English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Contemporary Chinese aesthetics have three important “traces”: ego aesthetics represented by Chinese fantasy literature; convoluted aesthetics represented by the contemporary Chinese movie “Loss” and the novel Monk; and the fetish aesthetics of symbolic exchange, as represented by Huang Xiaoming’s wedding and the auctioning of Jack Ma’s painting. These represent the transmutation of contemporary Chinese aesthetics from adolescent ego aesthetics to adult convoluted aesthetics to the fetish aesthetics of symbolic exchange, thus completing the successive change of logic from ego to society to reality. In tracing these successive changes in logic, we are thinking about questions raised by the times. These concern the future of Chinese contemporary aesthetics and constitute an aesthetic revolution. They mean that contemporary Chinese aesthetic practice has moved from text to community and then evolved into social reality. Further, they also smack of mutual imitation between aesthetics and life. Contemporary Chinese theorists should be actively involved in the revolution, responding to major issues and, as they face social practices, acquiring transcendental characteristics in contemporary aesthetic leadership.

Ego, Convolution, and Exchange: Reflections on Modern Chinese Aesthetics