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1.
Christine Grandy 《Cultural and Social History》2019,16(5):643-663
ABSTRACTThis article reconsiders Peter Mandler’s essay ‘The Problem with Cultural History,’ and the complexities of locating evidence of culture’s impact upon ordinary people, or ‘throw.’ A brief examination of the history of market research and public opinion surveys in the 20th century offers important lessons for the cultural historian faced with locating and interpreting evidence of audience response that is either rarely there, or more disturbingly, rarely meaningful by our current standards of interpretation. Ultimately this paper asks of my fellow cultural historians: Does culture matter as much as we cultural historians want it to? 相似文献
2.
《Cultural and Social History》2013,10(1):89-109
ABSTRACTThis article aims to provide a new approach to photography in Ireland by shifting focus from ‘art’ photography to the processes and practices of snapshot photography. In employing a new methodological approach to photography, it also provides a new way to examine women's history, exploring photography as part of the tactics women used in order to resist or assimilate state- and Church-led discourses of womanhood, which have often been characterized as both oppressive and hegemonic. In order to explore these themes in detail, this article examines the photography collection of Dorothy Stokes, the largest twentieth century amateur collection held by the National Library of Ireland. I situate Stokes's photographs between two traditions – ethnographic photographs of Ireland and ‘snapshot’ images of holidays and family. Stokes self-consciously made use of these two genres, but also disrupted them. Taking photographs and the making of photograph albums became ways for her to comment on Irish society and her place in the nation and to represent and constitute an oppositional private life. 相似文献
3.
Ji‐Young Shin 《Inter-Asia Cultural Studies》2013,14(3):367-389
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
4.
《Cultural and Social History》2013,10(2):183-196
ABSTRACTLord Palmerston died on 18 October 1865, still prime minister at the age of eighty. He was given a state funeral in Westminster Abbey on 27 October. By that time his stepson-in-law, Lord Shaftesbury, had begun spreading the word to a half-believing, half-unpersuaded public that Palmerston had died ‘the good [evangelical] death’, confessing in his last moments not only his sins but his belief in a life to come for all penitent believers in Christ's atoning sacrifice. This article reviews the surviving evidence of witnesses at Palmerston's deathbed and attempts to reconstruct the meaning(s) which Palmerston and his attendants (both family and medical) placed on the rituals in which they participated during the final days of Palmerston's life. A particular effort is made to provide a plausible cultural and intellectual context to Palmerston's participation in these rituals. Palmerston, it will be argued, was a ‘religious believer’ but in a very different sense from that wished on him by the younger generation who stage-managed the event. 相似文献
5.
Pradeep Jeganathan 《Inter-Asia Cultural Studies》2013,14(1):6-20
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
6.
《Cultural and Social History》2013,10(4):461-479
ABSTRACTDespite widespread assertions as to the ‘Americanization’ of British culture in the first half of the twentieth century, the true extent of this cultural transfer remains open to question. This article considers what the British people actually knew about ‘America’, its institutions, culture and way of life, in this period through an analysis of coverage of the USA in the British news media (press, newsreels and wireless) in the inter-war years. Specific attention is paid to the attempts of the BBC – in particular through the broadcasting work of Raymond Gram Swing and Alistair Cooke – to provide an understanding of contemporary America beyond the widely cited stereotypes of ‘Chicago gangsters and Hollywood blondes'. 相似文献
7.
Pipob Udomittipong 《Inter-Asia Cultural Studies》2013,14(3):361-363
Abstract This study documents the growth of the discourse of ‘god‐king’ (devaraja) around Thailand's King Bhumibol and explores how Brahmanical symbolisms of royal absolutism have acquired renewed potency alongside Buddhism as a basis of political legitimation in 21st century Thailand. Previous studies have interpreted the growing trend for Thailand's constitutional monarch to be represented as a ‘demi‐divine’ ‘virtual god‐king’ to reflect an ideological strategy set in train by mid‐20th century authoritarian military rule. However, political processes alone do not account fully for the persistence and intensification of this phenomenon since the end of military dictatorship. The pre‐modern discourse of ‘god‐king’ has also been given new life by visual media and the spectralisation of life under neoliberalism, which together produce a regime of representation that auraticises King Bhumibol. These technologies of enchantment have permitted emerging prosperity religions to be harnessed to a conservative nationalist agenda and, together with Thailand's strictly policed lese‐majesty law, have institutionalised a commodified and mass‐mediatised ideology of magico‐divine royal power that works to legitimate King Bhumibol's acquisition of political influence. 相似文献
8.
Kim Young-Hee 《Inter-Asia Cultural Studies》2013,14(3):355-359
Abstract This paper tells a story about miscegenation between US military personnel and Okinawan women from 1945–1952, which includes sexual violence, the establishment of ‘entertainment districts,’ and the emergence of international marriage. Whereas this history has been mobilized by leftists as a truth‐weapon in the struggle for political sovereignty from the US military, this paper takes an explicitly genealogical approach. Drawing on Foucault's work on biopower, this paper shows how Okinawans were transformed into ‘petitioning subject’ – subjects that negotiated the sexual exploitation of their bodies in tandem with the radically changing relationship between their bodies and the territory. 相似文献
9.
Katarzyna Nowak 《Cultural and Social History》2019,16(5):621-642
ABSTRACTIn 1949, in the wake of the USA’s Displaced Persons Act of 1948, the American Committee for the Resettlement of Polish Displaced Persons received thousands of letters from refugees of peasant and worker background residing in camps in Germany and Austria. These potential immigrants appealed to the Polish diaspora for help with securing assurances of accommodation and work which would enable them to resettle in the USA. This paper investigates the discursive strategies of the authors and the wider meanings of their emigration endeavour. Firstly, it demonstrates that non-elite Displaced Persons (DPs) adopted the language of martyrology, patriotism, anti-Communism and freedom to maximise their chances of emigration. These DPs did not evoke the language of rights as they appealed to the traditional network of support, based on benevolence and familiarity. Secondly, it argues that the American Poles and Polish social elites played a crucial role in resettlement of the DPs, providing an additional layer of screening, here called ‘the moral screening’. It is an example of how ethnic and cultural communities mediated the resettlement procedures supervised by international humanitarian organisations. Using a ‘history from below’ approach, this article argues that during this episode of migration, political and economic ideological underpinnings intertwined. 相似文献
10.
Abstract This paper will describe the insights we gained from the political, organizational or theoretical questions that were raised within Korea’s history of movements after the Kwangju Uprising in 1980. I will begin with the gains from the so‐called ‘debate on Social Formation’ in the 1980s and briefly introduce the fundamental questions on ‘modernity’ and some scholarships on the related issues through the dilemma and paradoxes Marxism was faced with after the collapse of socialism in 1990 and 1991. This paper will discuss the problems that members of the intellectual commune, Research Machine ‘Suyu+Trans’, dealt with in an attempt to practice new ways of life regarding the points at which Marxism and modernity were intertwined. I will then present the questions and concepts of Commune‐ism that replaced Communism, along with the theoretical resources that are called in to deal with them; and through this, a project that could reconfigure Marxism. 相似文献
11.
12.
J. Carter Wood 《Cultural and Social History》2013,10(1):95-114
ABSTRACTRecent debates about the meaning and role of cultural history have focused on the relationship between ‘culture’ and ‘society’. Some have taken this opportunity to position cultural history as a site of resistance to ‘biological’ explanations of human behaviour. In contrast, this article argues that ‘biological’ methodologies – particularly the perspectives of evolutionary psychology – can usefully contribute to the historical understanding of culture and social development. To this end, it outlines the fundamentals of Darwinist psychology, suggests options for interdisciplinary cooperation and uses the topic of interpersonal violence to explore the potential for uniting cultural, social and evolutionary psychological methodologies. 相似文献
13.
Jiwoon Baik 《Inter-Asia Cultural Studies》2013,14(1):64-72
Abstract In this article, I would like to focus on an analysis of internal logic of the ‘Haruki phenomenon’ as a symptom in current East Asian public culture. In particular, I will discuss how Haruki searches for the healing method for the ‘60s complex’ among Japan’s ‘Sixties’ Kids,’ including Haruki himself, through an analysis of his novels Norwegian Wood (2000[1987]) and Kafka on the Shore (2005[2002]). In the process of analysis, we can witness that Haruki abandoned his task of ‘reconciliation with the 1960s’ through faith, rather than facing it directly, and fiznally stripped the 1960s of historicity and reality. He regarded the ‘reconciliation with the 1960s’ as something beyond an individual’s ability. Transforming the 1960s from a history of postwar Japan into an object of abstract and universal nostalgia, which is closed to the present, Haruki effectively met the latent desire of the East Asian people, who were experiencing the dissolution of their ideologies, at the right time. This is the essence of the Haruki phenomenon that emerged in East Asia over the last decade. I use the phrase ‘nostalgia that lost its nationality’ to describe the uncanny cultural phenomenon of East Asian readers longing for the 1960s pictured in Haruki’s novels as if this were their own past, despite their very different national memories. Nostalgia, a cultural symptom of the postmodern society, where remembering the nation’s past totally is impossible, is a blank imitation deprived of its original source. In short, the substance of the Haruki phenomenon is nostalgia that developed from a desire to forget the traumatic memories of the national histories in individual East Asian countries. 相似文献
14.
Po-keung HUI 《Inter-Asia Cultural Studies》2013,14(2):202-218
Abstract This paper not only gives an overview of the transgender word in contemporary Japan but also attempts to illustrate the male to female cross‐dressing (MTFCD) community in Shinjuku, Tokyo, which plays an important role in the overall transgender world and how people in the community think and live, by conducting comprehensive fieldwork. The MTFCD community consists of amateur cross‐dressers and their patrons, and it is formed around about ten bars/clubs in Shinjuku. This community differentiates itself from the gay community in their customs and consciousness; they tend to recognize gender based on gender performance rather than biological sex, which is usually accepted for distinguishing sex. Therefore, a MTF cross‐dresser with feminine performance is considered as a ‘woman,’ regardless of one’s physical and biological conditions. Because of this recognition of gender based on gender performance, people in the community are able to develop the ‘quasi‐heterosexual’ relationships as men and ‘women.’ 相似文献
15.
ABSTRACTMigrant assimilation into host societies has been the subject of intense theoretical debate, but the applicability of the resultant modelling to historical data is unclear. This article addresses that lacuna through a case-study of the assimilation trajectory of one Scottish family, the Monros, in England in the century after 1690. The Monro experience suggests that ‘classic’ assimilation modelling remains a useful, if imperfect, conceptual tool. At the same time, it acts as a counter-point to historiographical narratives about the rise of ‘Britishness’, since the main loci of this family’s identity were successively Scottish and English, but never ’British’. 相似文献
16.
Abstract The term guomin is found in Chinese texts from an early period. However, as commonly used today – as a modern political concept of special value and significance – guomin belongs to a political vocabulary adopted by Chinese intellectuals in the late nineteenth and early twentieth centuries from Japan’s new usages. The goal of this essay is to explain how this important concept was formed and what it signified. The term guomin has basically conveyed two levels of meaning since the late Qing. In essence, the term is similar to the English word ‘citizenship’, and it reveals a kind of awakening of a new political consciousness on the part of Chinese intellectuals since the late Qing. Through the discourse of guomin, they began to emphasize the subjectivity of each individual in the national political process, along with all of their rights and duties. Since the beginning of the twentieth century, the criticisms and reflections of Chinese intellectuals about traditional politics, society and culture, and thought have basically developed along the lines of the logic of ‘turning subjects into citizens’. However, the pursuit of a strong nation‐state under a civil crisis sparked by foreign pressure marked the historical conditions that generated the modern Chinese guomin discourse. Limited by this kind of ‘national identity,’ the discourse and construction of guomin since the late Qing have never been able to escape the shadow of the state. Under these ideological conditions, guomin could only become a means of the nationalist project for survival; it could never become an autonomous and universal category. Guomin, as it turns out, has been, and still remains, ‘the people of the state’. 相似文献
17.
Wang Hui 《Inter-Asia Cultural Studies》2013,14(1):139-144
Abstract This paper aims to explore the changes in creative activities of young people – especially in the alternative media – in Indonesia before and after Reformasi. It begins with the story of the dynamics of a student press, from my personal experience – which I believe is a typical form of student/youth movement in Indonesia – and how the student’s life obviously depends on the political situation, the university policy, and the dynamics of the student’s life at that particular time. Reformasi caused political change and freedom but simultaneously, and ironically, placed the student press in a state of meaninglessness, such that it was painfully forced for search for new meanings to keep it contextually relevant in the new era. I end the paper describing the latest form of the alternative media scene of Indonesian youth, whose focus is dramatically shifting from ‘big’ political issues to issues of the celebration of communities and self‐existence. 相似文献
18.
Asuman Suner 《Inter-Asia Cultural Studies》2013,14(3):363-382
Abstract This paper aims to engage in a critical analysis of the concept of ‘accented cinema’ recently developed by Hamid Naficy to refer to the emergent genre of exilic/diasporic filmmaking. Naficy’s theorization of ‘accented cinema’ in particular and discussions around exilic/diasporic cinema in general will be challenged on the basis of the observation that the cinematic styles and thematic preoccupations associated with exilic/diasporic films consistently appear also in wide‐ranging examples of contemporary ‘world’ cinema that are often classified under the rubric of ‘national cinemas’. To illustrate this observation, the paper provides a parallel reading of three recent films – A Time for Drunken Horses (1999) by Kurdish‐Iranian director Bahman Ghobadi, Happy Together (1997) by Hong Kong director Wong kar‐wai, and Distant (2002) by Turkish director Nuri Bilge Ceylan – whose directors cannot possibly be considered as ‘exilic/diasporic’ in a conventional sense. Yet, it will be argued, the styles and thematic concerns associated with exilic/diasporic cinema manifestly prevail in all three films discussed in this paper as well as in many other examples of contemporary ‘world’ cinema. Departing from this observation, the paper will open up the new genre of ‘accented cinema’ to further questioning and suggest that unless the mutual entanglement between exilic/diasporic filmmaking and national cinema is disclosed, the notion of ‘accented cinema’ will not be sufficiently able to realize its critical potential. 相似文献
19.
《Cultural and Social History》2013,10(1):77-94
ABSTRACTMicrohistorians of all persuasions emphasize the importance of placing small units of research within larger contexts. I have refuted this principle and made an attempt to show its inherent contradictoriness. I encourage historians to cut the umbilical cord that ties them to grand historical narratives through the use of a research model which I call the ‘singularization of history’. In this article I show how the use of the traditional microhistorical methods blinded me in a research project. This blind spot in my research caused a major oversight in my findings – a shocking sequence of events was brought to my attention from an unexpected direction and revealed the weakness in my approach. The article deals with the need to rethink the whole concept of historical research and how the methods of microhistory can play a role there with the aid of what I call the ‘textual environment’. 相似文献
20.
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