Rosalind Silvester
Biographic Data
| ID | 3062558 |
|---|---|
| NAME | Rosalind Silvester |
| GIVEN NAMES | Rosalind |
| FAMILY NAME | Silvester |
| SIGNATURE | SILVESTER R |
| AFFILIATIONS | Queen's University Belfast |
| ORCID | 0000-0001-5452-1766 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Marginal Voices
Through the conceit of reincarnation, Ying Chen reprises the narrative representation of animals in Ahimsa (2023), giving voice to a rat, fly and snake. She reveals their mutual connection with “le Maître” in their past life, an enlightened being who is revealed to be Mahatma Gandhi and who lived and preached according to “ahimsa”, the principle of pacificism, compassion and respect for all living things. The individual stories of the creatures’ …
Introduction
The Introduction to the special issue on 'France–China 60 Years On' opens with a section investigating the diplomatic and cultural milestones that have shaped Franco–Chinese relations since 1964. From de Gaulle's recognition of the PRC to the cultural fascination with Maoism, through periods of rapprochement, friction, and renewed dialogue, it provides the historical and political framework against which cultural exchange and artistic production …
Xuefeng Chen and relational art
At a time when Nicolas Bourriaud put forward his theory of relational art, which arose out of his curatorial and critical involvement with artists of the 1990s, Chinese contemporary art was transforming into a global art as several prominent artists emigrated to the West. Bourriaud did not feature any Chinese artists in his Esthétique relationnelle (1998), presumably because their conceptual works did not operate in the domain of social exchanges…
The end of the world
From 1987 to 1994, a period that overlapped with his move to France in 1989, Huang Yong Ping washed texts in washing machines as part of his 'damp method' series. His objective was to 'cut off the tongue' by destroying certain classics, while at the same time 'nurtur[ing] the tongue' by turning to other classics. This paradoxical strategy epitomises his practice and philosophy of art which privileges creation through destruction and showing over …
People and Nature
Xuefeng Chen, a Chinese-born artist who settled in France in 2003, is currently constructing the installation ‘Bô – le jardin imaginaire’ in a disused quarry near Dijon. She has so far created six of the planned twenty-one sculptures which will populate the main arena of the open-air site. An art gallery without walls, it epitomises Chen’s view of her aesthetic and personal philosophy of going beyond boundaries. Drawing on the transmedial, we pro…
Ying Chen’s Fiction
From accounts of migration and stories of personal alienation, through the fragmented memories of former incarnations, to fable-like tales of half-breeds and species metamorphosis, Ying Chen’s fiction evolves as it revolves around questions of difference, otherness and identity, which is never fixed or singular. While presenting the narrators’ inner preoccupations and, in some cases, unreliable nature, the increasingly complex texts of this franc…
Lessons from East and West in François Cheng’s Le Dit de Tianyi
The theme of pedagogy in François Cheng’s Le Dit de Tianyi (1998) undergoes, in this article, a more systematic and sustained study than has been carried out so far. Principles associated with cultural learning, Experiential Learning Theory and acculturation theory are used to provide insights into the protagonist’s ethnic identification, cross-cultural learning and training as a painter during his early years in China and study trip to Europe (1…
From the individual to the universal
The question of the universal, figuring in the majority of Ying Chen’s texts due to the lack of spatial and temporal reference points, develops into a major theme in Un enfant à ma porte (2009). A foundling, adopted by the narrator and her husband, causes the former to become strongly attached to the present and to contemplate the future in depth, rather than to remain preoccupied with the memories of her previous reincarnations. The text proves …
Genre and Image in Francophone Chinese Works
In the late twentieth century and into the twenty-first, a small group of Chinese immigrants to France and one to Quebec have produced works generating widespread interest and praise both among the
No prominent works on this page.
Genre and Image in Francophone Chinese Works
In the late twentieth century and into the twenty-first, a small group of Chinese immigrants to France and one to Quebec have produced works generating widespread interest and praise both among the
From the individual to the universal
The question of the universal, figuring in the majority of Ying Chen’s texts due to the lack of spatial and temporal reference points, develops into a major theme in Un enfant à ma porte (2009). A foundling, adopted by the narrator and her husband, causes the former to become strongly attached to the present and to contemplate the future in depth, rather than to remain preoccupied with the memories of her previous reincarnations. The text proves …
Lessons from East and West in François Cheng’s Le Dit de Tianyi
The theme of pedagogy in François Cheng’s Le Dit de Tianyi (1998) undergoes, in this article, a more systematic and sustained study than has been carried out so far. Principles associated with cultural learning, Experiential Learning Theory and acculturation theory are used to provide insights into the protagonist’s ethnic identification, cross-cultural learning and training as a painter during his early years in China and study trip to Europe (1…
Ying Chen’s Fiction
From accounts of migration and stories of personal alienation, through the fragmented memories of former incarnations, to fable-like tales of half-breeds and species metamorphosis, Ying Chen’s fiction evolves as it revolves around questions of difference, otherness and identity, which is never fixed or singular. While presenting the narrators’ inner preoccupations and, in some cases, unreliable nature, the increasingly complex texts of this franc…
People and Nature
Xuefeng Chen, a Chinese-born artist who settled in France in 2003, is currently constructing the installation ‘Bô – le jardin imaginaire’ in a disused quarry near Dijon. She has so far created six of the planned twenty-one sculptures which will populate the main arena of the open-air site. An art gallery without walls, it epitomises Chen’s view of her aesthetic and personal philosophy of going beyond boundaries. Drawing on the transmedial, we pro…
The end of the world
From 1987 to 1994, a period that overlapped with his move to France in 1989, Huang Yong Ping washed texts in washing machines as part of his 'damp method' series. His objective was to 'cut off the tongue' by destroying certain classics, while at the same time 'nurtur[ing] the tongue' by turning to other classics. This paradoxical strategy epitomises his practice and philosophy of art which privileges creation through destruction and showing over …
Marginal Voices
Through the conceit of reincarnation, Ying Chen reprises the narrative representation of animals in Ahimsa (2023), giving voice to a rat, fly and snake. She reveals their mutual connection with “le Maître” in their past life, an enlightened being who is revealed to be Mahatma Gandhi and who lived and preached according to “ahimsa”, the principle of pacificism, compassion and respect for all living things. The individual stories of the creatures’ …
Introduction
The Introduction to the special issue on 'France–China 60 Years On' opens with a section investigating the diplomatic and cultural milestones that have shaped Franco–Chinese relations since 1964. From de Gaulle's recognition of the PRC to the cultural fascination with Maoism, through periods of rapprochement, friction, and renewed dialogue, it provides the historical and political framework against which cultural exchange and artistic production …
Xuefeng Chen and relational art
At a time when Nicolas Bourriaud put forward his theory of relational art, which arose out of his curatorial and critical involvement with artists of the 1990s, Chinese contemporary art was transforming into a global art as several prominent artists emigrated to the West. Bourriaud did not feature any Chinese artists in his Esthétique relationnelle (1998), presumably because their conceptual works did not operate in the domain of social exchanges…
History (6 works) · Art (4 works) · Chen (4 works) · Computer Science (4 works) · History (4 works) · Philosophy (4 works) · Philosophy (4 works) · Sociology (4 works) · Aesthetics (3 works) · Epistemology (3 works)