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Wendy Larsonis Professor of In his early career, Zhang Yimou’s fil Rmesd—Sorghum 《红高粱》(1987), Judou Modern Chinese Literature and 《菊豆》(1990), and Raise High the Red Lantern 《大红灯笼高高挂》(1991) - posi Film at the University Oregon tioned him as an influential interlocutor, launching Chinese cinema onto the global screen Parnodg Vriacmes P.r Sohveocstomopfl Peotretdland and capturing the attention of a world audience, especially those watching from the West. She is the displaying Chinese aesthetic, ideological, philosophical, and thematic elements in his films, author o Lfiterary Authority and and to question his previous strategy’s efficacy in gaining space for Chinese culture on the the Chinese Writer: Ambiva- global stage.Soon he moved away from his early assumptions and their colorful expressions lence and Autobiography (Duke of a troubled (and thus potentially modern) Chinese heritage, instead incorporating the a Unndiv Werristiintgyi Pnr Mesosd,e1r9n91CW)h,oinmaen question of cultural representation and its relationship to political power directly into t (Stanford University Press, 1998)s,ubstance of his films.She was the Keynote the cultures and languages of politically stronger nations to flourish.Thus, although hop Speaker at the 2012 ASIAN-et for recognition as equals among the world’s great cultures sustains a tremendous investme work Conference in Portland, of funds and energy in China, parity seems impossible to reach, even with modifications Oregon.
Reflecting on the experience of designing and teaching a course on material culture and Chinese gardens, she explores traditional philosophy, ethics, religion, painting, calligraphy, craft, literatur architecture, and horticulture to teach students to read classical Chinese g-ardens as micr cosms of Chinese culture.Laura Nenzi addresses a volume of interest to those teaching pre-modern Japanese history with a review of Constantine Nomikos Vapor Viso’sices of Early Modern Japan: Contemporary Accounts of Daily Life during the Age of the Shoguns (2012).Erin Mc Carthy and Lisa Trivedi, Editors With Darrin Magee, Guest Editor for articles on Asian Environments 2 | Notes from the Editors Chinese Culture on the Global Stage: Zhang Yimou and Riding Alone for Thousands of Miles Abstract A:s opposed to Zhang Yimou’张s艺谋 much-criticized fi Hlemro《英 雄》(2002), which addresses the relationship between culture and political power, Riding Alone for Thousands of Miles《千里走单骑》 (2005) asks the question of whether, under the conditions of globalization, any performance between cultures can contain truth value, be authentic, or represent something real.While Zhang’s films are strong indictments of the cultural promise built into the nationstate political form, his work also makes other implications relevant to the global/national debate.
First, he affirms the contemporary significance of national over ethnic culture in the global struggle for representation, connecting “Chineseness” with its political body.
Professor Wendy Larson of the University of Oregon’s essay, “Chinese Culture on the Global Stage: Zhang Yimo-u and Rid ing Alone for Thousands of Miles,” addresses the work of Chinese filmmaker, Zhang Yimou.