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1.
After the fall of Suharto in May 1998, mass rallies yelling anti-Malaysia sentiment broke out several times in a number of major cities in Indonesia. The rallies were triggered by various conflicting issues involving the two countries. Every time a mass rally against Malaysia happens, memory of “Konfrontasi” is recalled, as is seen in the use of “Ganyang Malaysia” (Crush Malaysia) rhetoric, whereas during the Suharto era, the narrative of the historical episode of “Konfrontasi” was constructed in the tone of criticizing Sukarno’s “Crush Malaysia” campaign as an escape from the internal economic crisis, rather than as an expression of nationalist sentiment. However, as this article addresses, there is a gap between the “national memory” as is constructed by the history school textbook and “popular memory” as is embodied in society. Beneath this “popular memory,” as this paper contends, there is a sort of nationalist sentiment in the sense of longing for “national pride” as projected upon the “persona” of Sukarno.  相似文献   

2.
This paper argues that in his discussions of the ethics of sovereignty, Christian Thomasius makes use of two very different conceptions of the prince's moral persona. In his natural law works, Thomasius draws on a Christian-Epicurean moral anthropology, in order to model a sage–prince whose capacity to rule is conditioned by his capacity for restraint of the passions. In his works in the area of Staatskirchenrecht or constitutional church law, however, Thomasius adopts a different stance. Here, drawing on Pufendorf's construction of multiple moral personae, Thomasius restricts the ethic of passional restraint to the personae of the ‘man’ and the Christian, drawing the duties of the prince from a quite different source: the goal of preserving social peace through the exercise of a coercive sovereign power. It is argued that these different kinds of political ethic are associated with the different purposes of Thomasius's natural-law and staatskirchenrechtlich writings, the former being dedicated to the moral formation of his law students, the latter to the provision of political advice to the prince.  相似文献   

3.
Through the lens of consumption at Chinese Starbucks, this paper examines the lifestyle and attitudes of parts of the mainland Chinese urban middle class, especially of the so-called xiaozi. Based on interviews with and guestbook entries by customers I analyze how the foreign brand and the multitude of meanings associated with it are consumed. I argue that consumption may be viewed as a particular search for authenticity that enables consumers to construct their self-images in the context of the vast changes occurring in contemporary China. A foreign brand promises to be especially valuable as it promises the authenticity of an ‘other’ on which one's own desires may be projected.  相似文献   

4.
ABSTRACT

This paper examines the significance of reading two Korean American novels which address the issue of Japanese military sexual slavery (known as the “comfort women” system) in the context of Japan: Nora Okja Keller’s Comfort Woman and Chang-rae Lee’s A Gesture Life. I will explore how this act can facilitate the understanding of the militarized sexual violence in the present social and discursive context of Japan, where the issue suffers from a strong backlash. Lee’s A Gesture Life with its critique of multiple militarized imperialisms challenges the Japanese revisionists’ effort to deny the egregious wrongs of Japan’s military sexual slavery; it also responds to popular criticism in Japan that Korean/Americans disregard the practices of Western imperial and military violence and only condemn Japanese war crimes. The paper in turn also reads Keller’s Comfort Woman through the frame of Joy Kogawa’s Obasan, a Japanese Canadian novel which remembers the internment and U.S. atomic bombing of Nagasaki. My aim here is to examine both the risks and possibilities which this reading can generate. While it can help us see the comparable acts of remembering war sufferings from the standpoint of diasporas, it can also erase the non-equivalence between the two histories.  相似文献   

5.
Abstract

In this essay, Ho Tzu Nyen attempts to unearth a subterranean narrative that threads through three films produced by three male Singaporean directors – namely Mee Pok Man (1995) by Eric Khoo, 15 (2003) by Royston Tan, and Zombie Dogs (2004) by Toh Hai Leong. This narrative of unconsciously repeated motifs that migrate from film to film is in turn analyzed as a recurrent symptom that haunts a number of Singaporean cinematic productions from the 1990s onwards. This symptom, which can be summarily described as a paranoid relationship to ‘otherness’, makes manifest a variety of psychic tendencies such as morbid fear of impotence, misogyny, and fetishization of the social other. For Ho, such impulses are in turn intricately linked to what he, following the literary critic Harold Bloom, calls ‘The Anxiety of Influence’. For Bloom, every poet embarks upon his career after a prior encounter with another poet, or poem. As a result, the ‘late‐coming’ poet inevitably suffers from a sense of threatened autonomy, because his profoundest insights and deepest desires are always already elucidated by another. For the Singaporean filmmaker, Ho argues that this ‘anxiety’ in relation to the cinematic tradition takes on a peculiar nature and a doubled pressure, for the canon that inspires them is perceived as being something essentially foreign. Hence the Singaporean filmmaker makes cinema as though he is stuttering in a foreign tongue. Therefore, the concept of ‘the anxiety of influence’ is modulated and compounded with a ‘postcolonial anxiety’. In addition, Ho also draws upon the concepts of the philosopher Gilles Deleuze in an attempt to sketch out an ontology of cinema that at once functions in a deconstructive relationship to ‘auteur‐driven’ modes of analyses, while avoiding what he perceives as the overly ‘sociological’ bent that characterizes much of the existing corpus of writings on Singaporean cinema.  相似文献   

6.
ABSTRACT

This article examines microhistories and the histories of the everyday both in the context of developments in social and cultural history since the 1960s, and in the light of political and social change in post-war European society. Moving beyond debates about historical narrative, it emphasizes issues of perspective, space, size and historical distance in shaping historical interpretation. This historiographical trend, it argues, emanates from two major debates within the social sciences and politics. One concerns the nature of everyday life under modern capitalism and ‘consumer society’, the other the vexed issue of human agency. Focusing particularly on Italian microstoria, it argues that such writing is best understood as the commitment to a humanist agenda which places agency and historical meaning in the realm of day-to-day transactions, and which sees their recuperation as the proper task of the historian.  相似文献   

7.
ABSTRACT

The emergence of a new type of consumer society was catalysed rather than impeded by the tumultuous events of the late 1960s. The rebels of 1968 contributed considerably to the breaking down of conservative obstacles to consumption, to the opening up of new markets and to the creation of a new type of consumer. At its heart, ‘1968’ was an intra-bourgeois confrontation pursued by an innovative minority. The many instances of personal transformation from protagonists of protest to pillars of the establishment can be interpreted in the context of communicative and consumerist modernization. The protesters' performative hedonism proved highly compatible with consumer culture. Protest culture, on the one hand, sought the publicity of consumer society as a spatial and moral sphere for its activities. The response of the ‘system’ to the protests, on the other hand, was surprisingly flexible and resulted in the further development of capitalism and consumer society in the late twentieth century.  相似文献   

8.
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   

9.
Abstract

Using a brief comment by Lu Xun regarding the thriving café culture in 1920s’ Shanghai as a point of departure, this paper investigates how the male intellectuals of the time constructed, affiliated with, and practiced the café culture in the 1920s and 1930s. The paper first provides a historical overview of Shanghai’s café scene, and it investigates the general relationship between coffee and colonialism. The main body of the paper explores how Shanghai’s café culture in the Republican period was constructed in connection with male subjectivity. The paper demonstrates that the café as a gathering site was attractive to the young and educated male urbanites because it provided them a strong sense of community, based on the mutually conditioning homosocial bonding and heterosexual impulses, where they could socialize among themselves and flirt with the waitresses. It was the maleness of the café that allowed the place to embrace the seemingly opposed discourses of consumerism and revolution – the two major components of China’s cultural modernity. The paper ends with Michel de Certeua’s analysis of the ‘habitable,’ and it demonstrates that the Shanghai café is habitable to male intellectuals because it both promises and rejects the consummation of the libido, in the same way as it promises and rejects modernity.  相似文献   

10.
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   

11.
The Nanking Massacre is a historical event that invokes many contestations and tensions, as the recollection of what took place in Nanking during the six weeks from December 1937 to February 1938 is always under the influence of political circumstances and ideologies. This article explores the contemporary historical narratives and fictional representations of the Nanking Massacre to see how it has been remembered. The article mainly addresses North American academic debates over the Nanking massacre, and analyzes three novels by immigrant Chinese American authors, Qi Shouhua’s When the Purple Mountain Burns, Ha Jin’s Nanjing Requiem, and Yan Geling’s The Flowers of War.  相似文献   

12.
ABSTRACT

From the late 1950s onwards, the Netherlands witnessed a transformation of the emotional codes of politics. A culture of political leadership marked by notions of duty and restraint, made way for self-expression and authenticity. This article argues that the interaction between the spheres of politics and popular culture played a vital role in this transformation. The practices and discourses of popular culture became a significant part of the repertoire through which politicians articulated representative claims. The article traces how politicians negotiated their interaction with popular culture, started to cultivate a private persona and eventually turned into political celebrities.  相似文献   

13.
This article considers the representation of global events in The Onion, a satirical news publication. Drawing on a content analysis of headlines and news stories, the article offers a set of general conclusions about the publication’s geographical and topical focuses. When considered in aggregate, the headlines offer an implicit critique of the mainstream media and coverage of international events. The idea that The Onion is a critical voice is, however, subject to interrogation. The Onion should be recognized with other satirical outputs as a profit-oriented enterprise, with appeal to key demographics and growing connections to multinational corporations. Yet The Onion’s position is further complexified through its direct engagement with international actors who do not get the joke.  相似文献   

14.
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   

15.
The construction toy Meccano was created in 1901 by Liverpudlian clerk Frank Hornby and reached its height of popularity during inter-war Britain. By focusing on the development of Meccano throughout the company’s publicity and within oral history testimony, this paper considers how the toy promoted engineering to shape a technical vision of boyhood. Hornby shaped this vision by building upon masculine ideals of self-improvement that were central to Samuel Smiles’ book Self-Help and Robert Baden-Powell’s Boy Scouts movement. This vision built upon a past of achievements in engineering, and with it Victorian values such as clean-mindedness and independence, to enable boys to prepare for a technological modern world. Hornby’s own career and influences also provided the model for boys to make a success of their lives through the later establishment of the Meccano Magazine (1916) and guilds (1919) to accompany the toy. Secondly, it shows how this vision has continued to endure through the use of Meccano as a scientific device and in memories of the toy.  相似文献   

16.
Abstract

This paper addresses the polemical and intimate writings of one of Malaysia’s leading public intellectuals, Farish Noor. Straddling secularism and Islamism, Noor’s ideas are informed by a compassion that seeks to bypass monotheism and an ethnically informed nationalism. An advocate of a multiethnic and plural society, Noor does not merely reject Islamism; rather, his thinking seeks to reconcile and transcend what he perceives as a false dichotomy between a system of reason and a system of belief. The achievement of this transcendence is a fraught one for it sometimes seems that Noor involuntarily contradicts himself. To resolve this contradiction I turn to Gille Deleuze’s work, Pure Immanence, which, I argue, provides a key in‐road into understanding the complexivity of Noor’s thought, in particular his valorization of love and his canny and novel attempts to interpret what he calls an ‘other Malaysia.’  相似文献   

17.
Abstract

This article examines the way in which seemingly contradictory positions of populism and cosmopolitanism are articulated in the development of the Japanese post‐Second World War fascination with overseas. Specifically, I analyze the writings of Ohashi Kyosen, a popular television entertainer, and investigate how a particular mode of subjectivity is expressed through his ideas of overseas leisure and retirement in his best‐selling book Kyosen: Choose Your Own Life (Kyosen: Jinsei no Sentaku) and related essays published around 2000. While the issue of subjectivity has been the central concern throughout modern Japanese history, earlier analyses have been focused on the critical writings of intellectuals. I argue that in order to understand the larger social impacts of the translation of subjectivity, we also need to examine how the issue is articulated in popular discourses. Ohashi’s popular writings suggest that the issue of subjectivity still haunts the contemporary everyday lives of many Japanese, and continues to be the key predicament for articulating a culturally meaningful model of ‘citizen’ in Japan. Ohashi’s writings raise questions about what it means to be an active agent of one’s life, and how to situate the self in the larger society. Through an analysis of Ohashi’s narratives, I first illustrate how subjectivity is negotiated through people’s demands for leisure and their concerns about retirement, both of which are entangled with their fascination with overseas. Second, I examine Ohashi’s narratives as an expression of the paradoxical position of the Japanese citizenry conditioned by the US–Japan political, economic, and military coalition. I discuss how the predicament of articulating Japanese subjectivity reflects this paradoxical position under the legacy of Cold War geopolitics in Asia.  相似文献   

18.
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19.
Abstract

The 1950s saw a wave of depictions of threatening male working-class adolescents in English novels, films and cartoons. However, these texts must be contextualised not only as part of the well-documented 1950s moral panic about youth but in relation to the popularized psychological concepts of the ‘normal’ and ‘deviant’ child and the increasing implementation of progressive educational ideas that artificially limited working-class pupils’ horizons. This makes this period not only another reiteration of the perennial moral panics about the rising generation that Geoffrey Pearson has documented, but an emergence of a new way of conceptualizing youth.  相似文献   

20.
ABSTRACT

In 2017 the Donmar Warehouse presented The Tempest to women prisoners at HMP New Hall, UK. The production was part of a trilogy of Shakespeare plays directed by Phyllida Lloyd, each staged with an all-female cast and each set within a women’s prison. Over the five years of developing this trilogy the Donmar undertook extensive research and development into the prison context, including in collaboration with York St John University’s Prison Partnership Project. This paper explores the prison audiences’ experiences of The Tempest, examining how they responded to seeing their own lived experiences on stage, filtered through the prism of Shakespearian plot, characterisation and language. In particular, this paper focuses on moments of identification, where the women found direct resonance and self-recognition with the characters and experiences in The Tempest. At the same time it draws on discourses from dramatherapy and aesthetic theory to argue for the importance of various forms of emotional, empathetic and psychical distance. Using close analysis of the spectators’ responses, it describes how for the prison audience the result was an oscillation between identification and distance, a reading of “me but more than me” that produced a powerful affective and reflective impact.  相似文献   

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