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1.
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   

2.
ABSTRACT

This article traces the transformation of an Iranian nationalist poem by Simin Behbahani entitled “I Will Rebuild You, Homeland” (1981) into an expatriate national anthem, and the poem-song’s subsequent incorporation into protests and political speeches by individuals and groups in and outside of Iran. Employing musical and textual analysis, interviews, and a transnational perspective on cultural circulation and reception, I show how exile pop singer Dariush Eghbali’s adaptation of the original poem mobilized the text and opened it to audience participation. The article argues that the poem and its musical–textual permutations exemplify contemporary Iranian practices of national identification in which conflicting parties attempt to motivate “the Iranian people” to political ends. As actors from around the world and across the political spectrum repeatedly turn to nationalist poetry, song, anthem, and political speech, we observe how mass-mediated popular culture reveals ongoing recourse to nationalist forms even in transnational space.  相似文献   

3.
This article examines how commercials are adapted to appeal to a sense of national and cultural belonging within the overlapping contexts of global formats, national media, and local identities by comparing the American and the Turkish versions of television commercials arising from a Snickers global advertising campaign: “You are not you when you are hungry.” Using interviews with focus groups and an advertising practitioner, the article questions relevance of the concept of cultural proximity to understand the complexity of politics of identity construction through consumption of media products. I argue that the audiences reflexively negotiate localization strategies of the advertising agency to articulate three different strata of cultural proximity: national, global, and subcultural. The reception that demonstrates cultural hybridity, in which the antinomy between the global and the local/national resolves, is created through the multilayered structure and the multiplicity of cultural proximities in advertising adaptations.  相似文献   

4.
This article tracks the shifting cultural meanings that the East/West distinction has produced in the history of nationalism in colonial and post-colonial India. It does so by focusing on the word “civilization” and the role it played in promoting a rich sense of inter-cultural dialogue in the writings of nationalist leaders such as Swami Vivekananda, Mahatma Gandhi, Rabindranath Tagore, and Jawaharlal Nehru. The article documents how the word figures with much reduced significance in contemporary cultural debates about globalization in India and concludes by asking if the rise of China and India to global prominence holds the potential today to initiate a conversation across cultures similar to the one that accompanied the rise of the West in the age of modern imperial rule.  相似文献   

5.
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   

6.
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   

7.
“Culture” has tended to play a central role in the nomenclature and operationalization of popular frameworks for attending to matters of diversity in education. These frameworks include multicultural education, culturally responsive pedagogy, culturally relevant teaching, cultural proficiency, and cultural competence. In this article, I argue that too tight a focus on “culture,” the meaning of which remains intensely contested, stunts the possibility of real progress toward educational justice. As I will show, although some culture-centric frameworks are grounded in commitments to educational equity, they often are implemented in ways that essentialize marginalized students and mask the forms of structural injustice that feed educational outcome disparities. I argue for a new commitment to centering equity rather than culture in conversations and practices related to educational justice—recommending the equity literacy framework as one way to enact that commitment.  相似文献   

8.
In 2007 the Scottish Government introduced an outcomes based approach to culture set within a National Performance Framework. One of the main data sources to measure “culture” in Scotland is the Scottish Household Survey (SHS). In this article, the SHS and its “Culture and Sport” Module are explored to show how useful the data is within the Scottish Government's economic agenda. This way, the paper reflects on the usefulness of the main data source used to understand cultural activity within Scotland. There are general difficulties measuring “culture”, but overall the SHS provides adequate national data for Scotland on cultural participation and attendance. However, the SHS cannot provide in-depth local level information and provides limited data on non-participants. Other surveys in Scotland and England give some example practices that could be incorporated to improve survey outcomes. Overall, the SHS is a useful policy tool but more could be done to utilise the data it can provide on the Scottish cultural sector.  相似文献   

9.
This article explores the textual and historical poaching practices by Tumblr fans of the novels A Song of Ice and Fire and the television adaption Game of Thrones, a pseudo-historical fantasy series. Fans critique both the text (novels and TV show) and other fans’ interpretations of the text, as well as parallel real-world history with the world and characters of the series. Tensions arise around the “historical accuracy” of the novels and show, along with the role that dominant narratives and cultural norms play in interpreting a past that never was through the lens of a real-world past. Fantasy and history intersect in layered ways and are used by fans to support a variety of textual points of view. Issues of violence, presentism, colonialism, gender, and “historical truths” are argued in relation to the ahistoricism or historicism of the novels/show.  相似文献   

10.
This article focuses on Chua Beng Huat’s work on the East Asian pop culture that became more prominent in East and Southeast Asia from the 1990s, when the circulation of multilingual and multi-format pop culture started to exceed linguistic, ethnic and national boundaries. It argues that Chua’s work indicates that the pop-cultural production and innovation that support the globalisation and regionalisation processes in East Asia need not be national in origin but can hail from different national origins – and this despite the existing political realities of the region and its history of political fractures. Chua Beng Huat cautions, though, that the national popular can also be marshalled to defeat the border-crossing potential of an inter-Asian pop culture. What is the “Asia” imagined or being represented in such cultural production? Chua’s work is also distinctive in that it deals with the political and economic conditions that underpin mainstream pop consumption as a socio-cultural phenomenon, instead of examining consumption as identity politics. The article concludes by noting the significance that Chua as an institutional builder has played in enabling the study of East Asian pop culture in the region.  相似文献   

11.
Conflicts over territory are about the power to establish dominant cultures in territories and are often accompanied by cultural claims to legitimacy by each side. The cultural claims, or ideologies, are often expressed in terms of “homeland” dwellers versus “intruders.” Two recent movies, Dawn of the Planet of the Apes and The Hundred-Foot Journey, depict such conflicts. They refer to novel groups in the depictions, but they follow the pattern of earlier movies, such as Broken Arrow. Novel groups are required because the earlier examples of despised alien cultures no longer convey to modern audiences the extreme hostility felt by the combatants in the earlier movies.  相似文献   

12.
Abstract

Over the last two decades, the shifts brought about by the emergence of Asia as a key player in global capitalism have led to countless Africans opting for Asian destinations as part of their trade and migration strategies. The implications of the constant ebb and flow of African entrepreneurs in Southern China and the transnational trajectories, connections, and practices they enable have been relatively understudied. This article focuses on place-making practices and structures of belonging surrounding those Africans living in (and circulating through) Guangzhou. Drawing on my fieldwork, I locate possibilities for place-making and belonging within transnational multiethnic microcommunities and highlight practices that have emerged from the assembling of transnational and translocal flows in residential clusters, community organisations, and religious congregations. I contend that the presence and intermingling of diverse transient subjects (both African and Chinese) nurtures “alternative imaginations” of self, place, home, and belonging that alter extant notions of national and cultural identity, ethnicity, and race in twenty-first century Asia.  相似文献   

13.
Bev Hong 《Cultural Trends》2014,23(2):93-108
New Zealand was one of the first countries in the world to report national cultural indicators – specifically choosing to use a conceptually based framework which was broadly underpinned by theories of culture, industry and political economy. One of the essential elements of this work was the incorporation of a Māori perspective in recognition of the Treaty of Waitangi and the importance of the indigenous Māori culture. Manatū Taonga Ministry for Culture and Heritage has primary central government responsibility for cultural policy and advice and the reporting of national cultural indicators. The term “culture” in this context broadly refers to Māori culture and the cultures of all New Zealanders, and to endeavours relating to arts, heritage, media, and sport and recreation. The Ministry is currently scoping a programme of research that aims to refine the indicators; relate indicators more clearly to the cultural policy role of government (and in turn their related cultural agencies); and more clearly articulate the relationship that cultural sector indicators have with those of other sectors. Cultural sector consultation to identify and clarify perspectives and reconfirm a common terminology (if not understanding) will be an essential and important part of this work. Better contextualising the national indicators will make them more meaningful and useful for reinforcing the importance and value of the cultural sector; monitoring the “health” and performance of the cultural sector over time; providing useful quality information; measuring the effectiveness of policy interventions and connecting across the cultural sector and to other sectors. This paper outlines the New Zealand context and the development and reporting of national indicators; reflects on the usefulness of reporting national indicators to date; and describes and discusses the intended direction of further work.  相似文献   

14.
Abstract

This article explores the entangled and contradictory processes of territorialisation and deterritorialisation that have shaped the hardcore punk scene in Bandung, Indonesia, while questioning the binary model of globalisation and localisation. The formation of the Bandung scene has certainly involved processes of local adaptation, translation, and territorialisation, but these cannot be disentangled from the global styles, orientations, and networks associated with hardcore punk. Through their active participation in global hardcore, Bandung's punks adopt a standpoint of underground cosmopolitanism that goes beyond a merely mimetic relationship to Western scenes. Their valorisation of local “Do It Yourself” production and performance reflects the value practices of global hardcore punk, and the social relationships that constitute the local scene extend beyond any straightforwardly spatial definition of the “local.” At the same time, this global orientation takes on particular locally-inflected meanings in the specific cultural and political environment of Bandung, Indonesia.  相似文献   

15.
This article considers hikikomori as willful subjects. The hikikomori are a portion of the Japanese population who withdraw into their homes. These are mostly young people (between the ages of 15 and 35) and mostly young men. The focus of this article is how hikikomori constitute a challenge to dominant national imaginaries of Japan as a “corporate-family system.” This article analyses popular media and psychiatric representations of hikikomori, particularly from Saitô’s work as exemplifying Ahmed’s notion of “willful subjects.” It is argued that the hikikomori’s apparent willfulness produces them as Queer subjects who are out of place and pace with the dominant heteronormative, masculinist culture of contemporary Japan.  相似文献   

16.
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   

17.
The rise of military and political tensions in the Indo-Pacific maritime zone has brought new attention to the Andaman and Nicobar Islands. With this visibility has come a disturbing awareness in some quarters that this Indian archipelago is qualitatively different from the rest of the country. Whether defined in terms of unorthodox cultural practices or the unauthorized presence of other national bodies, the multicultural habitus of the Andamans is deeply unsettling from a geopolitical standpoint that imagines the islands as a natural extension of a homogeneous national-territorial space. This article argues that the persistence of cultural and other heterogeneities in the Andamans should be read as a trace of histories that are intimately tied to the location of this archipelago. Framing the archipelago as a “sea of islands” lying off the littoral of the Andaman Sea rather than as an extension of Indian national space permits unauthorized social relations to become visible again. Once we redraw island geographies, spectral presences begin to appear, taking the form of both foreign bodies as well as narrative contradictions. Currently, these specters are interpellated under the sign of “poaching,” a portmanteau of activities that joins indigenous, settlers, outsiders, and Nature in an illicit assemblage that is presumed to lie outside the law. Contradictions of the poaching discourse should be read as signs of recalcitrance: the complexity of the Andamans that cannot be erased by the violence of denial.  相似文献   

18.
In the mid-1980s, Frith and Horne (1987) were describing the experience of British arts schools as, “an anachronism, with students desperately clinging on to attitudes to work and play, which had otherwise vanished” (p. 12). Among these attitudes were the importance of freedom and experimentation in one's work, the status of the artist as an outsider, and the superiority of art over other forms of activity, such as design. Despite huge social changes and contemporary concerns about the “instrumentalization” of arts policy and education (Singerman, 1999; Wilson, 2007), the article argues that the Romantic ideology of the artist is remarkably persistent, and continues to shape graduates' attitudes to their working lives. This in turn feeds into contemporary debates about the nature of cultural labour (Ross, 2003) and the role of the “artistic critique” (Boltanski & Chiapello, 2005), and, crucially, provides an empirically based view of these debates from the perspective of cultural workers themselves.  相似文献   

19.
ABSTRACT

This article theorizes the affective forms that Asian-Indigenous alliances might take, using examples from contemporary Canadian film and literature as a cultural testing ground. Building on the efforts of scholars like Rita Wong, Larissa Lai, and Malissa Phung to trace a literary genealogy of Asian-Indigenous relations in Canada, the article first considers the structures of feeling which bolster efforts towards coalition-building between Asian settlers and First Nations. Rather than extending an optimistic or redemptive model, the article suggests that negative affect (or, what Sianne Ngai calls “ugly feelings”) ought to be taken seriously as both an unavoidable presence and a potential catalyst in and for active solidarity. The article then analyzes Sto:lo author Lee Maracle’s short story “Yin Chin” and Peter Blow’s documentary film A Village of Widows with an eye towards how bad feelings underpin the narrative calls to action in both texts. The article concludes by considering the role that bad feeling can and does play in terms of inter-referencing practices among cultural and historical scholars.  相似文献   

20.
In France, the social-stratification model based on Bourdieu's Distinction is still one of the main theoretical models used to analyse cultural tastes. The distinction model asserts a hierarchical classification of tastes and genre and an aesthetic judgment based on rejection. In the musical field, Richard A. Peterson challenged the model showing the eclectism and the mix of classical and popular genres among the tastes of elite. Changes in taste judgements in multicultural societies problematise the understanding and representation of the structuration of tastes. In reference to the 2008 statistical survey on French cultural practices and tastes, this article challenges conventional understandings of the taste patterns informing music consumption in contemporary France. In doing this, the article utilises a ‘tablature of tastes’ model which infers the incommensurability of musical genres and taste judgments no longer based on “rejections/dislikes” but rather on “openness/tolerance” or “indifference/ignorance”. Our analysis tests the “tablatures” of musical likes, dislikes and indifferences hypothesis within the French population through a factor and classification analysis method. Six classes of musical taste emerge with a limited share of dislikes and a strong age differentiation. It confirms a major transformation in judgments of taste in the musical field.  相似文献   

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