首页 | 本学科首页   官方微博 | 高级检索  
相似文献
 共查询到20条相似文献，搜索用时 15 毫秒
1.
ABSTRACT

The present article uses Nell Dunn's Up the Junction (1963) to explore class, gender and the city in the 1960s. It focuses on three elements: the book's representation of post-war, urban working-class identity; the place of gender and sexuality within that representation; and, finally, Nell Dunn's own position as a middle-class observer. It argues for the continuing relevance and dynamism of class as a social referent in post-war, ‘affluent’ Britain. The article also explores the meaning of ‘slumming’ in the context of the mid-twentiethcentury city, against the background of ‘affluence’ and the emergence of the ‘permissive society’. What becomes particularly apparent in both contexts is the importance of femininity and female sexuality in the representation of mid-twentieth-century London, whether in terms of the portrayal of working-class women or the position of the middle-class author.  相似文献   

2.
This article explores changing understandings of Catholic hell in post-war England, focusing on how questions of sex and gender intersected with beliefs in the afterlife. It uses oral testimony from Catholic laypeople alongside the pronouncements of the clerical hierarchy to challenge the pervasive notion that ‘hell disappeared in the 1960s’. Hell did however, change in constitution during the post-war decades, transforming from a material ‘place’ to an abstract ‘state’ in the lay and institutional imagination. Rather than being about a straightforward ‘liberation’ from a coercive theology of damnation, the changing constitution of hell spoke of the way certain religious beliefs became re-categorised in late-modern England.  相似文献   

3.
Abstract

This paper argues that two conflicting discourses of internationalism stood in uneasy counterpoint and contention in the Asian arena of the 1950s, reflected in the legacies of the Bandung conference. The first drew on a language of global citizenship and rights. The second saw the international system as a source of strength and support for state sovereignty, and state‐directed programmes of national development. The remainder of the paper uses the case of late‐colonial Singapore to examine the intersection of these two discourses of internationalism. An Asian internationalism, which spanned to include Africa over the course of the 1950s, became one of a stock of narratives that made Singapore’s ‘everyday cosmopolitanism’ possible, in the worlds of the hawkers, the dockworkers and the agriculturalists. The political aspirations of these groups were sacrificed, ultimately, to the goal of disciplined national development, supported by an international order that had closed in to defend the interests of state power.  相似文献   

4.
Abstract

The evolution of moral panics is dependent on the particular social context and the ability of certain issues to trigger concern within society. In this paper, the authors have employed a cross‐comparative study of the heavy metal music subcultures in Singapore and Malaysia to understand the differences in the issues that generate such panics based on the socio‐political context of each country and its current concerns. Although the youth involved in both cases are marginalised male Malays, the framing of their alleged deviance and criminality permits, in the case of Singapore, only a limited possibility for moral panic creation given the conservative socio‐political governance that limits allegations such as ‘Satanism’. In the case of Malaysia, where a ‘large‐scale’ moral panic involving black metal emerged in 2001, the recent trend towards Islamisation gave fodder for the condemnation of black metal based on the allegations of the anti‐Islamic behaviour of Muslim youth involved in the black metal scene. In both cases, such groups were exploited by parties claiming to defend the social fabric of the moral majority, but in the latter case it took on grave implications due to the extent of the state and public response. This paper thus argues that the framing of these moral panics is an important component determining the relative ‘success’ of the panic or its ability to capture public and state imaginings.  相似文献   

5.
The 50th Venice Biennale of Art 2003 took the theme of ‘Dreams and Conflicts: the Dictatorship of the Viewer’, a theme that was said to reflect the difficulties of presenting art to diverse global audiences, with their own very different points‐of‐view. As an event, the Biennale has two tracks, one features works specially curated for the event, without necessarily any reference to place of residence of artists; the second track is specifically state‐based, where state art establishments present the work of ‘their’ artists in dedicated spaces, or even specially‐built permanent pavilions. This essay is structured as an art review, a statement of relative success or failure of aesthetic projects, mixing journalist convention, some light exegesis and purely subjective personal comment. Such review essays are relatively uncritical of the very frame of viewing and judging, and rarely make very clear the scale against which projects are measured. In this case, the main criteria for such ranking of the national pavilions was how they balanced the sort of self‐awareness that art in the early 21st century seems to require, against the implied aims of state promotion, and a sensitivity to styles or flavours of work prevailing in the world of the major Euro‐American arts institutions. This article goes on to consider several other artists and entries, and notes that few works were site‐specific to ‘Venice, Italy’, (as opposed to ‘place where important Biennale is held’). One exception was Fred Wilson’s work in the US pavilion. Work by practitioners based in Asia was reasonably well‐represented in the curated sections of Venice, particularly through the show orchestrated by Hou Hanru, a China‐educated curator who has made his career in Paris since 1990. While individual curators are able to move in circuits between Asia and Europe or North America, it is unclear how art circuits in various Asian territories will continue to interact with the larger Biennale circuit, and indeed the international commercial art market. Clearly the ‘national’ approach still has some momentum, and we can expect curators and state arts organizations to become more nuanced in their presentation.  相似文献   

6.
Abstract

From Modernity on, there has been continuity for the ‘West’ and interruption for non‐European cultures, histories and languages, for which indeed there is supposed to be only discontinuity with their own antiquity. Their own past counts as ‘premodern’ or ‘traditional’, and thus as belated compared with universalised Modernity. This is so because Modernity itself is normative, and it is normative because it was universalised. The norm of Modernity and the dignity of the modern ‘political’ has been spread through western idioms: through the western normativity of the political, such concepts as democracy, revolution, state, republic and the like will have their patterns in ‘Europe’ and in the ‘West’, while all other political concepts and terms, when contributed to a world dictionary of political terms, will denote merely exceptions. Modernity has been one of the great splits or disjunctions that froze some norms in history, making them become patterns: from that time on, western modernity (first western, then ‘western’ and finally ‘universal’…) has constructed an unbroken genealogical origin for its own concepts and episteme as ‘universal’, and has proposed/imposed them to the planet. The patterns of selection, exception and exclusion of Modernity, which posit the subject as an ‘autonomous’ figure mirrored and complementary of (state) sovereignty – while referring it to the hegemonically dominant model – have not altogether disappeared today. They are merging and mutating into, and coextensive with, configurations of multiple power vectors within non‐transparent networks of blurred and crossed hierarchies with novel, and maybe more volatile, forms of production, of integration and of institution, where again, although in a completely new way, collective action, the sharing and federation of knowledge transcend individual subjectivity while reaching out to both old and new forms of association.  相似文献   

7.
This paper considers, by way of conjunctural analysis and genealogical investigation, the policed culture of sex under the regulatory regime of ‘virtuous custom’ as sustained by the now defunct Police Offence Law (abrogated and replaced by the Social Order Maintenance Law in 1991) between the 1950s and 1990s. It attempts to trace the historical process whereby the social/sexual order came to be established in postwar Taiwan, thus articulating the cultural specificity of gendered/sexual subjectivities as formed within that particular geo‐political terrain. Examining the police technology as well as the official/journalistic discourse of sex, this paper demonstrates that ‘virtuous custom’, a nationalist ideological construct predicated upon the Confucian sage‐king paradigm, operated as a norm of sex whose boundary was secured through the policing of non‐familial/non‐marital sexualities, arguing further that both female sexuality and male homosexuality have been historically regulated by the state through its banning of prostitution. As the normative regime of ‘virtuous custom’ has become even more hegemonic due to the rise in recent years of anti‐prostitution state feminism, contesting the new social/sexual order on the grounds of its ideological operations and practices represents the most challenging task for progressive sexual and gender politics in Taiwan today.  相似文献   

8.
Abstract

Reflecting on a personal experience of ‘pre‐professional’ university education and reluctant engagement with Cultural Studies as an academic project, this article examines the now ambiguous role of undergraduate education under neo‐liberal management regimes. Arguing that a ‘new class politics in knowledge’ is emerging with the transnational policy‐sharing and international student exchange schemes with which diverse governmental cultures are responding to globalization, Morris suggests that the undergraduate classroom is becoming a ‘frontier’ of struggle over the future. Teaching cultural studies to undergraduates in a liberal arts environment is one way in which the discipline's emphasis on local knowledge can be put to institutionally creative uses.  相似文献   

9.
Abstract

This paper seeks to problematize and render inadequate the ‘truth’ of Truth Commissions, which have proliferated globally. It does so by questioning the relationship of ‘truth’ to ‘testimony’ by offering a critical account of their relationship to ‘trauma,’ on the one hand and by questioning the location of ‘testimony’ in relation to ‘resistance,’ on the other hand. Moving away from this ‘psycologistic register,’ the paper rehearses a re‐reading of Freud, which attempts to question the sharp distinction between mourning and melancholia, in his 1917 essay. Given this, a complex, psychoanalytic subject is constructed, whose psychic and social ‘work of melancholia,’ and ‘acts of memory,’ cannot be straightforwardly rendered in testimony or recollection, and is unavailable for nationalist appropriation. Empirical material is drawn from field work in Eastern Sri Lanka, on the after life multiple massacres that took place in the early 1990s, and is juxtaposed with Commissions of Inquiry into these events in the late 1990s.  相似文献   

10.
ABSTRACT

Korean Modern Art History began to be produced in the 1970s, when Western Modernist Art History, based on Formalism, was introduced as a matrix to map the ‘evolution’ of 20th century Korean Art. Korean modern art history is based in the same paradigm as the West, beginning with Impressionism and ‘ending’ with Abstract Expressionism. First introduced to the country from the West immediately after the Korean War, Korean Abstract Expressionism is now deemed as South Korea’s ultimate ‘progressive’ and ‘modern’ art form, a ‘Korean’ painting style combining the Western art form with traditional artistic concepts of ‘Scholarly Painting’ (muninhwa). Japanese‐influenced painting styles originating in the colonial period (1910–45) are rejected as ‘non‐authentic.’ The problem is that Scholarly Painting was a gender and class specific art born from the rigid Confucian culture of pre‐modern Korea, and thus its revival as an ‘ultimate modern’ and ‘Korean’ form has the consequence of locating traditionally‐gendered notions of art and artist at the core of the South’s modern art. This essay uses a Semiotic approach to deconstruct this gendered modernist rhetoric by tracing the emergence of the sign ‘Koreaness’ in South Korean modern art, showing how it is defined within Korean Abstract Painting as an ‘ultimate Korean sign’ and how its use of anti‐Japanese rhetoric covers up the traumatic history of the Korean War.  相似文献   

11.
Crime fiction was, in its ‘Golden Age’ form, a new product of the interwar middlebrow. It was a particular and very popular way in which conservative-modern problematics about the domestic and about human emotional relationships but also about criminality and the law were talked through. This article examines the novels of Margery Allingham as an exemplar of this genre with reference to her own professional and gender identity as well as the broader cultural context. Crime fiction was one of several kinds of crime (particularly murder) stories, both fictional and ‘real life’, which circulated between the official discourses of the law and middle-class culture. This discussion explores Allingham's treatment of masculinities and of sexuality. It argues that narrative techniques that used the Gothic problematized the interrelationships of morality, modernity and history, and also inflected the pleasures of leisure reading with wider ‘middlebrow’ concerns about the gendered status of the modern citizen and more diffuse cultures of punishment and social responsibility.  相似文献   

12.
‘Gypsy’ is a name that conjures up a wide variety of images in peoples’ minds. Romanticised for their freedom or reviled for their antisocial behaviour, Roma people have in turns been the subject of both exotic myth and virulent prejudice. Roma are depicted as romantic or criminal outsiders: anything from thieves to talented and artistic people. Exploiting the potentiality of Item Response Theory models, this study aims to assess the level of consolidation of positive and negative stereotypes on Roma people in Italy. In addition, we investigate how socio-demographic covariates affect the degree of acceptance of a clichéd depiction of Roma. Results suggest that images and representations of the ‘Gypsies’, which confirm a distinction between nature and culture, persist in our culture. On the one hand, Roma are perceived as ‘free’ from societal constrains (nature); on the other hand, they are portrayed as criminals and untruthful, relational qualities that arise in a societal organised condition (culture). This distinction continues to be misused to delegitimise minority groups, especially Roma.  相似文献   

13.
In 1876, an educator of the deaf and a ‘deaf-mute’ publicly clashed over topics ranging from the nature of deafness and the identity of those who are ‘deaf-mute’ to the best methods to be used in deaf education and what deaf children following those methods might be expected to achieve. The debate occurred at a point in the nineteenth century when expert authority ‘about’ deaf people was beginning to sweep away deaf people’s own right to self-representation. Although richly nuanced and highly personal, the debate’s occurrence at a period that studies of the history of the deaf community have identified as pivotal to deaf people’s categorisation as ‘disabled’ means that much of its complexity has been lost in subsequent historical over-writing. This article explores the debate in depth. It provides a valuable glimpse into the mechanisms of expertise, and the ways that both non-deaf and deaf experts understood who deaf people were, what they could do, and what their place within society should be at that pivotal time. It also highlights the rich complexity of a much more complex history available to those prepared to dig beneath the surface to expose historical texture.  相似文献   

14.
The paper contends that the scale of mortality is a more significant determinant of change in funerary practice than chronological periodisation. A concentration on scale suggests that change in funerary practice runs in cycles, reflecting the search by the bereaved for consolation that is undermined by the threat to individuation posed by industrial-level scales of operation and professionalization. Within this framework, the bereaved make active choices – depending on their unequal resources – amongst a range of products and services to secure consolation. England is posited as a case study to evidence cycles of change, and this paper uses historical data to consider change in use from churchyard to cemetery, from cemetery to crematorium, and the contemporary evolution of natural or ‘green’ burial.  相似文献   

15.
The taifa of Denia on the Iberian eastern seaboard was one of the most dynamic of the regional polities that emerged from the disintegrated Cordovan caliphate. Mujāhid al-‘āmirī based his state not only on its continental territories, but especially on the maritime networks that linked it with the Mediterranean. Commerce with Muslim and Christian ports played a role in Denia's success, but both Latin and Arabic sources emphasise its practice of piracy on a grand scale. In fact, Mujāhid al-‘āmirī built his state as a continuation of the maritime policies of the Cordovan caliphate under which the piracy of independent coastal communities was adopted and expanded into a state-sponsored guerre de course. Mujāhid's pursuance of this policy stemmed from his role in the erstwhile caliphate, but was also motivated by a combination of religious, political and economic factors. The legitimacy provided by his “jihād on the sea” helped to shore up his power at a time of political instability. This policy also provided the taifa's economic foundation for much of its history. In fact, the Mediterranean maritime lanes became as much an extension of Denia as its continental territories. Denia's piracy thus reflects a coherent form of statecraft, informing definitions of the medieval state and territoriality.  相似文献   

16.
ABSTRACT

The protests of ‘1968’ are a powerful symbol of generational belonging and central to Germany's collective memory. The so-called ‘68ers’ have been transformed into a mythical yardstick of what constitutes a generation. Yet few people thought of themselves in this way in the late 1960s: the idea of the ‘68er’ only emerged from complex and often retrospective processes of generational building, which this article investigates. It is shown that such age-related affinities were not confined to members of the West German Left. Two alternative generational narratives that emerged out of the late 1960s are examined in this piece: those of the West German moderate right-wing ‘counter-generation’ and of the ‘East German 68ers’. The antagonistic character of the West German events and the subsequent public projection of left-wing activists as a ‘generation’ mobilized their political contemporaries and led to a growing desire to collectivize their experiences in their turn. East Germany's ‘1968’, on the other hand, may have been far less iconic than the West German revolt, but former East German activists have also given their memories generational form, particularly since the 1990s. This article addresses these manifold processes of generation building to show that they have much to reveal about how activists—and those who observed them—made sense of the events of 1968 and about how different groups mobilized the idea of a generational experience politically to powerful effect in the years that followed. We are not dealing with a single and monolithic generation of 1968, but with more diverse communities of German ‘68ers’.  相似文献   

17.
Abstract

This essay considers the role that art and history might play together in public history projects. It discusses public history not in terms of ‘learning lessons’, ‘public debate’ and ‘transferable skills’ but instead in terms of creative thinking in the public sphere. The essay draws upon the author’s experiences of working with artists on a series of exhibitions themed around the history of an arts centre’s late Georgian and Victorian buildings and their inhabitants in Sheffield. It explores the synergies between artistic and historical ways of knowing and argues that collaborations with artists provide an opportunity for academic historians to reengage the imaginative aspects of professional academic history. It also explores the value of art’s expressive power and its potential to pose new questions and suggest new answers for both public and historians’ understanding of the past.  相似文献   

18.
Abstract

This paper examines the construction of working‐class Mat Motor (Malay biker) masculinity and queer desire in/through KL Menjerit, a commercial biker film that exudes the unmistakably aura of working‐class kejantanan (masculinity). Specifically, I focus on how the film – or more precisely the ‘queer moments’ it contains – resonates in ways that are not necessarily obvious to the disinterested heterosexual public eye. The discussion takes into account both filmic elements and the sexual geography of Kuala Lumpur (KL), where shifting biker spaces sometimes intersect with homosexual cruising sites. My argument is that the film’s representation of the Mat Motor protagonist as unbendingly straight and heterosexually jantan – while imaginably gratifying to the core audience of Mat Motors – actually belies the opposite reality of KL’s ‘forgotten’ underside, where gender and sexuality are much more fluid and malleable than is sanctioned by society and the state.  相似文献   

19.
Abstract

Following the recent trends of globalization and regionalization, the idea of Asia has been revived in political, economic, and cultural fields. This essay examines some of the various uses of this idea in modern East Asian and especially Chinese history. The essay consists of four parts. Part One discusses the derivativeness of the idea of Asia, that is, how this idea developed from modern European history, especially the nineteenth‐century European narrative of ‘World History,’ and it points out how the early modern Japanese ‘theory of shedding Asia’ derived from this narrative. Part Two studies the relationship between the idea of Asia and two forms of populism against the background of the Chinese and Russian revolutions – one, exemplified by Russian Narodism, attempted to use Asian particularity to challenge modern capitalism; the other, represented by Sun Yat‐sen, attempted to construct a nation‐state according to a socialist revolutionary program, and to develop agricultural capitalism under the particular social conditions of Asia. Part Three considers the differences and tensions between the ‘Great Asia‐ism’ of Chinese revolutionaries such as Sun and the Japanese idea of East Asia (Tōyō),and it discusses the need to overcome the categories of nation‐state and international relations in order to understand the question of Asia. Part Four discusses the need to go beyond early modern maritime‐centered accounts, nationalist frameworks, and Eurocentrism in re‐examining the question of Asia through historical research by focusing on the particular legacies of Asia and Toyo (such as the tributary system) and the problems of ‘early modernity.’  相似文献   

20.
ABSTRACT

This article reveals the role of volunteers in the British government’s campaign to increase recycling during the Second World War. It uses their experience to deconstuct the idea of a 'people's war', showing how this concept was invoked in several different ways. The article demonstrates that voluntary recycling schemes were led from the bottom-up, shifted the balance of power between private citizens and local authorities, and highlighted difference based on age, socio-economic status, gender, and geographical location. It concludes that official appeals may have invoked the ‘people’s war’, but the way that these messages were received was of most importance.  相似文献   

设为首页 | 免责声明 | 关于勤云 | 加入收藏

Copyright©北京勤云科技发展有限公司  京ICP备09084417号