Contemporary German–Chinese Cultures in Dialogue

Description

This book provides a unique perspective on contemporary German and Chinese cultural encounters. Moving away from highlighting exchanges between the two countries in terms of colonial connections, religious influences and philosophical impacts, the book instead focuses on the vast array of modern cultural dialogues that have influenced both countries, especially in literature, theatre and film. The book discusses issues of translation, adaptation, and reception to reveal a unique cultural relationship. The editors and contributors examine the existing programs and strategies for cultural interchange, and analyse how these shape or have shaped intercultural dialogue, and what kind of intercultural exchange is encouraged. This book is of interest to students and researchers of film and media studies, Sinophone studies, transnational studies, cultural studies and social and cultural anthropology. Introduction: Contemporary German-Chinese Cultures in Dialogue References Contents About the Editors Part I: Facilitators Chapter 1: Individuals as Gatekeepers: The Dissemination of Chinese Films in the German-Language Region from the 1970s to the ... 1.1 Introduction 1.2 Gatekeeping 1.3 Historical Background 1.4 China 1.5 Germany and Austria 1.5.1 The Businessman 1.5.2 The Festival Director 1.5.3 The Enthusiastic Self-Made Expert 1.6 Conclusion References Chapter 2: Blessed Bodies, Extraordinary Exhibitions and Missed Opportunities: Forty Years of Chinese-German Cultural Projects... 2.1 Conversation Appendix 1: German Theatre Performances in China (2010-2019) Appendix 2: Chinese Theatre Performances in Germany (2010-2019) References Part II: Creators Chapter 3: Digging Deep into Chinese Reality: An Interview with Li Yang About His Cinematic Trilogy Chapter 4: Performing Disaster and Trauma: A Cross-Cultural Dialogue Between Post-socialist China and Munich in the Age of Glo... 4.1 Introduction 4.2 Narrating Disaster and Trauma 4.3 The Artist-Activist Ai Weiwei 4.4 Remembering Trauma: Materiality 4.5 The Cross-Cultural Significance of Art Space: The Sediment of History in Munich 4.6 The Cross-Cultural Significance of Art Space: Inside-Out Museums and Performance 4.7 Conclusion References Chapter 5: The Invisible Person: Duan Yingmei as Centerpiece of German-Chinese Art 5.1 Prelude 5.2 Duan Yingmei: The Invisible Person 5.3 Epilogue References Chapter 6: In an Ambush from All Sides: On the Conditions of Feminist Performance Art in the PRC-A Sino-German Encounter with ... 6.1 In Dialogue? A Chinese Performance Within a German Installation 6.2 Defense and Self-Defense on Battlefields 6.3 Having to Choose Identities 6.4 Competing Feminisms 6.5 Interview with Li Xinmo 6.5.1 First Day: 05th February 2020 6.5.2 Second Day: 06th February 2020 References Part III: Transmission Chapter 7: The Distribution and Translation of German Films in China (1949-1966) 7.1 Importation and Distribution 7.2 What Kind of German Films Were Shown in China? 7.3 The Translation of German Films 7.3.1 Translation Entities 7.3.2 The Translation and Dubbing of Der Hauptmann von Köln 7.4 Conclusion References Chapter 8: Impressions of Chinese Opera in Nineteenth-Century German Travel Notes 8.1 Introduction 8.2 Historical Backgrounds 8.3 Differences in Theatre Architecture Between the Chinese and the Germans 8.4 Performance and Musical Characteristics 8.5 Reflections and Conclusion References Chapter 9: Cultural Symbols: A Way to Boost Cultural Dialogues Between China and Germany 9.1 Introduction 9.2 Literature Review 9.2.1 Cultural Symbol and Its Cultural Power 9.2.2 Intercultural Communication 9.3 Methods and Samples 9.3.1 Methods 9.4 Pre-prediction 9.5 Quantitative Research in Actual Investigations 9.6 Field Research 9.6.1 Samples 9.6.2 Measure 9.7 Results 9.7.1 Analysis of the 2012 Survey 9.7.2 Analysis of the 2017 Survey 9.7.3 Comparison 9.8 Discussion 9.8.1 Chinese Food 9.8.2 Traditional Chinese Medicine 9.8.3 Chinese Gardens 9.8.4 Silk 9.9 Conclusion References Part IV: Transformation Chapter 10: Textual Metamorphosis Along with Poetical Re-creation: The `Nachdichtung´ of Ancient Chinese Poetry in Gustav Mahl... 10.1 Introduction 10.2 The Tracking of the Sources of Mahler´s Texts 10.2.1 Chinese Anthologies in French and German 10.2.2 Two Puzzles Concerning the Original Poems 10.2.3 The Source of the Second Movement 10.2.4 The Source of the Third Movement 10.3 Double Paraphrase: Mahler´s Alteration of Bethge´s Versions of the Poems 10.3.1 The First Movement 10.3.2 The Second Movement 10.3.3 The Third Movement 10.3.4 The Fourth Movement 10.3.5 The Fifth Movement 10.3.6 The Last Movement 10.4 The Contexts of Mahler´s Adaptation 10.4.1 The Personal Fate of Mahler 10.4.2 Chinoiserie in Mahler´s Musical Work 10.4.2.1 Chinoiserie as a Cultural and Artistic Trend 10.4.2.2 Epistemology of Death in Taoism as a Beneficial Source 10.4.3 The Socio-cultural Background of Anti-Semitism in Fin-de-Siècle Vienna 10.5 Conclusion References Chapter 11: When Kafka Rode a Paper Tiger Towards the Peach Blossom Spring: A Conversation on Contemporary Performance with Ti... 11.1 Introduction 11.2 Earlier Productions 11.3 Heart Chamber Fragments 11.4 The Third Part of the Kafka Trilogy: Possibilities for the Future References Chapter 12: Martin Heidegger and Daoism in Dialogue 12.1 Introduction 12.2 Precursory Signs of Dialogue: Overcoming the Subjectivism of Modern Western Philosophy in Heidegger´s Thinking Before the... 12.3 Twisting Free of the Basic Principles of Western Logic 12.4 The Use of the Useless 12.5 Conclusion References