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1.
Conversations surrounding relationships between media fans and media industries frequently categorize fans according to their degree of industrial incorporation or resistance, for instance, as either “affirmational” fans who uncritically celebrate media on industrial terms or “transformational” fans who engage in critical and non-sanctioned forms of participation. Drawing on interviews with participants in the Veronica Mars Kickstarter campaign, this article connects rhetoric used by these fans to longstanding issues around patronage in fine arts, arguing these historical discourses provide a way to deepen our understanding of how fan audiences relate to media industry interests. The complex, asymmetrical relations that exist between patrons and artists they sponsor offer a valuable model for a type of fandom experience that does not fit neatly into the existing typology.  相似文献   

2.
BL (Boys’ Love) fandom has been regarded as a counterpublic by some academics since 2005. In this article, I investigate the dispute over “real-person” texts (texts based not on fictional characters but on real people, both public and non-public figures) on the BL board of PTT BBS in Taiwan as a case-study. The dispute is significant in the sense that, ostensibly, there were a few young female BL fans who actively defined what the BL scene consists of, as only these young women were involved in the dispute. Nevertheless, a closer look at the dispute reveals that the mainstream values actually played a significant role in framing the fandom in question. I then argue that the objection to the real-person texts should be regarded as a refusal by the BL fandom to be part of a counterpublic. The dispute started with a clarification of the genre, equating real-person with real gay people, BL with fantasy, and gay with reality. It is on this basis that real-person texts were not regarded as part of BL practices. Moral issues, such as respect and politeness, were also raised to question real-person texts. The conflict intensified, leading finally to the total exclusion of real-person texts from the BL board. To sum up, the dispute over real-person texts demonstrates how BL fans actively (re)formed the shape of the BL board; at the same time, it represents a refusal and exclusions, which place this counterpublic into question.  相似文献   

3.
This article explores the textual and historical poaching practices by Tumblr fans of the novels A Song of Ice and Fire and the television adaption Game of Thrones, a pseudo-historical fantasy series. Fans critique both the text (novels and TV show) and other fans’ interpretations of the text, as well as parallel real-world history with the world and characters of the series. Tensions arise around the “historical accuracy” of the novels and show, along with the role that dominant narratives and cultural norms play in interpreting a past that never was through the lens of a real-world past. Fantasy and history intersect in layered ways and are used by fans to support a variety of textual points of view. Issues of violence, presentism, colonialism, gender, and “historical truths” are argued in relation to the ahistoricism or historicism of the novels/show.  相似文献   

4.
Abstract

After the Regulations on the Administration of Movies came into force in 2002, Johnnie To became famous for sticking with the Hong Kong market while Hong Kong filmmakers rushed north. In Drug War, his 50th film, he decided to bring his unique genre to the Mainland for the first time. Drug War was the first Johnnie To gangster film to be shot entirely in the Mainland. Despite its outstanding box office record in the Mainland, some Johnnie To fans would lament that his typical style is missing in Drug War, a film that has become “realistic.” This paper argues that Johnnie To's “northern expedition.” backed up by a tradition of translations between business and pleasure, has to be interpreted against the backdrop of his production company Milkyway Image (HK) Ltd. Johnnie To, as a migrant crossing the border, brought with him the long tradition of cultural translations from Milkyway Image, which acted as a “seed of the untranslatable” in Homi Bhabha's term. It was this untranslatability of Milkyway-cum-Hong Kong flavour that distinguished To from other Hong Kong directors who were assimilated into the Mainland market as a simple mélange. To capture the rich inter-textual allusions to not only Milkyway Image but also to Hong Kong in Drug War helps one to understand how Hong Kong cinema can move on in the age of Chinese cinema.  相似文献   

5.
This article focuses on representations of mental illness on U.S. network television, particularly the “police procedural” Elementary. As a modern interpretation of the Sherlock Holmes character, Elementary is unique in emphasizing the detective’s struggles with drug addiction and mental illness, as well as a long road of recovery where intellectual labor is instrumental and “therapeutic” (rather than stressful and alienating). Despite its critical acclaim, Elementary’s progressive portrayals of symptoms of mental illness in Holmes are complicated by the series’s stereotypical depiction of villains that are “mad men,” “lunatics,” and “psychopaths” driven by financial gain and individual greed. The “acceptability” of mental illness in the series is measured by a character’s compliance with the dominant social order. While Elementary provides some positive messages about mental illness, its socioeconomic commentaries individualize “madness,” violence, and the pitfalls of late capitalism to support an increasingly problematic narrative of neoliberalism and mental health.  相似文献   

6.
This article considers hikikomori as willful subjects. The hikikomori are a portion of the Japanese population who withdraw into their homes. These are mostly young people (between the ages of 15 and 35) and mostly young men. The focus of this article is how hikikomori constitute a challenge to dominant national imaginaries of Japan as a “corporate-family system.” This article analyses popular media and psychiatric representations of hikikomori, particularly from Saitô’s work as exemplifying Ahmed’s notion of “willful subjects.” It is argued that the hikikomori’s apparent willfulness produces them as Queer subjects who are out of place and pace with the dominant heteronormative, masculinist culture of contemporary Japan.  相似文献   

7.
Big Sexy (2011), a television mini-series on TLC, tells the story of five “larger than life” Manhattan women working in the fashion industry. In comparison to dozens of reality television programs that emphasize weight-loss, Big Sexy critiques the idea that all fat individuals need to lose weight, or should even want to lose weight in the first place. This resistant message of fat acceptance exists in a carnivalesque televisual space, creating a site for the interplay of competing, yet increasingly co-present discourses of the body despite the dominance of “obesity epidemic” rhetoric. Ultimately, Big Sexy necessitates a different theoretical lens than the one often applied to reality television, namely neoliberalism in relation to governmentality, shame, and self-discipline, in order to make sense of its uniqueness within this continually expanding genre.  相似文献   

8.
ABSTRACT

Fantastic Man (2014) and Searching for Sugar Man (2012) mobilize tropes of discovery occurring in the filmed process of collecting and curating the work and identities of two reluctant, elusive, and resistive figures. These documentaries are part of a discourse of collectability marked by the urge to discover and narrate a “quest” that has its precedents in record collecting as obsessive cultural practice and in the fetishizing of obscurity. Furthermore, they can be seen as “performances” of the artiste and repertoire (A&R) process but for a “post-rock” era in which the customary roles of A&R have largely been eclipsed by social, economic, and technological changes to the music industry: the “(re-)discovery” of Onyeabor and Rodriguez exemplifies an increasingly common fusion of, rather than oscillation between, novelty and nostalgia in the music industry, as “old” artists are “newly” discovered through practices of media archaeology aimed at unearthing artifacts of cultural and economic value from an ever bigger and denser digital archive.  相似文献   

9.
This article examines the nature of the wrath of Abū Marwān al-Yu[hdot]ānisī, a thirteenth-century Andalusi saint, and the protagonist of the Tu?fat al-mughtarib of al-Qashtālī. I have divided the study into two main parts. The first sets out and analyses various occasions on which the saint committed violent acts against Christians. Two of them died as a consequence of these aggressions. All the cases in this first part took place in the Muslim East during the saint's stay in this area. The second part examines cases of violence committed against Muslim people from al-Andalus. The victims suffered the consequences of the wrath of the saint, although he was not directly involved in the aggressions themselves. The stories are narrated by al-Yu[hdot]ānisī himself, and we do not know whether they really took place. Regarding these manifestations of violence, the hagiographic sources not only justify all the violent acts committed by the saint, murder included, but they present the saint to society as an “example” to follow, and indeed as a “hero”.  相似文献   

10.
ABSTRACT

This paper introduces Dinghaiqiao Mutual Aid Society (DMAS, dinghaiqiao huzhushe, its urban context, issues that it concerns and strategies that it uses by introducing three of its projects. As a group that locates itself in a historically working-class neighborhood under the pressures of urban renewal, it clarifies its vision by both embodying the participants to the projects, and extending knowledge production and imagination of the place into a more profound social and historical dimension. The “common” here, serves as the interactive element and mechanism in DMAS events, as well as in its operational logic. The strategies that it develops, based on this, is a reflection and transcendence of the social political atmosphere and questions the developmental ideology of the city.  相似文献   

11.
This article seeks primarily to call for a reappraisal of Richard Bulliet's well-known “curve of conversion” and of its interpretation, for it has been largely misinterpreted. It is argued, with particular reference to the Christian experience in al-Andalus, that reading the data as Bulliet intended could have a significant effect on how we view the historical process of conversion in the early Islamic world. Thus, since Bulliet's data do not support the prevailing view regarding Christianity's survival under Muslim rule in the Iberian Peninsula, it is proposed that the evidence available in the particularly weak historical record for this period and place is enough to warrant reconsideration of the nature and length of that survival.  相似文献   

12.
This article examines anti-Communist films made by Hollywood in Cantonese and Malay in Singapore and Malaya in the Cold War context of the “Campaign of Truth.” In the early 1950s, the United State Information Agency, an arm of the State Department, secretly commissioned and funded New York Sound Masters Inc. to produce and shoot several anti-Communist films in Singapore and Malaya. In 1953, cinemas across Malaya and Singapore screened Singapore Story and Kampong Sentosa, two Cold War products of the “Campaign of Truth.” In addition to analysing the ideology of these films, this article also combines declassified archive material from the US and Singaporean National Archives with primary materials from UK, US, Singaporean, and Malayan periodicals from the Cold War era in order to explore how these two films use Malay and Cantonese to narrate a Hollywood’s version of the Singaporean story. As these two films have been largely passed over in scholarship and the films and archives have not been regularly accessible, records of these films are absent from histories of film and television in the US, Singapore, and Malaya. This article aims to remedy this absence.  相似文献   

13.
This article analyses the presence of Neo-Platonic ideas in the poetics of Ibn Khaldūn's (1332–1406). It particularly focuses on the sixth part of the Muqaddima, in which Ibn Khaldūn presents the Arab-Islamic system of knowledge. I argue that Ibn Khaldūn analyses poetry in terms of a peculiar kind of knowledge and that his views on poetry are largely dominated by a Neo-Platonic paradigm, deriving from Avicenna's Psychology and Sufism. I focus on four topics: the “weak” rational position of poetics among the sciences of logic; the rhetorical norm of mu?ābaqa (“conformity” between “words” and “ideas”, and between “speech” and the “requirement of the situation”), the musical norm of talā?um (appropriateness of note combinations) and the notion of poetical “models” (uslūb; pl. asālīb). My conclusion is that the Muqaddima provides the modern reader with a precious longue-durée overall view of pre-modern Arab-Islamic poetics.  相似文献   

14.
ABSTRACT

In this article, I question practice as a research paradigm by exploring its position in relation to non-positivist qualitative methodologies. Frayling’s [1994. Research in art and design. Royal College of Art Research Papers, 1(1), 1993/4] distinctions between research into, through, and as (for) practice are expanded to explore overlaps between these approaches. I argue for the need to understand the nuances of different epistemologies and ontologies that underpin diverse disciplinary approaches to practice-research. This is done through an analysis of a selection of Arts and Humanities Research Council (AHRC)-funded projects to find out how they are using and/or embedding practice in the research process. The resulting Colour Wheel of Practice-Research illustrates a spectrum of positions of practice in relation to research, suggesting existing research paradigms are bursting at the seams and that the “disciplinary matrix” of practice might offers other ways of knowing. The reason I have chosen to focus primarily on AHRC-funded projects is because it explicitly states its support of “practice-led research” and that it “remains dedicated to this area of research”. This article aims to add to knowledge of how and why practice-research is of continuing interest to research councils, universities, and those identifying as practice-based/led researchers.  相似文献   

15.
In August 1901, two respectable, unmarried Edwardian ladies travelled backwards in time. On a sightseeing trip to the Court of Versailles, Annie Moberly and Eleanor Jourdain were transported back to 1792 where they encountered the soon-to-be-executed Queen Marie Antoinette. In 1911 they recounted their experiences in An Adventure, a book that was widely reviewed and ran to many editions. Throughout these episodes and their telling Moberly and Jourdain held the positions of Principal and Vice Principal of St Hugh’s Hall, one of Oxford’s newly established colleges for women. Later historians and members of St Hugh’s tended to dismiss them as ‘potty’ or attempted to protect their reputations as pioneers of women’s education from (what was subsequently perceived to be) the embarrassment of An Adventure. This article revisits Moberly and Jourdain’s “Adventure”, historicising rather than pathologising or seeking to explain it away. Alongside the sceptical responses, there were many who believed Moberly and Jourdain, and the two women did not lose social or professional standing as a result of telling their story. In trying to understand why this should have been the case, the article draws upon two bodies of recent scholarship. Firstly, it examines An Adventure in light of work that has rejected older formulations of modernity as necessarily ‘disenchanted’, and instead argues for the blurring of boundaries between occult and scientific discourses. In many ways, the case of An Adventure exemplifies and furthers this thesis, showing how it was possible for two educated, professional, “modern” women to believe they had entered into “an act of memory” by Marie Antoinette that transported them backwards in time. Yet, while most scholarship interested in the relationship between modernity and enchantment focuses on the relationship between science and heterodox/occult religions, An Adventure brings another element to the discussion: orthodox Christianity, and the Anglican Church in particular. Moberly and Jourdain came from clerical families and were devout adherents of the Church of England. Their “Adventure” also, therefore, speaks to recent histories of Christianity in modern Britain, which have argued against an overly polarised and oppositional understanding of the relationship between Christianity and the occult, or Christianity and secular science, pointing to the churches’ capacity for adaptation and incorporation. The article traces the reception of An Adventure as a way to explore further the basis upon which such claims could be both made and judged as credible in a rapidly modernising early twentieth-century Oxford. While highlighting the interconnections between the occult, Anglicanism and secular/scientific scholarship, the article argues that people at the time nevertheless carefully policed the boundaries of “legitimate” and “illegitimate” belief systems, a process informed by both gender and class.  相似文献   

16.
This paper will analyse three major episodes of Casanova's Histoire de ma vie during which Casanova comes to grips with practices of charlatanism or magic, either as a “patient” or actively: 1. His cure, as a child by the sorceress of Murano to whom he is taken by his beloved grandmother.

2. His guest in the little Italian village of Cesena for a buried treasure whic he prides himself on being able to discover with the help of a sacred knife.

3. His inventive, libertine scenarios elaborated for the particular purpose of “regenerating” (dazzling and pleasuring) the marquise d'Urfé, known as Séramis, an old aristocrat with a passion for occult knowledge.

Casanova's attitude towards all that has to do with gambling, deception, chance, and all the ways to influence it is thoroughly complex and ambiguous. It is one of the features of his Venetian mentality; and it is also a phenomenon of the time, which is wrongly called the “century of the Enlightenment”. More narrowly, close scrutiny of these three occasions should allow us to grasp how Casanova saw his place in the couple of the dupe and the trickster. This paper will show how he understood the world and its underlying forces, and what type of intelligence — more baroque than Cartesian in inspiration — was at work in him.  相似文献   

17.
Taiwanese film KANO recounts the passage of a mixed-race baseball team to Japan’s Koshien Tournament during the colonial era of the 1930s. Its release evoked in both Taiwan and Japan critical responses in view of its rosy depiction of colonial modernity. Through analysing the film’s text and reviews in both Taiwan and Japan, we identify KANO as a “post-national” cinematic event. Its inviting nostalgic invocation of Japanese colonialism at the civilian level has launched divergent discourses on colonial legacies in the contemporary re/making of national identities, reflecting on the post-colonial socio-cultural conditions facing both Taiwan and Japan. We found that KANO in Taiwan instigated a re-examination of the state’s role in crafting the foundational myth of baseball as a “national” sport. Furthermore, the film brought on schemes of othering in which two national others were distinguished to manifest Taiwan subjectivity: Japanese colonialism versus Chinese nationalism. On the other hand, KANO in Japan was stripped of its colonial connotation. Its honouring of juvenile devotion to baseball was employed as a psychic introjection of Japanese-ness, which many considered losing in the globalizing social milieu.  相似文献   

18.
In this essay, I trace two aspects of the thought on the “Third World” in early modern China: how to understand the world revolution, and how to create a new China. While focusing on two trendy notions at that time, i.e. “Chinese revolution” (Zhongguo geming), and “nong country” (nongguo), I argue that the thought on the “Third World” in early modern China breaks free of the shackle of fashionable theories and draws upon local circumstances and China’s own repertoire of power when exploring an ideal of a new world. While the difficulty in confronting the “Third World” consciousness in today’s China is still overwhelming, the fact that we now remember “the spirit of Bandong” signals some progress.  相似文献   

19.
ABSTRACT

When Iris Chang published The Rape of Nanking in 1997, exactly sixty years after the Nanjing Massacre, the subtitle The Forgotten Holocaust of World War II, called attention to one of the greatest human tragedies in the twentieth century. As a powerful historic reminder, The Rape of Nanking aims “to understand the event so that lessons can be learned and warnings sounded.” This paper focuses on Chang’s role as a writer/fighter who uses words to fight forgetfulness with a forceful narrative concerning one of the most dreadful traumas in the collective psyche of the Chinese people. It produces quite a number of “afterlives,” including different Chinese translations in Taiwan and mainland China, a nanking winter (2008), a play by the second-generation Chinese Canadian playwright Marjorie Chan, Nanjing Requiem (2011), a novel by the first-generation Chinese American novelist Ha Jin, and The Nanjing Massacre: Poems (2013), a collection of poems by the third-generation Chinese Hawaiian poet Wing Tek Lum. Furthermore, the docudrama Iris Chang: The Rape of Nanking (2007), directed by Bill Spahic and Anne Pick, presents a filmic representation of the short fascinating life of this passionate writer. This paper discusses how Chang, role as a writer and activist, fights against amnesia with remembrance as well as her rich legacy to the world across linguistic, generic, and semiotic boundaries. Chang’s text and its afterlives strive to give voice to those nameless war victims as a step towards truth, justice, reconciliation, and peace.  相似文献   

20.
This article discusses how the Singaporean Chinese director, Yi Shui, created a Malayanized Chinese-language cinema during the 1950s and 1960s, and offers a retrospective of the way people in Malaya and Singapore framed their nation-building discourse in terms of anti-colonialism and anti-imperialism after the Bandung Conference in 1955. This article holds that the term huayu dianying (Chinese-language cinema) was not first used in the 1990s by scholars in Hong Kong and Taiwan, but that its origins can be traced to Singapore and Malaya in the 1950s where Yi Shui promoted Malayanized Chinese-language cinema in the Nanyang Siang Pau. This earlier use of the term “Chinese-language cinema” overlaps with its current academic usage, including films in Mandarin and Chinese dialects. In 1959, Yi Shui’s essays were collected in On Issues of the Malayanization of Chinese-Language Cinema. Yi Shui also directed several Malayanized Chinese-language films. This article analyzes his “Chinese language cinema” film practice by examining the discourses surrounding the “Malayanization of Chinese-language cinema” in order to show that his semi-documentary Lion City and the melodrama Black Gold attempted to mediate the misunderstandings rooted in the national boundaries and politics of various dialect groups through a “multi-lingual symbiosis” of Chinese languages.  相似文献   

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