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Asiascape: Digital Asia最新文献

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The Frontline of Research on Communication, Media, and Culture in Korea 韩国传播、媒体与文化研究的前沿
IF 0.7 Q2 COMMUNICATION Pub Date : 2019-04-29 DOI: 10.1163/22142312-12340105
Hyun Gyung Kim
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引用次数: 0
Digital Modes of Exchange: Structural Relations of Commodity, Control, and Community 数字交换模式:商品、控制和社区的结构关系
IF 0.7 Q2 COMMUNICATION Pub Date : 2019-04-29 DOI: 10.1163/22142312-12340104
Martin Roth
In this article, I perceive digital space as a space structured by different and, at the same time, related modes of exchange. Drawing on Karatani Kōjin’s model of ‘exchange’, I scrutinize capitalist exchange in digital space, data-based control on platforms, and the conditions of community in a filtered digital reality. The analysis indicates a shift in the structure of exchange in digital space. In Karatani’s analysis, capital, nation, and state form a strong alliance that maintains the present status quo. Although this holds true for digital space, the emphasis is much more on corporate and thus capitalist actors, which, in some cases, replace the state and interfere with the emergence of imagined communities. By relating the various actors and dimensions, I provide a heuristic model for the structure of digital space.
在这篇文章中,我认为数字空间是一个由不同的,同时又是相关的交换模式构成的空间。借助Karatani Kōjin的“交换”模型,我仔细审视了数字空间中的资本主义交换、基于数据的平台控制以及过滤后的数字现实中的社区条件。分析表明,数字空间的交换结构发生了变化。在卡拉塔尼的分析中,资本、民族和国家形成了一个维持现状的强大联盟。虽然这对数字空间来说是正确的,但重点更多地放在企业和资本主义行动者身上,在某些情况下,它们取代了国家,干扰了想象社区的出现。通过将不同的参与者和维度联系起来,我为数字空间的结构提供了一个启发式模型。
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引用次数: 2
Medium als Vermittlung. Medien und Medientheorie in Japan, written by Fabian Schäfer 中介?日本媒体和媒体理论,法比安·雪弗写的
IF 0.7 Q2 COMMUNICATION Pub Date : 2019-04-29 DOI: 10.1163/22142312-12340106
M. Hennig
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引用次数: 1
(Re)creating the Nation Online: Nationalism in Chinese Dota 2 Fandom (重新)创建民族在线:中国Dota 2粉丝圈的民族主义
IF 0.7 Q2 COMMUNICATION Pub Date : 2018-09-17 DOI: 10.1163/22142312-12340095
Milan Ismangil
In August 2016, Wings Gaming won the sixth edition of the International, a tournament for the videogame Dota 2. Wings Gaming, a team consisting of five Chinese players, was praised for bringing honour to China. This article explores various ways in which this Chinese Dota 2 community frames its fandom using nationalistic rhetoric. Teams identified as Chinese represent the country, honouring or disappointing the nation when they square off in tournaments. This article focusses on the everyday experience in this online community, arguing that the way in which people cheer for their teams stems from a nationalistic filter that makes nationalism the normative discourse in the community. A further comparison is made to American social media to discuss the role that truth plays when nationalism is discussed in the daily experience. This study concludes that a combination of factors surrounding the Chinese community creates a form of banal (cold) nationalism, which normalizes and strengthens national truths and myths.
2016年8月,Wings Gaming赢得了第六届Dota 2国际锦标赛的冠军。由5名中国选手组成的战队Wings Gaming因给中国带来荣誉而受到称赞。本文探讨了中国Dota 2社区使用民族主义修辞来构建其粉丝群体的各种方式。被认定为中国人的队伍代表着这个国家,他们在比赛中为这个国家争光或失望。本文关注的是这个网络社区的日常体验,认为人们为自己的团队加油的方式源于一种民族主义过滤器,这种过滤器使民族主义成为社区中的规范话语。进一步与美国社交媒体进行比较,探讨在日常经验中讨论民族主义时,真相所扮演的角色。本研究的结论是,围绕华人社区的各种因素组合在一起,形成了一种陈腐(冷)的民族主义,使民族真理和民族神话正常化并得到强化。
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引用次数: 8
The World Made Meme: Public Conversations and Participatory Media, written by Ryan M. Milner 《世界制造的模因:公众对话和参与媒体》,作者:瑞恩·m·米尔纳
IF 0.7 Q2 COMMUNICATION Pub Date : 2018-09-17 DOI: 10.1163/22142312-12340097
C. Abidin
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引用次数: 0
Digital Indonesia: Connectivity and Divergence, written by Edwin Jurriens and Ross Tapsell 《数字印尼:连通性与分歧》,作者:埃德温·朱里恩斯和罗斯·塔普塞尔
IF 0.7 Q2 COMMUNICATION Pub Date : 2018-09-17 DOI: 10.1163/22142312-12340096
J. Hicks
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引用次数: 0
The Voice of a New China: Democratic Behaviours in the Chinese Reality Shows Super Girl and Happy Girls 新中国之声:中国真人秀节目《超级女声》和《快乐女声》中的民主行为
IF 0.7 Q2 COMMUNICATION Pub Date : 2018-09-17 DOI: 10.1163/22142312-12340093
Wan-chun Huang
One of China’s reality shows,Super Girl, showed too much of a ‘democratic’ idea for the taste of the Chinese Communist Party, which suspended it in 2006. Nevertheless,Super Girlsucceeded in introducing a participatory audience and welcoming a new form of ‘affective economy’ that helped Chinese audiences actively engage in a given show. Today’s new media technologies and their convergence empower the participatory audience and spur democratic ideas in Chinese society. Because of these empowered audiences, China’s reality shows have become an influential platform. I examine four aspects of these Chinese reality shows in an era of ‘media convergence’: first, the new relationship between the Chinese government and media producers; second, the intense cooperation between Chinese new media producers and consumers; third, the public voice created by Chinese audiences in and outside the studio; and fourth, the limitations and possibilities of democratic participation in Chinese reality shows.
中国的真人秀节目《超级女声》(Super Girl)展示了太多“民主”理念,不合中国共产党的口味,因此在2006年停播了该节目。尽管如此,《超级女声》成功地引入了参与式观众,并欢迎了一种新形式的“情感经济”,帮助中国观众积极参与到特定的节目中。今天的新媒体技术及其融合增强了参与观众的能力,并激发了中国社会的民主思想。因为有了这些强大的观众,中国的真人秀节目已经成为一个有影响力的平台。我从四个方面考察了“媒体融合”时代的中国真人秀:第一,中国政府与媒体制作人之间的新关系;二是中国新媒体生产者与消费者之间的紧密合作;第三,中国观众在演播室内外创造的公众声音;第四,中国真人秀节目民主参与的局限性与可能性。
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引用次数: 3
期刊
Asiascape: Digital Asia
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