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1.
《Cultural and Social History》2013,10(3):429-430
ABSTRACTThe present article uses Nell Dunn's Up the Junction (1963) to explore class, gender and the city in the 1960s. It focuses on three elements: the book's representation of post-war, urban working-class identity; the place of gender and sexuality within that representation; and, finally, Nell Dunn's own position as a middle-class observer. It argues for the continuing relevance and dynamism of class as a social referent in post-war, ‘affluent’ Britain. The article also explores the meaning of ‘slumming’ in the context of the mid-twentiethcentury city, against the background of ‘affluence’ and the emergence of the ‘permissive society’. What becomes particularly apparent in both contexts is the importance of femininity and female sexuality in the representation of mid-twentieth-century London, whether in terms of the portrayal of working-class women or the position of the middle-class author. 相似文献
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John Nguyet ERNI 《Inter-Asia Cultural Studies》2013,14(1):86-108
Abstract In this paper, gender negotiations in the production, musical forms, and consumption of Cantopop are taken as a cultural exemplar for a social and political imagination of ambivalence, which seems to be shaping popular life in Hong Kong. It has three focal points – musical forms and expressions of Cantopop (style, lyrics, iconography, affect), gender politics, and ‘everyday‐ness’ – which converge to mark a notable cultural logic performing an enlarging sense of ambivalence about a city that has seen a shift from high moments of economic prosperity to the current postcolonial uncertainties. In other words, Cantopop signals a shift in our sensibilities, a redrawing of our affective map of everyday life after an important historical and politico‐administrative shift. In a sense then, this paper explores Hong Kong's changing identity within the sight and sound of popular culture, by specifically tracing some of the ways in which gender politics is inscribed, coded, negotiated, performed, or simply flirtingly posed on the surface of popular culture. 相似文献
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Karen Harvey 《Cultural and Social History》2013,10(4):527-543
AbstractThis essay considers the role that art and history might play together in public history projects. It discusses public history not in terms of ‘learning lessons’, ‘public debate’ and ‘transferable skills’ but instead in terms of creative thinking in the public sphere. The essay draws upon the author’s experiences of working with artists on a series of exhibitions themed around the history of an arts centre’s late Georgian and Victorian buildings and their inhabitants in Sheffield. It explores the synergies between artistic and historical ways of knowing and argues that collaborations with artists provide an opportunity for academic historians to reengage the imaginative aspects of professional academic history. It also explores the value of art’s expressive power and its potential to pose new questions and suggest new answers for both public and historians’ understanding of the past. 相似文献
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Abstract This article situates Hou Hsiao‐Hsien’s films in the post Cold‐War global setting. It discusses two common interpretive approaches to Hou Hsiao‐Hsien’s films – French auteurism and ‘national allegory’ – and puts these two approaches within their historical context of Cold‐War and post Cold‐War global politics. The article places the rise of Hou Hsiao‐Hsien’s films parallel to the rise of the mainland fifth generation of film directors, pointing out that their apparently opposite directions – Hou Hsiao‐Hsien going political in his Taiwan trilogy and the fifth generation film directors going apolitical – are part and parcel of the same phenomenon of alternative politics in its particular contexts and the reconstruction of a new identity politics. Particular attention is given to Hou’s Taiwan trilogy, Flowers of Shanghai, and Coffee Jikou. 相似文献
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《Cultural and Social History》2013,10(1):109-111
ABSTRACTDrawing on Paul Ricoeur's notion of narrative identity and on his observations concerning testimony in Memory, History, Forgetting, this article explores the operation of memory under two aspects, that of narrative identity and that of witness. This exercise involves some related discussion both of the history/memory problem and of the relationship between written and spoken traces in engaging the past. The methodological focus for the work is a written text of an unusual kind, comprising an extensive and detailed eyewitness account written, forgotten and re-discovered by the same individual – Lionel Curtis – after an intervening period of half a century. 相似文献
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《Cultural and Social History》2013,10(3):269-288
ABSTRACTThe article explores the nature of popular fears during the early years of the People's Republic of China by examining two types of rumour: those of a ‘secular’ type that told of China's defeat in the Korean War, a third world war or an imminent nuclear attack; and those of a ‘supernatural’ type that told of demons out to snatch vital organs or the end of the world. These rumours testified both to the resilience of ancient cosmological beliefs and values and to their capacity to fuse with elements of ‘modern’ politics. The article asks what they tell us about the relationship of the party-state to the populace. 相似文献
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《Cultural and Social History》2013,10(2):171-192
ABSTRACTThis article explores the complex law of illegitimacy in the nineteenth century and its relationship to questions of national belonging and subject-hood, thorough the use of a specific legal case study – that of Shedden v Patrick, a dispute over legitimacy and property which opened in 1804 and lasted until 1869. William Shedden was born in America of a Scottish father, who had married his mother, but after his birth. His claim that he should inherit the Shedden family estate in Scotland, as both his father's lawful son and a natural-born British subject, brought together a bewildering array of laws, as formal and informal partnerships in the former colony, together with the discrepant legitimacy codes of England and Scotland, were brought to bear on inheritance claims based on laws of nationality and domicile. Shedden's fight to prove his legitimacy led to the passing of the Legitimacy Declaration Act in 1858, but it also gave rise to a series of legal debates on the nature of personal status, and to the complex ways in which both personal legitimacy and nationality operate as legal fictions. Here I trace how the twists and turns of the case, in 1808, the 1840s and the 1860s, illustrate different facets of these debates on legitimacy and national belonging, and also their intersection with other lines of exclusion drawn around the legal identities of both family and nation. ‘Bastardy’ was a profoundly troubled category in the mid-nineteenth century, partly because it highlighted the difficulties of defining legal identity itself. 相似文献
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《Cultural and Social History》2013,10(4):429-446
ABSTRACTThe refugee, in India's Partition history, appears as an enigmatic construct – part pitiful, part heroic, though mostly shorn of agency – representing the surface of the human tragedy of Partition. Yet this archetype masks the undercurrent of social distinctions that produced hierarchies of post-colonial citizenship within the mass of refugees. The core principle of the official resettlement policy was self-rehabilitation, that is, the ability to become a productive citizen of the new nation state without state intervention. Thus, the onus of performing a successful transition – from refugee to citizen – lay on the resourcefulness of the refugees rather than the state. This article traces the differing historical trajectories followed by ‘state-dependent’ and ‘self-reliant’ refugees in the making of modern citizenry in post-colonial India. 相似文献
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Kim Young-Hee 《Inter-Asia Cultural Studies》2013,14(3):355-359
Abstract This paper tells a story about miscegenation between US military personnel and Okinawan women from 1945–1952, which includes sexual violence, the establishment of ‘entertainment districts,’ and the emergence of international marriage. Whereas this history has been mobilized by leftists as a truth‐weapon in the struggle for political sovereignty from the US military, this paper takes an explicitly genealogical approach. Drawing on Foucault's work on biopower, this paper shows how Okinawans were transformed into ‘petitioning subject’ – subjects that negotiated the sexual exploitation of their bodies in tandem with the radically changing relationship between their bodies and the territory. 相似文献
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Rada Iveković 《Inter-Asia Cultural Studies》2013,14(1):45-63
Abstract From Modernity on, there has been continuity for the ‘West’ and interruption for non‐European cultures, histories and languages, for which indeed there is supposed to be only discontinuity with their own antiquity. Their own past counts as ‘premodern’ or ‘traditional’, and thus as belated compared with universalised Modernity. This is so because Modernity itself is normative, and it is normative because it was universalised. The norm of Modernity and the dignity of the modern ‘political’ has been spread through western idioms: through the western normativity of the political, such concepts as democracy, revolution, state, republic and the like will have their patterns in ‘Europe’ and in the ‘West’, while all other political concepts and terms, when contributed to a world dictionary of political terms, will denote merely exceptions. Modernity has been one of the great splits or disjunctions that froze some norms in history, making them become patterns: from that time on, western modernity (first western, then ‘western’ and finally ‘universal’…) has constructed an unbroken genealogical origin for its own concepts and episteme as ‘universal’, and has proposed/imposed them to the planet. The patterns of selection, exception and exclusion of Modernity, which posit the subject as an ‘autonomous’ figure mirrored and complementary of (state) sovereignty – while referring it to the hegemonically dominant model – have not altogether disappeared today. They are merging and mutating into, and coextensive with, configurations of multiple power vectors within non‐transparent networks of blurred and crossed hierarchies with novel, and maybe more volatile, forms of production, of integration and of institution, where again, although in a completely new way, collective action, the sharing and federation of knowledge transcend individual subjectivity while reaching out to both old and new forms of association. 相似文献
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《Cultural and Social History》2013,10(4):461-479
ABSTRACTDespite widespread assertions as to the ‘Americanization’ of British culture in the first half of the twentieth century, the true extent of this cultural transfer remains open to question. This article considers what the British people actually knew about ‘America’, its institutions, culture and way of life, in this period through an analysis of coverage of the USA in the British news media (press, newsreels and wireless) in the inter-war years. Specific attention is paid to the attempts of the BBC – in particular through the broadcasting work of Raymond Gram Swing and Alistair Cooke – to provide an understanding of contemporary America beyond the widely cited stereotypes of ‘Chicago gangsters and Hollywood blondes'. 相似文献
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《Cultural and Social History》2013,10(2):235-259
ABSTRACTIn a recent article, Alistair Mutch suggests that twin concepts – ‘control’ and ‘interpretation’ – explain the evolution of the public house over a century of dramatic changes between 1850 and 1950. This article argues that these concepts are confusing, ambiguous and misleading. It was not regulatory pressures, the temperance movement, local politicians, pressure groups or magistrates that most shaped the history of drinking premises, but developments outside the brewing industry, most notably Progressivism. Emerging in the late nineteenth century, Progressives set out to reform drinkers and drink premises, first in the trust house movement, and then in the Liquor Traffic Central Control Board during the First World War. Appropriating their ideas and philosophy immediately following the war, England's foremost brewers launched the public house improvement movement, the most far-reaching attempt to transform the nature of public drinking in the twentieth century. 相似文献
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Abstract The term guomin is found in Chinese texts from an early period. However, as commonly used today – as a modern political concept of special value and significance – guomin belongs to a political vocabulary adopted by Chinese intellectuals in the late nineteenth and early twentieth centuries from Japan’s new usages. The goal of this essay is to explain how this important concept was formed and what it signified. The term guomin has basically conveyed two levels of meaning since the late Qing. In essence, the term is similar to the English word ‘citizenship’, and it reveals a kind of awakening of a new political consciousness on the part of Chinese intellectuals since the late Qing. Through the discourse of guomin, they began to emphasize the subjectivity of each individual in the national political process, along with all of their rights and duties. Since the beginning of the twentieth century, the criticisms and reflections of Chinese intellectuals about traditional politics, society and culture, and thought have basically developed along the lines of the logic of ‘turning subjects into citizens’. However, the pursuit of a strong nation‐state under a civil crisis sparked by foreign pressure marked the historical conditions that generated the modern Chinese guomin discourse. Limited by this kind of ‘national identity,’ the discourse and construction of guomin since the late Qing have never been able to escape the shadow of the state. Under these ideological conditions, guomin could only become a means of the nationalist project for survival; it could never become an autonomous and universal category. Guomin, as it turns out, has been, and still remains, ‘the people of the state’. 相似文献
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《Cultural and Social History》2013,10(4):577-597
ABSTRACTFocusing on the letters of the South African feminist writer and social theorist Olive Schreiner (1855–1920), this article explores Schreiner's strategic uses of letter-writing as a key tool in her work as a cultural entrepreneur in a number of different social and political contexts. In advocating a microhistory approach which recognizes that macro and micro are interconnected and should be seen as lenses of perspective rather than as separate spheres, we examine various strands of Schreiner's ‘cultural project’ and consider how her epistolary activities articulated and furthered this. 相似文献
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Pipob Udomittipong 《Inter-Asia Cultural Studies》2013,14(3):361-363
Abstract This study documents the growth of the discourse of ‘god‐king’ (devaraja) around Thailand's King Bhumibol and explores how Brahmanical symbolisms of royal absolutism have acquired renewed potency alongside Buddhism as a basis of political legitimation in 21st century Thailand. Previous studies have interpreted the growing trend for Thailand's constitutional monarch to be represented as a ‘demi‐divine’ ‘virtual god‐king’ to reflect an ideological strategy set in train by mid‐20th century authoritarian military rule. However, political processes alone do not account fully for the persistence and intensification of this phenomenon since the end of military dictatorship. The pre‐modern discourse of ‘god‐king’ has also been given new life by visual media and the spectralisation of life under neoliberalism, which together produce a regime of representation that auraticises King Bhumibol. These technologies of enchantment have permitted emerging prosperity religions to be harnessed to a conservative nationalist agenda and, together with Thailand's strictly policed lese‐majesty law, have institutionalised a commodified and mass‐mediatised ideology of magico‐divine royal power that works to legitimate King Bhumibol's acquisition of political influence. 相似文献
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Wanning Sun 《Inter-Asia Cultural Studies》2013,14(1):81-94
Abstract After having lain dormant for some 20 years during 1973 and 1991, the Singaporean film industry is experiencing a revival. Films produced since the early 1990s have been resolutely ‘local’ in their portrayals in an effort to ground this emergent cinematic modernity. Only a handful of these films have, however, received any international attention; most remain ‘too local’, ‘too colloquial’ to be exported further afield. This paper explores those visions or versions of the local presented in contemporary films from Singapore that simultaneously manufacture a brand of foreignness assimilable by international audiences. Through an overview of films from the revival period, this paper will show that the images that do travel successfully overseas are those that portray the dark side to Singapore’s road to economic modernization, the failed processes of an Asianized modernity. It is these images, representing one vision of an ‘authentic’ social reality, that is recognizable by international audiences in the context of previous successes by Asian films utilizing a shared form of (local) expression. My question is whether we can read these images as a particular kind of ‘slang’ – a vagabond expression that represents a filmic vernacular that also strategically invokes a cinematic modernity for the Singaporean film industry. This argument may extend to other (emergent) Asian cinemas that also participate in the production of this particular brand of foreignness. The paper will therefore provide some initial speculations towards the regionalization of cinema and ask whether such a move might be desirable and what its purpose might be. 相似文献
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This study explored the affect of Third Culture Kids (TCKs) towards their home and host culture(s) and how this affect may indicate possible cultural identity shifts as distinguished in Sussman’s (2000) cultural identity shift model. To this end, the method of poetic inquiry was used. The poems were concerned with TCKs’ affective experiences (Prendergast, 2009). We also investigated whether TCKs described their belonging in terms of personal relationships rather than in terms of geographical locations.Twenty TCKs, ranging in age from 26 to 70 years and from five ‘home cultures’, expressed their early cross-cultural experiences through the free verse poem of “Where I’m from”. A mixed method approach of qualitative and quantitative research was applied, by combining poetic inquiry using a free verse poem format and clustering these data by means of coding in Atlas.ti. TCKs’ poems were analyzed using belonging, affect, and practices-food-nature-events as key codes.Findings revealed that TCKs expressed stronger positive affect towards their host cultures than towards their ‘home’ cultures, indicating a subtractive cultural identity shift. We also found that TCKs defined their belonging more in terms of personal relationships than in terms of geographical locations. This study shows that TCKs’ sense of belonging seems more related to the question who than where I am from. 相似文献