Defining Chu: Image and Reality in Ancient China
Defining Chu: Image and Reality in Ancient China
复制标题
定义楚：中国古代的形象与现实
DOI：
10.2307/2659227
复制
发表时间：
2000
期刊：
影响因子：
--
通讯作者：
J. Major
中科院分区：
文献类型：
--
作者：
C. Mackenzie;C. Cook;J. Major
这一切都在一本关于明朝的书中，并与董小宛和潘金莲一样，本身就很了不起。话又说回来，这本书打破了许多界限，其中之一就是中国研究和华裔美国文学之间的界限。事实上，神话本质上是一种拼凑，也许当代艺术家刘洪的迷人而模棱两可的作品就是很好的例证，这些作品装饰了《危险的女人》的封面和封底。顺便说一句，本书其余部分的艺术品来自不同的来源，其中三分之一是晚清时期的作品，而不是像封底所说的“那个时期的艺术”。“晚清艺术品的来源是通过拼音的工作室名称来确定的，但大多数时候没有日期，因此，不熟悉中国历史的读者可能不会意识到这些艺术品的生产和消费与明朝截然不同。
all in a book on the Ming, and alongside the likes of Dong Xiaowan and Pan Jinlian, is in itself quite remarkable. Then again, this book breaks many boundaries, one of which is the one between Chinese studies and Chinese American literature. For indeed, myth is by nature a kind of pastiche, perhaps well exemplified by the fascinating and ambiguous works of the contemporary artist Hung Liu that adorn the front and back cover of Dangerous Women. Incidentally, the artworks that illustrate the rest of the book are from a variety of sources, a third of which produced in the late Qing, and not, as the back cover claims, "art of the period." The sources of the late Qing artworks are identified by studio names in Pinyin but most times without dating, and thus, readers not familiar with Chinese history may not realize that the artworks were produced and consumed in a vastly different world from that of the Ming.