Postmodernism in China

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Beijing National Stadium, often called the "Bird's Nest", an example of postmodern architecture

Postmodernism (Chinese: 后现代主义; pinyin: hòuxiàndàizhǔyì) emerged in China during the late 20th century as the country underwent rapid economic development and globalization. While influenced by Western postmodern currents, Chinese postmodernism developed distinctively as it interacted with China's unique historical and cultural context. It challenged traditional Chinese aesthetics and philosophies, reinterpreting them through an eclectic postmodern lens. This ushered in experimental forms of expression across literature, art, architecture, intellectualism, and cinema. Chinese artists interwove traditional motifs with postmodern pastiche, irony, and critical engagement with contemporary issues. Postmodernism in China thus represents a fusion of global trends and local heritage. It provides a lens to understand modern China as artists and intellectuals navigate expressing individuality within the nation's socio-political landscape.[1]

## Historical context

[edit]

The emergence of postmodernism in China is not an isolated phenomenon, but a response to the country's rapid transition and its complex interactions with global trends.[1][2]

### Political landscape

[edit]

The political landscape in China during the late 20th century, especially post-Mao era reforms initiated by Deng Xiaoping, set the stage for postmodernist influences. These reforms, marked by the "Reform and Opening Up" in the late 1970s, ushered in an era of economic liberalization and increased exposure to Western ideologies and culture.[2] This period saw a gradual relaxation of strict ideological controls and a move towards a more open and diverse cultural environment. However, this liberalization was not uniform and was often subject to the changing tides of political sentiment, influencing how postmodern ideas were received and expressed.[3]

### Economic development

[edit]

Economic development, characterized by rapid industrialization and urbanization, profoundly impacted the social fabric and cultural expressions in China. The shift from a predominantly agrarian society to an urban, industrial powerhouse within a few decades created a milieu where traditional values intersected and sometimes clashed with modernist and postmodernist ideas. The economic boom brought about by these reforms led to increased wealth, but also social disparity, challenging long-standing cultural norms and ideals.[4]

### Social changes

[edit]

These economic and political shifts were accompanied by significant social changes. The Cultural Revolution (1966–1976) had previously sought to purge bourgeois and traditional elements from Chinese society, creating a vacuum that postmodernism, in part, began to fill.[3][5][6] The post-Cultural Revolution era saw a resurgence of interest in traditional Chinese culture, as well as an openness to Western cultural influences. This period was marked by a questioning of traditional values and an exploration of new forms of cultural and artistic expression.[7]

### Globalization

[edit]

The impact of globalization during the late 20th and early 21st centuries is crucial context for the development of Chinese postmodernism. The influx of foreign ideas, coupled with China's growing influence on the global stage, created a cross-cultural dialogue that significantly influenced the development of postmodernist thought in China. This exchange led to a unique blend of Eastern and Western philosophies, aesthetics, and cultural practices.[5][8]

### Cultural revival and critique

[edit]

In the realm of art and literature, this era witnessed a revival of interest in traditional Chinese aesthetics, albeit often approached with a postmodern sensibility that involved both a critique and a celebration of the past. Chinese postmodernism frequently engages in a nuanced re-examination of historical themes, traditional motifs, and classical philosophy, recontextualizing them in the light of contemporary experiences and global influences.[9][8]

## Themes and characteristics

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Postmodernism in China, while drawing from a global movement, exhibits its own unique themes and characteristics, including a nuanced approach to cultural identity, responses to globalization, and the interplay between traditional and modern elements.[10]

### Reinterpretation of cultural identity

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A central theme in Chinese postmodernism is the reinterpretation of cultural identity. In the wake of rapid modernization and globalization, Chinese artists and thinkers have grappled with questions of what constitutes Chinese identity.[11] This has often involved a re-examination and deconstruction of traditional Chinese culture, philosophy, and aesthetics. Postmodernist works in China frequently engage with historical narratives, classical literature, and ancient philosophies, reinterpreting them through contemporary lenses.[8] This process is not merely a revival of the past but a critical engagement that challenges and redefines what it means to be Chinese in a modern context.

### Response to globalization

[edit]

Globalization has been a powerful force influencing postmodernism in China. Chinese postmodernists often reflect on the impact of global cultural flows on local traditions and identities. This includes an exploration of how Western cultural norms and practices are assimilated, resisted, or transformed within the Chinese context. The result is often a hybrid cultural expression that blends global and local elements, reflecting the complex dynamics of cultural exchange and influence in an increasingly interconnected world.[12]

### Blending of traditional and modern elements

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The blending of traditional and modern elements is a hallmark of Chinese postmodernism. In visual arts, literature, architecture, and cinema, there is a visible juxtaposition and fusion of ancient motifs with modernist and postmodernist techniques.[13][9][5] This blending goes beyond mere aesthetic fusion; it often carries a deeper commentary on the tension and harmony between China's rich historical heritage and its contemporary reality. This theme reflects a broader societal dialogue about the place of tradition in a rapidly modernizing country.[14]

### Irony and parody

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Irony and parody are frequently employed in Chinese postmodernist works as tools to question established norms, challenge authority, and comment on the absurdities and contradictions inherent in contemporary life.[15][5] This is particularly significant in a society where direct criticism may be constrained, making irony and parody effective means of subtle dissent and social commentary.[6]

### Fragmentation and multiplicity

[edit]

Consistent with global postmodernist trends, Chinese postmodernism often embraces fragmentation and multiplicity in narrative and form. This characteristic rejects the idea of a single, unified perspective, instead presenting a world of multiple realities and diverse viewpoints. This approach is reflective of the pluralistic and often chaotic experience of modern life in China, where rapid changes and diverse influences create a complex and multifaceted society.[16]

### Critique of consumerism and materialism

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As China has experienced economic growth and rising consumerism, many postmodernist artists and thinkers have critically engaged with these phenomena. Works often critique the relentless pursuit of material wealth and question the sustainability and ethical implications of consumerist culture. This theme reflects broader concerns about the social and environmental costs of economic development.[12]

## Areas of influence

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Postmodernism has permeated various cultural and intellectual domains in China, including literature, art, architecture, philosophy, and cinema.[1]

### Literature

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Chinese postmodern literature is marked by its experimentation with narrative forms and its departure from the socialist realist style predominant in earlier decades. Authors like Mo Yan and Yu Hua are known for their use of magical realism, non-linear storytelling, and metafictional techniques. These narratives often blend historical, fantastical, and contemporary elements, challenging traditional literary conventions and offering new ways of understanding China's past and present. Irony and satire are frequently used to critique social and political issues subtly.[8][13]

* Can Xue (残雪): Considered a leading voice in avant-garde Chinese literature, her works are known for their experimental and surreal narratives, often exploring the subconscious and challenging traditional narrative structures.[17] She has published works of criticism on Borges, Shakespeare, Dante, Goethe, Italo Calvino, and Bruno Schulz, and has a particularly strong connection to Kafka.[1]
* Hong Ying: Her writing is notable for its exploration of female sexuality and identity, as well as its vivid portrayal of life in China. Hong Ying's works often weave personal and historical narratives, creating a rich tapestry of the Chinese experience.[18]Mo Yan
* Mo Yan: A Nobel laureate, Mo Yan is known for his sprawling narratives that incorporate folklore, history, and fantasy, exemplified in works like "Red Sorghum" and "Big Breasts and Wide Hips." His style, often described as hallucinatory realism, challenges the boundaries between reality and fiction.[19]
* Sheng Keyi: Known for her bold and experimental style, Sheng Keyi's works often address issues of gender, sexuality, and the individual's place in a rapidly changing society.[20]
* Xu Xiaobin (徐小斌): Her work often focuses on the experiences of women in contemporary China, blending historical perspectives with modern dilemmas.[21]
* Yu Hua: Another significant literary figure, Yu Hua is renowned for his avant-garde approach to storytelling, particularly in novels such as "To Live" and "Brothers," which explore the societal transformations in China with a critical and often absurdist lens.[22]

### Art

[edit]

In the realm of visual arts, Chinese postmodernism is characterized by an eclectic mix of styles and mediums. Artists such as Ai Weiwei and Cai Guo-Qiang have gained international acclaim for works that blend traditional Chinese materials and techniques with contemporary conceptual art practices. These artists often engage with themes of cultural identity, globalization, and the tensions between tradition and modernity, using their art to comment on social and political issues in China and beyond.[9]

* Ai Weiwei: Unbroken at the Gardiner MuseumAi Weiwei: As an artist and activist, Ai's work is synonymous with Chinese postmodern art. His installations and sculptures, including "Sunflower Seeds" and "Dropping a Han Dynasty Urn," often contain political statements that critique contemporary issues.[23]
* Cai Jin \- A painter, particularly famous for her "Banana Series," which uses rich, vibrant colors and organic forms, and often explores themes of femininity and nature.[24]
* Cai Guo-Qiang: Known for his use of gunpowder as an artistic medium, Cai Guo-Qiang's pieces like "Sky Ladder" and "Project for Extraterrestrials" merge spectacle with conceptual depth, exploring themes of technology, nature, and human existence.
* Guo Fengyi (郭凤仪): An artist who came to prominence for her detailed, intricate drawings, often with spiritual and mystical themes.
* Lin Tianmiao: Recognized for her use of textiles and thread in her art, Lin's work frequently deals with issues of gender and identity.
* Liu Bolin (刘勃麟): Dubbed the "Invisible Man", Liu Bolin's art is a form of social commentary reflecting on human identity and the environment. His "Hiding in the City" series, where he paints himself into urban landscapes, critiques governmental practices and the lack of individualism in China.[25]
* Xu Bing (徐冰): His notable pieces, such as "Book from the Sky" and "Tobacco Project," blend printmaking techniques and textual art with social commentary, highlighting the intersection of cultural understanding and misunderstanding. Xu Bing's art is deeply connected to issues of identity and the complexities of cultural exchange in the contemporary era.[26]
* Yin Xiuzhen \- Known for her installation art, which often incorporates recycled materials and explores themes of globalization, memory, and identity.[27]

### Architecture

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Xintiandi district in Shanghai

Postmodernism in Chinese architecture is visible in the blending of traditional architectural elements with modern design principles. This is evident in projects like the Beijing National Stadium (Bird's Nest) and Shanghai's Xintiandi district, where architects combine historical motifs with innovative, contemporary designs. This approach reflects a desire to create a built environment that is distinctly Chinese yet responsive to the demands of a rapidly urbanizing society.[28]

* Lu Wenyu: Co-founder of the architectural firm Amateur Architecture Studio along with her husband, the well-known architect Wang Shu. Although Wang Shu received the Pritzker Prize, Lu Wenyu's contribution to their work is significant. Their approach often integrates traditional Chinese architectural elements with modern designs, reflecting a postmodern synthesis.[29]
* Ma Yansong: The founder of MAD Architects, Ma Yansong represents a new wave of Chinese architects. His designs, including the Absolute Towers in Canada and the Harbin Opera House in China, reflect a postmodern fusion of futuristic forms with natural landscapes.[30]Ma Yansong's Harbin Opera House.
* Wang Shu: the 2012 Pritzker Prize winner, incorporates traditional materials and techniques in modern designs. His Ningbo History Museum showcases how reclaimed materials can be used in innovative ways that challenge conventional architectural practices.[31][32]

### Philosophy

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In philosophy, Chinese postmodernism is often intertwined with the reinterpretation of traditional Chinese thought, particularly Daoism and Confucianism, through a postmodern lens. Philosophers and theorists engage with these ancient philosophies, drawing parallels with postmodern ideas of multiplicity, relativity, and the rejection of absolute truths. This has led to a unique philosophical discourse that seeks to reconcile traditional Chinese wisdom with contemporary global philosophical trends.[12]

* Li Zehou: A prominent philosopher, Li Zehou has contributed to postmodern philosophy in China with his works that reinterpret Confucian and Marxist theories in light of contemporary challenges.[33]
* Zhao Tingyang: Zhao is known for his philosophical works that blend Chinese philosophical traditions with modern global issues. His theories on "All-Under-Heaven" (Tianxia) system have been influential in discussions about global governance and ethics.[34]

### Cinema

[edit]

Chinese cinema has also been influenced by postmodernism, with filmmakers employing non-linear narratives, pastiche, and self-referentiality. Directors like Jia Zhangke and Wong Kar-wai are known for their stylistic innovations and exploration of themes such as urban alienation, historical memory, and the impact of globalization on individual lives. Their films often defy conventional storytelling techniques, offering a more fragmented and subjective view of China's rapidly changing society.[35][6]

* Jia Zhangke: A leading figure in the Sixth Generation cinema movement, Jia Zhangke's films like A Touch of Sin and The World use non-linear narratives and a documentary style to address the consequences of China's rapid modernization.[36]
* Li Yu: Known for her independent films, Li Yu's work often deals with complex human emotions and societal issues. Her storytelling technique is nuanced and often delves into the intricacies of personal relationships and societal norms.
* Vivian Qu: As a director and producer, Vivian Qu is known for her socially conscious films that explore themes like gender dynamics and societal challenges. Her narrative style often includes elements of realism and deep character studies.
* Wong Kar-wai: Though a Hong Kong director, Wong Kar-wai's films have had a significant influence on the cinematic language of postmodernism in Greater China. Films like In the Mood for Love and Chungking Express are celebrated for their stylistic innovation and exploration of themes like memory, time, and urban isolation.
* Xu Jinglei: A prominent figure in Chinese cinema, Xu Jinglei is not only an actress but also a director known for her distinctive storytelling style. Her films often explore contemporary social issues, relationships, and the role of women in modern society.

## Comparison with Western postmodernism

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The postmodernist movement in China, while sharing the core tenets of skepticism, irony, and the rejection of grand narratives with its Western counterpart, exhibits distinctive characteristics shaped by the country's unique cultural and political landscape. Wang Ning argues for using the terms "postmodern" and "postmodernity" rather than "postmodernism" when discussing postmodernism in the Chinese context. This is to acknowledge the unique manifestation of postmodern elements in China, which differ from their original Western forms.[10]

### Similarities

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Both Western and Chinese postmodernism question the objective knowledge claims and universal truths that were often upheld by modernist thinkers.[37] They share a predilection for fragmentation, pastiche, and a bricolage of styles and mediums. In literature and art, there is a shared tendency to disrupt traditional narrative structures and to embrace paradox and ambiguity.[13] Both movements also respond to the conditions of late capitalism, though the specifics of this engagement may differ due to the distinct socio-economic conditions in China as opposed to the West.[38][10]

### Differences

[edit]

#### Cultural and ideological foundations

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Chinese postmodernism is deeply rooted in the nation's extensive philosophical and cultural heritage. It often reimagines traditional Chinese ideologies and aesthetics through a postmodern lens, whereas Western postmodernism tends to be more focused on critiquing the Western canon and history.[38][10]

#### Political context

[edit]

The political environment in China has significantly influenced the development and expression of postmodernism. Chinese postmodernists often navigate more restrictive political conditions, which impact the themes and modes of expression in their work.[39] In contrast, Western postmodernism has generally developed in a context with fewer constraints on freedom of expression.[1]

#### Economic development

[edit]

The rapid economic development and urbanization of China provide a different backdrop for the emergence of postmodernism compared to the West. Chinese postmodernist works frequently engage with the dislocations and cultural shifts brought about by this swift transformation, reflecting on the loss of tradition and the rise of consumer culture in a way that is specific to the Chinese experience.[35][40]

#### Globalization

[edit]

While both Western and Chinese postmodernists grapple with the effects of globalization, the perspective in China is colored by the nation's transition from a closed society to a major actor on the global stage. This gives Chinese postmodernism a dual focus on asserting a distinct cultural identity while also engaging with global cultures.[39]

#### Artistic expression

[edit]

In the arts, Chinese postmodernism often employs irony and metaphor in a more subdued manner, reflecting a need to balance critique with the nuances of political acceptability.[5] Western postmodernism, with its tradition of direct satire and parody, frequently engages in more overt social and political criticism.

## Criticism and reception

[edit]

The reception of postmodernism in China, both domestically and internationally, has been varied and multifaceted, reflecting the complex nature of the movement itself. Critiques have emerged from a range of perspectives, engaging with the theoretical foundations, cultural implications, and socio-political context of postmodernism in China.[10]

### Domestic criticism

[edit]

Within China, postmodernism has been both celebrated for its innovative approach to culture and criticized for its perceived detachment from social realities. Some Chinese critics argue that postmodernism, with its Western origins, is an imported concept that may not fully resonate with Chinese society or address its specific concerns. It has been seen by some as a form of cultural elitism, disconnected from the lived experiences of the majority of the population.[10] Additionally, the movement's tendency to question and deconstruct historical narratives and traditional values has sparked debate about cultural preservation and national identity in the face of rapid modernization.[3][15]

### International reception

[edit]

Internationally, Chinese postmodernism has been recognized for its unique contribution to global cultural discourse, offering alternative perspectives and practices that challenge Western hegemony in art and literature. However, it has also faced scrutiny over the extent to which it genuinely reflects postmodernist ideals, with some critics suggesting that the movement in China is more a product of economic and political conditions than a true philosophical or aesthetic shift.[10] Concerns have also been raised about the authenticity and originality of Chinese postmodernist works, with accusations of mimicry or superficial adoption of Western styles.[11][10]

### Theoretical critiques

[edit]

Theoretically, postmodernism in China has been critiqued for its perceived relativism and skepticism, which some argue can lead to political apathy or cynicism. Critics from more traditional or Marxist perspectives have expressed concerns that postmodernism could undermine efforts to address inequality and promote social justice, instead fostering a sense of fragmentation and disengagement from collective action.[14][3]

### Artistic and cultural critiques

[edit]

From an artistic standpoint, postmodernism in China has been both lauded for its creative reimagining of traditional forms and questioned for its commercialization and commodification of culture. The movement's flirtation with consumer culture and mass media has led to accusations of contributing to the very materialist values it often seeks to critique. In the realm of literature and cinema, while some praise the innovative narratives and styles, others decry a loss of depth and meaning in pursuit of stylistic novelty.[9][8][35][10]

## Bibliography

[edit]

### Books

[edit]

* Harvey, David. A Brief History of Neoliberalism. Oxford University Press, 2007.
* Harvey, David. The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change. Oxford: Blackwell, 2011.
* Jie, Lu. Dismantling Time: Chinese Literature in the Age of Globalization. Amsterdam: Brill Academic Publishers, 2012.
* Link, Perry, Richard P. Madsen, and Paul G. Pickowicz, eds. Popular China: Unofficial Culture in a Globalizing Society. Lanham: Rowman & Littlefield, 2002.
* Mostow, Joshua S., ed. The Columbia Companion to Modern East Asian Literature. New York: Columbia University Press, 2003.
* Museum of Modern Art. Contemporary Chinese Art: Primary Documents. New York: Museum of Modern Art, 2010.
* Soja, Edward W. Postmodern Geographies: The Reassertion of Space in Critical Social Theory. Verso Books, 2011.
* Yeh, Wen-hsin, ed. Becoming Chinese: Passages to Modernity and Beyond. Berkeley: University of California Press, 2000.
* Zhang, Yingjin. China in a Polycentric World: Essays in Chinese Comparative Literature. Stanford: Stanford University Press, 1998.

### Articles and book chapters

[edit]

* Barmé, Geremie R. "To Screw Foreigners is Patriotic: China's Avant-Garde Nationalists." The China Journal 34 (1995): 209–234.
* Chen, Jian. "China and the Cold War after Mao." The Cambridge History of the Cold War, Vol. 3 Endings, edited by Melvyn P. Leffler, Odd Arne Westad, Cambridge University Press, 2010, chapter 9, pp. 181–201.
* Doleželová-Velingerová, Milena. "Incomplete Modernity: Rethinking the May Fourth Intellectual Project: Leo Ou-fan Lee". In The Appropriation of Cultural Capital: China's May Fourth Project edited by Milena Doleželová-Velingerová, Oldřich Král, and Graham Sanders, 29–65. Leiden, The Netherlands: Harvard University Asia Center, 2001.
* Ferguson, Niall. “Introduction: Crisis, What Crisis? The 1970s and the Shock of the Global.” The Shock of the Global: The 1970s in Perspective, edited by Niall Ferguson et al., Harvard University Press, 2010, pp. 1–22.
* McGrath, Jason. "The Independent Cinema of Jia Zhangke: From Postsocialist Realism to a Transnational Aesthetic", In The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-first Century, edited by Zhang Zheng, 82-–115, Durham: Duke University Press, 2007
* Rofel, Lisa B. “‘Yearnings’: Televisual Love and Melodramatic Politics in Contemporary China.” American Ethnologist 21, no. 4 (1994): 700–722.
* Wang, Hui. "Contemporary Chinese Thought and the Question of Modernity." Social Text 55 (1998): 9-44.
* Wang, Ning. "The Mapping of Chinese Postmodernity." In Postmodernism and China, edited by Arif Dirlik and Xudong Zhang, 21–40. Durham: Duke University Press, 2000.
* Zhang, Xudong. “Postmodernism and Post-Socialist Society: Cultural Politics in China after the New Era.” New Left Review I, no. 237 (September–October 1999): 63–88.
* Zhang, Xudong. “Introduction: Postmodernism and China.” In Postmodernism and China, edited by Arif Dirlik and Xudong Zhang, 1–16. Durham: Duke University Press, 2000.
* Zhang, Zhen. "Introduction:", In The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-first Century, edited by Zhang Zheng, 1–46, Durham: Duke University Press, 2007
* Zhang, Yingjin "Rebel Without a Cause? China’s New Urban Generation and Postsocialist Filmmaking", In The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-first Century, edited by Zhang Zheng, 49–81, Durham: Duke University Press, 2007

## References

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1. ^ a b c d Dirlik, Arif; Zhong, Xudong, eds (2000-10-27), "Introduction:", Postmodernism and China, Duke University Press, pp.1–18,
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4. ^ "World Economic Outlook, April 2023: A Rocky Recovery". IMF. Retrieved 2023-12-10.
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6. ^ a b c Zhang, Yingjin (2007). "Rebel without a Cause? China's New Urban Generation and Postsocialist Filmmaking". In Zhang, Zhen (ed.). The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty- first Century. Durham: Duke University Press. pp. 49–81.
7. ^ Dirlik, Arif; Zhang, Xudong (2000), "Introduction", Postmodernism and China, Duke University Press, pp. 1–17, doi:10.1215/9780822380221-001, ISBN 978-0-8223-2506-2, retrieved 2023-11-18
8. ^ a b c d e Jie, Lu (2012). Dismantling Time: Chinese Literature in the Age of Globalization. Amsterdam: Brill Academic Publishers. pp. 5–11.
9. ^ a b c d Wu, Hung, ed. (2010). Contemporary Chinese Art: Primary Documents. Durham, NC: Duke Univ. Press. ISBN 978-0-8223-4943-3.
10. ^ a b c d e f g h i Ning, Wang (2000), "The Mapping of Chinese Postmodernity", Postmodernism and China, Duke University Press, pp. 21–40, doi:10.1215/9780822380221-002, ISBN 978-0-8223-2506-2, retrieved 2023-11-19
11. ^ a b Yeh, Wen-Hsin, ed. (2000). Becoming Chinese: passages to modernity and beyond. Studies on China. Berkeley: University of California Press. pp. 2–26\. ISBN 978-0-520-22218-2.
12. ^ a b c Wang, Hui (1998). "Contemporary Chinese Thought and the Question of Modernity". Social Text (55): 9–44.
13. ^ a b c Denton, Kirk; Fulton, Bruce; Orbaugh, Sharalyn (2003). Mostow, Joshua (ed.). The Columbia Companion to Modern East Asian Literature. Columbia University Press. pp. 24–36, 324–333, 541–546, 541–546, 570–578.
14. ^ a b Zhang, Yingjin, ed. (1998). China in a polycentric world: essays in Chinese comparative literature (Original print ed.). Stanford, Calif: Stanford Univ. Press. ISBN 978-0-8047-3186-7.
15. ^ a b Storm, Carsten; Lin, Pei-yin (2020-06-24), "Modernism and Postmodernism in Chinese Literature", Chinese Studies, Oxford University Press, doi:10.1093/obo/9780199920082-0179, ISBN 978-0-19-992008-2, retrieved 2023-11-18
16. ^ Zhang, Yingjin, ed. (1998). China in a polycentric world: essays in Chinese comparative literature (Original print ed.). Stanford, Calif: Stanford Univ. Press. pp. 1–49\. ISBN 978-0-8047-3186-7.
17. ^ By (2017-05-03). "Xue Generis: Can Xue and the Dangers of Literary Exceptionalism". BLARB. Archived from the original on 2017-06-02. Retrieved 2023-12-10.
18. ^ "Finding wonderland|Life|chinadaily.com.cn". usa.chinadaily.com.cn. Retrieved 2023-12-10.
19. ^ "The Real Mo Yan". The National Endowment for the Humanities. Retrieved 2023-12-10.
20. ^ Link, Perry. "China: Novelists Against the State | Perry Link". ISSN 0028-7504. Retrieved 2023-12-10.
21. ^ Abrahamsen, Eric. "Xu Xiaobin". Paper Republic. Retrieved 2023-12-10.
22. ^ Johnson, Ian. "An Honest Writer Survives in China | Ian Johnson". ISSN 0028-7504. Retrieved 2023-12-10.
23. ^ Ai, Wei wei; Pins, Anthony (2014). Ai Weiwei: spatial matters art architecture and activism. Cambridge, Massachusetts: The MIT press. ISBN 978-0-262-52574-9.
24. ^ Tate. "Cai Jin 蔡锦". Tate. Retrieved 2023-12-10.
25. ^ https://web.archive.org/web/20161011130702/http://www.boxartgallery.com/archivio/SkipBolin.pdf. Archived from the original (PDF) on 2016-10-11. Retrieved 2023-12-10. `{{cite web}}`: Missing or empty `|title=` (help)
26. ^ "Dragonfly Eyes". NewsChina. Retrieved 2023-12-10.
27. ^ "Yin Xiuzhen | Pace Gallery". www.pacegallery.com. 2023-01-20. Retrieved 2023-12-10.
28. ^ Warr, Anne (2007). Shanghai architecture. Watermark architectural guides. Sydney: Watermark Press. ISBN 978-0-949284-76-1.
29. ^ Wang, Stephy Chung, CNN | Elliot deBruyn, Serenitie (2017-09-14). "The Chinese architecture duo fighting for traditional design values". CNN. Retrieved 2023-12-10. `{{cite web}}`: `|first=` has generic name (help)CS1 maint: multiple names: authors list (link)
30. ^ "Conquering the west". www.ft.com. Retrieved 2023-12-10.
31. ^ Wight, Kate (2011-10-27). Pritzker Prize. Oxford Art Online. Oxford University Press. doi:10.1093/gao/9781884446054.article.t2214152.
32. ^ "Pritzker Prize won by Chinese architect Wang Shu".
33. ^ "新京报 - 好新闻，无止境". www.bjnews.com.cn. Retrieved 2023-12-10.
34. ^ "The Tianxia System | China Heritage Quarterly". www.chinaheritagequarterly.org. Retrieved 2023-12-10.
35. ^ a b c Zhang, Zhen (2007), "Introduction: Bearing Witness: Chinese Urban Cinema in the Era of Transformation", The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty first Century, Duke University Press, pp. 1–46
36. ^ McGrath, Jason (2007). "The Independent Cinema of Jia Zhangke: From Postsocialist Realism to a Transnational Aesthetic". In Zhang, Zhen (ed.). The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-first Century,. Duke University Press. pp. 81–115
37. ^ Harvey, David (2011). The condition of postmodernity: an enquiry into the origins of cultural change (Nachdr. ed.). Cambridge, Mass.: Blackwell. ISBN 978-0-631-16294-0.
38. ^ a b Harvey, David (2011). The condition of postmodernity: an enquiry into the origins of cultural change (Nachdr. ed.). Cambridge, Mass.: Blackwell. pp. 1–12\. ISBN 978-0-631-16294-0.
39. ^ a b Dirlik, Arif; Zhong, Xudong, eds. (2000-10-27). Postmodernism and China. Duke University Press.
40. ^ Rofel, Lisa . (1994). "Yearnings: Televisual Love and Melodramatic Politics in Contemporary China". American Ethnologist. 21 (4): 700–722\. doi:10.1525/ae.1994.21.4.02a00030.

## External links

[edit]

* "Modernism and Postmodernism in Chinese Literature". Oxford Bibliographies. Accessed November 17, 2023. https://www.oxfordbibliographies.com/view/document/obo-9780199920082/obo-9780199920082-0029.xml.