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1.
Hiroki Ogasawara 《Inter-Asia Cultural Studies》2013,14(1):27-41
Abstract This paper investigates the conditions of the manufacture of low‐cost technology in China with the examples of ‘pirated’ VCD players, ‘no‐name’ DVD players, and Shenzhen’s development as a techno‐urban city. It emphasizes the significance of the cultural logic of original equipment manufacturers (OEMs) and argues that the various transformations and deflections that are derived from ubiquitous OEM experiences have gone beyond the original model of an authorized OEM, experiences that are to some extent embodied in the transgression of brand name and patent hegemonies, which are mainly controlled by high technology companies. OEMs have been associated with China’s current imperative and uninhibited development of low‐cost technology capitalism. ‘Made in China’ signifies the production of any product, legal or illegal, for transnational high technology giants or domestic technology manufacturers. Learning to ‘become an OEM’ in China has partly resulted in excessive technological mimesis that may be part of an unauthorized, underground economy that is based on low‐cost technology. Based on the Shenzhen experience, part of this study will show industrial production‐oriented OEM cultures in which illegal operations and counterfeit trade are incorporated, even in city projects that are shared by municipal governments and Chinese technological companies, and undergo spatial restructuring in the development of the economy, consumerism, and urbanism. 相似文献
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《Int J Intercult Relat》1987,11(3):279-293
The purpose of the study was to analyze President Mitterrand's political discours and allocutions (1952–1985) as cultural products in order to determine whether they reflect his world view, including his concepts of time, values, ways of organizing information, and argumentation process. The analysis shows that relational thinking, characteristic of the French culture, is reflected in his communication pattern or style and therefore his world view and rhetoric can be described as “French.” 相似文献
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Mōri Yoshitaka 《Inter-Asia Cultural Studies》2013,14(1):17-29
This paper examines new cultural and political movements that have developed outside of traditional leftist politics since the early 1990s in Japan. The new movements, including Dame‐ren, the Cardboard House Art movements in Shinjuku and recent anti‐war protests on the Iraqi war, were mainly led by young people, in particular, the freeter generation, who did not experience the leftist politics of the 1960s. These movements are different from traditional Marxist political ones and even from the new social movements in the 1960s and 1970s in the sense that they incorporate more cultural practices such as art, music, dance and performance into their political activities. The paper also explores the historical background against which the new movements were born and have developed since the end of the Bubble economy. It sees freeters, young part‐time workers, as emerging, new political actors that have appeared through the transition of a mode of production from Fordism to post‐Fordism. The transformation of society, economy and politics, known as ‘post‐modernization’ or recently as ‘globalization’, has asked us to re‐consider and re‐define the basic concepts such as class, proletariat, power, labour and work which we once shared. The paper tries to locate, through a critical examination, the new movements within a broader context of anti‐neo‐liberalism and anti‐globalization and find political potentiality within it. 相似文献
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Partha Chatterjee 《Inter-Asia Cultural Studies》2013,14(1):116-126
Abstract In the last quarter of a century there has been a fundamental change in the historical situation of post‐coloniality. The new conditions under which global flows of capital, commodities, information and people are now regulated have created both new opportunities and new obstacles for post‐colonial countries. The old idea of a Third World, sharing a common history of colonial oppression and backwardness, is no longer as persuasive as it was in the 1960s. The phenomenal growth of China and India in recent years has set in motion a process of social change that, in its scale and speed, is unprecedented in human history. I will argue that the forms of capitalist industrial growth in the twenty‐first century may, in large agrarian countries like China, India and the countries of South‐east Asia, make room for the preservation of peasant production and peasant cultures, but under completely altered conditions. The analysis of these emergent forms of postcolonial capitalism requires new conceptual work. 相似文献
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Eleonora Belfiore 《Cultural Trends》2012,21(2):103-111
The paper identifies “defensive instrumentalism” as a main feature that has characterised New Labour's cultural policies, and which constitutes an important aspect of its legacy. Yet, resorting to instrumental arguments to defend the arts and to make a case for their usefulness is hardly an invention of New Labour. However, in the past, such defensive arguments were built into a more constructive and creative attempt to elaborate a coherent theory of art and an intellectually sophisticated view of the effects of the arts on individual and societies. What the paper argues, then, is that instrumentalism under New Labour has retained its longstanding defensive character, but was deprived of the attendant effort to elaborate a positive notion of cultural value. 相似文献
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Sara Selwood 《Cultural Trends》1999,9(35):87-137
The requirement to evaluate policies and measure performance in the publicly funded cultural sector in the UK has become increasingly pressing since the early 1980s. This chapter reviews the various attempts to do that. It demonstrates how economic and other quantifiable measures have tended to be emphasised whereas the qualitative aspects of cultural provision, which are more difficult to measure, have tended to be neglected.
The chapter presents the first overview of the subject. It covers developments within what is referred to as the ‘cultural framework’ ‐ the infrastructure associated with the Department for Culture, Media and Sport, which includes the ‘arts funding framework’. It also looks at developments affecting local authorities’ provision of cultural services.
The chapter draws on various published and unpublished policy documents, and accounts, as well as interviews with individuals involved in the development of performance management in the cultural sector. Their views are presented throughout the chapter to illustrate the points raised.
The chapter opens by examining the history of performance indicators in the sector, and maps the current requirements to measure performance. The second section considers the resistance to measuring the performance of arts organisations and museums. In doing so, it examines critical inheritance of former attempts to measure performance, and the issues raised in relation to current aspirations to do so. The third section presents attitudes to future developments, and is based on speculations by those currently involved in museums, galleries, the arts funding system and the introduction of Best Value as to the kinds of impact that the introduction of performance measurements might have. The fourth and final section draws together a series of observations about the introduction of non‐economic performance in the English subsidised cultural sector. 相似文献
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Shan Jixiang Hu Hu 《中外文化交流(英文版)》2009,(5):28-33
On the International Day for Monuments and Sites in April 2006, representatives from all industrial cities around China assembled in Wuxi, one of the birthplaces of modern China＇s industries, to discuss status quos and solutions for industrial heritage conservation. The Wuxi Recommendations, the consensus document reached at this historical event, calls for, 相似文献
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ABSTRACTDo ticketing data and national survey data on attendance tell the same story? This question is particularly important in the context of debates over the power of new forms of data to supplant the “traditional” survey methods that have underpinned our understanding of the social stratification of culture. This paper compares three data sources on attendance: the Active Lives Survey, the Taking Part Survey, and Audience Finder. We first compare self-reported attendance at events in each English local authority from the Active Lives survey with ticket sales data, finding a close relationship. We follow up by comparing the distributions of ticket buyers across the Indices of Multiple Deprivation with those from Taking Part, finding that for widely-ticketed and widely-attended art forms they track closely together, providing support for existing trends. Ticketing data does not seem to offer more information on social stratification than traditional social science sources. However, we extend the comparison through more detailed analysis of subcategories within less well-researched forms – literature and dance events – where numbers of attendees are lower, with accompanying uncertainty in survey sources. We find that the audiences for dance vary widely, with ballet attendance being heavily socially stratified but attendance at contemporary dance much more similar to the general population. However, we find that audiences for literature events are more heavily socially stratified than almost any other art form, almost regardless of the subcategory. The power of new datasets is in offering specificity about artforms, rather than overturning what we know about culture and inequality. 相似文献
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International educational mobility is an important instrument for immersing multicultural diversity into the thinking, feeling, and acting of young global citizens. Yet, little is known about the development of students’ host-cultural behavioral engagement during a stay abroad and the individual characteristics that predict it. We adapted the theory of planned behavior to investigate the dynamic longitudinal interplay between individual predictors and students’ host-cultural behavioral engagement over the course of the stay abroad. Data come from the first four waves of the project Mobility and acculturation experiences of students (MAPS; N = 1,225). Results confirmed the influence of acculturation attitudes, subjective norms, and multicultural self-efficacy on host-cultural behavioral engagement over time. Simultaneously, host-cultural behavioral engagement was identified as a relevant predictor of adolescents’ individual development abroad. 相似文献
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Julian Meyrick 《Cultural Trends》2017,26(2):107-124
In March 2013, after six years of consultation, an Australian Labor government launched the national cultural policy document, Creative Australia. In July 2013, a Coalition government was elected, Senator George Brandis became Minister for the Arts, and the policy was dumped. With it went cross-party consensus about funding rationales and measurement strategies, with disastrous consequences for the cultural sector. This cautionary tale of gaffes, pay-back and abrupt changes of direction, highlights the fragility of policy memory that condemns artists and arts managers to a never-ending reinvention of the evidentiary wheel. Our paper examines the problem of collective understanding (“world”) in cultural policy-making in Australia, exacerbated not only by the short-term electoral cycles which undermine long-term cultural outcome timescales, but by a fixation on what Hannah Arendt calls “the peculiar and ingenious replacement of common sense with strict logicality”. Evidence of value is only meaningful when it occurs in a policy memory that can fully avow it and respond in appropriate ways. Measurement methods are over-determined by epistemology and by experience. We argue that the balance between these determinants of effective cultural policy-making has been lost. An emphasis on numerical data – especially economic data – has forced arguments for culture into a decontextualised register of quantitative proof. Recent events in Australia suggest that different, more direct ways of engaging with cultural policy-making are required for the problem of collective understanding to be successfully assayed. 相似文献
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Rob Wilson 《Inter-Asia Cultural Studies》2013,14(4):583-597
Abstract San Francisco, since its global takeoff in the Gold Rush Days and long‐standing trafficking in Bohemian, socialist, queer, and left‐leaning energies in and beyond the Beat era of the 1960s, has a complicated global/local history of trying to disentangle its city‐space and urban imaginary from the Greco‐Roman will‐to‐supremacy that would turn California into a frontier settlement of Asian/Pacific domination and US‐framed empire. Forces of social becoming like the Beats and post‐Beat hippies as well as more experimental authors like Jack Spicer, Maxine Hong Kingston, Frank Chin, and Bob Kaufman helped to forge a different literary‐social vision of San Francisco and the Pacific Rim city as a porous community of transnational innovation and outer‐national becoming. This paper will invoke some literary and film texts from Howl and Tripmaster Monkey to Vertigo to Margaret Cho stand‐up performances as well as some geopolitical studies, such as Gray Brechin’s Imperial San Francisco and City Light Press’s Reclaiming San Francisco to substantiate this double vision of San Francisco as global/local US site of (a) imperial ratification and (b) counter‐orientalist deformation. 相似文献
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Shigehiko Hasumi 《Inter-Asia Cultural Studies》2013,14(2):184-194
Abstract Dust in the Wind, a color film set in the verdant mountains of Taiwan, includes two scenes almost identical to the black‐and‐white and silent films by the Lumières, shot at the end of the nineteenth century: Arrival of a Train at La Ciotat and Passage Through a Railway Tunnel. As Hou’s mise‐en‐scène consists of the fixed camera angle with its long takes, it is the means of transportation that brings motion to the film, controlling dramatic elements of each work. The luxury cars, which appear in his first three romantic comedies, symbolize the rich and the motorbike the common people. The drivers are all young women, but an automobile cannot be a setting for love. In Daughter of the Nile and Goodbye South, Goodbye, the cars offer no protection to men trying to escape. Compared with the thematic negativity that the automobile possess in Hou’s universe, the motion of the passing trains, taken from many angles, offers rich and profound significations. When the camera is inside the train, the protagonists are taciturn, such as the two adolescents in Dust in the Wind who show their intimacy with each other without saying words. When the camera is next to the tracks or on the platform, the situation changes. In A Time to Live, A Time to Die, Hou depicts the grandmother sitting next to her grandson at a shop by the train and sipping sweet ice while behind them passes a freight train that emphasizes the anxious solitude of the old woman exiled from her homeland. A sublime depiction of the sense of powerlessness of both the deaf‐mute photographer and his family before a passing train is the scene on the deserted platform in A City of Sadness. In Café Lumière, the young woman and her friend in the passing train recognize how valuable they are to each other without saying words. This taciturnity suggests a certain kind of love that needs no sexual language. 相似文献
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Shimizu Akiko 《Inter-Asia Cultural Studies》2013,14(4):503-516
Abstract This paper discusses the political and theoretical implications of the various performances of queer self‐naming (or the refusal of which) in the face of the ongoing backlash against unconventional or non‐normative genders and sexualities. It argues that, instead of a hasty call for the discarding of identity terms or naïve recourse to them, we could keep (re)using the signs without endorsing their normative meanings and line of demarcation. Through analysing some of the feminist counter‐discourses against the backlash, arguments for indigenous Japanese queerness, and a performance by a Japanese lesbian artist, Ito Tari, it shows that the queer gesture of equivocally assuming the scandalous ‘name’ may be one of the few effective survival strategies for those who have already been scandalously (mis)named. 相似文献
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Hee‐Yeon Cho 《Inter-Asia Cultural Studies》2013,14(4):497-509
Abstract This paper tries to analyze the historical change in the Third World in its emergent stage, in the authoritarian stage and in the current democratic stage and, thereafter, find a way to revive the Bandung spirit in the current globalization context. I define the Bandung spirit as one of a ‘non‐aligned self‐helped “organization against” the dominant powerful countries’; that is, spirit of ‘anti‐predominance’. This spirit has emerged on the base of such domestic orientation and realities as economic self‐reliance, nationally integrated political regime, convergence of the state and civil society around anti‐colonialism. However, according to intensification of the Cold War confrontation on the international level and its centrifugal influence, the early Third World changed to a ‘new’ authoritarian Third World. The Third World in this stage could be characterized by an exclusive authoritarian political regime, dependent‐developmentalist economic orientation and coercively repressed and mobilized, in the top‐down way, civil society. This authoritarian Third World began to be confronted with a strong struggle from the bottom for democratization. In order for democratization of the Third World to become its true revival in the context of globalization, the following tasks should be considered. First, the democratic Third World should be a great driving force for the institutionalization of the transnational public regulatory mechanism. Second, the democratic Third World countries try to go over a kind of ‘transformed’ dependent development strategy. Third, democratization should go along with recovery of political inclusiveness and openness of the state to civil society’s demands. Thereafter, I tried to construct globalist re‐interpretation of the Bandung, by way of conceptualizing the current globalization as imperial globalization, unlike the imperialist globalization which the historical Bandung wanted to confront. I argue that the Bandung spirit of collective self‐help organizations against the newly emerging dominant order should be revived in this worse imperial globalization context. In addition, I argue that a nationalist resistance is also one component of the multiple resistances in the current imperial globalization. 相似文献
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This study set out to investigate the effects of positive affectivity (PA) on expatriate creativity and perceived performance in the host country workplace. Most importantly, the study examined the moderating role of perceived cultural novelty in the relationship between PA and creativity and its consequences for the indirect association between PA and perceived performance as mediated via creativity. Data from 297 expatriates in Denmark were collected and hypotheses were tested using regression-based analyses. Consistent with predictions, findings showed a positive relationship between PA and creativity. In addition, PA was positively associated with perceived performance. Results of mediation analysis indicated that creativity mediated the effects of PA on perceived performance. While a moderating effect of perceived cultural novelty in the relation between PA and creativity was found, this moderation was in the opposite direction of the postulated hypothesis, i.e. the positive association between PA and creativity was strongly attenuated at high levels of perceived cultural novelty. Subsequent moderated mediation analysis showed that the identified mediation ceased to exist at high levels of perceived cultural novelty. 相似文献
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This study seeks to understand the cultural inclusion/exclusion practices that Syrian refugees encounter in the Jordanian work environment, explore whether an ingroup (Jordanian) over outgroup (Syrian refugees) favouritism exists and how such favouritism reshapes Syrian refugees’ social identity in this new environment. Drawing on qualitative-semi structured interviews with 12 Syrian refugees in Jordan, the study highlights different multi-layered cultural exclusion/inclusion practices that Syrian refugees in Jordan face. Through a combined underpinning of social identity theory (SIT) (Tajfel & Turner, 1979) and the acculturation framework (Arends-Tóth & van de Vijver, 2006), the study reports how these practices re-shape Syrian refugees’ identity around vocational skills. We go beyond the basic types of discrimination against refugees (e.g., gender, race, religion) to highlight economic and legal restrictions as important promoters of cultural exclusion despite the strong cultural cohesion factors. This highlights the significant role of community and societal practices that can go beyond cultural differences between groups, and extend our understanding of SIT. 相似文献