage: the aesthetic has a prominent place in the constellation of Marx's thought. This book offers an original and challenging study of both Marx in the aesthetic, and the aesthetic in Marx.
Recent transnational documentaries are more and more committed to issues of global environmental justice and revealing exploitative profit-driven production practices as they suggest that cinematic ...transnationalism enables us to see the global connectedness of the ecosystem more readily.
Such filmic representations of a beyond-the-local culture facilitate to make sense of the global network of products and flow of messages as they make us aware of the physical and symbolic linkages between these seemingly disconnected worlds. From the food we eat and the news we read, the
jeans and shoes we wear, to the films, music and performances we enjoy, our living habits and daily routines today are unimaginable without global networks of information and exchange, regardless of which part of the world one is situated in.By comparing Jia Zhangke's Wuyong/Useless (2007)
and Ho Chao-ti's Wo Ai Gaogenxie/My Fancy High Heels (MFHH) (2010), this article explores how transnationality in these documentaries, on one hand, facilitates the expression of eco-critical and environmentalist messages concerning nature and the environment, as well as the relationships between
human and all other beings on the planet; and on the other, reveals the challenges and contradictions film-makers and artists faced in the productions in attempts to reflect their ecological and environmental concerns, challenges and contradictions that are brought about by the unstoppable
forces of excessive global consumerism.
As Asian-American fashion designers have become better known in the USA and globally the media has highlighted their achievements collectively. What, this article asks, are the implications of ...second- and third-generation Asian-Americans having attracted such attention? If new, young fashion designers are being identified on the basis of their ethnicity how might they enter into or negotiate a position within a larger global fashion world, and what impact might this have on the identification of other Asian designers, not least those from mainland China, whose work is little known in the West? The argument is framed by the concept of habitus, seen from two perspectives, one the significance of place in the global fashion industry, and the other related to the discourse of "ethnicity" that surrounds the designers. Examples are discussed of Asian-American and mainland Chinese fashion designers whose work has become known more widely through the press, exhibitions, and commercial activity. We are, it is suggested, at a point of transition regarding the wider knowledge and reception of Chinese fashion designers.
Based on archival scripts, discussion records, and interviews of surviving artists, this article examines the impact of China's state diplomatic demand and shifting political and ideological ...circumstances on the creation and revisions of a jingju (Beijing opera) play titled Princess Baihua in the late 1950s and early 1960s. In 1958, a kunqu scene from the Ming dynasty chuanqi (marvel play) piece The Story of Baihua was selected and significantly revised for a cultural-diplomatic tour to Europe. After the tour, the jingju actress Li Yuru adapted this one-act into a short jingju play. In 1960, as Li and her colleagues at the Shanghai Jingju Theatre were preparing to expand Li's version into a full-length play, foreign minister Chen Yi suggested a fundamental change to the premise of the play in order to utilize it for China's Cold War diplomacy. Chen's directive, however, introduced major creative challenges for the team of actors, playwrights, directors, and cultural officials in charge of the revision process that went through four versions between 1960 and 1961, which was further complicated by the volatile ideological pendulum of the era.
