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1.
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   

2.
The notion of charlatanism is central to the social workings of the eighteenth-century republic of letters. Starting with Johann Burkhard Mencke's famous treatise The Charlatanry of the Learned, this paper traces how accusations of academic and scientific misconduct put in terms of ‘charlatanry’ initially helped to produce the new species of the erudite ‘charlatan’. Facing a growing complexity of scientific culture, this new frame of meaning, structured by numerous examples of scientific misconduct, offered a way of mapping the world of learning. But besides its cognitive impacts, the discourse of charlatanry allowed the creation of symbolic boundaries, which determined decisions as to the affiliation or non-affiliation to this recently forming scientific community by separating honourable from dishonourable scientific personae. Speaking of charlatanry therefore always implied a social distinction as much as a scientific one. The discourses on charlatanry also mirror differentiations within the scientific field. At first dominated by a critique built on courteous or bourgeois values, the scientific field later developed its own criteria of appraisal, such as authorship, originality, transparency, etc. Attracting the attention of a growing public sphere, the explicit verbalization of claims which were not related to the value system of a republic of letters primarily concerned with the production and distribution of knowledge finally led to a more implicit moral economy of science.  相似文献   

3.
This article presents a case study of A Complaint with the Cadi (Algeria), ca. 1896 – a painting by the French Orientalist artist Marie Lucas-Robiquet (1858–1959). Using cultural and social history as prisms, it explores what Lucas-Robiquet’s visual record communicates to the cultural ‘outsider’ about Muslim social life in French colonial Algeria. Attention is given to this artwork because it depicts the Islamic judiciary system as practised in late nineteenth-century Algeria. This article argues that this painting and its subject matter are rare in the Orientalist canon; that the artist was female, is, I posit, crucial to the ways in which this work can be read. Lucas-Robiquet, a decorated Orientalist, used a Naturalist style of painting which was both nuanced and sensitive to Islamic cultural traditions. I contend that A Complaint with the Cadi (or qā?ī meaning judge) is an important work because it represents a locus of historicised forms of Otherness: the French female artist and the Algerian cultural attribute.  相似文献   

4.
Abstract

This article tackles J‐pop as a result of diverse influences from Western music. Its strength stems from its capacity to ‘tame the exotic’, i.e. assimilate and recreate from styles that were uncommon for Asian cultures by integrating elements of rock, reggae, hip hop, etc and labelling these J‐rock, J‐reggae, J‐rap. This assimilation and indigenization process in J‐pop creation could be seen as a way to resist against competitors from other places of music production. The article also attempts to identify the specificities and assets of J‐pop in the music scene in general. It elaborates on J‐pop's coolness, and the reason why it could expand throughout East‐Asia. Pop music and pop culture flows in East‐Asia could be regarded then as a means to trigger a sense of community and togetherness through the consumption of pop culture products. Throughout the analysis on J‐pop, the article will rely on one musical example, Def Tech and Micro, as this artist tends to explore various musical genre and intermingles them, so as to create a specific style, coined ‘Jawaian reggae’.  相似文献   

5.
This essay analyses a politically tinged painting by Xu Beihong (1895–1953), a representative modern Chinese painter. He composed the work in 1949, just before the founding of the People’s Republic of China, or the New China. In this article’s discussion of the perplexing work, the author attempts to unveil Xu’s understanding of revolution and of the relationship between art and politics, in relation to his difficulties in exploring and practicing art in the early Republic period (1912–1949). Based on this, the author discusses the painter’s mindset in the social and political context of the New China. She also tries to reveal that Xu’s art practices were restrained by the realities he was in – a crucial point to understanding his achievements and predicaments. As an artist who resisted the western modernism in the course of modernization, and who idealistically pursued the highest good and beauty through “realist” approaches and historical expressions, Xu’s predicaments interestingly reflect the complicated relationship between art and revolution in China’s road to modernization, and provide a foundation for further explorations into the core issues and the particularity of modern Chinese paintings.  相似文献   

6.
Abstract

This paper discusses the political and theoretical implications of the various performances of queer self‐naming (or the refusal of which) in the face of the ongoing backlash against unconventional or non‐normative genders and sexualities. It argues that, instead of a hasty call for the discarding of identity terms or naïve recourse to them, we could keep (re)using the signs without endorsing their normative meanings and line of demarcation. Through analysing some of the feminist counter‐discourses against the backlash, arguments for indigenous Japanese queerness, and a performance by a Japanese lesbian artist, Ito Tari, it shows that the queer gesture of equivocally assuming the scandalous ‘name’ may be one of the few effective survival strategies for those who have already been scandalously (mis)named.  相似文献   

7.
Live music makes a vital contribution to the cultural and creative identities of cities. In turn, the spaces in which such activity takes place contribute strongly the functioning of local music and arts scenes. However, particularly in large Australian cities, there is a tension between economic development, fuelled by an extended property bubble, and the viability of small-to-medium live music venues. This tension is compounded by community attitudes toward arts and culture as well as a range of regulatory measures which govern the spaces in which this activity takes place. This paper examines the challenges inherent with developing and sustaining of live music venues in relation to the regulatory barriers associated with doing so. This paper draws on data from two qualitative examining producer accounts of live music operation in Perth, the capital of Western Australia, and Sydney, the capital of New South Wales. Both studies focused on the regulatory frameworks, and barriers associated with being able to support local, original contemporary music activity and were prompted following the closure of several highly supportive, high profile live music venues in each location. This research came in the wake of the so-called ‘lock out laws’, in the entertainment district of Kings Cross and surrounding suburbs, resulting in significant local and national debate around the impact and effectiveness of such laws. This paper is contextualised within debates relating to the importance of supportive live music venues, the challenges associated with developing, supporting and maintaining such spaces in light of gentrification and urban renewal strategies. As argued, these strategies, which work to enhance the vibrancy of cities – and often position arts and culture activity as being a vital component - often displace and/ or cause tensions for the spaces in which cultural and creative activity takes place during and after such regeneration.  相似文献   

8.
Book Reviews     
During the 40-odd years that the Alsatian-born, French-trained artist Philippe Jacques de Loutherbourg lived in Britain, he became a triple celebrity. A decade after his migration to Britain in 1771 his achievements as a picturesque landscape artist were celebrated in election to the Royal Academy. During the same period he also worked for David Garrick at Drury Lane theatre as the highest-paid scenographer in Britain. Critics hailed him as a genius for revolutionizing Britain's dull staging traditions along the spectacular and naturalistic lines of France's Giovanni Servandoni. Finally, as the creator in 1781–82 of a pioneering commercial moving picture show, the Eidophusikon, he was acclaimed by leading arbiters of artistic taste such as Reynolds and Gainsborough. Well-heeled West End crowds flocked to performances, and the Eidophusikon was widely imitated in Europe, the United States, and the British colonies.

Yet de Loutherbourg's professional and social standing remained surprisingly fragile. At periodic intervals he was accused publicly of charlatanry, or its British equivalent, quackery. This damaging smear surfaced on each of the three occasions that de Loutherbourg shifted career direction. And though he managed to redeem himself on each occasion, it was only by making serious artistic and professional compromises. In this sense, the spectre of quackery haunted and shaped Philippe de Loutherbourg's British career, making him a fascinating test-case of quackery's shifting valencies at the dawn of the modern industrial age.  相似文献   

9.
Abstract

In Hong Kong, even though the Bill of Rights Ordinance (the localized version of ICCPR), Sex Discrimination Ordinance and a series of legal reforms (such as the cancellation of marital exemption of rape and the recognition of sexual discrimination in criminal law) were enacted and introduced respectively since the 1990s, gender/sexual discrimination in the legal discourse still persists; for example: Chinese customary law which only recognizes the male’s right to build small houses in the New Territories remains an exception under the Sex Discrimination Ordinance; the government insists on not tabling an anti‐sexual‐orientation discrimination bill; the right to same sex marriage/partnership is still absent from any legal‐political agenda; and so on. Some politicians and academics argue that any attempt to transplant a Euro‐American individual‐centric perspective of gender/sexual equality/justice will violate the Han‐Chinese culture of harmony. In the paper, I will adopt a critical perspective in examining the above argument and examine why harmony politics becomes a meta‐narrative in Han‐Chinese socio‐legal culture and how human nature/subjectivity is re‐constituted in such a context. I will further argue that a culture should always be meticulously and critically represented and investigated in order to reproduce ‘gender/sexual justice’. I will also investigate the possibility of scrutinizing and exploring the spaces of resistance within the Han‐Chinese socio‐legal culture in Hong Kong, where foreign theory of gender/sexual justice/equality and related legal reforms can be engaged to politicize current discrimination and suppression.  相似文献   

10.
ABSTRACT

Korean Modern Art History began to be produced in the 1970s, when Western Modernist Art History, based on Formalism, was introduced as a matrix to map the ‘evolution’ of 20th century Korean Art. Korean modern art history is based in the same paradigm as the West, beginning with Impressionism and ‘ending’ with Abstract Expressionism. First introduced to the country from the West immediately after the Korean War, Korean Abstract Expressionism is now deemed as South Korea’s ultimate ‘progressive’ and ‘modern’ art form, a ‘Korean’ painting style combining the Western art form with traditional artistic concepts of ‘Scholarly Painting’ (muninhwa). Japanese‐influenced painting styles originating in the colonial period (1910–45) are rejected as ‘non‐authentic.’ The problem is that Scholarly Painting was a gender and class specific art born from the rigid Confucian culture of pre‐modern Korea, and thus its revival as an ‘ultimate modern’ and ‘Korean’ form has the consequence of locating traditionally‐gendered notions of art and artist at the core of the South’s modern art. This essay uses a Semiotic approach to deconstruct this gendered modernist rhetoric by tracing the emergence of the sign ‘Koreaness’ in South Korean modern art, showing how it is defined within Korean Abstract Painting as an ‘ultimate Korean sign’ and how its use of anti‐Japanese rhetoric covers up the traumatic history of the Korean War.  相似文献   

11.
ABSTRACT

Traditionally Māori attributed disease to supernatural causes, including mākutu (sorcery) and, as with some other indigenous cultures, considered that killing sorcerers was both just and right. Belief in mākutu ran counter to the Church's desire to gain religious primacy, and mākutu-related murders challenged the State's claim to sovereignty, and its desire to ‘civilize’ Māori. Each indigenous society possesses unique characteristics, just as the nature of each settler society develops within its own environment. While some similarities with other colonized societies can be identified, distinctive local conditions influenced the relationship of Māori to the New Zealand colonial state, and thus attitudes and actions relating to sorcery-related crime. This article explores how mākutu brought Māori communities into conflict with both Church and State, and how the latter in particular was constrained by political realities. As the nineteenth century came to an end, the murders had largely ceased and the State and Church became more concerned with Māori spiritual healers. The article also shows that Māori reformers in the late nineteenth and early twentieth centuries took a lead in changing Māori attitudes.  相似文献   

12.
The city-state of Hong Kong had a unique postcolonial birth in 1997, when it was handed over to the motherland, China, after the expiration of a hundred year lease on Hong Kong held by the British. In this paper, I suggest that Hong Kong's unique attainment of postcoloniality, and the evolution of her subsequent complicated relationship with Mainland China, leads to a deep sense of anxiety in Hong Kong's identity as a global city. This anxiety, I further argue, is mapped on to the physical landscape of Hong Kong. By analysing the portrayal of Tin Shui Wai, a marginal and isolated area of development in Hong Kong, and the contrasting depiction of public and private spaces in Ann Hui's 2009 film Night and Fog, I attempt to explore the Freudian “uncanny,” the return of the repressed, which constantly threatens to erupt. In the concluding section of the paper, I use Kristevian theories of abjection and the spatialization of identity to argue that the figure of Ling, the Mainland mother in Hui's film, brings to the fore Hong Kong's anxiety about its postcolonial identity and relationship with China. She epitomizes the othered self, the return of the repressed, the foreigner who must necessarily be expelled (through murder) from within the nation-space of Hong Kong.  相似文献   

13.
This paper uses cross-sectional data from the US Current Population Survey to examine employment behavior among artists before and after a major period of economic transition – the Great Recession. The analysis looks at employment behavior among artists as an occupational group compared to other creative class workers and analyzes trends in periods before, during and after the recession. The results suggest that as a result of the downturn, many artists changed occupations to non-arts-related work or left the workforce altogether; artists became self-employed, and new artists opted for self-employment over wage/salary work; artists were disproportionately adversely impacted – either unemployed or underemployed – than other types of workers. Level of educational attainment was a significant determinant of whether an artist maintained quality employment and stayed in the occupation of his choice; and gender and marital status had a bearing on artists' ability to remain employed as an artist and maintain quality employment. The analysis emphasizes the importance of examining specific occupations within the creative class before drawing broad conclusions pertaining to all occupations with this title. Future work will test the conclusions in this study by using longitudinal data on artists.  相似文献   

14.
ABSTRACT

J.B. Priestley has often been seen as representative of a nostalgic Englishness which rejected the modern world and, in the process, embraced anti-Americanism. However, as this article suggests, Priestley had a more complicated relationship with both America and modernity than has been accepted. Focusing on the 1930s, it shows how Priestley travelled widely in the United States and came to admire the democratic and collective aspects of American culture, whilst also developing a critique of what he saw as the lack of individuality and creativity in other elements of the ‘mass' society, anticipating arguments he would develop after 1945.  相似文献   

15.
The Imam-caliph al-Mu‘izz al-Dīn Allāh undertook a series of monetary changes which were to have a monumental impact on all future Fā?imid coinage, would lead to many imitations even after the dynasty had fallen, and create an easily identifiable pattern that attracted medieval merchants and modern collectors. The fact that al-Mu‘izz's coinage went through three stages with slight variations in the wording and layout indicates that he was determined to create a new model for Fā?imid coinage which would distinguish it from the Aghlabid and ‘Abbāsid coinage that preceded and competed with it. In contrast, Sijilmasa coinage was so conservative in layout due to its role in the African trade.  相似文献   

16.
The history of medicine during the enlightenment is full of paradoxes, and nowhere is this more evident than in the phenomenon of charlatanry. On the one hand, for the charlatans' numerical abundance and sheer audacity, historians have sometimes singled out the eighteenth century as the ‘golden age of quackery’. At the same time, it was one of increasing control and severity by the medical elites.

In Italy, from the mid-sixteenth century, protomedicato tribunals, colleges of physicians, or health offices (jurisdiction varied from state to state) had required ciarlatani to submit their wares for inspection and, upon approval, pay a licence fee in order to set up a stage from which to perform and sell them. This procedure became an administrative routine, and the ‘licensed charlatan’ – not the paradox it might seem – became a common sight in Italian towns. The licensing regime gives the historian unparalleled opportunities when it comes to the investigation of suspect but generally tolerated categories such as charlatans. This article is partly based on a database compiled from the licences issued to some 1100 different charlatans by the various medical authorities in the states of Italy from 1550 to 1800.

During the eighteenth century we notice a downward trend in the number of licences issued (in places such as Siena, Mantua, and Turin), especially from the middle of the century onwards. This was not part of a policy to discontinue the licensing of charlatans, for various reasons (which the article examines), but it did reflect a stricter licensing regime. This is especially evident in the attitude of the authorities to oral (or internal) remedies. Moreover, as of the early 1760s, both the Venetian and Milanese authorities began to reject charlatans' petitions to sell remedies that were not original, resembled medicines already stocked by apothecaries, or were judged to be either harmful or ineffective. The similarity to established remedies that had once helped ensure a charlatan's acceptance and licensing now prevented it. Fewer licence applicants met these criteria; there also appear to have been fewer applicants. The harsh policy may have made charlatanry a less attractive career option or economic opportunity than in previous centuries, reducing the supply and marginalizing charlatanry, economically and geographically.  相似文献   

17.
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   

18.
Shang Hai, born in Liaoning in 1959, is of Manchu ethnic group. He used to be member of the eighth and ninth central committees of All-China Federation for Youth and currently is state-level artist, fellow researcher in the Manchu study and senior journalist. As a renowned artist and scholar, Shang is specialized in the studies of fine arts, ethnic culture and journalism.  相似文献   

19.
Abstract

In a writing life that spanned the 1910 to 1970s, J.B. Priestley engaged with a variety of subjects, across various literary forms, ranging from politics, popular culture and Englishness through to theories of time. However it has rarely been noted that he also wrote passionately and knowledgeably about music, with the latter playing an important role in key novels, plays and nonfiction. Priestley also promoted chamber festivals, wrote the libretto for an opera ‘The Olympians’, and even occasionally performed himself. Priestley’s writings on music fitted into his concerns about the rise of an Americanized mass order, and his mistrust of commericalized musical forms was shared by other critics of the time. However, Priestley’s work is more significant than a binary high/low low cultural validation of classical music/dismissal of more popular musical forms. He was often critical of jazz and ragtime, but more positive about popular music that was produced in, reflected, and empowered the individual and community. Priestley’s writings on music marked a genuine attempt at understanding the role of music in culture, and contributed to his democratic critique of the mass society.  相似文献   

20.
This article examines how marital violence was articulated in and around particular places, spaces, and objects, to reveal the tensions embedded in the physical structure of the household and its control. It also demonstrates that space and objects shaped marital violence both as an idea and an act and did ‘emotional work’ in the sense that they operated upon people’s emotions and behaviour. Finally, it argues that an imagined material culture of marital violence contributed to the construction and maintenance of class stereotypes.  相似文献   

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