Shengqing Wu explores how the new medium of photography was transformed by Chinese aesthetic culture. She details the complex negotiations between poetry and photography in the late Qing and early Republican eras, examining the ways traditional textual forms collaborated with the new visual culture.
Shengqing Wu explores how the new medium of photography was transformed by Chinese aesthetic culture. She details the complex negotiations between poetry and photography in the late Qing and early Republican eras, examining the ways traditional textual forms collaborated with the new visual culture.
Shengqing Wu is professor of Chinese literature at the Hong Kong University of Science and Technology. She is the author of Modern Archaics: Continuity and Innovation in the Chinese Lyric Tradition, 1900-1937 (2013).
Inhaltsangabe
Acknowledgments Introduction Part I: Refashioning the Self 1. Multiplying the Self: Staging Fantasies and Cultural Personas 2. Envoicing the Paper Mirror: Autobiographical Moments Part II: Emotions in Transit 3. The Social Life of Emotions: Photography and the Singularity of the Gift 4. Summoning Zhenzhen: Circulation of the Tropes of the Beauty, the Skull, and the Nude Part III: Worldly and Otherworldly Visions 5. In Search of Soul: Psychical Studies and Spirit Photography 6. The Shadows of Poetry: Mediating "Interior Landscapes" 7. Inscribing Remembrance: Lyrical and Technological Envisioning of the Past Epilogue Notes Index
Acknowledgments Introduction Part I: Refashioning the Self 1. Multiplying the Self: Staging Fantasies and Cultural Personas 2. Envoicing the Paper Mirror: Autobiographical Moments Part II: Emotions in Transit 3. The Social Life of Emotions: Photography and the Singularity of the Gift 4. Summoning Zhenzhen: Circulation of the Tropes of the Beauty, the Skull, and the Nude Part III: Worldly and Otherworldly Visions 5. In Search of Soul: Psychical Studies and Spirit Photography 6. The Shadows of Poetry: Mediating "Interior Landscapes" 7. Inscribing Remembrance: Lyrical and Technological Envisioning of the Past Epilogue Notes Index
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