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France-Asia: Cultural Identity and Creative Exchange
Ist Teil von
L'Esprit créateur, 2016-10, Vol.56 (3), p.1-13
Ort / Verlag
Baltimore: Johns Hopkins University Press
Erscheinungsjahr
2016
Link zum Volltext
Quelle
Project MUSE
Beschreibungen/Notizen
Visitors to that year's World's Fair could frequent painter Charles Castellani's "Le Tout Paris," a panorama in which moving life-size tableaux represented the most prominent Parisians of the day moving through the streets around the Place de l'Opéra.1 The fact that these two Chinese flâneurs are included among well-known Parisians of 1889 challenges the notion of binaries between Europeans and Others established in so many works about nineteenth-century Orientalism. [...]by identifying these Chinese Parisians by name (Chen Jitong and Qi)2 in the souvenir booklet from which this image is drawn, Castellani further disrupts the conventional Orientalist discourse in which individuals are subsumed by abstract categories. Most of the articles in the present volume explore neglected figures whose individual and collective engagements produced complex responses to the Other: scholars and diplomats who traveled back and forth from Japan and China to France, the male and female dealers who imported and interpreted Asian art for the public, and little-known poets (many of them women) who engaged with Asian writing and art, but have not been discussed in the context of the hugely popular and largely art historical japoniste movement.7 Through the examination of writings by and about a number of individuals, the articles in this volume reveal that the cultural collaboration among figures in France, Iran, India, China, and Japan was much more dynamic and specific than has previously been proposed. In Postcolonial Translation, Susan Bassnett and Harish Trivedi extended such thinking to translation theory and to cross-cultural communication, while Andre Gunder Frank's radical ReORIENT: Global Economy in the Asian Age questioned the entire concept of European colonial dominance.8 More recently, Sucheta Mazumdar, Vasant Kaiwar, and Thierry Labica have deployed the notion of capital to break down culturally formed concepts of geography, while Peng Hsiao-yen uses the term "transcultural modernity" to reconsider the Chinese and Japanese adoption of the nineteenth-century dandy figure. Some of the strands that weave the individual essays together include translation (across languages and genres); questions of alterity and hybridity explored through national, religious, gender, and racial identity; cultural bias ensuing from linguistic difficulties in accessing sources or from a lack of cultural sensitivity; the practice and impact of knowledge-sharing and classification and their relation to discipline and power-knowledge; the intersections between individual and institutional agency in relation to media, museums, diplomacy, criticism; and cultural flânerie, creativity, and travel.