社会史:新的史学范式与新的通史观念--评赵世瑜著《狂欢与日常--明清以来的庙会与民间社会》

赵世瑜教授是当代中国社会史研究的积极倡导者和实践者之一,所著《狂欢与日常——明清以来的庙会与民间社会》一书,探讨了当代中国社会史研究力图形成的新的历史解释思路、新的通史意识及其发展态势与存在的问题。     

Youthful Creativity in Regional Australia: Panacea for Unemployment and Out‐Migration?

This paper addresses the theme of youth out‐migration from rural Australia, in the context of recent policy discussions about creativity and its role in regional development. Ethnographic fieldwork in one rural location – the New South Wales Far North Coast – is drawn upon to highlight how creative industries are being cast as a potential way of promoting cultural activities and jobs for young people, and in turn, how they might be imagined as a means to mitigate youth out‐migration. Yet, creative industries have contradictory employment and social outcomes. Creative industries are likely to generate higher rates of youth participation in economic activities than public data reveal. However, strategies for future job growth should also consider the limitations and instabilities of creative industry employment. Second, and more broadly, the paper discusses those socio‐cultural dimensions of nascent creative industries that may have a more substantial impact when conceived as part of strategies to stem youth exodus from rural areas. Creative activities may contribute to rural development in indirect ways, especially if linked to policy goals of increased tolerance of youth activities, better provision of cultural services, and improved well‐being for young people. While formal job‐creation may be limited, creative industries could mitigate some of the impacts of youth migration to cities by enriching regional social life and mediating perceptions of the advantages and drawbacks of rural versus urban life. This kind of policy imagination requires a shift in attitudes towards young people and a more genuine commitment to encourage young people to feel that they belong in non‐metropolitan areas.     

Rural Transformation and Cultural Industries: Popular Music on the New South Wales Far North Coast

This article explores the emergence of popular music as a niche cultural industry, connected to economic and social transformations on the New South Wales Far North Coast (also known as the ‘Northern Rivers’ region). The various images of the New South Wales Far North Coast as a ‘lifestyle’ region, ‘alternative’ locale and coastal retreat have attracted a diverse mix of ex–urban professionals, unemployed persons, youth subcultures, backpacker tourists and retirees. Yet, despite population growth, the region continues to suffer unemployment rates among the highest in Australia. Against this backdrop, diverse popular music ‘scenes’ have emerged, constituting an industry with linkages to cultural production in Sydney, Melbourne and overseas. While the region’s unique cultural mix has been suggested as a key site of comparative advantage, future employment is likely to remain transient, insecure, and governed by industry–wide labour relations. This case study illustrates some of the complexities underpinning contemporary urban–regional change in Australia, and provides cautious assessment of the capacity of the cultural industries to reinvigorate rural economies.     

From the Little Tree,Half a Block Toward the Lake: Popular Geography and Symbolic Discontent in Post‐Sandinista Managua

Abstract: The inhabitants of Managua, Nicaragua have a sophisticated, often bitingly ironic, popular geography that they use to navigate the city. The Nicaraguan capital has been destroyed twice by earthquakes, ravaged by war, left to decay for lack of funds, transformed by the creative destruction of speculative capitalism and subjected to a series of ideological impositions. Few people know the official names of streets, and recent governments have not had the ability to put up signs. So a supple system of popular geography dominates, resisting and ridiculing attempts to impose an official order, and adapting to change while preserving a bottom‐up sense of memory, history and place. Drawing on Allan Pred's classic account of popular geography in late nineteenth century Stockholm, I use Managua's language of spatial orientation as a window into peripheral modernity and the politics of everyday life.     

The Construction of Gender in Modern Chinese Law: Discrepant Gender Meanings in the Republican Civil Code

This article examines the intersection of law, gender, and modernity during the transitional Republican era (1912–49). It approaches the topic through a critical reading of the Republican Civil Code of 1929–30, and related commentary on the code by Chinese legal experts. By analyzing the gender assumptions embodied in several newly emergent categories of legal regulation, including legal personhood, minimum marriage age, consent, domicile, surnames, marital property, and child custody, the article’s line of questioning reveals how gender meanings helped to shape modern concepts like universality, equality, and freedom. The findings illustrate the ways in which Republican civil law broke with late imperial legal and gender norms tied to Confucian patrilineal ideology and in addition established new legal and gender meanings that helped to consolidate Chinese politics on a republican basis and to reconfigure modern gender difference on a conjugal basis.     

女性工作场所的身份认同与阶层生产——以某高校食堂为例

本文在劳动过程理论和女性地理学研究的理论成果上,对学校食堂进行研究,分析两种类型女工在工作场所的分工等级与认同机制。首先,劳动过程理论的意义在于解析了资本主义在发展过程中,如何制造服从的员工和稳固的分工等级关系;但是本文研究表明,当部分女工没有被完全纳入生产的中心环节时,她们进入工作场所之前的性别身份就起到了重要的预设作用。籍此,本文试图推动社会-空间作用双层机制研究,尝试推动微观空间尺度内自我身份在劳动过程中认定与生产的理论建构。     

BALANCED TRUTH: STEVEN SPIELBERG'S SCHINDLER'S LIST AMONG HISTORY,MEMORY, AND POPULAR CULTURE1

Looking at the public reaction to it, one might say that Steven Spielberg's Schindler's List is undoubtedly the most successful film about the Holocaust. The film's success in the U.S. and other Western countries can be traced back mainly to the fact that it creates the impression of telling a true, apparently authentic, story. This essay investigates how this impression of historical truth and authenticity emerges in a fiction film. For this purpose the essay reverts to a concept developed by Jörn Rüsen, which distinguishes among three dimensions of historical culture, namely political, aesthetic, and cognitive. In addition to the historical context that serves as a specific precondition for the film's success, the essay primarily investigates the strategies of authentication Spielberg applied at both the visual and narrative levels. The investigation concludes that the impression of evidence produced by the movie is significantly a result of the sophisticated balancing of the three dimensions mentioned above. The film utilizes artifacts of an existing and increasingly transnational (visual) memory for the benefit of a closed, archetypical narrative. It follows the aesthetic and artistic rules of popular narrative cinema, and largely recurs to conventions of representation that were common in film and television programs of the 1990s. Although these forms condense the historical course of events, the film manages to stay close to insights gained by historiography. The hybrid amalgamation of history and memory, and of the imaginary and the real, as well as the combination of dramaturgies of popular culture with an instinct for what can (not) be shown—all of these factors have helped Schindler's List to render a representation of the founding Holocaust myth in Western societies that can be sensually experienced while being emotionally impressive at the same time.     

The Universe will be televised: space,science, satellites and British television production, 1946–1969

This essay uses material from the British Broadcasting Corporation (BBC) archives to show how space-related technoscientific activities played a key role in the development of BBC television. The essay focuses on a crucial period when this influential cultural institution transitioned away from radio as their primary broadcast medium in the 1930s and 1940s to reluctantly embrace television in the 1950s and 1960s. Space-related activities, including astronomy, cosmology, rocketry, aerospace engineering, astrophysics and interplanetary research, played a key role in the modernization of BBC television broadcasting in two intersecting ways. Space-related material provided informative, yet popular, programmatic material that helped BBC television compete in an increasingly commercialized media market, and, later, space projects supplied technologies that impacted on the mechanics of broadcast production and transmission. The profile and prestige of space as a topic, in particular, its visuality, the drama of exploration it presented, and its association with celebrity scientists like Bernard Lovell and Fred Hoyle, meant that such programming became a crucial business asset for the BBC and a professional asset for ambitious producers who saw its commercial potential. Following the launch of Sputnik in 1957, space technology became further intertwined with the development of British broadcasting as the fields of satellite communications and broadcasting transmissions infrastructure converged. In particular, BBC producers promoted the potential development of communication satellites within their television programming by portraying such satellites as plausible and necessary for the advancement of civilization, and most crucially, as a prospective British Space Race achievement.     

On Dittmer's Popular Culture,Geopolitics, and Identity as a classroom resource

In this intervention, four geographers, all of whom have used Jason Dittmer's book, Popular Culture, Geopolitics, and Identity, in their classes, assess its status as a teaching resource. All have had considerable success using Dittmer's book, alongside other resources, to cultivate critical thinking and critical knowledge production in a wide range of classes.     

Time‐bubbles of nationalism: dynamics of solidarity ritual in lived time

The growth of modern nationalism can be attributed to structural causes, especially the growth of the strong bureaucratic state that penetrates society, creating cultural uniformity and national identity. But structurally based nationalism need not be very intense, or constant; even when institutionalised in periodic formal rituals, it can be routine, low in emotion – even boring. We need to explain sudden upsurges in popular nationalism, but also their persistence and fading in medium‐length periods of time. Nationalist surges are connected with geopolitical rises and falls in the power‐prestige of states: strong and expanding states absorb smaller particularistic identities into a prestigious whole; weaker and defeated states suffer delegitimation of the dominant nationality and fragment in sudden upsurges of localising nationalities. Passing from macro‐patterns to micro‐sociological mechanisms, conflict producing solidarity is a key mechanism: dramatic events focus widespread attention and assemble crowds into spontaneous ‘natural rituals’ – mass‐participation interaction rituals, as distinct from formal rituals. Evidence from public assemblies and the display of national symbols following the terrorist attacks of 11 September 2001 (9/11) shows an intense period of three months, then gradual return to normal internal divisions by around six months. Spontaneous rituals of national solidarity are produced not only by external conflict but by internal uprisings, where an emotional upsurge of national identity is used to legitimate insurgent crowds and discredit regimes. Although participants experience momentary feelings of historic shifts, conflict‐mobilised national solidarity lives in a 3–6‐month time‐bubble, and needs to institutionalise its successes rapidly to have long‐term effects.