Grandmother

Thursday, March 15th, 2007 (Posted 17 years ago)

I wasn’t feeling very well today.
In order to distract me from the illness and make me feel relaxed, Ed read me a section from a classic French novel- Remembrance of Things Past written by Marcel Proust. The novel was one of Ed’s favorite reads from almost 10 years ago. There is a section in which the author introduces his grandmother; I found that it was such a beautiful expression, which reminded me of my grandmother. I would like to quote it here to share with everyone.

My poor grandmother would come in and beg her husband not to taste the brandy; and he would get angry and gulp it down all the same, and she will go out again sad and discouraged, but still smiling, for she was so humble of heart and so gentle and her tenderness for others and her disregard for herself and her own troubles blended in a smile which, unlike those seen as majority of human faces, bore no trace of irony save for herself, while for all of us kisses seemed to spring from her eyes, which could not look upon those she loved with out seeming to bestow upon them passionate caresses…

Thank you my love Ed. xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

论文中的一段,回应宝贝老师的文章‘大国崛起’-关于文化殖民

Wednesday, March 14th, 2007 (Posted 17 years ago)

论文中的一段,回应宝贝老师的文章‘大国崛起’-关于文化殖民

Culture colonization the relationship between the colonizer and the colony

Having been very much inspired by Edward Said, Gandhi pointed out that ‘Postcoloniality, we might say, is just another name for the globalization of cultures and histories.’(Gandhi, 1998, p.126) As nineteenth-century colonization has faded from our memory of history, post-colonialists are well aware of a new kind of cross-cultural ‘postcoloniality’, which without hostilities, pillage and occupation but rather cultural, educational and spiritual influence implanted in contemporary society, which can be regarded as an invisible form of cultural imperialism. Regarding cultural imperialism, Ella Shohat and Robert Stam argue that,

… the third world always seems to lag behind, not only economically but culturally, condemned to a perpetual game of catch-up, in which it can only repeat on another register the history of the ‘advanced’ world. This system ignores the ‘systems theory’ that sees all the ‘worlds’ as coeval, interlinked, living the same historical moment (but under diverse modalities of subordination or domination). (Shohat and Stam, 2002, p.38)

They elaborate this point further, ‘ like the sociology of “modernisation” and the economics of “development,” the aesthetics of modernism (and postmodernism) often covertly assume a telos toward which “Third world” cultural practices are presumed to be evolving.’ (ibid.)

From Shohat and Stam’s point of view, the so-called ‘first world’ Modernisation system and its effects on other cultures should be questioned. It cannot be seen as an advanced goal, which the rest of the world (non-western countries) has to follow. The debate here will be centred on the concept that a Modernized ideal is not necessarily the same as a modern ideal. There is still a relationship of cultural colonization between the colonizer and colony.

The identity of Chinese contemporary art
I will now turn to Chinese contemporary art to show how colonization has affected its identity.

In China, there has been a dramatic increase in interest in contemporary art in the last 30 years. There is a question whether contemporary Chinese art is a replication of the western contemporary art or whether it has its own Chinese identity.

In relation to Chinese contemporary art practice, there seem to be three aspects of contemporary postcolonial thought which appear to have influenced it.

Establishing an international image and reputation
First, a growing body of Chinese contemporary art attempts to follow similar western patterns of establishing an international image and reputation. Accompanying the rapidly developed economy in the last thirty-years, there has been a realization of the influence of cultural colonization upon major cities in China such as Beijing, Shanghai and Guangzhou The thriving contemporary Chinese art scene has reflected some kinds of western art world ideologies, and many contemporary institutions such as Shanghai Art Museum have followed similar institutional traditions as Europe since the end of the 20th century. For instance, the Venice Biennale has successfully been held in Europe for more than 100-years. In recent years, the major cities in China such as Beijing, Guangzhou and Chongqing have all held art biennials, which the Chinese government has encouraged in order to attract attention from all over the world.

Who is more familiar with Chinese contemporary art
Secondly, it seems that the westerners are more familiar with Chinese contemporary art than the Chinese by looking at certain phenomena.
After searching and observing many Chinese art institutions and artists’ websites, one phenomenon is that their websites are generally translated into English. By looking at their biography in these websites, the exhibitions are held equally overseas and in China, or often they hold more international exhibitions than ones in their own country, places such as America, Japan and many countries in Europe.

Furthermore, there are foreign collectors, museums and galleries, many from the ‘first world’ especially America and Europe, who have been collecting numerous outstanding Chinese contemporary artworks in recent years. And this tendency is increasing every year, as there are more people from the art circle or even outside paying attention to Chinese contemporary art. For instance, many contemporary Chinese artworks can be found in the well-known Christies and Sotheby’s auctions today. Both of these companies established overseas offices in major cities of China. This might be because on the one hand, the Chinese art market is becoming increasingly popular; on the other hand, it has become another major resource for them. For example Sotheby’s in New York put Chinese contemporary art on the block as an individual sales category for the first time just one year ago (Richard Vine in Vine, 2007, p.50).

However, there are positives and negatives if Chinese contemporary art practice remains the same. The fact is that there are less Chinese people collecting contemporary art than westerners. The reason could be either people cannot afford these artworks (perhaps because these works are brought to the international market where western buyers are willing to pay a higher price than Chinese collectors) or even those who are wealthy have no intention of collecting contemporary art, owing to the fact they are not aware of its significance and value.

Another reason could be the absence of an aesthetical education of what is contemporary Chinese art by which I mean having a culture of aesthetic appreciation of contemporary art in general. This may be because of the lack of world-class museums in China and the major movement of Chinese artefacts to the west in the 19th century.

The well-known Chinese artist Chen Danqing reminds us that among what is preceived to be the best ten museums, such as the Berlin Museum in Germany, the Maya Museum in Mexico or the British Museum in the UK, there are none of in Asia which has the largest population in the world. (Chen, 2005, p.19) Without more local facilities, the next generation will have the same ‘destiny’ as the Chinese now.

They will also have to fly almost half the globe to visit places such as the British Museum to look at the art from their ancestors. So instead of permanently working individually, Chinese contemporary artists should encourage and help the government construct an aesthetical education system to collect contemporary art works in order to provide an artistic environment and also educate young generations. It will help change the sense of art of the nation. Chen Danqing says, art is visual culture, if we cannot perceive it originally, is just like deaf men talking about music. (Chen, 2005, p.18)

Sharing experience at the study centre

Friday, March 9th, 2007 (Posted 17 years ago)

Today, I was invited to attend an informal gathering at the study centre where I used to study English language and contemporary culture last year at Goldsmith College. It was nice to meet all the new faces and also my previous tutor and some of the course mates.

The purpose of today’s gathering was to share everyone’s experiences with language studies and academic life at the College. I gave a talk about my personal experience on my current course (postgraduate diploma on contemporary art history) and how I have been developing my English through these studies. I have been thinking maybe it is a good idea to analyze what I have shared with all the new students today, and post it in here as a piece of my personal archive.

Firstly, I talked about how useful summaries are in terms of engaging with new articles and texts. The best way of doing revision is to begin with a summary of all the key concepts that are introduced throughout the academic term. The aim of this is to help one revisit and refresh one’s memory with previous lectures or text materials. I proposed that a good starting point for revision would be to go over the readings again and to summarize them at the end. They help demonstrate theories in a more personalised way, giving one a better understanding of how these theories work in real life. In order to do better revision, one should also consider a broader overview of the academic framework in order to explain contemporary issues in a more interesting way. I suggested that one should not only memorize the context of books, but to also take the ideas from these books and apply them to reality (contemporary situations), in which I think the best way to do so, is to adept theories into a presentation. This is because, presentation is a way of retelling what one has been studying and to analyze one’s thinking at the same time. In doing so, I suggested that one should try to participate more in class and sharing opinions with each other.

I advised the new students to identify their own problems from which they can construct a personal study plan, which suits them best. In order to create an effective study environment, one should also have an ultimate aim to encourage oneself and also to deal with one’s own difficulties and issues. Finally, the most important thing is to be patient and relaxed about the processing of learning.

Understanding theory

Thursday, March 1st, 2007 (Posted 17 years, 1 month ago)

Understanding theory

I question why I temporarily gave up art practise, and studied in art theory.

The aim of this journal is to emphasize what theory is and why studying theory is significant in culture and history studies. Theory is usually defined as explanations, and concepts organized together. Theories help analyze and uncover the veil of phenomena and events that occur in contemporary society.

The study of theory is both crucial and political. For instance, it can be a way ‘to oppose utilitarianism and anti-intellectualism of the government’s approach to education’. The idea is to encourage citizens to be more critical and aware of how the society is composed. According to Gramsci’s concept of the ‘organic intellectual’, everyone is an intellectual but not all possess the function of it. In other words, all men should not only have a role in the market but also be a critical and involved member in the society.

Theories do not exist for the sole purpose of being studied. They are studied because it stimulates critical thinking and because they relate to broader issues that are political, social and historical. Theories substantiated by our predecessors can be related to contemporary issues and thus support current day intellectuals as they speak to persuade the population.

Successful application of theory in one’s argument makes it more reasonable and harder to question and provides evidence of affinity with other academics. A clear understanding of theory can open one’s mind to the very essences of the subjects studied. In order to propose a new theory, one is required to take into account existing theory in order to be substantiated and eventually become persuasive.

回想2007除夕夜

Sunday, February 25th, 2007 (Posted 17 years, 1 month ago)

转眼间,已经有10天没有留言了。人的一生中又有多少个10天可以轮回?

今年的春节,我又在伦敦度过。与去年不同的是我有了Ed(Ed是男友)。

可能是在外面过节的原因,邻近春节的日子里,我并没有觉得自己完全投入到了节日的气氛当中。倒是Ed的存在,让我第一次有了在家的感觉。我俩把彼此当做家人一样,别提多亲了。尤其是在上次正式拜访他父母之后,愈加亲切和体贴。我还是第一次被男朋友带回家呢!(虽然这么直接的说出来有点儿‘麻’,但这才真实嘛!)

大年三十,是在jeni召集的聚会上度过的。这也是Ed第一次参加华人的旧历年聚会。他还特意为自己新增了件红色体恤,来和大家一起红红火火过个年。他的认真和对来自我的文化的尊重更增进了我门的感情。

聚会上,包饺子,做游戏,大家尽情的说,笑,食,饮,拍照,祝福。jeni还特地身着大红旗袍,高挂大红灯笼,尽足了女主人的‘义务。’餐桌中央的各种甜点和瓜子更让人尝尽春节的味道. 值得一提的是stone手下的‘年年有余(鱼)’,和大家齐心协力下的‘天之骄(饺)子’。一桌地道的东北新春宴就这样‘凑合’成了,并在伦敦隆重推出。

虽然没有放鞭炮,没有拿红包,身边没有父母,耳边没有春节联欢晚会的嘈杂环绕。我还是尽情享受了2007年的春节。心怀对新的一年的憧憬和期待,我仿佛已经踏上了新的旅程。

最后,向jeni,sam,jana,goeff,susan,stone,ed致谢!

除夕夜留影

Feminism studies: Compare and contrast two competing accounts of ‘sexual difference’ – between Luce Irigaray and Judith Butler

Thursday, February 22nd, 2007 (Posted 17 years, 1 month ago)

Part – 5 Bringing new thoughts

‘Sexual difference’ as a ‘burning issue’ has been controversial since the end of last century. Luce Irigaray and Judith Butler are two of the most influential feminist thinkers who hold different opinions of how society has changed the concept of ‘women’ and also deconstructed ‘sexual difference’ among humanity. I have been studying those differences by analyzing key terms such as ‘culture over nature’, sex and gender and ‘sexual difference’. It seems that Irigaray’s theory was based on a historical point of view, which rejected Freudian theory of binary opposition of ‘women’ and ‘men’. She emphasises women’s value and position in the western society in the 1980’s. Conversely, Butler focuses on the ‘multiplicity’ of ‘gender identity’, whose argument seems more relevant to ‘sexual difference’ in general (with respect to racism and homosexuality) today.

While Irigaray and Butler are fundamental to Western thought, in my opinion, Globalization has broken the boundaries between people who have different identities and come from different cultures. In this sense, people who are from non-western cultures may have various opinions about ‘sexual difference’, which may bring new insights to the discussion.

Feminism studies: Compare and contrast two competing accounts of ‘sexual difference’ – between Luce Irigaray and Judith Butler

Monday, February 19th, 2007 (Posted 17 years, 1 month ago)

Part 4 – Sexual difference

When P. DE Sagazan questions Irigaray about how men and women are different, Irigaray’s answer was that ‘they are corporeally different’. She articulated that this ‘biological difference’ leads to other differences such as constructing subjectivity, connecting to the world and relating (Irigaray, 2000, p.96). In contrast to ‘biological difference’, Butler argues that these ‘corporeal styles’ (differences) are a sedimentation, which has been produced over time. It appears in sexes that sit in ‘a binary relation to one another’. (Butler, 1988, p.407)

‘Sexual difference’ for Irigaray is heterosexually based, which is the major distinction between her and Butler. Irigaray stated later in conversation that ‘…two genders have different forms of consciousness: one remaining more faithful to the body and to her sensibility, to the concrete environment, and to intersubjective relationships, …the other, constructing a universe of non-natural objects…’ It seems that she clearly separated the idea of ‘sex’ into two genders. Conversely, Butler rejects the heterosexuality of sex/gender division, she claims that heterosexuality (the same as gender) is, as mentioned above, ‘culturally produced’ and can be ‘subverted and dismantled.’ (Stone, 2006, p.7)

Furthermore, Irigaray believed that ‘sexual difference’ is a universal difference, which can serve as a standpoint for understanding other differences. According to her, ‘there are traces of instincts derived from animality and human passions in the relations between women and men’, such as respecting other gender. For her, this can be seen as from the ‘most instinctive to the most spiritual’ – the most spiritual being that which bring humans to respect other differences such as race, generation, culture and so on. (Irigaray, 2000, p.99) So ‘sexual difference’ (which by her means sex difference) obviously was a fundamental difference for her, which Butler denies. Butler stresses the ‘multiplicity’ of ‘sex’ and ‘gender performativity’, which bear cultural meaning with it.

Bibliography

Butler, J. (1988). Performative Acts and Gender Constitution. In Conboy, K., Medina, N., Stanbury, S. eds. Writing on the Body: Female Movement and Feminist Theory. New York: Columbia University Press, 1997.

Irigaray, L. and Lotringer, S., transl. Collins, C. (2000). Why Different? New York: Semiotext(e).

Stone, A. (2006). Luce Irigaray and the Philosophy of Sexual Difference. Cambridge: Cambridge University Press.

Feminism studies: Compare and contrast two competing accounts of ‘sexual difference’ – between Luce Irigaray and Judith Butler

Thursday, February 15th, 2007 (Posted 17 years, 1 month ago)

Part 3 – sex and gender

It seems that Irigaray and Butler’s interpretations of ‘sexual difference’ are based on different starting points. Irigaray focuses on the rejection of female sexuality in cultural theory, and claims that gender is sex based. However, Butler states that it is extremely limiting if one understands gender as a separated model, which is based on sex, and does not take into account other bases of gender identity and different forms of sexuality (Long, 2006). She articulates Merleau-Ponty’s reflections on the phenomenology of perception on “the body in its sexual being”, saying that the human body is “an historical idea” rather than “a natural species.” She is also inspired by Simone de Beauvoir’s notion of “woman”, for which ‘any extension, and gender, is an historical situation rather than a natural fact.’ Butler explains that ‘[Beauvoir] clearly underscores the distinction between sex, as biological facticity, and gender, as the cultural interpretation or signification of that facticity’ (Butler, 1988, p.403).

According to Butler’s theory of sex and gender, one can argue that biological sex does not oppose performative gender. Sex and gender can be seen as an interacted relationship (sex/gender). Sexes can be seen as gendered bodies, which are created by culture. Butler elaborates gender as an aspect of identity, which are created through ‘a stylized repetition of [performative] acts’ (Long, 2006). In this sense, gender can also be defined into multiple assumptions. As Butler states

‘…there is neither an “ essence” that gender expresses or externalizes nor an objective ideal to which gender aspires; because gender is not a fact, the various acts of gender creates the idea of gender, and without those acts, there would be no gender at all. Gender is, thus, a construction that regularly conceals its genesis’ (Butler, 1988, p.405).

Even through both Irigaray and Butler agreed that patriarchal power has been influencing and controlling human interpretation of ‘sex’ and gender, one could argue that Butler reveals more possibilities for the understanding of sex/gender. Butler’s notion of sex/gender is sublimated to an intellectual level, which free individuals to define their own sex/gender.

Bibliography

Butler, J. (1988). Performative Acts and Gender Constitution. In Conboy, K., Medina, N., Stanbury, S. eds.

Writing on the Body: Female Movement and Feminist Theory

. New York: Columbia University Press, 1997
Long, V. (2006). Subjectivity and Gender: Luce Irigaray’s, Judith Butler’s and Riot Girl’s Gender Challenge. Internet (last viewed 10 January 2007).

a love letter+ a red rose +a little poem

Wednesday, February 14th, 2007 (Posted 17 years, 1 month ago)

凌晨, 当秒针刚刚跨过了2007年2月14日的大门。
我,身着睡衣,依赖在‘苹果’前,终于完成了上一篇稿子,关于是否应该把国宝归还给原属国。
身后,一只玫瑰悄悄的探出头来。
拥抱,我不由自主的扑向他的怀中。
一封情书,那是来自他传达给我情人节的另一份礼物。
信尾,一首诗舒展在淡蓝色的影线之间

My little poem, 是诗也是我。

my little poem, 我心中的小诗,
i brush gently against your joy, 我温馨地梳理你的喜悦,
i move my hand over your hair, 任随指尖在你长发间穿梭,
barely touching you, 时而接触,时而疏离,
shining in front of me. 闪耀在我面前。

my little poem, 我心中的小诗,
i will keep trying to find the words, 我会一直找寻那些为你臣服的发自我内心深处的言语,
for what i felt for you. 为你,为你。

Heritage, Origins and Otherness

Wednesday, February 14th, 2007 (Posted 17 years, 1 month ago)

I have recently been working on my research file for my option subject ‘cities of modernity’. My study area, at this time, is about ‘Beijing Siheyuan’ (a traditional residency in Beijing which has a history going back 800 years). I could not find much information in our college library so I have been researching on some Chinese websites. Or I could even translate them to English. I thought it would be a way of disseminating Chinese culture to ‘the other’ who had castles (equivalent to residency) in history.

I quite enjoy doing the research as it helps me to obtain my own culture. I was looking at all kinds of national treasures that Chinese have had in history such as paintings, calligraphies and Chinese porcelain and so on. It reminded me, one of the framing art lectures, which I had attended last term. The session was called ‘Heritage, Origins and Otherness’. We were asked to watch a documentary, which is called Stolen Goods National Treasures, directed by Tim Robinson in 2000. The video was about whether should the British museum return national treasures to their original countries.

Some people wonder why people should travel all over the world to experience different cultures and ways of life. One can get a taste of the Greek culture, or a chance to see the best Chinese calligraphy in the world by visiting the British museum. There are, however, others who take on another view, in which they argue that Western Europe should pay respect to countries that they have taken these treasures from by returning their lost treasures. Should this be the case then? It is always difficult to answer such controversial questions when people come from different culture and have different opinions. I have been thinking whether the returning of these treasures would be beneficial to countries where these treasures were originated, and the antiques themselves.

Returning priceless objects to their countries of origin is a way of expressing a diplomatic gesture of friendship. Many people from these countries of origin had been deeply upset when their treasures were taken away. These treasures were symbols of their culture. Therefore, their loss was not only objective, but also a subjective one as in a loss of spiritual values. Moreover, returning these treasures would help settle any long-term disputes created by the act of their displacement and consequently create a more peaceful and tranquil world.

Furthermore, many tourists, and people who are from these treasure’s original cultures believe that the only way to fully experience the cultural effects of these exhibits is to view them in their original cradle. Being in their origin enables these treasures to appear more charming. They would be better staged in their natural condition instead of being in a glass box in London. Culture is the spirit of a race. Without being immersed in its original culture, an antique loses the spirit it was intended to carry. It is all about the restoration of a culture’s spirit rather than the monetary value of these treasures.

However, some superintendents argue that such precious antiques should be preserved in well-built museums that facilitate good temperature conditions and security. Moreover, since Europeans tend to be more experienced in antique preservation, it could be better off for these treasures to remain in their present state. Moreover, risks of damages during displacement can then be avoided.

I am holding an impartial view at this controversial issue. In this civilized and developed era, European countries should return these priceless objects to their origins not only because people should respect each other’s culture but also human dignity as a whole.