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<i>Folk Art and Modern Culture in Republican China</i> by Felicity Lufkin (review)

Folk Art and Modern Culture in Republican China by Felicity Lufkin (review) Book Reviews 363 S ome of the storytellers Wu describes em en - ces of folk artists themselves. Through clear body “ambiguous identit[ies]” (p. 104) and are historical narration and critical analysis of ma- also involved in palm reading and other rituja ol r hi - storical events, figures, influential organi- istic practices—a connection that nicely segues zatio ns, publications, collections, and artwork to the final chapter on northern Shaanxi spird it uring the periol du , fkin addresses the am - mediums (wushen). b uilding on recent scho - lar bivalence toward folk art in the discourse of ship on folk/popular religio c n hin in a, chapter modern culture. She explores how folk art was 5 sees such local belief practices as “a new for re mw orked by modern intellectuals who inte- of rural discourse” (p. 125) that offers loc ga ra l ted it into modern art creations for t - he pur people a semi- public space within which t -o ar pose of serving social, cultural, and political ticulate their problems. Wu views the recen dem t ands. resurgence of these local beliefs as connec ted Th e author sets out the ambivalence http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of American Folklore American Folklore Society

<i>Folk Art and Modern Culture in Republican China</i> by Felicity Lufkin (review)

Journal of American Folklore , Volume 130 (517) – Jul 22, 2017

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Publisher
American Folklore Society
Copyright
Copyright © 2008 the Board of Trustees of the University of Illinois.
ISSN
1535-1882

Abstract

Book Reviews 363 S ome of the storytellers Wu describes em en - ces of folk artists themselves. Through clear body “ambiguous identit[ies]” (p. 104) and are historical narration and critical analysis of ma- also involved in palm reading and other rituja ol r hi - storical events, figures, influential organi- istic practices—a connection that nicely segues zatio ns, publications, collections, and artwork to the final chapter on northern Shaanxi spird it uring the periol du , fkin addresses the am - mediums (wushen). b uilding on recent scho - lar bivalence toward folk art in the discourse of ship on folk/popular religio c n hin in a, chapter modern culture. She explores how folk art was 5 sees such local belief practices as “a new for re mw orked by modern intellectuals who inte- of rural discourse” (p. 125) that offers loc ga ra l ted it into modern art creations for t - he pur people a semi- public space within which t -o ar pose of serving social, cultural, and political ticulate their problems. Wu views the recen dem t ands. resurgence of these local beliefs as connec ted Th e author sets out the ambivalence

Journal

Journal of American FolkloreAmerican Folklore Society

Published: Jul 22, 2017

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