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 437 毫秒
1.
This article focuses on Chua Beng Huat’s work on the East Asian pop culture that became more prominent in East and Southeast Asia from the 1990s, when the circulation of multilingual and multi-format pop culture started to exceed linguistic, ethnic and national boundaries. It argues that Chua’s work indicates that the pop-cultural production and innovation that support the globalisation and regionalisation processes in East Asia need not be national in origin but can hail from different national origins – and this despite the existing political realities of the region and its history of political fractures. Chua Beng Huat cautions, though, that the national popular can also be marshalled to defeat the border-crossing potential of an inter-Asian pop culture. What is the “Asia” imagined or being represented in such cultural production? Chua’s work is also distinctive in that it deals with the political and economic conditions that underpin mainstream pop consumption as a socio-cultural phenomenon, instead of examining consumption as identity politics. The article concludes by noting the significance that Chua as an institutional builder has played in enabling the study of East Asian pop culture in the region.  相似文献   

2.
The task here is to consider what I would call Stuart Hall’s theoretical “legacy” in the field of social and cultural thoughts. As a materialist of articulation rather than of reductionism, Hall taught us how to profoundly understand and intensely describe the “concrete” in cultural and social fields. The “concrete,” according to Hall, is a result of “non-necessary correspondence” between various forces, relations and situations, that is, the contingent and articulated determination in history. In my view, he was after all a Marxist in this sense. In the earlier stage of his thinking, Hall was very much indulged in reading and learning from Marx. This is characteristic in his “Marx’s Notes on Method: A Reading of the 1857 ‘Introduction.’” His Marxism then showed a unique twist in later stage, which was explicitly expressed in his article “Signification, Representation, Ideology: Althusser and the Post-Structuralist Debate.” Reading these two texts, I aim to comprehend the way Hall has read Marx and the way his thoughts resonated. His lesson helps us to tackle our ongoing agendas in this half-dead Capitalist world, such as the crisis of culture, subjectivity and politics.  相似文献   

3.
Bev Hong 《Cultural Trends》2014,23(2):93-108
New Zealand was one of the first countries in the world to report national cultural indicators – specifically choosing to use a conceptually based framework which was broadly underpinned by theories of culture, industry and political economy. One of the essential elements of this work was the incorporation of a Māori perspective in recognition of the Treaty of Waitangi and the importance of the indigenous Māori culture. Manatū Taonga Ministry for Culture and Heritage has primary central government responsibility for cultural policy and advice and the reporting of national cultural indicators. The term “culture” in this context broadly refers to Māori culture and the cultures of all New Zealanders, and to endeavours relating to arts, heritage, media, and sport and recreation. The Ministry is currently scoping a programme of research that aims to refine the indicators; relate indicators more clearly to the cultural policy role of government (and in turn their related cultural agencies); and more clearly articulate the relationship that cultural sector indicators have with those of other sectors. Cultural sector consultation to identify and clarify perspectives and reconfirm a common terminology (if not understanding) will be an essential and important part of this work. Better contextualising the national indicators will make them more meaningful and useful for reinforcing the importance and value of the cultural sector; monitoring the “health” and performance of the cultural sector over time; providing useful quality information; measuring the effectiveness of policy interventions and connecting across the cultural sector and to other sectors. This paper outlines the New Zealand context and the development and reporting of national indicators; reflects on the usefulness of reporting national indicators to date; and describes and discusses the intended direction of further work.  相似文献   

4.
ABSTRACT

The creative economy has seen cultural policy swallowed up by a narrow vision of economic growth, its impacts on the urban fabric captured by property developers, and its promises of meaningful activity challenged by the exploitation and inequities of cultural labour markets. So it needs to be abandoned and re-thought, but on what basis? This paper analyses the potential for cultural work to encourage alternative visions of the “good life”, in particular, how it might encourage a kind of “sustainable prosperity” wherein human flourishing is not linked to high levels of material consumption but rather the capabilities to engage with cultural and creative practices and communities. We critically explore these ideas in three locations: a London borough, a deindustrialised city in England’s midlands and a rural town on the Welsh/English border. Across these diverse landscapes and socio-economic contexts, we look at different versions of the good life and at the possibilities and constraints of cultural activity as a way of achieving kinds of sustainable prosperity.  相似文献   

5.
This article examines film criticism as a social practice. Specifically, it explores the institutional politics of horror film criticism and the various ways critics of the genre justify their own readings and interpretive discourse. It does so by way of positing a horror film “reading formation,” which serves a critical-institutional function within the film academy, namely, securing academic legitimacy for the genre while shoring up cultural and political distinctions specific to elite modes of analysis. Accordingly, the article argues that three intertextual mechanisms (canonical recycling, political auteurism, and symptomatic interpretation) both condition the appropriation of horror film texts as legitimate objects-to-be-read and work to sustain discursive power relations between scholastically credentialed and “nonexpert” reading subjects.  相似文献   

6.
Cultural policies and cultural policy-making are closely associated with creativity and cultural innovation. While the festivals, large-scale art exhibitions and literary conferences supported by such policies play a vital part in the cultural landscape, in recent years they have been increasingly criticised as actually preventing creativity and innovativeness. The claim is that they foster a limited number of creative individuals while rejecting others, and that they are dominated by Western cultural norms that erase cultural diversity. A lack of wide-ranging empirical data with which to substantiate such claims, particularly from an historical perspective, has led to the creation of a 15,000-entry database with the names, nationalities and other details of the artists participating in perennial exhibitions, such as documenta, the Havana Biennial, Istanbul Biennial and Gwangju Biennale. These biennials and perennial exhibitions are widely regarded as vital to the definition of artistic standards and innovations in the visual arts, as exerting an important influence both in their home countries and abroad, and as encouraging the participation of artists from around the world. The first part of this paper considers which artists have appeared in regularly occurring exhibitions, determining whether the majority of them are, indeed, the same and whether there is any bias towards a particular cultural region. The second part inquires whether biennials and other regularly occurring exhibitions in the Western hemisphere “ignore” artists from other regions, or whether they, in fact, represent a global perspective. In short, this paper explores the cultural diversity of these perennial exhibitions and determines whether they favour artists from particular regions, while excluding others. The findings reveal that the data do not support these assumptions and that international exhibitions do, in fact, contribute to creativity, diversity and multiculturalism.  相似文献   

7.
The social category of “teen” has become ubiquitous in Western English-speaking popular culture. Also, with the global success of cultural products from the United States of America, such as music, movies and television programs featuring teens, the word “teen” is being employed in other cultures and languages. However, a comparison of the girl teen—often portrayed as a vulnerable stage of human development—with other cultural representations of developing womanhood (the Japanese shoujo and the French jeune fille en fleur) shows the representation of the “teen” to be a construction of its cultural context and questions its universal applicability.  相似文献   

8.
While dance was a common element of international diplomacy activities around the world during the 1950s and early 1960s, scholars have only recently begun to focus attention on this topic, especially as it concerns relationships forged beyond those of the Cold War superpowers. Using previously unexamined historical materials such as rare photographs and performance programs, dancer biographies, autobiographies and personal interviews, unpublished institutional histories, and contemporary periodicals, this article demonstrates not only that dance was an integral part of China’s inter-Asian cultural exchange between 1953 and 1962, but also that the PRC developed a distinct approach to dance diplomacy. Through a series of exchanges with India, Indonesia and Burma, China’s foreign ministers and dancers developed and refined a method of dance diplomacy in which the primary goal was to learn from, rather than export to, these neighboring countries. This approach harnessed the affective power of embodied aesthetic culture to literally “perform” Bandung ideals, namely, cooperation and mutual respect among Asian nations and an anti-imperialist cultural stance. Through the establishment in 1962 of the Oriental Song and Dance Ensemble, the PRC institutionalized this model of dance diplomacy, expanding it to include the entire Third World. Bandung-era dance diplomacy initiatives of the 1950s and early 1960s not only supported important new international alliances and political movements, but also asserted China’s self-identity as part of the East in the way that challenged Eurocentric ideals previously entrenched in China’s domestic dance field.  相似文献   

9.
In 2007 the Scottish Government introduced an outcomes based approach to culture set within a National Performance Framework. One of the main data sources to measure “culture” in Scotland is the Scottish Household Survey (SHS). In this article, the SHS and its “Culture and Sport” Module are explored to show how useful the data is within the Scottish Government's economic agenda. This way, the paper reflects on the usefulness of the main data source used to understand cultural activity within Scotland. There are general difficulties measuring “culture”, but overall the SHS provides adequate national data for Scotland on cultural participation and attendance. However, the SHS cannot provide in-depth local level information and provides limited data on non-participants. Other surveys in Scotland and England give some example practices that could be incorporated to improve survey outcomes. Overall, the SHS is a useful policy tool but more could be done to utilise the data it can provide on the Scottish cultural sector.  相似文献   

10.
Abstract

In this paper, I draw attention to the complexities and confusions in the shift in discourse and praxis from “culture industry” to “cultural industries” and then “creative industries.” I examine how this “creative turn” is fraught with challenges, highlighting seven issues in particular: (i) the difficulties in defining and scoping the creative industries; (ii) the challenges in measuring the economic benefits creative industries bring; (iii) the risk that creative industries neglect genuine creativity/culture; (iv) the utopianization of “creative labour”; (v) the risk of valorizing and promoting external expertise over local small- and medium-scale enterprises in the building of “creative industries”; (vi) the danger of overblown expectations for creative industries to serve innovation and the economy, as well as culture and social equity; and (vii) the fallacy that “creative cities” can be designed. I suggest that the move towards creative industries discourse represents a theoretical backslide, and raise the possibility that a return to “cultural industries” would be more beneficial for clarifying our theoretical understanding of the cultural sectors and the creative work that they do, as well as enabling better policymaking.  相似文献   

11.
Social science studies of cultural activity commonly focus on class, gender and ethnicity and often treat age as an unimportant background variable. This article demonstrates the central importance of age as a factor affecting cultural consumption, using data from the “Taking Part” Survey of England. As well as seeking to describe the main aspects of age differentiation, the article unpacks what is often called, in a simplified way, “age effects”. The socio-historical dynamics leading to the existence of age effects are examined, first theoretically, and second, through some empirical examples (doing sport, playing a musical instrument/singing, cinema, visiting exhibitions or collections of art/photography/sculpture, doing textile crafts). A number of influences are shown to account for the importance of age: health, the individual life course, the different socio-economic background of cohorts and other, more complex cohort effects. Possible interpretations of these cohort effects on cultural practices are discussed at the end of the article.  相似文献   

12.
Nakaya Kokichi is a writer whose work illustrates a singular unfolding of intellectual thought in Okinawa under the US military occupation. This article sheds light on the political potential of Nakaya’s thoughts through a close reading of his posthumous collection. In doing so, I pay particular attention to the three aspects of his thought. First, Nakaya’s texts reveal the violent nature of “interpellation” that sustains the system of the US–Japan military alliance. Nakaya’s work exposes the way in which such interpellation at once subject those who live in Okinawa and, therefore, prohibits them from becoming political subjects. Second, Nakaya’s writings critique the politics of Okinawan nationalist identity and seek an alternative political future in the solidarity among non-subjectified bodies. Third, Nakaya’s thoughts suggest a paradoxical possibility of Kakushi, or a death in a foreign land even in one’s own so-call “homeland,” once that helps to resituate Okinawa as an intersection of “refugees,” who remain unable to belong to nation-states, and their “histories that open up laterally.”  相似文献   

13.
This article draws on interviews with anti-trafficking NGO employees in Thailand to illustrate the use of narratives as a tool for communicating cultural values. Drawing on theories of modernization, culture, and liberation psychology, I assess the way anti-trafficking NGO employees construct narratives, or “stories,” about human trafficking. These narratives rely on Western values associated with modernization, the role of NGOs in development, gendered constructions of victimhood, “Othering,” and Orientalism. Analyzing these narratives, I build a theory of “culture as a space of safety:” a self-reinforcing mechanism whereby employees ritualistically retreat from the overwhelming circumstances they confront in their work.  相似文献   

14.
Cultural policy indicators are being constructed in many countries today as a consequence of reforms in public governance aimed at increasing cost-effectiveness and general efficiency as well as transparency and accountability. Drawing upon a project of the Finnish Ministry of Education, the article discusses the responsibilities of official statisticians in regard to the collection and processing of data to be used as “evidence” of the outcomes of cultural policies. Official statisticians are bound by an ethical code that emphasises the objective and independent production of information on different aspects of the economy and society. Direct involvement with the construction of cultural policy indicators may threaten the integrity of official statisticians, because such work would require close collaboration with administrators and decision makers who have their own particular interests in the cultural field. Moreover, the system of cultural statistics, which was established internationally at the turn of the 1970s, has a history of providing justification for public cultural policies. The Finnish project, in which two officials from Statistics Finland functioned in the role of commissioned experts, was officially about societal effectiveness indicators but was extended to encompass arguments for cultural policy. The final report even went as far as to propose that cultural considerations could be mainstreamed through indices and evaluation schemes covering all policy sectors. The article shows how easily official statisticians are drawn into the politics of data collection in the field of culture even when precautions are in place. The article concludes that the code of ethics of official statisticians serves as an indispensable buffer against partiality, but, to put this ideal fully into action, cultural statisticians need to develop reflexive practices that combine an applied approach and critical discourse. Such practices are similar to those outlined recently by cultural policy researchers.  相似文献   

15.
This paper analyzes the role of the media in China during the cultural revolution 1966–1976. In particular, the authors examine the two elements that contributed to the ease with which the “Gang of Four” subverted the media to their own political ends. They contend that the media's history and culture were the two principal elements which allowed the “Gang of Four” to usurp both media and state power. Criticism represented a special cultural genre that established the legitimacy of one group to remove another from power. The authors demonstrate the inherent possibility of usurpation of the media when truth is dominated by personality.  相似文献   

16.
Abstract

This essay questions the ‘truth politics’ of anti‐North Koreanism in which a ‘genuine’ figuration of North Korea is presumed to be achievable at the popular level. I define the truth politics of anti‐North Koreanism as the political‐cultural discursive formation obscuring the ideological powerfulness of anti‐North Koreanism that hinges on ‘the normality of nationalism’. The truth politics reinscribes and reinforces the populist and functionalist belief in national unification that justifies developmentalist agendas for North Korea. As an alternative, I discuss the post‐colonial cultural criticism that calls into question the identity politics of popular nationalism, which implicitly performs along the lines of the Sunshine Policy guidelines to naturalize the normality of nationalism under economic developmentalism. The questionable formation of nationalism prevents South Koreans from gaining self‐reflexive access to the way in which heterogeneous tropes of the nation rupturing in the discursive practice of popular nationalism are exploited. But I also critically interrogate the analytical framework presumed within the criticism, because it constrains its own scope and abilities of questioning the truth politics of anti‐North Koreanism the criticism ostensibly targets.  相似文献   

17.
An introduction     
Abstract

Political and historical thoughts pertaining to “modern Malaya” and Malaysia are phenomena of the emerging modern era characterized by the stirrings and the rise of nationalism in Southeast Asia since the early twentieth century. One of the most compelling ideas in envisioning the nation and fighting for independence then was Melayu Raya, articulated by a group of visionary leaders of socio-political movements who professed to fight for the creation of a political entity, a new independent “nation.” Using the history of ideas approach, this article argues that nations are envisioned, and that we need to contextualize the discussion within what has been termed as “Malay world,” the old kingdoms in the region, and the subsequent struggles against colonial powers and the “nationalist” projects for independence. To help understand this background, the article uses the concept of “culture zone” as used by Fernand Braudel in his study of civilizations. This article examines the debate on the “Malay world” and Melayu Raya, and also the post-Second World War envisioning of the nation and the approaches taken by various groups to fight against British colonialism and for independence. Despite almost six decades of independence, some of these ideas keep returning, resonating with some aspects of the present in today's Malaysia. In the course of this article, a brief reference to the history of ideas and the idea of history is made.  相似文献   

18.
In recent years, a small but growing body of scholarship has emerged on the category of the Chinese art district, particularly its institutionalisation amidst twenty-first century creative industries polices. Such research presents important stories of Chinese artists’ negotiations with urban and political authority, thus nuancing paradigms for the comprehension of political work within contemporary China. This current article contributes to this growing research area by considering the spatial conditions for these socio-spatial categories’ emergence, namely, the urban structures in which they first took shape in 1990s Beijing. First occupying traditional villages (cunzi) and later ex-socialist work units (danwei), these arts colonies appropriated existing communal architecture, and turned their designs and physical buildings to their own communal ends. Importantly, these sites were made available by the dramatic reconstruction of the city, and in this sense these occupations were limited to the temporal realm. To describe the nature of occupations, and their eventual impact upon the shape of the city, this paper proposes the category of “the temporal pocket”: a cellular and temporary inhabitance, defined by the shared investments of its participants, and one that is both discrete (in the sense of its spaces) and discreet (in the sense that this can be understood as a non-oppositional politics). The article is informed by spatial and cultural theory, literature on Chinese urban planning and art history, as well as primary documents (such as documentaries, art works and archival material) and interviews conducted by the researcher in Beijing.  相似文献   

19.
This study explores the internet-only political debate held in the run-up to the 2012 U.S. presidential election between political-entertainment personalities Jon Stewart and Bill O’Reilly. Independently produced and financed through a version of crowd-funding, the debate offers a window into the fundamentally hybrid nature of contemporary mediated political discourse. A novel form of hybrid celebrity politics afforded by emergent technological, economic, and cultural forces, the so-called “Rumble in the Air Conditioned Auditorium” interwove televisual celebrity, political advocacy, affective spectacle, and deliberative exchange. In so doing, it spoke to the increasingly complicated nature of representation, authenticity, and the possibilities of political speech in a hybrid media age.  相似文献   

20.
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 Narodism 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 Toyo (East Asia), 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 (such as the tributary system) and the problems of “early modernity.”  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