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Inscription, memory, transgression: ...

Liao, Ping-hui.

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Inscription, memory, transgression: Sung-Yuan poet-painters.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Inscription, memory, transgression: Sung-Yuan poet-painters./
Author:	Liao, Ping-hui.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1987,
Description:	367 p.
Notes:	Source: Dissertation Abstracts International, Volume: 49-02, Section: A, page: 2490.
Contained By:	Dissertation Abstracts International49-02A.
Subject:	Comparative literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8804733

Inscription, memory, transgression: Sung-Yuan poet-painters.
Liao, Ping-hui.

Inscription, memory, transgression: Sung-Yuan poet-painters. - Ann Arbor : ProQuest Dissertations & Theses, 1987 - 367 p.

Source: Dissertation Abstracts International, Volume: 49-02, Section: A, page: 2490.

Thesis (Ph.D.)--University of California, San Diego, 1987.

This dissertation examines the visual-verbal dialectics in the works of Sung-Yuan poet-painters and of William Blake. It is in three parts; each consists of two chapters. The first chapter traces the development of inscriptions on painting in ancient China and compares the Chinese-Western traditions of the sister arts. The second chapter discusses the reason why lyric inscriptions in big characters should suddenly appear in the Sung dynasty. The answer I propose there is that intellectuals of the time deploy the art of selfmutilation to subvert the traditional form of aesthetic autonomy and to criticize the commodity nature of the contemporary production of art. The selfmutilation is also a register of the nation as a mutilated body and a symbolic gesture to explode the containment strategies Sung rulers employ to maintain order. When the country is taken over by the Mongols, Chinese poet-painters develop the tradition further to keep alive the memory of what the conquerors force them to forget. Desiring for the recovery, the early Yuan poet-painters constantly use the past to construct their cultural imaginary as well as to express their feeling of inner exile in terms of what Gilles Deleuze and Felix Guattari call "deterritorialization" and "reterritorialization." Their landscapes are largely of the land "re-membered"; their lyric inscriptions are political in nature. Though assuming the appearance of harmless recreation, the inscriptions help constituting the cultural recreation. For the "Four Great Masters" of the late Yuan, the only option is to carry on the intellectual's carnival of reading and writing to each other, and of rereading and rewriting their own as well as others' works. Their landscapes verge on abstraction, and their inscriptions become longer and more complex, forming counter-parts to the pure images. The use of counter-parts to tease out the inherent negativity is also apparent in the work of Blake. The concluding chapter discusses some implications of my reading for deconstruction, Hegelian Marxism, and the new historicism.Subjects--Topical Terms:

570001
Comparative literature.

Inscription, memory, transgression: Sung-Yuan poet-painters.
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245 1 0 $a Inscription, memory, transgression: Sung-Yuan poet-painters.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 1987
300 $a 367 p.
500 $a Source: Dissertation Abstracts International, Volume: 49-02, Section: A, page: 2490.
500 $a Chairperson: Wai-lim Yip.
502 $a Thesis (Ph.D.)--University of California, San Diego, 1987.
520 $a This dissertation examines the visual-verbal dialectics in the works of Sung-Yuan poet-painters and of William Blake. It is in three parts; each consists of two chapters. The first chapter traces the development of inscriptions on painting in ancient China and compares the Chinese-Western traditions of the sister arts. The second chapter discusses the reason why lyric inscriptions in big characters should suddenly appear in the Sung dynasty. The answer I propose there is that intellectuals of the time deploy the art of selfmutilation to subvert the traditional form of aesthetic autonomy and to criticize the commodity nature of the contemporary production of art. The selfmutilation is also a register of the nation as a mutilated body and a symbolic gesture to explode the containment strategies Sung rulers employ to maintain order. When the country is taken over by the Mongols, Chinese poet-painters develop the tradition further to keep alive the memory of what the conquerors force them to forget. Desiring for the recovery, the early Yuan poet-painters constantly use the past to construct their cultural imaginary as well as to express their feeling of inner exile in terms of what Gilles Deleuze and Felix Guattari call "deterritorialization" and "reterritorialization." Their landscapes are largely of the land "re-membered"; their lyric inscriptions are political in nature. Though assuming the appearance of harmless recreation, the inscriptions help constituting the cultural recreation. For the "Four Great Masters" of the late Yuan, the only option is to carry on the intellectual's carnival of reading and writing to each other, and of rereading and rewriting their own as well as others' works. Their landscapes verge on abstraction, and their inscriptions become longer and more complex, forming counter-parts to the pure images. The use of counter-parts to tease out the inherent negativity is also apparent in the work of Blake. The concluding chapter discusses some implications of my reading for deconstruction, Hegelian Marxism, and the new historicism.
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