“Count What You Have Now. Don't Count What You Don't Have”: The Japanese Television Drama Around 40 and the Politics of Women's Happiness

Voted top new Japanese word of 2008, “arafô”, abbreviated from the English “around forty”, has been used in various media to describe women born between 1964 and 1973, who came of age during Japan's Bubble Era, and who entered the workforce as the country's Equal Employment Opportunity Lawwas being implemented in 1986. Arafô, or “forty-something women”, theoretically have more choices in relation to work and family than previous generations. During a time when society is ageing, their choices in employment, marriage and childbirth have been judged in journalistic and government discourses to be both progressive and problematic. At the same time, arafô have been associated with difficulties regarding individual freedom in the spate of television programs, books and magazines for and about them. The term and the gender trends it encapsulates were brought to national attention by the critically acclaimed 2008 television drama Araundo 40: Chûmon no ôi onnatachi (trans. Around 40: Demanding Women). We situate Around 40 in discussions about Japan's demographic crisis to argue that the series presents a wide array of life courses available for women near age 40 but ultimately recasts postwar gender roles for the 21^st-century sociopolitical climate. Around 40 shows how the diversification of life courses is interpreted in the influential medium of television drama.     

原始农耕信仰与祖先英雄崇拜的现代展演——湖南新晃侗族傩戏“咚咚推”调查

有"中国戏剧的活化石"之称的傩戏"咚咚推"保存了侗族先民遗留下来的多种傩戏剧目,向世人展现了侗族人民各种繁复有序和神秘有趣的习俗,是侗族先民原始农耕信仰的现代展演;"咚咚推"以盘古大王和飞山大王为傩神,除了在表演时对傩神举行各种请、迎、会、送的舞祭仪式外,演出的剧目也表现了作为移民后代的天井寨人为增强家族凝聚力而保持的祖先英雄崇拜。"咚咚推"作为天井寨人独有的一种戏剧形式,为研究南方民族在迁徙过程中的文化传承与文化交融提供了极为难得而生动的活动文本。     

Memes,masculinity and mancession: Love/Hate’s online metatexts

Since it first aired in 2010 on Radió Teilifís Éireann, Ireland’s national public service broadcaster, Irish crime drama series Love/Hate has enjoyed record audience ratings. However, while serious TV critics and the show’s producers have praised it as a complex and incisive commentary on crime in Ireland, the more participatory online cultures of the Journal.ie, Twitter and Facebook have constructed a distinctly less highbrow set of discourses around the show. This analysis of the Journal.ie’s Daily Edge recaps demonstrates how participatory Laddish humour and what Jean Burgess refers to as the “vernacular creativity” of memes have functioned to prioritise a cohesive set of engagements with Love/Hate that are underpinned by fantasies about the recuperation of male power. Moreover, by creating a sense of “in-groupness” around the series, the Daily Edge and its tertiary texts have produced a heavily gendered sense of consensus about who “we” in post-Celtic Tiger Ireland are.     

Negotiating and queering US hegemony in TV drama: popular geopolitics and cultural studies

This article argues that popular geopolitics should pay closer attention to entertainment television and to the negotiations, complexities, and contradictions associated with contemporary televisual texts. This move requires a closer engagement with media and cultural studies than that initiated to date. In the second half of the article, we discuss the ABC TV drama Commander in Chief, which follows the first female president of the USA, and is set in a post-9/11 world wherein the struggle for US geopolitical domination has become a much more complex endeavor. We end by wondering whether entertainment television might provide us with imaginative resources for queering US hegemony.     

Art and Impowerment: Levinas,Nietzsche, and the Ethics of Literary Discourse

This article draws on the profound affinities between the thought of Levinas and Nietzsche to argue that aesthetics plays a major role in Levinas's ethical philosophy. As in the case of Nietzsche, who called himself “the first tragic philosopher,” aesthetics gives reference to the tragic, yet affirmative content of Levinas's ethics. For both, what Levinas calls the “alterity,” or otherness, of art and literature is located not in an ontological or conceptual “beyond”—in a “spiritual” dimension “which sets itself up as knowledge of the absolute”—but in the “interstices” of language, in the “between times” (entretemps) of its modes of temporality: which can only be accessed by way of “the tragic” in art. Alterity signifies not a privileged, interpersonal dimension freed from the problematics of modernity, but points to the complicity between the West's concept of rationality and its history of barbarism exemplified by the Holocaust. The artwork for Levinas is at once temporally diachronic and spatially diasporic, a region of impowerment that is precisely lacking in the expressive or imaginative empowerment normally attributed to the artwork, but which demonstrates a utopian, emancipatory potential in revealing the fissures and hidden pathways that run through the hegemonic structures and totalizing frameworks of modernity.     

NOTES ON CAMPS,OR, COUNTERFACTUAL FÜHRERS AND THE STRUCTURE OF THE JOKE

In this review essay I explore the dynamics of “normalization” in historical and fictional depictions of the National Socialist past, examining both the “organic” normalization of catastrophic events through the passage of time, and efforts to normalize the Nazi past through aesthetics. Focusing on Gavriel Rosenfeld's Hi, Hitler: How the Nazi Past is Being Normalized in Contemporary Culture, I argue against many dimensions of Rosenfeld's account of normalization, particularly his claim that aesthetic normalization can undermine our moral judgments regarding the Holocaust. Drawing on Sigmund Freud on jokes, and Susan Sontag on Camp aesthetics, I argue that every effort to normalize the Holocaust, especially ones that work through humor and jokes (a major topic of Rosenfeld's book), actually maintain the Holocaust's status as a series of historical events resistant to “normalization.” If “normalization” is a process through which extraordinary, or morally charged, historical events lose their moral charge, then aesthetic efforts to normalize the Holocaust actually reinscribe the special moral status that Rosenfeld believes they erase.     

The Crisis of the “Disadvantaged Child”: Poverty Research,IQ, and Muppet Diplomacy in the 1960s

In the early 1960s, the US federal government deemed poverty to be a national crisis, and actively intervened to solve this problem. My question for this article is how did preschool education become a key site to remedy this crisis? Government interventions were a combination of poverty research, racialized politics, and child development. I show how the discipline of early childhood education cohered around the term “disadvantaged child”, in turn influencing the War on Poverty policies, including the basis of Head Start preschool education. During this same decade proponents of Sesame Street—with private funding, along with extensive testing mechanisms by consultants—argued that the television could reach more children, therefore be more cost effective. This paper investigates how surplus populations became determined and demarcated, as early as three years old. I question how televised preschool taught “affective skills” and proper social relations during times of political crisis.     

„[…︁] mein Recht muss mir werden!“ Hermann Bahrs Tragikomödie Der Querulant (1914)

“[…︁] mein Recht muss mir werden!” Hermann Bahr’s Tragicomedy ­ Der Querulant ­ (1914). At the end of the eighteenth century, people who became notorious for their excessive engagement in legal proceedings started being labeled as “querulents” or “paranoid litigants”. The term “querulents” first appeared in the General Order of the Court for the Prussian States (Allgemeine Gerichtsordnung für die Preußischen Staaten) from July 6, 1793. From there on, the spectrum of juridical measures undertaken against the so-labeled litigators included classifying these persons as ineligible for legal action and psychiatric hospitalization. The paper discusses to what extent Hermann Bahr rearranges psychiatric and legal knowledge about this special type of the complainer in his tragicomedy Der Querulant, premiered in 1914. This concerns, first, the theatricality of the body and speech, secondly, the use of cultural techniques of writing and, thirdly, conflicting notions of justice. Therefore, the paper analyzes the aesthetic function of querulous behavior in the dramatic structure of the play from the point of view of both media theory and literary theory.     

5. INDIA,ITIHASA, AND INTER‐HISTORIOGRAPHICAL DISCOURSE

An effective and enriching discourse on comparative historiography invests itself in understanding the distinctness and identity that have created various civilizations. Very often, infected by bias, ideology, and cultural one‐upmanship, we encounter a presumptuous‐ness that is redolent of impatience with the cultural other and of an ingrained refusal to acknowledge what one's own history and culture fail to provide. This “failure” need not be the inspiration to subsume the other within one's own understanding of the world and history and, thereby, neuter the possibilities of knowledge‐sharing and cultural interface. It is a realization of the “lack” that provokes and generates encounters among civilizations. It should goad us to move away from what we have universalized and, hence, normalized into an axis of dialogue and mutuality. What Indians would claim as itihasa need not be rudely frowned upon because it does not chime perfectly with what the West or the chinese know as history. accepting the truth that our ways of understanding the past, the sense of the past, and historical sense‐generation vary with different cultures and civilizations will enable us to consider itihasa from a perspective different from the Hegelian modes of doing history and hence preclude its subsumption under the totalitarian rubric of world history. How have Indians “done” their history differently? What distinctiveness have they been able to weave into their discourses and understanding of the past? Does the fact of their proceeding differently from how the West or the Chinese conceptualize history delegitimize and render inferior the subcontinental consciousness of “encounters with past” and its ways of being “moved by the past”? This article expatiates on the distinctiveness of itihasa and argues in favor of relocating its epistemological and ideological persuasions within a comparative historiographical discourse.     

John Milton and the Beard-Hater: encounters with Julian the Apostate

ABSTRACT

This is a study of John Milton and Julian the Apostate, last of the pagan emperors. It follows two trajectories. The first takes as its subject Julian’s “School Edict” of 362 AD, which barred Christians from traditional classical education; while the second concerns a literary text by Julian himself, the Misopogon or “Beard-Hater,” in which he ironically attacked his own aversion to Antiochene Christianity, including the performance of plays. These discussions offer an opportunity to re-examine Milton’s comments on early Christian views of drama, as well as his own drafts for sacred dramas. All these discussions turn on the question of how the Christian is to approach pagan literature, one of the oldest intellectual debates within Christianity. I argue that Milton’s attitude to Greek literature as an entire process was shaped by his attitude to this specific debate, and that this can be seen afresh by viewing it through the eyes of its most powerful critic in antiquity, Julian the Apostate. I also furnish an account of the early-modern editorial tradition of Julian.     

The Social and Literary Context of German Translations of Saʿdi’s Golestān

Sa?di’s Golestān has been translated into German numerous times since the seventeenth century. The purpose of this article is to examine the social and literary context of three German translations and translators: Karl Heinrich Graf, a theologian and researcher of the Old Testament, published his translation of the Golestān in 1846 during German Romanticism; Dieter Bellmann, a professor of Oriental studies, published a revision of Graf’s Rosengarten in 1982 in the German Democratic Republic, where literature was strictly regulated; Kathleen Göpel published her indirect translation from English, prepared by the Afghan translator Omar Ali-Shah, in 1997, at a time of intercultural literature, also called “bridge literature.” Through examples the article shows how the context may have influenced their translations and how the text has changed when traveling across linguistic and cultural borders.     

Isaiah 1,4–9, Isaiah,and the events of 701 BCE in Judah

Abstract

The title of this paper points to the relationship between the Israelite cult as cultural performance and current trends in modern interpretation of the Psalms. The first part includes a review of the wellknown “spiritualisation” of cultic language which is compared to a new approach that describes this phenomenon as a “transformation” of cultic patterns. The second part intents to demonstrate how such transformations could have worked. The “liturgical” text of Ps 24 may serve as an eloquent example of this. Here, a fragment from the ancient temple cult is quoted in order to demonstrate the close connection between the secrets of the inner temple and everyday life. Ps 24 now appears to be an erudite text used for educational purposes.     

WHAT WAS CRITICAL HISTORY? A READING OF RICHARD SIMON'S HISTOIRE CRITIQUE DU VIEUX TESTAMENT

The roots of our modern critical historical attitude are usually set in one of the following phenomena: (1) the Quarrel of the Ancients and the Moderns; (2) the establishment of historiography as a scientific discipline; and (3) the newly gained awareness of anachronism. However, these accounts either neglect the normative character of the above‐mentioned phenomena or operate with an a priori definition of “critical history,” which leads them to retrospectively attribute the concept of “critique” to historical realities that have not used the term to denote their attitude toward or their treatment of the past. Rather than starting from an a priori definition of what “critical history” is, I propose to inquire into what “critical history” was at the moment when it was first conceived as such—namely in Richard Simon's Histoire critique du Vieux Testament. I will begin by presenting Simon's conception of critique, which entailed: (a) a grammatical and philological treatment of the text in question; (b) a historical and cultural contextualization of this text; and (c) a specific type of judgment to be applied to what is written therein. Since this last aspect constitutes the key to understanding critique's attitude toward the past, I will, in the second part, focus my attention on the notion that plays a pivotal role in the exercise of “critical judgment,” that is, on the concept of tradition. Last, I will propose that since Simon's critical history does not seem to be completely autonomous in relation to its object, the roots of our modern call for normative autonomy vis‐à‐vis the past should be sought with the authors whom Simon opposed in his work, but from whom nonetheless he inherited the term critique: Protestant authors such as Scaliger, Casaubon, and Cappel.     

Republic in early modern China: The cross-cultural dissemination of a political concept

ABSTRACT

The English term republic and the Chinese term Gonghe (共和, “joint harmony”; i.e., “republic” in modern Chinese) stem from different conceptual origins and carry different connotations. When they first encountered the term republic, the intellectuals of China and Japan could only understand it by drawing on the political knowledge of Chinese antiquity. But soon after, two different concepts corresponding to the term republic emerged in the form of Chinese characters within the Chinese and Japanese linguistic environments—minzhu (民主, “people's rule”) and gonghe, which gradually shed their ancient Chinese significations. After its coining as an early modern political concept in the Japanese language, the term gonghe sporadically filtered into the Chinese linguistic context during the 1880s and 1890s. In 1898–1902, the concept of gonghe rapidly gained popularity in China, primarily due to its introduction by Liang Qichao (梁启超, 1873–1929) and other figures, with a clearly demarcated line separating the term from its ancient Chinese significance. As the concept of gonghe spread in China, it became embroiled in the contemporary tide of political reform, both influencing and being influenced by this trend. In the first decade of the 20th century, two competing interpretations of the term gonghe appeared. The moderates, represented by Liang Qichao, maintained that the evolution of the political system had a natural order; that their contemporary China did not yet have the conditions to adopt a republican system; and that it was necessary to first improve the citizens’ character, and cultivate the habits of self-governance among the people. The radicals, represented by Sun Yat-sen (孙中山, 1866–1925), held that China should overleap a constitutional monarchy, overthrow the Manchu emperor through violent revolution, and directly establish a republican form of government. The views of the radical party won discursive power, but their discussions and deliberations on the implications of a republic were clearly inadequate. Following the outbreak of the 1911 Revolution, a republican form of government was quickly established, but its functional results fell far short of people's expectations, causing the concept of a republic to be distrusted, criticized, and even shelved.     

The construction of an alpine landscape: building,representing and affecting the Eastern Alps,c. 1885–1914

Between 1885 and the First World War, German and Austrian alpinists talked of “opening up” the Alps in Germany and the Austrian Empire with a vast network of huts and paths. This article argues that this effort to develop the Alps arose from a series of relationships between people, objects, representations and affects which linked urban spaces of middle-class conduct to the alpine environment. Alpinists utilised media such as landscape reliefs and panoramas not merely to represent the Alps, but to inculcate a particular affective response amongst Germany's urban middle-class, or Bürgertum. Instead of a Romantic ideal of mountains as unknowable symbols of nature's power, these alpinists promoted a modern gaze which would see all, from the safety of a controlled, governable landscape. In doing so, alpinists legitimised their intervention in the Eastern Alps, developing these once unknown landscapes as a bürgerlich [bourgeois, or middle-class] cultural resource.     

OF BOUNDARIES,PLACES, AND SITUATIONS

Thomas F. Gieryn's Truth-Spots: How Places Make Us Believe presents eight case studies to support his historical-sociological thesis that “Places … have agency and exert a force of their own on the direction and pace of knowledge and belief” (18). Gieryn adds a new angle to a century-old discourse on the social construction of truth: the emplacement of credibility in narrated material locations. Throughout his career, Gieryn has contributed extensively to the spatial and placeful analysis of knowledge and social power: from advancing the concept of discursive “boundary-work” in the 1980s, to a refined method of “cultural cartography” in the 1990s, and in the twenty-first century, toward investigations of places: defined as meaning-enriched material locations. He has now advanced “truth-spots” as a type of place that credibilizes truth-claims. This essay reviews the key concepts in the career of this historical sociologist of scientific knowledge, through a mapping of Gieryn's own trajectory within the arc of a long pragmatist tradition in US social science. I shall use Gieryn's own case studies to test two key claims in his account of how place operates in the social-cultural construction of belief: (1) The model of “place” that Gieryn proposed in 2000, and has used consistently ever since (termed here a “Gieryn-place”), and (2) Gieryn's claim that features of “truth-spots” exhibit an observably independent (“agentic”) effect on the credibility of claims made there. I argue that both Gieryn-places and truth-spots suffer from incomplete specification of the ways in which people attach meanings to locations; of the boundaries of places; and of the sites of conscious encounter with places. They suffer also from his own boundary-work to exclude imaginary, cultural, and virtual spaces from his conception of place. This essay argues that a credible account of how place operates in/as history will require a focus on situation and situatedness, drawing on the pragmatist tradition of the Thomas Theorem. The concept of situation completes the circuit between meaning-production and the attachment of meaning to places and opens a gate for historical investigation, across the boundary between imagined, virtual, and conceptual spaces, and lived, material embodied places.     

Have Taught a Foreign Language in Elementary Grades

The cultural democratization of post-Franco Spain meant the removal of the division between high and low culture. Such democratization of Spanish culture meant a new concept of culture in which, as stated by the postmodern motto, “everything goes,” and that in television translated as the proliferation of reality shows and trash TV and in literature as non-intellectual publications aimed at entertaining readers. Belén Esteban's work Ambiciones y reflexiones (2013) is a good example. I make use of this work to prove that what has traditionally been considered as “low culture” is not necessarily a culture inferior to “high culture” in Spain today. Thus I underline the necessity of replacing the term “low culture” or counterculture for “postculture.” The methodology I utilize is made up mostly of the critical theories of Helen Graham and Jo Labanyi regarding the dichotomy between high and low culture, Cristina Moreiras-Menor's postulate about the need for accepting show culture and consumer culture in Spain due to the split with the dictatorial past this culture signifies, and Mario Vargas Llosa’s rejection of present-day mass culture, a rejection that the aforementioned theorists challenge. Additionally, I support my study with José Álvarez-Junco's premises regarding the difficulty of defining national identity, a crucial topic in Ambiciones y reflexiones and which is related to the high/low culture dichotomy. Luis Moreno-Caballud’s criticism about democracy and its meaning in our neoliberal cultural market complements the critical methodology of this analysis.