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| Performing the other: Asian bodies in performance and video art, 1950s–1990s | ||
| 作者 | Rhee, Ji-eun (著) |
|---|---|
| 出處題名 | Dissertation Abstracts International |
| 卷期 | v.63 n.4 Section A |
| 出版日期 | 2002 |
| 出版者 | ProQuest LLC |
| 出版者網址 | https://www.proquest.com/ |
| 出版地 | Ann Arbor, MI, US [安娜堡, 密西根州, 美國] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 英文=English |
| 學位類別 | 博士 |
| 校院名稱 | Boston University |
| 指導教授 | Jones, Caroline A. |
| 畢業年度 | 2002 |
| 附註項 | 225p |
| 關鍵詞 | Performance art; Diasporal; Nam June Paik; Yoko Ono; Paik, Nam June; Ono, Yoko; Other; Asian; Bodies; Video art |
| 摘要 | This dissertation examines the shifting identities of Asian diasporal artists by examining Nam June Paik and Yoko Ono in local and global contexts. As Asians who received Western educations and deeply involved themselves in the international art world, each of these artists confronted the problem of defining themselves in regard to cultures that often viewed them within an ethnic or “native” frame. While these artists drew on their respective Asian traditions, the postwar Western avant-garde played a major role in shaping their work. By delving into the reception of their works both in the West and in their countries of origin, I argue that their particular “border” positions created an interface between the rigid dichotomy of East and West. Investigating the cultural and historical contexts for their performances and videos in Europe, the U.S., and Asia, this dissertation demonstrates that the Asian body reads differently according to its staging. Chapter One introduces this theme by examining how the notion of Asia was itself constructed and how that construction shifted after World War II. Chapters Two, Three and Four present Paik and Ono, who began their artistic careers in the 1960s' art movement Fluxus. Despite their important roles in establishing Fluxus as international, their participation was constantly framed within their native cultures, often under the rubric of Zen Buddhism. In their native countries, on the other hand, these artists were presented as Western, thus essentially foreign to their cultural traditions. While their otherness gained much attention from Western viewers, the advantage of being “exotic” also limited the meanings to be found in their art. In the 1990s, postmodern artists often positioned themselves as multinational. The conclusion presents this new generation with Mariko Mori, who employs pastiches of East and West, past and future in her video art. By investigating the social, cultural, and personal aspects in these Asian diasporal artists' art, this dissertation addresses how that art produced a liberating interface between East and West that went beyond Orientalism during the postwar period. |
| ISBN | 0493657002; 9780493657004 |
| 點閱次數 | 481 |
| 建檔日期 | 2005.09.23 |
| 更新日期 | 2022.03.24 |
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