En savoir plus
This book presents a new cultural history of fin-de-siècle Russia in relation to the East. Drawing on literary texts, paintings, advertisements, official documents, and archival work, it reconsiders the place of Russia in the genealogy of global modernism by exploring the enduring impact of China on pre-revolutionary Russian culture.
Table des matières
- 1: Introduction
- 2: The Universal Truth
- 3: Meta-Exoticism
- 4: Russian Cathays
- 5: The Transnational Fantastic
- 6: Epilogue: The Untranslatable is the Universal
- Bibliography
- Index
A propos de l'auteur
Jinyi Chu is Assistant Professor of Slavic Languages and Literatures at Yale University. He holds a PhD from Stanford University. Chu's research focuses on Russian modernism, socialist culture, Russo-Chinese relations, and translation studies.
Résumé
Many are familiar with European modernists' interest in Chinese art and poetry, however less well known is that Russian literature and art at the turn of 20th century also flourished in a sustained dialogue with China. In Fin-de-siècle Russia and Chinese Aesthetics, Jinyi Chu reconsiders the place of Russia in the genealogy of global modernism by exploring the enduring impact of China on pre-revolutionary Russian culture. This book argues that fin-de-siècle Russian ideas about increasing global cultural and socioeconomic interconnectedness emerged from their unsettling encounters with China.
Drawing on literary texts, paintings, advertisements, official documents, and archival work in Russia, China, France, and the United States, Chu reconstructs surprising stories about cultural interactions. From Innokenty Annensky's encounter with a Tibetan monk in Paris, Aleksei Remizov's adaptations of Chinese ghost stories, and Lev Tolstoy's translations of the Daoist canon, to Ilya Mashkov's fauvist painting of a Chinese fairy, this book presents a new cultural history of fin-de-siècle Russia in relation to the East.
Fin-de-siècle Russia and Chinese Aesthetics casts new light on the intricate relationships between geopolitics and transnational aesthetics. It moves beyond the idea that Russian literary and artistic representations of China were simply manifestations of Russia's imperial ideology and Eurasian cultural identity. Instead, Chu shows that literature and art actively renegotiate and destabilize the preconceived world order at a time of intensifying geopolitical and cultural transformation when China shifted from Russia's rival in Inner Asia to a target in the competition of global imperialist powers.
Texte suppl.
Pushing beyond the Orientalist paradigm, fin-de-siècle Russia and Chinese Aesthetics reframes the Russian modernist engagement with Chinese aesthetics as a search for an expanded sense of universalism that could overcome the false universality of a Eurocentric cultural order. Linguistically dexterous and intellectually daring, with a methodological range that encompasses religious philosophy, aesthetic theory, scrupulous philology, and translation analysis, Jinyi Chu's book makes a major contribution to our understanding of modernism as well as the cultural history of the Sino-Russian relationship.
