共查询到20条相似文献，搜索用时 31 毫秒
1.
Zhang Zhaohui 《中外文化交流(英文版)》2007,(5):28-31
Over the past decade, Ren Rong has dedicated himself to cultural dialogues between China and West and gradually developed his own artistic stvle and built his own image and svmbol system.In the context of globalization of contemporary art, Ren Rong, as an international artist with the background of Chinese culture, is gaining growing recognition worldwide.[第一段] 相似文献
2.
Aimin Cheng 《Inter-Asia Cultural Studies》2019,20(4):604-609
ABSTRACTWith its dynamic narrative, Shawn Wong's Homebase recounts the story of four generations of a Chinese family searching for a homebase on the land of the United States. Personal experiences, family chronicles, and Chinese American history are portrayed through various forms, including short stories, correspondences, student essays, memories, and dreams. A major theme of the novel is geographically and spiritually “reclaiming America,” or attempts by Chinese Americans to make the United States their “real” home. The protagonist's way to reclaim America involves revisiting landmarks and other places in the United States where his father and grandfather had traveled, through which he tries to discover the meaning of his own life in the United States and thereby to find his personal identity and home in this country. In drawing the topography of Chinese American history, Shawn Wong not only inscribed Chinese American presence on those places where the protagonist's forefathers had lived and worked, but also used legends to implant their heritage into those soils. Shawn Wong hopes that through his writing he can build for Chinese Americans a history, a cultural foundation with myths and legends of their own. Only when a people's myths spread over the land they inhabit can the land truly be considered theirs. The Chinese American identity shaped in Homebase is heroism, rooted in the ethnic identity of the male Chinese American in the American West, and this is the “home” that the protagonist as well as many other Chinese Americans ever quest for. 相似文献
3.
ABSTRACTChinese American poetry, with its socio-cultural and aesthetic values, chronicles Chinese American personal and collective experiences in the past 160 years. The review of Chinese American poetry studies from 1988 to 2018 shows that research on Chinese American poetry has generally progressed through three stages: identity studies, literary aesthetic studies and philosophical studies. From the emphasis on identity studies to the call of aesthetic studies, the critical discourse in Chinese American poetry has developed in the shadow of Chinese American literary criticism and has not yet formed its own critical paradigms. For this, the philosophical study of Chinese American poetry shows its strength and opens up a broader space for the future research. This critical approach must benefit the study of other Chinese (or Asian) American literary genres. Though this paper has divided the studies into three categories, the actual critical practices are usually more complex and comprehensive, thus future researchers should have more profound and interdisciplinary perspectives on the study of Chinese American poetry. 相似文献
4.
Meaghan Morris 《Inter-Asia Cultural Studies》2016,17(2):272-287
Focusing on the relationship between Chua Beng Huat’s sociological thinking before the Inter-Asia Cultural Studies project and his more recent famous works on consumption and popular culture, this essay seeks to understand how he has produced a methodology and a mode of authority that is effective for the context he inhabits in Singapore as well as resonant for scholars working elsewhere. After discussing his interest in large rather than ‘cult’ popular cultures, his emphasis on the detail of government processes as well as popular practices, his economically-grounded concept of consumption and his materialist approach to texts, I read his work on ‘nostalgia for the kampung’ as modelling an Inter-Asian way of doing Cultural Studies that helps us ask questions and develop concepts for our own local contexts. 相似文献
5.
Shinjō Ikuo 《Inter-Asia Cultural Studies》2017,18(2):269-280
Nakaya Kokichi is a writer whose work illustrates a singular unfolding of intellectual thought in Okinawa under the US military occupation. This article sheds light on the political potential of Nakaya’s thoughts through a close reading of his posthumous collection. In doing so, I pay particular attention to the three aspects of his thought. First, Nakaya’s texts reveal the violent nature of “interpellation” that sustains the system of the US–Japan military alliance. Nakaya’s work exposes the way in which such interpellation at once subject those who live in Okinawa and, therefore, prohibits them from becoming political subjects. Second, Nakaya’s writings critique the politics of Okinawan nationalist identity and seek an alternative political future in the solidarity among non-subjectified bodies. Third, Nakaya’s thoughts suggest a paradoxical possibility of Kakushi, or a death in a foreign land even in one’s own so-call “homeland,” once that helps to resituate Okinawa as an intersection of “refugees,” who remain unable to belong to nation-states, and their “histories that open up laterally.” 相似文献
6.
Liu Liu 《中外文化交流(英文版)》2007,(2):24-27
Behavior art is an artistic genre of post-modernism flourishing in the 1960s and 70s in the West, and it has been imitated, explored and developed by avant-garde Chinese contemporary artists ever since the late 1980s. Some of them devote themselves so wholeheartedly to pursue and experiment it tnat graoually they have out their unique style and attracted attention home and abroad. Yin Xiaofeng, a gifted young artist from Chengdu, dramatically demonstrates the wonder and power of behavior art by harmoniously contrasting the ancient and the contemporary, the traditional and the modern, the Chinese and the Western, with his wit, his thought, his body and those rubbles buried in ruins for thousands of years...[第一段] 相似文献
7.
In this wide-ranging interview and discussion with Kuan-Hsing Chen and Sun Ge, Mizoguchi Yūzō describes the origins of his interest in China studies and the process through which he developed his perspective on China, Japan, and the world. Mizoguchi details his break with both old-style Japanese Sinology and Western-influenced scholarship, which assumes Japanese superiority over China and takes Euro-American society and concepts as its standard. Mizoguchi suggests that historians can and should cultivate a new subjectivity for themselves and understanding of the history of the world as a whole through an approach to China that attempts to understand China’s own internal historical processes rather than assuming the universality of Western processes. He discusses his efforts to help reform the institutional structure of China studies in Japan, and further touches on the part played by Japan in China’s modern history as well as its historical relations with Taiwan and Korea. 相似文献
8.
Xin Yuan 《中外文化交流(英文版)》2006,(2):12-15
Yu Chengsong and his composite oil print works were I first known to the art circle in 1993 when he published a 35-volum painting album on Chinese landscape. The album, printed in six languages including Chinese, English, Japanese and French, was distributed worldwide. In order to create this album, Yu traveled across the country on his own expenses. He painted the most marvelous and beautiful landscapes in China, from 相似文献
9.
Ma Jianhe 《中外文化交流(英文版)》2008,(2):32-35
On October 30, 2007, Chen Songyao took out the two flower-print boards stored in his closet for years and to his surprise, strong herbal fragrance from the board made him so refreshed. After more than one decade of stand-by,these two old print boards were again used for producing Chinese blue calico in the clamp-resist dyeing. 相似文献
10.
Yiu-Wai Chu 《Inter-Asia Cultural Studies》2013,14(2):192-205
AbstractAfter 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
11.
When communicating with a member of his or her ethnic in-group, a multilingual typically uses his common first language. If, however, the multilingual uses a common second or third language, we believe this choice will indicate his or her endorsement of attitudes believed to be held by that language out-group. An audience will respond to this implicit statement by a shift in its ethnically relevant altitudes either towards or away from the position of the speaker. Convergence is assumed to occur if relations between the language communities are harmonious, ethnic affirmation if relations are hostile. To explore this reasoning, experimenters addressed Chinese trilinguals in their first language of Cantonese, their second language of English, or their third language of Mandarin. When instructed in Mandarin, subjects assumed their experimenter held more traditional Chinese beliefs and they themselves completed a measure of traditional Chinese beliefs in a more Western direction. Although most Hong Kong students at university are ambivalent about their colonial status under Great Britain, they oppose Hong Kong's reversion to China in 1997 and are threatened by this prospect. Consequently, we believe that they responded to an experimenter speaking the Mandarin language of China by affirming a more Western identity. 相似文献
12.
《Cultural and Social History》2013,10(3):349-367
ABSTRACTIn the late nineteenth century a number of writers turned to anthropology to predict a socialist future. They included prominent revolutionary socialists such as Friedrich Engels, William Morris and members of the Socialist League. Contextualizing the appropriation of the anthropologist Lewis Henry Morgan by such writers, this article also pays particular attention to socialist popularizations of anthropology, particularly those by Morris and his fellow writers in his penny weekly, the Commonweal. Focusing on Morris's articles on ancient society helps to illuminate his own understanding of history, art and socialism. It also sheds new light on his predictive fiction News from Nowhere, which was originally read alongside Commonweal non-fiction. Both, I will argue, encouraged readers to see the future in the struggles of the ancient past. 相似文献
13.
14.
Zhu Weijie 《中外文化交流(英文版)》2006,(7):32-33
Sui Jingshan is an assistant professor at Anhui Provincial Art College. He was born of a family of suona musicians and his ancestors were all folk musicians playing suona, a double-reed traditional Chinese instrument. Sui was born in Bozhou, a county in the northern part of Anhui Province which borders with Henan, Shandong and Jiangsu provinces. It is also the hometown of Cao Cao, a great strategist, politician and gure of literature. The place enjoys rich cultural traditions and diverse… 相似文献
15.
Ian B. Stewart 《Cultural and Social History》2017,14(5):599-620
The fin de siècle witnessed radical shifts in the intellectual and cultural landscapes of the British Isles in the context of a general revolt against Victorian values. E. E. Fournier d’Albe – physicist, spiritualist, inventor and Pan-Celticist – personified the ability of intellectuals to latch onto and advance new trends, made available by the emergent intellectual pluralism. Like many contemporaries he rejected traditional religion, but he also disdained scientific materialism, and sought a deeper metaphysical meaning to life, pursued through his various interests. Influenced by the totalising theories of figures like Herbert Spencer and Ernst Haeckel, Fournier concocted his own brand of scientific monism, rejecting materialism, embracing spiritualism, and ever optimistic in the notion of scientific progress, even in the wake of the carnage of the Great War. The article aims to give Fournier a fuller historical treatment, allowing his story to add to understanding of the milieus in which he lived and operated, and revealing how his monistic philosophy incorporated some of the disparate cultural strands explored by intellectuals in the fin de siècle reaction against conventional Victorian ideals. 相似文献
16.
Wai Siam Hee 《Inter-Asia Cultural Studies》2017,18(1):131-146
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
17.
Joseph Brennan 《Popular Communication》2016,14(4):199-211
In June 2014, Australian rugby league player Todd Carney had his contract cancelled with the Cronulla Sharks and received a lifetime ban from the National Rugby League after a photo in which he appears to drink his own urine in a public restroom went viral on social media. This article performs a critical analysis of the image at the centre of the Todd Carney bubbling scandal, as well as discourse surrounding it—on two contrasting forums, SharksForever and JustUsBoys. The analysis uncovers various insights into this particular image and the unspoken codes and unseen homoerotic rituals and bonding boy cultures of Australian team sportsmen and their “mates.” The argument is made that the image itself, along with its widespread publication on social media and construction through discourse, points to the limits of “proper” masculinity and, ultimately, perversion of the expectations placed on league males as heterosexual hero icons. 相似文献
18.
KWOK Kian-Woon 《Inter-Asia Cultural Studies》2016,17(2):288-304
This essay outlines an intellectual portrait of Chua Beng Huat and offers a critical appreciation of his contributions as an academic, a scholar, and an intellectual. I highlight key biographical details: his family upbringing in Bukit Ho Swee, schooling in the Chinese and English mediums, higher education and academic experience in Canada, his return to Singapore, and serving as a sociology faculty at the National University of Singapore, which he made a home base for inter-Asia studies. I discuss his pedagogical approach, which extends to his research and public engagement. In reviewing his works, I focus on the theme of communitarianism as a basis of political legitimacy in East Asia, with housing provision in Singapore as a prime example. His project presents an alternative to Western liberal democracy taken as the universal bedrock of political modernity. I characterize it as the recuperation of the social in the face of capitalist modernity, which is conducive to atomization and corrosive of solidarity. Yet, he projects the possibilities of a more politically liberalized communitarianism. What he offers is not a set of ready answers that reconcile Marx’s “realm of necessity” and “realm of freedom,” but a lucid exposition of the tensions between the two realms under contemporary conditions. 相似文献
19.
The current study examined the effects of national culture (U.S., China, and Korea) and interpersonal relationship type (a stranger and a friend) on apology. Findings revealed that participants (N = 376) from the three cultures differed in their perceptions of the offended person's emotional reaction and their propensities toward apology use (i.e., desire, obligation, and intention to apologize, as well as their perception of normative apology use). Regardless of their cultures, participants showed stronger obligation and intention to apologize to a stranger than to a friend. With regard to the intention to apologize, both American and Korean participants showed a greater discrepancy between themselves and their estimate of most people in their own culture than did Chinese participants. Although participants from the three cultures did not differ in their propensities toward apology use for a friend, both American and Chinese participants showed greater discrepancy than did Korean participants for feeling obliged to apologize to a stranger. For intention to apologize to a stranger, both American and Korean participants, compared to Chinese, showed greater discrepancy between themselves and their estimate of most people in their own culture. Other findings and implications thereof are discussed in more detail in the paper. 相似文献
20.
Alex Mallett 《Al-Masaq: Islam & the Medieval Mediterranean》2010,22(2):113-128
This paper examines ideas surrounding the presentation of the Muslim “other” in Latin writings of the early period of the Crusades. Using a case-study approach of the views of one chronicler, Walter the Chancellor, in his work Bella Antiochena, on one individual Muslim, Najm al-Dīn Il-Ghāzī, the paper studies aspects of the image of Il-Ghāzī, the reasons for them, how and why they develop throughout the chronicle, and whether, from the other information given in the chronicle, it would be possible to interpret the information in other ways. The conclusions reached demonstrate that the reason for the vitriol in Walter's presentation was his wish to justify the Crusades and suggest that the writers of Outremer started to develop their own cross-cultural responses to Islam, independent of mainstream European thought, because of their situation. 相似文献