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1.
ABSTRACT

This article explores the cultural and social impact of the world's first mass public transit system by highlighting its impact on time instead of space. Time allows us to see how public transit imbricated small-scale and large-scale practices, channelling vast numbers of private goals and generating new kinds of collective and subjective experience. The reliability and ubiquity of the system transformed movement into a calculation between time, energy and money. This redefined the organization, perception and rhythms of activity within the daily cycle and transformed the geographical distribution of services. It thus created new forms of discrimination related to access.  相似文献   

2.
Abstract

Around 1960, revolutionary forms of activism and critique emerged to challenge administrative forms of politics and daily life. In Japan, despite massive strikes and widespread protest, the ruling party used a Diet majority and riot police to renew the USA–Japan Security Treaty. After this display of force, this party’s new administration sought a new legitimacy, and a means to assuage and co‐opt the defeated opposition, through promoting a depoliticized everyday world of high growth and consumption, and a dehistoricized national image in preparation for the 1964 Tokyo Olympics. Among those activists who emerged to contest this new cultural politics, a diverse group of young artists worked to repoliticize daily life through an interventionist art practice. Their practices arose out of a particular local, playful art practice, whose focus on the material debris and spaces of the economic expansion led to an engagement with the transformations of daily life. Focusing on the art practices connected with the yearly exhibition, the Yomiuri Indépendant, I examine the advent of a critical art examining the everyday world of Japan in the late 1950s and early 1960s, reflecting on its complex relation with an internationalized art world and domestic art scene, mass culture, and domestic protest movements. Examining the history of this art illuminates the state’s investments in a normative cultural order, and a particular configuration of the politics of culture in the early 1960s.  相似文献   

3.
ABSTRACT

This study investigates the spatial practice of a subcultural activism of the “young radicals” in Seoul, South Korea through the lens of urban commoning. As a cohort of people born after the 1980s, these young musicians, artists, and cultural activists have endeavored to create, produce, and transform urban spaces through involvement in a series of anti-eviction protests. In particular, this study investigates how and why radical musicians, artists, and their associates have negotiated the chasms among their personal lifestyle, collective subculture, and political activism by pursuing their spatial practices for self-standing and survival over the past 10 years. Although not necessarily place specific, several cases are drawn from a group that relocated to the central area of Seoul since the mid-2010s, making its urban activism a subcultural (and transcultural) formation.  相似文献   

4.
ABSTRACT

This paper focuses on music practice of the New Workers Art Troupe (NWAT, xingongrenyishutuan) that is based in Pi Village (picun), Beijing. During last 3–4 years, the troupe has gradually attracted the attention of young scholars and college students due to their public advocacy for the rights and benefits of migrant workers in Mainland China. Given structural marginalization of workers and peasants that ironically contradicts with the officially claimed principles of socialism, the NWAT should not be ignored as far as cultural activism in nowadays Mainland China is concerned. Many researchers have investigated NWAT’s practices according to approaches of various discipline, however, the cultural meanings and social-historical condition of its core art form, music, have been largely neglected. Whereas this neglect acts both as cause and consequence, discourses about the NWAT have gradually been overwhelmed by moral commitment or sympathy to “disadvantaged groups,” which eventually proves nothing more than the coming-being of a moral order dominated by the new-born Chinese middle-class. In order to comprehend the affects the NWAT’s music articulated, what need to be illuminated are not only what they are singing, but also where and how they sing, as well as the cultural mechanism behind their practice.  相似文献   

5.
ABSTRACT

This paper investigates the state of informal social activism initiated by Singaporean youth via the creation of ground-up initiatives. Having witnessed state-civil society relations, where calibrated liberalisation, co-option and coercive measures are used as strategies of state control, these informal collectives seek new modalities and methodologies in their efforts to build the urban commons. By following three of such collectives, this paper seeks to explore the overlapping cultural and social realms they operate in, as well as the new modalities and methodologies they bring, such as participatory art and design. They negotiate constraints from both the state and market through (1) strategic positioning of legal statuses and (2) the formation of a network society, building social capital and a new vocabulary for future efforts in self-organisation.  相似文献   

6.
ABSTRACT

This article examines various reactions to new forms of dance music and dance in Britain during the 1920s. It shows how these new cultural forms were part of broader social and economic changes, and notes how they are seen to represent a considerable break with previous cultural forms. In particular, such changes have been seen as symbolic of the widespread ‘Americanization’ of British culture. This article questions the degree to which this was true. It thus examines attempts by ‘professionals' to fashion ‘British’ versions of both dance music and social dances. In addition, it examines how audiences resisted and exacerbated these developments.  相似文献   

7.
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   

8.
ABSTRACT

What happens when we try to understand art as a commons? Elinor Ostrom [(1990/2012). Governing the commons. Cambridge University Press] challenged Hardin’s “The tragedy of the commons” [(1968). Science, 162(3859), 1243–1248] demonstrating that the governance of common pool resources is not always destined to failure. Ostrom’s analysis was initially applied to the management of shared natural resources; however, over time the term “commons” has also been used to describe non-tangible resources, specifically knowledge. Can Ostrom’s theory of the commons inform artistic practice? This article investigates some challenges presented by these research questions and their implications for cultural policy. In order to provide an empirical ground for the discussion of this topic, this paper will analyse the case studies of two cultural spaces in Italy, Teatro Valle (Rome) and Asilo Filangieri (Naples), which were occupied by groups of cultural professionals and managed as commons between 2011 and 2016; the outcomes of these occupations indicate possible ways to develop a commons-oriented approach to culture.  相似文献   

9.
In contemporary accounts of cultural value, young people's perspectives are often restricted to analyses of their encounters with formal cultural institutions or schools or to debates surrounding the cultural implications of new digital spaces and technologies. Other studies have been dominated by instrumental accounts exploring the potential economic benefit and skills development facilitated by young people's cultural encounters and experiences. In this paper we examine the findings of a nine month project, which set out to explore what cultural value means to young people in Bristol. Between October 2013 and March 2014, the Arts and Humanities Research Council “Teenage Kicks” project organised 14 workshops at 7 different locations across the city, with young people aged 11–20. Working in collaboration with a network of cultural and arts organisations, the study gathered a range of empirical data investigating the complex ecologies of young people's everyday/“lived” cultures and values. Young people's own accounts of their cultural practices challenge normative definitions of culture and cultural value but also demonstrate how these definitions act to reproduce social inequalities in relation to cultural participation and social and cultural capital. The paper concludes that cultural policy-makers should listen and take young people's voices seriously in re-imaging the city's cultural offer for all young people.  相似文献   

10.
ABSTRACT

Previous research indicated that communication through media has been intertwined into immigrants’ everyday lives and become an essential part of their acculturating practices. However, no research has been conducted to examine how innovative, ethnic social media play a role in Chinese immigrants’ acculturation process in terms of social capital. In order to fill the research gap, a qualitative study was conducted to explore how Chinese immigrants use social messaging to accumulate social capitals to facilitate their acculturation process. Thirty face-to-face in-depth interviews were conducted among Chinese immigrants to collect data. Findings revealed that Chinese immigrants tend to consider acculturation as a complex and long process in which they navigate through and position themselves in the unfamiliar cultural system. The ethnic social medium – WeChat, and in particular, its social messaging plays an essential role in shaping Chinese immigrants’ acculturation experiences by assisting them in garnering both bonding and bridging social capitals.  相似文献   

11.
ABSTRACT

This article analyzes the connections between memory and human dignity as it intersects with art and art museums. Two recent examples—the Museo de la Memoria y los Derechos Humanos 2016 exhibit Expolio, and Alexander Sokurov’s 2015 film-essay, Francofonia—highlight the need for a larger conversation regarding the way accumulation and loss of cultural products uphold or denigrate human dignity, a concept that is not often thought of in relation to the assets of art museums. Using the historical frames set out by these examples, which span from the opening of the Louvre to the plundering of cultural artifacts in Syria, I argue that dignity has always been an asset of museums. It is through the merging of dignity and memory, in the context of art and culture, that the emerging field of human rights museology can begin to speak more broadly to art history and memory studies alike.  相似文献   

12.
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   

13.
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   

14.
Abstract

This essay deals with the social and political after‐shock introduced by SARS, which is considered here as both a public health outbreak and an urban cultural crisis. In Hong Kong, several years after the epidemic episode, the people’s voice regarding urban spatial politics, governance, and the media has not only grown louder, but has also been profoundly transformed into collective effervescence. This essay is based on over 50 interviews of ordinary Hong Kong residents from a wide spectrum of demographics. A particular focal point of the interviews was, inevitably, the participants’ reformulation of their identity as a function of urban crisis. Chiefly a documentation of the vernaculars of public criticism offered by the citizens of Hong Kong, this essay relates post‐SARS public sentiments to the (somewhat fiddly) development of democratic ideals that is animating our urban imagination today.  相似文献   

15.
ABSTRACT

Discourses of discovery have been important in a wide range of musical contexts, from early modern ideas about musical composition through to current forms of popular music production and consumption. Across these various contexts there are often inherent connections between discovery and colonialism, connections that become most apparent in non-Western socio-cultural and musical settings. In this article, I situate discourses of discovery within the “coloniality of power,” noting how colonial discovery can be more critically described as invention. From here, I turn to the genre of World Music as an example of how musical discovery is underpinned by inherently colonial perspectives, articulations of power, and relationships of dominance and subordination between Western and non-Western cultures. In contrast, I present the concept of interculturalism as a way of thinking about the possibilities of cultural in-between-ness beyond discovery, drawing on the practices of musicians who articulate intercorporeal and intercultural communication through performance.  相似文献   

16.
ABSTRACT

The rise in LGBT-themed novels in Indonesia over the last decade demonstrates the sea-change in social attitudes and the public presence of sexual and gender minorities in Indonesia. The genre emerges from the popularity of sexually-charged novels by female authors such as Ayu Utami and Djenar Maesa Ayu. However, many novels were criticised for the supposed westernisation of Indonesian culture that threatens the national identity and moral disposition of its readers. This article explores the underlying themes of these criticisms—nationhood, cultural authenticity, and morality—and juxtaposes them with the claims of cultural authenticity and legitimacy made by gay and lesbi Indonesians. Representations of “traditional” homoeroticisms in the novel Mairil by Syarifuddin bring these lines of arguments together and synthesise a discursive space where cultural and national authenticities are “queered.” It is my contention that religious and traditional elements that foster same-sex practices offer a key to queer legitimacy for Indonesian sexual minorities.  相似文献   

17.
Abstract

Our main concern is to see if cultural studies can intervene more productively in the dominant educational processes, in ways that align with the sustainable interests of its critical project. As cynicism becomes the commonplace ‘distinction’ of our young graduates, we raise two questions: why should cultural studies be concerned with the spread of cynicism within our own institutional and pedagogic space? And what would be the implications of such critical reflection on our current practices, as scholar and teacher of this critical project? The paper draws on our continual engagement with the curriculum reform of secondary school subjects (Integrated Humanities and Liberal Studies) in Hong Kong, in an attempt to explore the limits and opportunities of education as social practice, as well as the effectivity of cultural studies within the contemporary contexts and crises of education. First we describe how taking part in the specific school reform projects has begun to change the critical and pedagogic orientation of cultural studies we do at the university. Then we discuss the implications of our recent experiments in doing cultural studies in and with the local schools. In all, we want to examine what brings us to our own search for a certain ‘politics of hope’, by re‐thinking and re‐mapping cultural studies as a collective, pragmatic programme in the local educational set‐up. For, without a constructive pragmatics, the students of cultural studies cannot be expected to work effectively across diverse institutional settings. Thus, criticism and the production of critical knowledge in the contemporary academy would go on to foster a state of cynicism among its graduates and the ‘stakeholders’ concerned. Cultural studies, we believe, can make itself more useful through concrete ways of mediating its expertise in the complex processes of education. As such, we emphasize the contemporary relevance and uses of cultural studies for educational transformation.  相似文献   

18.
Abstract

For a long time popular music and aesthetics have been considered as mutually exclusive categories within the musicological discourse. Based on the predominance of idealistic autonomy aesthetics, the concept of the (musical) ‘work of art’, at its core, legitimised the exclusion of popular music from the realm of aesthetics. Since the concept of autonomy constituted the beauty of art as a sphere free from social functions and independent from interests of the culture industries, two antithetical strategies in researching pop music have recently emerged: on the one hand pop music has been described as art, on the other hand it has been considered as a cultural phenomenon solely explored through sociological approaches. This paper looks for an alternative way in order to overcome the dualisms of art and everyday life, aesthetics and society, without neglecting the inherent aesthetic dimension of popular music cultures or the processes of identity‐making of the involved people. For this purpose, concepts developed in theatre and ritual studies seem to be fruitful for describing pop music as ritual in social space (musicking), and in terms of an aesthetic of the performative. Based on participant observations and interviews, the paper discusses a rock concert that the Yoon Band from South Korea held in Germany. In view of the event character and of liminal and transformative processes within the performance, it gives an example of how Korean people in Germany negotiate their identities and draw national boundaries through actively participating in and through music. Thereby, the way popular music constitutes the diasporic community can be detected in the underlying social, symbolic, and sound patterns of the performance.  相似文献   

19.
ABSTRACT

This essay examines contemporary art as a tool of political resistance against existing and emerging ideologies as well as controversial and discriminatory cultural norms. On the example of the 2017 Venice Biennale, this research project analyses art, and more specifically, selected nation-specific exhibits, as pieces of critical pedagogy, representative of ideological and cultural resistance. Concentrating on the comparative analysis of art exhibits from US-American, Russian, and German national pavilions, this research project explains what their respective art communicates, what the main messages are, and elaborates on the impact, the salience, and the affect the exhibits have on their numerous audiences today, when the sphere of international and intercultural relations is challenged like never before. This essay further demonstrates that the exhibits challenge and critique the past and the present of their respective national cultures and attempt to refocus and humanize the future in the globalized world.  相似文献   

20.
Abstract

Contemporary female musicians and vocalists in Iran represent a challenging and inspiring musical trend as a part of a dynamic and reflexive artistic and cultural wave. This trend could be compared to a trend in the first half of the 20th century in Iran, which opened the first chapter in the history of women asserting their presence and their voice as female musicians in public spaces, exemplified in the work of Qamar al-Moluk Vaziri. This article analyzes these two trends in their social and cultural contexts and explores the efforts of postrevolution female vocalists to assert their presence in musical realms. Addressing these issues in the context of political, religious, and cultural constraints, the article examines the agency of female musicians and vocal performers in the long history of women’s struggles for self-expression and voicing their presence in public spaces and on the national stage.  相似文献   

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