共查询到20条相似文献，搜索用时 93 毫秒
1.
《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
2.
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
3.
Helen Hok‐Sze Leung 《Inter-Asia Cultural Studies》2013,14(4):559-571
Abstract This article argues for the revitalization of a productive tension between ‘queer’ and ‘theory’ and underscores its necessity for a study of ‘local queer theory.’ While there is an apparent lack of academic queer theory in Hong Kong, there are numerous examples of writings that advance theoretical positions, albeit in unfamiliar guises. The article analyzes three examples of queer writings by Hong Kong authors, penned between 1984 and 2000. Focusing on the texts’ archival effect and affective expression, the analysis demonstrates that these writings form an archive of queer feelings. As a repository of the discomfort and anxiety that are constitutive of queer lives, these writings can offer fruitful interventions into current theoretical debates. The article concludes with a call for more creative and irreverent – in short, queerer – ways of localizing the global phenomenon of queer theory. 相似文献
4.
5.
Hyun Mee Kim 《Inter-Asia Cultural Studies》2013,14(3):478-483
Abstract This article addresses the issues of how feminism, cultural studies and inter‐Asia studies can intersect amicably and meaningfully as an institutional program by using Yonsei University as an example. Speaking from the position of someone who is one of the founders and teachers of the Graduate Program in Cultural and Gender Studies at Yonsei University, I endeavor to analyze the possibilities and limitations of combining these fields together. This article suggests that practitioners of inter‐Asian cultural studies carefully formulate and establish a conceptual framework as foundation upon which we can begin to discuss some possible commonalities for future curriculum. I believe that the framework ought to focus more on the ‘post‐nation state paradigm,’ and incorporate the achievements of both critics of global capitalism and the neoliberal order, and creators of new meanings – including migrants and youths – as a possible transnational subjectivities. Inter‐Asia cultural studies also needs to learn some lessons from the history of the belittlement and groundless exclusion of feminism experienced by the Birmingham School and Korean cultural studies practitioners and the gender‐blindness they held. 相似文献
6.
《Cultural and Social History》2013,10(2):169-185
ABSTRACTInfluenced by interdisciplinary studies and the ‘spatial turn’ in social history, this article explores the relationship between space and the construction of gender identity amongst the poor to middling sorts of seventeenth-century Norwich. To this end I have considered gendered interaction in different ‘types' of space: domestic, private space, ‘borderline’ space – such as the alehouse or threshold – and, finally, the public space of streets and markets. Each section explores the relevance of recent spatial historiography in the Norwich context, and evaluates whether men and women inhabited different ‘worlds' in the city, not only in terms of their physical movement or access to certain places but also, more importantly, in terms of how their presence was perceived, and thus their identity shaped by others. The empirical basis is primarily defamation depositions of the Norwich Diocese Court, largely used by the middling sorts, contextualized where appropriate with secular court records. 相似文献
7.
8.
Abstract This article situates Hou Hsiao‐Hsien’s films in the post Cold‐War global setting. It discusses two common interpretive approaches to Hou Hsiao‐Hsien’s films – French auteurism and ‘national allegory’ – and puts these two approaches within their historical context of Cold‐War and post Cold‐War global politics. The article places the rise of Hou Hsiao‐Hsien’s films parallel to the rise of the mainland fifth generation of film directors, pointing out that their apparently opposite directions – Hou Hsiao‐Hsien going political in his Taiwan trilogy and the fifth generation film directors going apolitical – are part and parcel of the same phenomenon of alternative politics in its particular contexts and the reconstruction of a new identity politics. Particular attention is given to Hou’s Taiwan trilogy, Flowers of Shanghai, and Coffee Jikou. 相似文献
9.
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
10.
《Cultural and Social History》2013,10(4):493-510
ABSTRACTThe picture discussed apparently represents a ‘snapshot’ of eighteenth-century family life. However, it is argued in this article that it is problematic to approach such visual material as if it can render direct evidence of a past, historical reality. This is not simply because art may distort or misrepresent its subject matter. Such an approach is also in danger of ignoring the potential evidence embodied in the representation itself – in this case, both a highly self-conscious ‘display’ of modern life and an historically meaningful act of artistic prowess. 相似文献
11.
《Cultural and Social History》2013,10(4):429-446
ABSTRACTThe refugee, in India's Partition history, appears as an enigmatic construct – part pitiful, part heroic, though mostly shorn of agency – representing the surface of the human tragedy of Partition. Yet this archetype masks the undercurrent of social distinctions that produced hierarchies of post-colonial citizenship within the mass of refugees. The core principle of the official resettlement policy was self-rehabilitation, that is, the ability to become a productive citizen of the new nation state without state intervention. Thus, the onus of performing a successful transition – from refugee to citizen – lay on the resourcefulness of the refugees rather than the state. This article traces the differing historical trajectories followed by ‘state-dependent’ and ‘self-reliant’ refugees in the making of modern citizenry in post-colonial India. 相似文献
12.
David C.L. Lim 《Inter-Asia Cultural Studies》2013,14(1):62-80
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
13.
《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
14.
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
15.
《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
16.
《Cultural and Social History》2013,10(2):187-194
ABSTRACTWith a greater emphasis on understanding how meaning has been constructed by past societies, historians and university students have in recent years become familiar with using a wide range of historical sources. This article considers practical ways in which music – of different kinds – can be used as source material for historical investigation in university teaching. It suggests that by relating musical examples to categories of analysis already widely used in history, such as class, race, gender and citizenship, music can profitably be integrated with and used alongside other kinds of historical evidence, for example literary sources and visual images. 相似文献
17.
John Nguyet ERNI 《Inter-Asia Cultural Studies》2013,14(1):86-108
Abstract In this paper, gender negotiations in the production, musical forms, and consumption of Cantopop are taken as a cultural exemplar for a social and political imagination of ambivalence, which seems to be shaping popular life in Hong Kong. It has three focal points – musical forms and expressions of Cantopop (style, lyrics, iconography, affect), gender politics, and ‘everyday‐ness’ – which converge to mark a notable cultural logic performing an enlarging sense of ambivalence about a city that has seen a shift from high moments of economic prosperity to the current postcolonial uncertainties. In other words, Cantopop signals a shift in our sensibilities, a redrawing of our affective map of everyday life after an important historical and politico‐administrative shift. In a sense then, this paper explores Hong Kong's changing identity within the sight and sound of popular culture, by specifically tracing some of the ways in which gender politics is inscribed, coded, negotiated, performed, or simply flirtingly posed on the surface of popular culture. 相似文献
18.
Masamichi S. Inoue 《Inter-Asia Cultural Studies》2013,14(3):321-340
This essay intervenes in the political contradiction between the pro-base and anti-base positions in Okinawa while at the same time seeking to provide an alternative to the binary at the level of everyday cultural sensibilities. I will accomplish this task by exploring the activities of charismatic Okinawan musician-artist-activist Cocco. More specifically, locating Cocco's music within – and also outside – a long, complicated genealogy of Okinawan popular music, I will trace how she has grounded the formal political problems of the US military in Okinawa's everyday dilemmas concerning money, memory, and globalization. In my view, Cocco has done so in a way that prods us to move beyond the pro-base/anti-base binary and to navigate an uncharted realm of culture, power, and history. I will also pay attention to how the audience in Okinawa and beyond, as a co-producer of Cocco's music community, has participated in this process. In so doing, I will show how Cocco's music has brought to light possibilities of transforming the existing political inequalities from below, possibilities that may be destined to disappear as soon as they are materialized as an explicit political program. I will articulate these possibilities with reference to what French writer-critic-philosopher Maurice Blanchot (1908–2003) once called the ‘unavowable community’. 相似文献
19.
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
20.
Lynn Abrams 《Cultural and Social History》2013,10(2):205-224
ABSTRACTThis article proposes a triple legacy of the expressive culture of the 1960s and 70s. Late twentieth century feminism, discourses of gender equality and the advent of modern confessional culture liberated women’s women’s voices, producing self-realising narratives and a shift in women’s facility to produce authentic ‘reflexive projects of the self’. Drawing on oral history interviews with women born in the 1940s in the United Kingdom, Australia and North America, a new concept for a distinct genre of women’s oral history narrative is advanced– the feminography – in which we hear women owning their voices and the stories those voices tell. 相似文献