共查询到20条相似文献，搜索用时 15 毫秒
1.
Liu Liu 《中外文化交流(英文版)》2007,(5):24-27
Probably every, sculptor dreams to have his sculpting works displayed in the verv heart of the home city where he was born and lives. In this sense, Li Shu, a Chengdu-based contemporary sculptor, is more than lucky.[第一段] 相似文献
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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
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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
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Abstract Hou Hsiao‐Hsien was invited to Singapore to talk about himself. In the speech, he focused on talking about his family background, his childhood memories, life experiences and how these experiences affected his life, and also how he made his films. Furthermore, as Taiwan had gone through many drastic political and economic changes, especially after the lifting of Martial Law, these conditions influenced Hou’s life and his films, too. That is, Hou’s films presented not only the changes in a rapidly urbanizing rural society, but also the important events of Taiwan’s history. At the end of the speech, Hou also mentioned that realizing the importance of social responsibilities, he would like to get more involved in the public sphere in order to make a difference in society. 相似文献
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Gao Quanxi 《中外文化交流(英文版)》2006,(10):16-18
He established his status in the arena of contemporary Chinese oil art with his landmark works “Spring Wind Comes Again” in the late 1970s. His creation later encountered popular artistic trends in the 1980s such as “nostalgia style”, “scared art” and “neo-realism”. Many of his artworks, including “On the Harvested Land”, “We Sang This Song Before”, “The Land with Prickles” and “The Body Under the Sky”, explored common feelings and formatic elements of his contemporarie… 相似文献
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《Cultural and Social History》2013,10(3):355-363
This paper will analyse three major episodes of Casanova's Histoire de ma vie during which Casanova comes to grips with practices of charlatanism or magic, either as a “patient” or actively: 1. His cure, as a child by the sorceress of Murano to whom he is taken by his beloved grandmother. 2. His guest in the little Italian village of Cesena for a buried treasure whic he prides himself on being able to discover with the help of a sacred knife. 3. His inventive, libertine scenarios elaborated for the particular purpose of “regenerating” (dazzling and pleasuring) the marquise d'Urfé, known as Séramis, an old aristocrat with a passion for occult knowledge. Casanova's attitude towards all that has to do with gambling, deception, chance, and all the ways to influence it is thoroughly complex and ambiguous. It is one of the features of his Venetian mentality; and it is also a phenomenon of the time, which is wrongly called the “century of the Enlightenment”. More narrowly, close scrutiny of these three occasions should allow us to grasp how Casanova saw his place in the couple of the dupe and the trickster. This paper will show how he understood the world and its underlying forces, and what type of intelligence — more baroque than Cartesian in inspiration — was at work in him. 相似文献
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Anthony Minnema 《Al-Masaq: Islam & the Medieval Mediterranean》2019,31(1):1-19
In 1145–1146, Sayf al-Dawla returned to al-Andalus to create an independent kingdom and return the Banū Hūd of Zaragoza to prominence. His task was a difficult one, not least because he’d spent a decade serving the Christian king Alfonso VII. After a year of campaigning, Sayf al-Dawla secured a base of support in Murcia. However, he died shortly after his coronation in a battle with Christian allies who were allegedly sent by Alfonso to help him. In addition to providing an explanation for the battle and his death, the article examines how Sayf al-Dawla promoted the legitimacy of his state through his coinage, adherence to Andalusī traditions, and a network of fellow exiles. It interprets the Zaragozan ?ā’ifa as a moveable faction rather than a fixed geographical entity and connects Sayf al-Dawla’s kingdom to later movements to demonstrate how his actions preserved the Banū Hūd’s prestige in Andalusī imaginations. 相似文献
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Ya Yi 《中外文化交流(英文版)》2007,(8):16-19
With long flowing hair,a short cropped mustache,a white shirt and a pair of black pants tailored by his wife,Li Chen appeared distant throughout our meeting,as seen from his slim yet graceful 相似文献
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《Cultural and Social History》2013,10(3):341-357
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
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Xin Yuan 《中外文化交流(英文版)》2006,(1):22-24
Hepingli, a working-class residential district developed in the 1950s in Beijing. At 9 am everyday, Duan Xiaoying appears in a first-floor apartment in the district after driving his daughter to school and his wife to office respectively. This small apartment is the legacy of his diplomat father who liked doing woodwork for leisure. Duan recalls that his first oil painting box was made by his father. Now the apartment becomes his studio where he spends the whole day for oil creation. Duan us… 相似文献
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Bernard Beck 《Multicultural Perspectives》2016,18(4):202-205
America is identified as a nation of immigrants. These immigrants are thought to be the source of its subcultures. It is also a nation of individual explorers and inventors. Their activities are also a source of diverse subcultures. Many notable movies have made heroes of such innovators in different fields of endeavor. Michael Moore's movie Who to Invade Next is a documentary about his trips to other countries in search of more successful institutions of work, education, health services, and incarceration. The premise of the movie is Moore has come to invade the other countries and steal the secrets of their successes in order to reform similar American institutions. Moore finds only mild amusement rather than amazement from his “victims.” He discovers the advances he attributes to other countries were originally American innovations, adopted in other societies but abandoned in America, which has become strangely timid about progress and reform. 相似文献
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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
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Kang Chao 《Inter-Asia Cultural Studies》2014,15(3):477-490
ABSTRACTSince 2009, there has been a renewed trend in Taiwan's intellectual circles to explore Chen Yingzhen. In this lies a strong and unprecedented inclination to explore in Chen Yingzhen's literary works the enormous resources he provides as a thinker. As one of the researchers who has undertaken such an approach, I intend to address three issues in this article: first, his relation with people of my generation and the reason to re-read him at this moment; second, how I, as an amateur in terms of literary works or literary criticism, read literary texts. I address this issue in terms of methodology and theory, and propose a reading method consisting of a triple intersecting process among the text, the author and the history. Thirdly, and perhaps the most importantly, I address the issue of “why do we have to read Chen Yingzhen now” from three levels: history, thinking and literature in order to explore the particular situation his literary works have in contemporary literature, as well as its intellectual meaning in the contemporary world. 相似文献
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Christian Brandstitter 《中外文化交流(英文版)》2021,(2):36-42
The Viennese publisher Christian Brandstatter spent half his life in hometown cafe since he couldn't find a better way to pass the time.In this article,he inter... 相似文献
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Ashraf Jamal 《Inter-Asia Cultural Studies》2013,14(1):154-164
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
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Thum Ping Tjin 《Inter-Asia Cultural Studies》2017,18(3):391-413
Lim Chin Siong was the undisputed political leader of the anticolonial and Malayan left-wing in Singapore until his detention without trial in 1963 ended his political career. That he had a major impact on Singapore’s decolonisation is beyond dispute – indeed, both Tunku Abdul Rahman and Lee Kuan Yew formulated their merger policy specifically in response to Lim’s politics and his values. Yet Lim remains a poorly understood figure because of a lack of sources and a historiography written almost entirely from his opponents’ perspectives. Reassessing existing literature in view of recently declassified British archives, this essay pieces together Lim’s articulation of three tenets in the political thinking that guided his tactics for social mobilisation: anticolonial unity, non-violence, and popular sovereignty. Lim put these principles into practice with great success, becoming the leader of the largest and most formative nationalist movement Singapore has ever known. Understanding Malayan nationalism in Singapore – and its successor, Singaporean nationalism – is thus impossible without understanding Lim Chin Siong. 相似文献