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1.
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2.
ABSTRACT

This article examines the social media campaign “Once I was a refugee” by former refugees as a response to the increasingly hostile political climate in Finland against refugees. With selfie activism, the campaign expanded the “space of appearance” and introduced new voice and visuality to the public debate. The case depicts politics of claiming citizenship and social value through self-presentation to counter views of refugees as economic burden, noncitizens, and surplus humanity. The empirical material is based on analysis of the Facebook and Twitter campaign and interviews with the participants. It is argued that selfie activism may occasionally, through new voice and visibility, expand the space of appearance and contribute to the rise of affective or counter-publics that can come together and make use of digital media for political action. However, the case also reveals how difficult it is to speak from a refugee position without being drawn into the discourse of deservingness.  相似文献   

3.
ABSTRACT

This article examines a number of digital initiatives where refugees and migrants speak with/to Europe in the context of the “migration crisis.” The analysis of four institutional and grassroots initiatives illustrates digital Europe’s symbolic articulations of borders that divide people and territories. As argued, the mediated visibility and voice of refugees and migrants matter precisely as the order of appearance (in Arendt’s terms) in digital Europe represents a fundamental dimension of the continent’s communicative order: revealing who speaks and who is silenced, which actors are heard and which are sidelined in the context of Europe’s “migration crisis.” The incorporation of refugee and migrant voices in digital Europe shows that voice does not guarantee recognition; rather, its incorporation reveals the complex politics of digital representation: on occasions challenging hegemonic power structures but most often digitally reaffirming bordering power and its symbolical articulations.  相似文献   

4.
ABSTRACT

While selfies of beautiful cisgender women are declaimed by mainstream media as narcissistic and facile, some body-positive feminists and queer theorists argue that selfies can be empowering. They claim self-representation by traditionally stigmatized people can challenge normative presentations of beauty and gender. This article problematizes “empowerment” as a definitive and/or productive frame and argues instead for observation and analysis of “privilege” in situated practice. In this article I combine analysis of a collection of online cultural artifacts (including nonbinary selfies on Tumblr) and interviews with a small group of trans* social media storytellers to explore theoretical tensions between gender fluidity and identity fragmentation across multiple social media sites and practices. Gender-diverse digital self-representation encompasses both “consistent” androgyny, nonbinary, agender, and so on, and “emergent” presentations-in-flux. I assert that the ongoing iteration of self across social media—implied by self (re)presentation—can have simultaneous and contradictory political significance. I conclude that networked interpersonal complications frame understandings of empowerment, as perhaps they always have done.  相似文献   

5.
Abstract

China is characterized by a long history, vast land, huge population and diversity unprecedented in world history. In addition, she is a unique case that has successfully completed the transition from empire to the nation-state. Therefore, her historical independence and her continuity become very important subject areas for research, and the concept “empire” re-emerges as a major means of explanation. The essential defining features of empire are tolerance and expansion. I have been reviewing discourses on “China as Empire,” looking at studies of the tributary system, the civilization-state, and the Tianxia view raised from both inside and outside of China. A common characteristic of these discourses is the perception that the past, present and future of China cannot be fully explained by Western concepts such as nation-state. They also reveal that the supposed continuity with the past, which is overemphasized in many studies, does not necessarily always correspond with historical reality. The key focus of the empire discourses is the project of future China. Finally, I put a particular emphasis upon the “perspective of peripheries” in order to find ways to demonstrate the benefits of viewing China as an empire, while also overcoming the weaknesses of empire theory. It is the reason why I apply to the analysis of the empire discourses the “compound state” theory incubated as a way of reunification of the Korean Peninsula.  相似文献   

6.
ABSTRACT

The early 1980s marks a significant period for modern theatre in Taiwan. It is often heralded as the “renaissance of modern Chinese/Taiwan theatre” through the reinvention of Chinese theatrical traditions, such as the Peking opera. This paper examines the connotations and denotations of “the West,” which serves as an important reference or counterpart in theatre practice of the period. An “open body” on stage was highly appraised and requested for theatre practitioners during the time. By historicizing the West in tandem with the concept of the “open body,” this paper calls attention to the socio-historical and the geopolitical aspects of the Cold War in Taiwan’s “theatrical renaissance.” “An open body” was emphasized in the first year of “Experimental Theater Exhibition” in 1980. Wu Jing-jyi, who had experienced working and directing in one of the most famous Off-Off-Broadway theatres, LaMaMa E.T.C in New York, led a series of workshops and training courses in “Lan-ling Theater Workshop” and created a new performing method on the basis of what they coined as “an open body.” Lee Kuo-hsiu, Liu Ching-min, Chin Shih-chieh, Lee Tien-ju – most of whom were and still are the leading actors and actresses in Taiwan – among others were all trained and influenced by this method. The magnificent production of the play Hechu xinpei was an example that followed the “open body” performance method. In this paper I make two main arguments. First, without examining closely what an open body signified at the time, the discursive formation of the body in the 1980s theatre renaissance cannot be fully comprehended. Second, I propose that the modern Taiwanese body that is open is simultaneously imbricated in relation to geopolitics, knowledge of Area Studies, and modernity – categories that the United States invented, led and developed throughout the Western bloc in the Cold War.  相似文献   

7.
Abstract

This paper proposes new conceptual frameworks for “inter-Asia studies” in order to be more appropriate for addressing and redressing the demands of global patriarchal capitalism as well as overcoming the “regime of separation” of Asian studies from African and/or Latin American studies. To do that, first, I will problematize the male-East Asia-metropolis centeredness of “inter-Asia.” Then, I will try to locate “inter-Asia studies” into the field of “tricontinental studies” invented by the decolonial and deimperial spirit of connection between the colonized continents of Asia, Africa and Latin America. In the third section, I will propose a “feminist inter-referencing reading” that involves shuttling back and forth between the postcolonial sub-regions of Asia, Africa and/or Latin America horizontally from the location and perspective of gendered subalterns rather than upward-mobile metropolitan feminists. The feminist standpoint that reading takes is combined with the conceptual frameworks of labor, ecology and ethnicity. It is also held that such a feminist inter-referencing reading needs the imaginative and interpretative metaphor of the “planet” to overcome the Westernized notion of the “nation” and “globe” as well as the concept of “universality shared by all humans” not monopolized by Westerners. Lastly, this paper will illustrate the new kind of “tricontinental studies” by providing an example of “feminist inter-referencing reading” which connects and compares the sub-regions of South Korea, Vietnam and Liberia.  相似文献   

8.
ABSTRACT

This article asks whether “sharenting” (sharing representations of one’s parenting or children online) is a form of digital self-representation. Drawing on interviews with 17 parent bloggers, we explore how parents define the borders of their digital selves and justify what is their “story to tell.” We find that bloggers grapple with profound ethical dilemmas, as representing their identities as parents inevitably makes public aspects of their children’s lives, introducing risks that they are, paradoxically, responsible for safeguarding against. Parents thus evaluate what to share by juggling multiple obligations—to themselves, their children in the present and imagined into the future, and to their physical and virtual communities. The digital practices of representing the relational self are impeded more than eased by the individualistic notion of identity instantiated by digital platforms, thereby intensifying the ambivalence of both parents and the wider society in judging emerging genres of blogging the self.  相似文献   

9.
Abstract

In this paper, I draw attention to the complexities and confusions in the shift in discourse and praxis from “culture industry” to “cultural industries” and then “creative industries.” I examine how this “creative turn” is fraught with challenges, highlighting seven issues in particular: (i) the difficulties in defining and scoping the creative industries; (ii) the challenges in measuring the economic benefits creative industries bring; (iii) the risk that creative industries neglect genuine creativity/culture; (iv) the utopianization of “creative labour”; (v) the risk of valorizing and promoting external expertise over local small- and medium-scale enterprises in the building of “creative industries”; (vi) the danger of overblown expectations for creative industries to serve innovation and the economy, as well as culture and social equity; and (vii) the fallacy that “creative cities” can be designed. I suggest that the move towards creative industries discourse represents a theoretical backslide, and raise the possibility that a return to “cultural industries” would be more beneficial for clarifying our theoretical understanding of the cultural sectors and the creative work that they do, as well as enabling better policymaking.  相似文献   

10.
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   

11.
ABSTRACT

This article problematizes the modern construction of “love” in colonial and contemporary Taiwan and South Korea through historicizing the concept from the nineteenth century to the present. The conception of modern love in East Asia emerged during the late nineteenth century that coincided with the beginnings of civilization and nation-building discourses advocating as a strong mediator for the reconfiguration of social and intimate relationships. In the case of colonial Taiwan and Korea, the colonial governments and intellectuals constantly pivoted on “exceptions” – obscene sex, indecent behavior or illegitimate subjects – to justify their political legitimacy/hegemony to love that prescribed a normative social relationship. Fully embraced by colonial Taiwan and Korea, this mechanism was extended to their postwar regimes; that is, love is celebrated and worshiped without the recognition of its underlying ideology of discrimination and exclusion. I coin the term “love unconscious” to characterize the colonial legacies of love in the contemporary social movements in Taiwan and South Korea. Furthermore I examine how both religious groups and LGBTQ activism were stuck in the “love unconscious” with two cases of contested love: the definition of love in the dictionary, and the rhetoric of love in (anti-)same-sex marriage movements. This article argues that Taiwan and South Korea's LGBTQ and marriage movements are based neither on Western discourses nor inspiration, but are instead driven by the reality and legacy of colonial history. To envisage the decolonization of love is to deconstruct the love unconscious and reconsider the history of colonial love.  相似文献   

12.
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   

13.
ABSTRACT

For many forcefully displaced people worldwide, notions around one’s sense of “home” and “place” in the world are perpetually unsettled. This article explores how digital technologies interact with embodied, material experiences within the geographical location refugees are residing in. Empirical examples from ethnographic research conducted among Iraqi urban refugees, living in prolonged uncertainty in Jordan, shows how situated experiences of legal, material, and social uncertainty reinforce particular mediated socialities. Pivotal studies have shown how digital connections engender virtual home-making practices and a wide variety of connected presences. This study points to the other side of the same coin: the cultivation of “absent presence.” “Absent presence” refers to feelings—the ambivalence that experiences of prolonged displacement bring about—but also to active disengagement and affective tactics in response. These engender a further separation from the physical world where forced migrants are not deemed welcome.  相似文献   

14.
The present article compares the strategies of the legitimation of piracy developed by Western authors such as Richard Stallman and Larry Lessig with those developed by everyday Bulgarian pirates. It attempts to escape from the usual debate between the entertainment industries and the supporters of free culture, and to open the field for new perspectives. In Bulgaria it is precisely “free” as in “free beer” that matters, since the prices of cultural products tend to be too high for the Bulgarian market. In many cases, there is no possible legal access to the cultural products desired. The digital library “Chitanka” illustrates how piracy as bottom-up initiative compensates for the lack of successful public policies oriented towards visually impaired people and Bulgarian emigrants abroad. Although mobility and de-territorialisation have made piracy possible, it is perceived as a deeply national cause. The article emphasises that a difference should be made between open non-commercial projects as “Chitanka” and commercial torrent trackers, which thrive in the grey economy and abuse the symbolic capital of free culture. Piracy should be analysed at the intersections of global economic shifts and their local repercussions, of transnational culture flows and local culture infrastructure. Only this kind of an approach is likely to help us trace the unstable border between the cases in which digital piracy is a problem of the grey economy, and those in which it offers original non-market solutions to deeper structural problems.  相似文献   

15.
ABSTRACT

This article develops and troubles existing approaches to visual self-representation in social media, questioning the naturalized roles of faces and bodies in mediated self-representation. We argue that self-representation in digital communication should not be treated as synonymous with selfies, and that selfies themselves should not be reductively equated with performances of embodiment. We do this through discussing “not-selfies”: visual self-representation consisting of images that do not feature the likenesses of the people who share them, but instead show objects, animals, fictional characters, or other things, as in the practices of #EDC (“everyday carry”) and #GPOY (“gratuitous picture of yourself”) on platforms such as Tumblr, Facebook, Instagram, and reddit. We present an account of self-representation as an emergent, recognizable, intertextual genre, and show that #EDC and #GPOY practices are best conceptualized as instances of self-representation.  相似文献   

16.
ABSTRACT

This article identifies the visual representation of Europe’s “refugee crisis” in the media as a key dimension of the communicative architecture of the crisis and its aftermath. Effectively, it argues, the powerful, even iconic, imagery that the media produced and shared during the 2015 “crisis” affirmed ideological frames of incompatible difference, perpetually dividing European citizens and refugees. The article focuses on some of the fundamental elements of the 2015 crisis’s visual grammar to demonstrate how they have (re-)produced popular fears of strangeness and the need for containment and control of foreign bodies. This visual grammar, we argue, imitated and procreated recognizable representations of popular culture to exaggerate newcomers’ strangeness and incompatible difference from the national subject. On the one hand, many news media simulated zombies’ threatening strangeness in images of refugee massification; on the other, many news media images reaffirmed the decisive power of the national subject over refugees’ fate, not unlike the video game player who unilaterally controls a game and takes action when confronted by zombies. This grammar, we argue, symbolically predetermines encounters between citizens and refugees, by emphasizing their incompatible difference and newcomers’ strangeness.  相似文献   

17.
Abstract

The aim of this article is to explain the transformation of social forces in Taiwan during the 1990s, as well as the “ideals of society” embedded in Community Construction that aims to reconstruct the local community. Based upon the analysis of discourses of movement agents, I differentiate four ideal-types of “good society” configured in the Community Construction. First, by the ideal-type of “indigenous (bentu) society,” people hope to reconstruct local history and local culture. Secondly, by “civilized society,” people want to build a society in which its residents live in solidarity and civility. Thirdly, by “civil society” people emphasize the importance of grassroots democracy and the subject position based on locality in order to respond to forces of the state and the market. Lastly, by “civic society” people aims to construct communities encompassing different geographical ranges, in which people from different backgrounds can live together and integrate into a civic nation. Among these ideal-types, “civic society” is the articulating link between “indigenous society” and “civil society,” while locality has become the fundamental element in defining “culture” and “community” in Taiwan. As a result, the cultural resistance based on locality has transformed into the cultural governance focusing on locality.  相似文献   

18.
ABSTRACT

Some philosophers and sociologists have recently criticized scholars who engage in so-called “me studies” – members of oppressed groups who study their own oppression. Such “me” studies, according to these critics, are self-serving, susceptible to biases, and generally bad at taking criticism from outsiders, many of whom may be afraid to speak up for fear of appearing to be unsympathetic racists or bigots. By examining standpoint epistemology in various disciplines, by reflecting on my own experience of being trained as a Shakespearean and studying Asian American literature, and by reviewing the history of Asian American scholarship in the United States, I defend “me studies” as a way to move towards the goal of inclusion and global social justice.  相似文献   

19.
ABSTRACT

Contemporary migrants are described as “connected migrants,” as they maintain multiple connections using digital and social media. This article explores how this leads to processes of cosmopolitanism and/or encapsulation in a particular group, voluntary gay migrants in Belgium, focusing on the intersection between ethno-cultural and sexual identifications and connections. Drawing on in-depth interviews, the cosmopolitan outlook of the participants becomes clear, as their national and ethno-cultural connections are relatively weak while they identify more strongly with cosmopolitan LGBTQ (lesbian, gay, bisexual, transgender, and queer) culture. However, while more salient, sexuality is not all-defining either, bespeaking their rather privileged position as a group of migrants who are self dependent and not strongly encapsulated in ethno-cultural nor sexual communities, with neither minority identity causing excessive stigmatization. As a consequence, they use digital and social media to simultaneously connect to different social spheres, although most do manage their self-presentation to avoid the clash or “collapse” of different social contexts online.  相似文献   

20.
ABSTRACT

In this article, I question practice as a research paradigm by exploring its position in relation to non-positivist qualitative methodologies. Frayling’s [1994. Research in art and design. Royal College of Art Research Papers, 1(1), 1993/4] distinctions between research into, through, and as (for) practice are expanded to explore overlaps between these approaches. I argue for the need to understand the nuances of different epistemologies and ontologies that underpin diverse disciplinary approaches to practice-research. This is done through an analysis of a selection of Arts and Humanities Research Council (AHRC)-funded projects to find out how they are using and/or embedding practice in the research process. The resulting Colour Wheel of Practice-Research illustrates a spectrum of positions of practice in relation to research, suggesting existing research paradigms are bursting at the seams and that the “disciplinary matrix” of practice might offers other ways of knowing. The reason I have chosen to focus primarily on AHRC-funded projects is because it explicitly states its support of “practice-led research” and that it “remains dedicated to this area of research”. This article aims to add to knowledge of how and why practice-research is of continuing interest to research councils, universities, and those identifying as practice-based/led researchers.  相似文献   

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