Pub Date : 2021-01-01DOI: 10.1515/culture-2020-0130
Yijiang Pan
Abstract In 2008, Taiwan’s cinema began to get back on its feet after an extended lull, with several directors successively releasing critically acclaimed first works. Compared with the well-known Taiwan New Cinema, this new film trend works within the conventions of genre and often focuses on local issues and ordinary life. In doing so, critics and scholars call it Post-New Cinema. Yet, its naming brings difficulties to our understanding on this epoch-making wave, since it neither intends to innovate the paradigm and the framework established by New Cinema, nor does it completely inherit the legacy left by it. Therefore, these uncertain interpretations motivate us to review the legitimacy of this naming. This essay will evaluate firstly the genealogy from the Taiwan New Cinema to the Post-New Cinema in aesthetic and historical–cultural representation, to further propose the paradox about the naming of Post-New Cinema. Secondly, we attempted, by comparing the two most representative films of the two periods, Cape No. 7 and A City of Sadness, an initial look at the transition and the transformation in terms of aesthetical demonstration, historical representation, and ethnic politics, to argue that a subtle change in identity has been created in Taiwanese cinema since 2008.
{"title":"From Taiwan New Cinema to Post-New Cinema: The Transition of Identity in Cape No. 7 and the Naming Issue of Post-New Cinema","authors":"Yijiang Pan","doi":"10.1515/culture-2020-0130","DOIUrl":"https://doi.org/10.1515/culture-2020-0130","url":null,"abstract":"Abstract In 2008, Taiwan’s cinema began to get back on its feet after an extended lull, with several directors successively releasing critically acclaimed first works. Compared with the well-known Taiwan New Cinema, this new film trend works within the conventions of genre and often focuses on local issues and ordinary life. In doing so, critics and scholars call it Post-New Cinema. Yet, its naming brings difficulties to our understanding on this epoch-making wave, since it neither intends to innovate the paradigm and the framework established by New Cinema, nor does it completely inherit the legacy left by it. Therefore, these uncertain interpretations motivate us to review the legitimacy of this naming. This essay will evaluate firstly the genealogy from the Taiwan New Cinema to the Post-New Cinema in aesthetic and historical–cultural representation, to further propose the paradox about the naming of Post-New Cinema. Secondly, we attempted, by comparing the two most representative films of the two periods, Cape No. 7 and A City of Sadness, an initial look at the transition and the transformation in terms of aesthetical demonstration, historical representation, and ethnic politics, to argue that a subtle change in identity has been created in Taiwanese cinema since 2008.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"5 1","pages":"284 - 294"},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49427958","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1515/culture-2020-0135
Diana Burgos
Abstract The narratives within Sailor Moon Crystal, The Legend of Korra, and She-Ra and the Princesses of Power enlist gender fluid and queer protagonists to spearhead rebellions against the heteronormative domains of colonizers, imperialists, zealots, and hypercapitalistic military–industrial complexes. Magic is commodified by each villain; used to crown their exaggerated conquistador reputations and power their nuclear weapons. To defeat them and the toxic sociopolitical narratives and power paradigms they have spawned, Sailor Moon, Korra, Adora, and others must confront how these ideologies have stunted their power, corrupted their ethical systems, and distorted their understanding of their identities. By achieving self-actualization/self-acceptance and collaborating with their allies to do the same, they co-create new endings for themselves and reclaim a broader spectrum of gender and sexuality. Within the liminal moments of these reflective identity battles, protagonists and their allies enter a magical communal space, a social network for a Jungian collective unconscious. Here, they exchange their evolving powers, ideologies, and emotionally charged memories (her stories) and collaborate to liberate their communities. These champions, ambassadors of their (our) collective unconscious, urge us to commune within the liminal spaces of our social networks to self-actualize and collectively unearth a neohuman identity and system of governance.
《美少女战士:水晶》、《科拉传奇》和《She-Ra and Princesses of Power》的叙事中，性别不稳定的酷儿主角们带头反抗殖民者、帝国主义者、狂热者和超级资本主义的军工复合体的异性恋领域。魔法被每个恶棍商品化;用来为他们夸张的征服者声誉加冕，并为他们的核武器提供动力。为了打败他们以及他们所产生的有毒的社会政治叙事和权力范式，美少女战士、科拉、阿朵拉和其他人必须面对这些意识形态如何阻碍了他们的权力，腐蚀了他们的道德体系，扭曲了他们对自己身份的理解。通过实现自我实现/自我接纳，并与他们的盟友合作，他们共同为自己创造了新的结局，并重新获得了更广泛的性别和性取向。在这些反思性的身份斗争中，主角和他们的盟友进入了一个神奇的公共空间，一个荣格集体无意识的社交网络。在这里，他们交换各自不断发展的力量、意识形态和充满情感的记忆(她的故事)，并合作解放他们的社区。这些冠军，他们(我们)集体无意识的大使，敦促我们在我们的社会网络的有限空间内进行交流，以实现自我，并集体发掘一种新人类的身份和治理体系。
{"title":"The Queer Glow up of Hero-Sword Legacies in She-Ra, Korra, and Sailor Moon","authors":"Diana Burgos","doi":"10.1515/culture-2020-0135","DOIUrl":"https://doi.org/10.1515/culture-2020-0135","url":null,"abstract":"Abstract The narratives within Sailor Moon Crystal, The Legend of Korra, and She-Ra and the Princesses of Power enlist gender fluid and queer protagonists to spearhead rebellions against the heteronormative domains of colonizers, imperialists, zealots, and hypercapitalistic military–industrial complexes. Magic is commodified by each villain; used to crown their exaggerated conquistador reputations and power their nuclear weapons. To defeat them and the toxic sociopolitical narratives and power paradigms they have spawned, Sailor Moon, Korra, Adora, and others must confront how these ideologies have stunted their power, corrupted their ethical systems, and distorted their understanding of their identities. By achieving self-actualization/self-acceptance and collaborating with their allies to do the same, they co-create new endings for themselves and reclaim a broader spectrum of gender and sexuality. Within the liminal moments of these reflective identity battles, protagonists and their allies enter a magical communal space, a social network for a Jungian collective unconscious. Here, they exchange their evolving powers, ideologies, and emotionally charged memories (her stories) and collaborate to liberate their communities. These champions, ambassadors of their (our) collective unconscious, urge us to commune within the liminal spaces of our social networks to self-actualize and collectively unearth a neohuman identity and system of governance.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"5 1","pages":"248 - 261"},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47763235","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1515/culture-2021-0004
Rashid Yahiaoui, Marwa J. Aldous, A. Fattah
Abstract The emblematic connotations and ideological values of images affect the way iconographic and visual codes are interpreted in dubbing. Religion, culture, and politics are all primary variables that communicate evaluative views of the world, but also impose pressure on the translator when they stand in conflict with his or her attitudinal positioning and ethical judgement. Thus, this article aims to examine how the interplay between iconographic and linguistic codes of the visual sign in the musical animation This Land is Mine impacts translational decision-making in dubbing into Arabic. Simultaneously, the aim of this article is to evaluate how religious, cultural, and ideological dissonances between source text and target audience result in acts of manipulation and negotiation of meaning in the target text that explicitly channels the voice of the translator. We employ a dual theoretical approach combining narrative theory and appraisal theory in order to evaluate patterns of manipulation within a scaled system to provide graded analysis that exposes the ideological stance and bias of the source text’s producer/animator in representing reality via visual narrative.
{"title":"The Impact of Image on Translation Decision-Making in Dubbing into Arabic – Premeditated Manipulation par Excellence: The Exodus Song as a Case Study","authors":"Rashid Yahiaoui, Marwa J. Aldous, A. Fattah","doi":"10.1515/culture-2021-0004","DOIUrl":"https://doi.org/10.1515/culture-2021-0004","url":null,"abstract":"Abstract The emblematic connotations and ideological values of images affect the way iconographic and visual codes are interpreted in dubbing. Religion, culture, and politics are all primary variables that communicate evaluative views of the world, but also impose pressure on the translator when they stand in conflict with his or her attitudinal positioning and ethical judgement. Thus, this article aims to examine how the interplay between iconographic and linguistic codes of the visual sign in the musical animation This Land is Mine impacts translational decision-making in dubbing into Arabic. Simultaneously, the aim of this article is to evaluate how religious, cultural, and ideological dissonances between source text and target audience result in acts of manipulation and negotiation of meaning in the target text that explicitly channels the voice of the translator. We employ a dual theoretical approach combining narrative theory and appraisal theory in order to evaluate patterns of manipulation within a scaled system to provide graded analysis that exposes the ideological stance and bias of the source text’s producer/animator in representing reality via visual narrative.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"5 1","pages":"66 - 80"},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/culture-2021-0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48283703","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1515/culture-2020-0141
Friederike Frenzel
Abstract Lewis Carroll’s “Alice in Wonderland” and “Through the Looking-Glass,” and J. M. Barrie’s “Peter Pan” are highly critiqued and explored works of British children literature. Both queer and hermeneutic readings allow approaches that intrinsically question gender dichotomies, providing tools to pick out underlying themes. Thus, focusing on the concepts of the “child hero” and the “genderless child” of Carroll’s and Barrie’s respective Victorian and Edwardian backgrounds, spatial – the dream worlds of the Wonder- and the Looking-Glass land, the colonized Island of Neverland – as well as temporal aspects – the linear, episodic quest of Alice, the immortal, cyclical existence of Peter – point to the subversive elements of play, memory, and narration in the texts. While Alice is bridging dream and reality in an oscillating, paradoxical act of self-aware transformation, Peter is otherworldly and inhuman himself, actively rejecting heteronormative standards and demands. Both are trespassers and assume roles, and confuse, adapt, and bend supposedly fixed rules. Their transgressions are subdued in the pretended ahistoricity of children’s storytelling, referring to the responsibility of adaptions to further expand the hermeneutical circle.
{"title":"A “Fabulous Monster” and a “Wonderful Boy:” Gender and the Elusive Victorian Child in the Alice Books and Peter Pan","authors":"Friederike Frenzel","doi":"10.1515/culture-2020-0141","DOIUrl":"https://doi.org/10.1515/culture-2020-0141","url":null,"abstract":"Abstract Lewis Carroll’s “Alice in Wonderland” and “Through the Looking-Glass,” and J. M. Barrie’s “Peter Pan” are highly critiqued and explored works of British children literature. Both queer and hermeneutic readings allow approaches that intrinsically question gender dichotomies, providing tools to pick out underlying themes. Thus, focusing on the concepts of the “child hero” and the “genderless child” of Carroll’s and Barrie’s respective Victorian and Edwardian backgrounds, spatial – the dream worlds of the Wonder- and the Looking-Glass land, the colonized Island of Neverland – as well as temporal aspects – the linear, episodic quest of Alice, the immortal, cyclical existence of Peter – point to the subversive elements of play, memory, and narration in the texts. While Alice is bridging dream and reality in an oscillating, paradoxical act of self-aware transformation, Peter is otherworldly and inhuman himself, actively rejecting heteronormative standards and demands. Both are trespassers and assume roles, and confuse, adapt, and bend supposedly fixed rules. Their transgressions are subdued in the pretended ahistoricity of children’s storytelling, referring to the responsibility of adaptions to further expand the hermeneutical circle.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"5 1","pages":"312 - 323"},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44039227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1515/culture-2021-0005
H. Pas
Abstract Scholarly studies on Alberto Blest Gana have generally disregarded the author’s production prior to his narrative cycle, begun with his novel La aritmética en el amor [Arithmetic in Love] (1860), awarded first prize in a literary contest sponsored by the Universidad de Chile. Nonetheless, the canonical cycle of his first narrative period (which includes his famous Martín Rivas and El ideal de un calavera) shares with his earlier fiction the fact that the novels were originally published in the press. Indeed, with the exception of the award-winning novel and Juan de Aria – published in the Aguinaldo of the newspaper El Ferrocarril – all the author’s production from his first narrative period was published in periodical publications, decisive in consolidating his narrative project. This essay analyses the mediation of the periodical press (and its subgenres, such as the folletín [newspaper serial] and the artículo de costumbres [a literary vignette of customs]) in the foundation of Blest Gana’s narrative scheme, contemplating the diversity of his production. The main features of his project were embodied, materially speaking, in the space of the folletín. It was in this space, in short, where the author’s narrative managed to challenge an extended reading public, necessary for the constitution of a national literature.
摘要学术界对阿尔贝托·布莱斯特·加纳的研究通常忽略了作者在叙事周期之前的作品，从他的小说《爱中的算术》（1860）开始，该小说在智利大学主办的文学竞赛中获得一等奖。尽管如此，他的第一个叙事时期（包括他著名的马丁·里瓦斯和《卡拉维拉的理想》）的典型循环与他早期的小说有着相同的事实，即这些小说最初是在媒体上发表的。事实上，除了获奖小说和胡安·德·阿里亚 – 发表在《El Ferrocarril》报纸的《Aguinaldo》上 – 作者第一个叙事时期的所有作品都发表在期刊上，这对巩固他的叙事计划起到了决定性的作用。本文分析了期刊（及其子类，如《folletín》（报纸连载）和《artículo de costumbres》（风俗的文学小插曲））在Blest Gana叙事方案的基础上的中介作用，并思考了他的作品的多样性。从物质上讲，他的项目的主要特征体现在福利林的空间中。简言之，正是在这个空间里，作者的叙述成功地挑战了一个扩展阅读的公众，这是构成一个国家文学所必需的。
{"title":"From the Newspaper Serial to the Novel (1853–1863): Mediation of the Periodical Press in the Foundation of Alberto Blest Gana’s Narrative Project","authors":"H. Pas","doi":"10.1515/culture-2021-0005","DOIUrl":"https://doi.org/10.1515/culture-2021-0005","url":null,"abstract":"Abstract Scholarly studies on Alberto Blest Gana have generally disregarded the author’s production prior to his narrative cycle, begun with his novel La aritmética en el amor [Arithmetic in Love] (1860), awarded first prize in a literary contest sponsored by the Universidad de Chile. Nonetheless, the canonical cycle of his first narrative period (which includes his famous Martín Rivas and El ideal de un calavera) shares with his earlier fiction the fact that the novels were originally published in the press. Indeed, with the exception of the award-winning novel and Juan de Aria – published in the Aguinaldo of the newspaper El Ferrocarril – all the author’s production from his first narrative period was published in periodical publications, decisive in consolidating his narrative project. This essay analyses the mediation of the periodical press (and its subgenres, such as the folletín [newspaper serial] and the artículo de costumbres [a literary vignette of customs]) in the foundation of Blest Gana’s narrative scheme, contemplating the diversity of his production. The main features of his project were embodied, materially speaking, in the space of the folletín. It was in this space, in short, where the author’s narrative managed to challenge an extended reading public, necessary for the constitution of a national literature.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"5 1","pages":"136 - 148"},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/culture-2021-0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42626246","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1515/culture-2020-0125
Hery Prasetyo, Dien Vidia Rosa, Raudlatul Jannah, B. Handayani
Abstract The issue of indigenous community revivalism is crucial related to identity problems and cultural practices in sustainable development. Capital accumulation through cultural commercialization becomes a means to create a cultural creative sector based on tourism. The case of Osing communities in Banyuwangi, East Java, explained and highlighted the cultural practices of indigenous identity to a political-economic agenda. The research used a discursive analysis method with the findings of several issues. First, there were discrepancies between the indigenous and village institutions over the vision of village development. Second, the emergent forms of elite domination in an indigenous village. Third, the economic profit which is introduced by the market system did not align with the constructed narratives of indigenous people as generous and selfless. Fourth, the revival of cultural tourism is followed by an improvement in the infrastructure as a development indicator. And fifth, the government did not effectively represent the will of the indigenous community. Those emerged the contradiction between maintaining and innovating the tradition as a challenge in cultural tourism projects. The conditions were examined as a politics of culture which is formulated by the state. Hence, cultural practices of indigenous community turned into festivals; notwithstanding, indigenous sustainability is still uncertain.
{"title":"The Revival of the Past: Privatizing Cultural Practices in the Festival Era","authors":"Hery Prasetyo, Dien Vidia Rosa, Raudlatul Jannah, B. Handayani","doi":"10.1515/culture-2020-0125","DOIUrl":"https://doi.org/10.1515/culture-2020-0125","url":null,"abstract":"Abstract The issue of indigenous community revivalism is crucial related to identity problems and cultural practices in sustainable development. Capital accumulation through cultural commercialization becomes a means to create a cultural creative sector based on tourism. The case of Osing communities in Banyuwangi, East Java, explained and highlighted the cultural practices of indigenous identity to a political-economic agenda. The research used a discursive analysis method with the findings of several issues. First, there were discrepancies between the indigenous and village institutions over the vision of village development. Second, the emergent forms of elite domination in an indigenous village. Third, the economic profit which is introduced by the market system did not align with the constructed narratives of indigenous people as generous and selfless. Fourth, the revival of cultural tourism is followed by an improvement in the infrastructure as a development indicator. And fifth, the government did not effectively represent the will of the indigenous community. Those emerged the contradiction between maintaining and innovating the tradition as a challenge in cultural tourism projects. The conditions were examined as a politics of culture which is formulated by the state. Hence, cultural practices of indigenous community turned into festivals; notwithstanding, indigenous sustainability is still uncertain.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"5 1","pages":"194 - 207"},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43737760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1515/culture-2020-0132
A. Duggan
Abstract The Frères Cogniard produced immensely popular vaudeville féeries in the nineteenth century and among them most popular was The White Cat (1852), which grafts two tales together by Marie-Catherine d’Aulnoy: “The White Cat” and “Belle-Belle, or the chevalier Fortuné.” The féerie foregrounds gender, class, human/thing, and species fluidity, which undermines hierarchies supported by dichotomies that in very similar ways privilege men over women, the upperclass over lowerclass, persons over things, and human animals over non-human animals. The essay traces these different forms of fluidity, examining the role of marvelous in general and metamorphosis in particular in problematizing normative structures of identity and revealing their arbitrary nature.
{"title":"Gender, Class, and Human/Non-Human Fluidity in Théodore and Hippolyte Cogniards’ féerie, The White Cat","authors":"A. Duggan","doi":"10.1515/culture-2020-0132","DOIUrl":"https://doi.org/10.1515/culture-2020-0132","url":null,"abstract":"Abstract The Frères Cogniard produced immensely popular vaudeville féeries in the nineteenth century and among them most popular was The White Cat (1852), which grafts two tales together by Marie-Catherine d’Aulnoy: “The White Cat” and “Belle-Belle, or the chevalier Fortuné.” The féerie foregrounds gender, class, human/thing, and species fluidity, which undermines hierarchies supported by dichotomies that in very similar ways privilege men over women, the upperclass over lowerclass, persons over things, and human animals over non-human animals. The essay traces these different forms of fluidity, examining the role of marvelous in general and metamorphosis in particular in problematizing normative structures of identity and revealing their arbitrary nature.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"5 1","pages":"208 - 220"},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43239781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.1515/culture-2020-0006
A. Paoliello
Abstract This article aims at exploring the subversive nature of two Sinophone Malaysian cultural products, namely “Bie zai tiqi” (2002) a short story by Ho Sok Fong and You Mean the World to Me (2017), a full-length feature film by director Saw Teong Hin. I argue that, despite their differences, both fictional products use powerful metafictional and metanarrative devices to challenge factuality. In doing so, they not only blur the fine line between fiction and reality, but they also question cultural power dynamics and ethnic politics in Malaysia. Moreover, they defy the truthfulness of Mandarin as the preferred Sinitic cultural language as well as the idea that, in Malaysia, literature and film can be considered Malaysian only if produced in Malay, the official language of the country. By performing an analysis of the linguistic choices made by Ho Sok Fong and Saw Teong Hin, I will suggest that both the short story and the feature film analysed in this article use metafiction and metanarration to subvert widely-accepted, yet problematic, notions of national culture and common ethnic language.
{"title":"“Bie zai tiqi” and You Mean the World to Me: Two Subversive Sinophone Malaysian Metatexts","authors":"A. Paoliello","doi":"10.1515/culture-2020-0006","DOIUrl":"https://doi.org/10.1515/culture-2020-0006","url":null,"abstract":"Abstract This article aims at exploring the subversive nature of two Sinophone Malaysian cultural products, namely “Bie zai tiqi” (2002) a short story by Ho Sok Fong and You Mean the World to Me (2017), a full-length feature film by director Saw Teong Hin. I argue that, despite their differences, both fictional products use powerful metafictional and metanarrative devices to challenge factuality. In doing so, they not only blur the fine line between fiction and reality, but they also question cultural power dynamics and ethnic politics in Malaysia. Moreover, they defy the truthfulness of Mandarin as the preferred Sinitic cultural language as well as the idea that, in Malaysia, literature and film can be considered Malaysian only if produced in Malay, the official language of the country. By performing an analysis of the linguistic choices made by Ho Sok Fong and Saw Teong Hin, I will suggest that both the short story and the feature film analysed in this article use metafiction and metanarration to subvert widely-accepted, yet problematic, notions of national culture and common ethnic language.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"4 1","pages":"59 - 73"},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/culture-2020-0006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45834560","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.1515/culture-2020-0010
Anne Ganzert, Beate Ochsner, Robert Stock
The issue “Media Practices Commoning” contains a selection of contributions that critically discusses current concepts like commons and conviviality by situating them within the contemporary framework of digital media technologies. We thus contribute to the ongoing debate on media practices of commoning as well as a media ontological understanding of commoning processes. These are pressing issues in times of ubiquitous computing and platform capitalism, where an ever-increasing number of devices, technologies and complex infrastructures are interwoven with human and other organic agencies. Daily practices are increasingly framed by digital technologies and thus rendered as productive sources for data production. Thereby, the media ontological question is raised how practices, technologies and data might be conceptualised as commons without being commodified and functionally operationalised (Deuber-Man-kowsky). Yet these seemingly antagonistic strategies are intertwined, indicating that more and more new forms of coexistence emerge through an increasing number of socio-technical arrangements. Hence, the idea of conviviality, or living together, is undergoing deep transformations and requires a thorough analysis. The issue is a continuation of the conference “Media | Practices | Commoning” that took place at the University of Konstanz, Germany (October 9-11, 2017). An international and interdisciplinary group of speakers discussed the concepts of commoning and conviviality from different disciplines and perspectives. From this discussion, three lines of inquiry emerged that we set out to further develop in this issue. In a first line of inquiry we seek to explore the art of conviviality and recent forms of friendly togetherness while relating them to media-technological infrastructures that frame their emergence. Within recent notions of convivialism, a new style of cohabitation (Adloff and Legewie) is normatively claimed as a way of shaping as well as analysing a pos-itive constitution of social relations that overcomes globalist utilitarian
{"title":"Introduction to the Special Issue “Media Practices Commoning”","authors":"Anne Ganzert, Beate Ochsner, Robert Stock","doi":"10.1515/culture-2020-0010","DOIUrl":"https://doi.org/10.1515/culture-2020-0010","url":null,"abstract":"The issue “Media Practices Commoning” contains a selection of contributions that critically discusses current concepts like commons and conviviality by situating them within the contemporary framework of digital media technologies. We thus contribute to the ongoing debate on media practices of commoning as well as a media ontological understanding of commoning processes. These are pressing issues in times of ubiquitous computing and platform capitalism, where an ever-increasing number of devices, technologies and complex infrastructures are interwoven with human and other organic agencies. Daily practices are increasingly framed by digital technologies and thus rendered as productive sources for data production. Thereby, the media ontological question is raised how practices, technologies and data might be conceptualised as commons without being commodified and functionally operationalised (Deuber-Man-kowsky). Yet these seemingly antagonistic strategies are intertwined, indicating that more and more new forms of coexistence emerge through an increasing number of socio-technical arrangements. Hence, the idea of conviviality, or living together, is undergoing deep transformations and requires a thorough analysis. The issue is a continuation of the conference “Media | Practices | Commoning” that took place at the University of Konstanz, Germany (October 9-11, 2017). An international and interdisciplinary group of speakers discussed the concepts of commoning and conviviality from different disciplines and perspectives. From this discussion, three lines of inquiry emerged that we set out to further develop in this issue. In a first line of inquiry we seek to explore the art of conviviality and recent forms of friendly togetherness while relating them to media-technological infrastructures that frame their emergence. Within recent notions of convivialism, a new style of cohabitation (Adloff and Legewie) is normatively claimed as a way of shaping as well as analysing a pos-itive constitution of social relations that overcomes globalist utilitarian","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"4 1","pages":"107 - 111"},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/culture-2020-0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41670071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.1515/culture-2020-0004
G. Anjum
Abstract This paper explores women’s activism and political engagement in contemporary Pakistan. In this exploration with self-identified liberal and conservative groups of women, emerged their experiences and narratives about Feminism and Nationalism with a common moderator being religious affiliations. In this qualitative and phenomenological exploration, the informants belonged to various self-identified liberal and conservative women-led organizations. To this end, 20 women (age-range 23-48 years) were interviewed. Results indicated that gender roles and feminism were seen very differently between the two groups; gender and national identity were closely associated with Islamic values and there was a negative association between nationalism and feminist ideology. Women from liberal organizations, mostly feminists, emphasized pro-public-sphere engagement of women, rebelling against religious fundamentalism. On the contrary, many self-reported conservative women proclaimed nationalist, anti-feminists (they did not identify as Islamic feminists) and pro-private-sphere engagement of women. Many of the liberal informants complained about Pakistan’s misogynistic society and hurdles they faced in demanding equal opportunities for women. This research has implications for gender equality and female identity in the context of nationalism, women’s mobility and entitlement to the public sphere. The study also has applied significance for prejudices and stereotypes that make it difficult for women, to break away from fixed categories of gender role expectations. This paper informs academics and practitioners on socially and politically engaged Pakistani women’s views regarding these narratives. The study concluded that women’s activism is influenced by their religious views and their religious interpretation of feminism and nationalism in Pakistani society.
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