By Kang Liu
Even if chinese language Marxism—primarily represented via Maoism—is typically noticeable via Western intellectuals as monolithic, Liu Kang argues that its practices and initiatives are as different as these in Western Marxism, relatively within the region of aesthetics. during this comparative learn of eu and chinese language Marxist traditions, Liu finds the level to which chinese language Marxists comprise rules approximately aesthetics and tradition of their theories and practices. In doing so, he constructs a totally new figuring out of chinese language Marxism.Far from being secondary issues in chinese language Marxism, aesthetics and tradition are in truth important issues. during this recognize, such Marxists are just like their Western opposite numbers, even though Europeans have had little realizing of the chinese language adventure. Liu strains the family tree of aesthetic discourse in either sleek China and the West because the period of classical German notion, exhibiting the place conceptual ameliorations and divergences have happened within the traditions. He examines the paintings of Mao Zedong, Lu Xun, Li Zehou, Qu Qiubai, and others in China, and from the West he discusses Kant, Schiller, Schopenhauer, and Marxist theorists together with Horkheimer, Adorno, Benjamin, and Marcuse. whereas stressing the variety of Marxist positions inside of China in addition to within the West, Liu explains how rules of tradition and aesthetics have provided a confident imaginative and prescient for a postrevolutionary society and feature affected a large box of concerns regarding the issues of modernity.Forcefully argued and theoretically refined, this publication will entice scholars and students of latest Marxism, cultural stories, aesthetics, and sleek chinese language tradition, politics, and beliefs.
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Additional resources for Aesthetics and Marxism: Chinese Aesthetic Marxists and Their Western Contemporaries (Post-Contemporary Interventions)
Chang carefully differentiates Liang’s notion of the ‘‘New Citizenry’’ from both Confucianism and modern Western ethical systems. He maintains that Liang drew a distinction between private and public morality, and the necessity to cultivate public morality, or civic virtue, as a collective, social, and state system of ethics. 26 The concept of a ‘‘New Citizenry’’ comes close to the ideal of the European bourgeoisie: an autonomous, independent, selfdetermining, and self-regulating subjectivity, which exists in a civil society or public sphere.
Moreover, in a culture that prizes memory, preservation, and reproduction of traditional values, the Western modernist valorization of innovation and creation would find itself unable to solicit enthusiasm. The only exception in China would be an artistic innovation that directly benefits the moral good or social well-being. Since Western modernism made neither of these claims, it did not easily take root in China, especially since Chinese writers and artists alike were preoccupied, as most Chinese intellectuals were, with the compelling social problems that threatened to tear the nation apart.
It would be a serious mistake to reduce this contradiction to the simple tradition/modernity opposition, for it has been internalized within China’s modernization process, and therefore, is intrinsic to China’s modernity or alternative modernity. This is especially true in the hegemony of Chinese Marxist revolutionary culture, which has constituted the most powerful historical force in China’s modernity. 26 aesthetics and marxism Enlightenment and Aesthetic Education: Cai Yuanpei’s Incomplete Project Cai Yuanpei promoted a synthetic notion of a universal cultural system by way of aesthetic education.