论中世纪晚期英国的圣徒崇拜

在中世纪晚期,英国的圣徒崇拜盛行,成为民众宗教信仰的中心。与中世纪早期相比,晚期的圣徒崇拜已发生了一些变化,民众已经开始关注到自己,具有了自我取向与现实取向。这表明在中世纪晚期,英国民众的宗教信仰中出现了“个人主义”倾向,在物质力量增长的同时,英国民众的精神力量也在发展。     

中国的"村上春树热"

中国当代文学受到市场经济和西方现代派的双重影响呈多元化的走向。日本纯文学作家村上春树的创作准确地反映了当今社会,特别是生活在繁华都市的青年人的精神世界。村上作品的出现不仅给日本文坛带来震撼,也给多元化的中国文坛带来了新的气息。其作品独特的艺术魅力、特别是西化的思想性引起了当代中国年轻一代的共鸣。中国的“村上春树热”现象说明中国的当代文学已日趋接近西方现代艺术的潮流,同时也向中国作家提出了挑战,要求我们的作家进行新的探索和尝试,创作出既受读者欢迎,又有高度艺术性的文学作品。     

正统性、地方化与文化的创制——潮州民间神信仰的象征与历史意义

从秦朝开始,潮州地区就与整个岭南地区一起,归属中原王朝的政治“版图”。但是,王朝教化与地域社会之间的契合,却经历了长期复杂的互动过程。在这一过程中,宋元之际和明末清初的变化尤其具有重要的意义。三山国王和双忠公是在潮州乡村庙宇中最经常见到的两个神祗。这两个神明信仰的形成及其象征意义的转换,与潮州地区数百年来王朝教化与地域社会复杂互动的契合过程有着密切的关系。     

大众文学与日本“近代”“国民”

日本大众文学是日本“近代”“民族国家”确立过程中的有机组成部分。日本“近代”大众文学可分为两个时期：第一时期,大正末年到昭和十年（1935）,作家多将时代背景设置在幕府禾期至明治初期,实质是通过文学的方式对近代民族国家的“大日本帝国”的历史的再发现;第二时期,昭和十年至1945年战败,作家大多表达了作为“大日本帝国”国民一员的自豪感和归属感,体现了日本知识阶层的“国民化”,这一时期的《宫本武藏》更被认为是日本国民自我的确认之作。然而,从战时的《宫本武藏》到2010年时代小说《天地明察》的畅销,我们仍能透视出内在的历史连续性。     

Measuring or Creating Attitudes? Seventy Years of Australian Public Opinion Polling about Indonesia

This article critically evaluates the relationship between public opinion polling and foreign affairs. It plots key trends in public opinion polls of Australian attitudes towards Indonesia from the 1940s to the present day. Despite variations in polling companies and questions, Australian attitudes to Indonesia appear surprisingly stable, especially since the 1970s. Reading across multiple polls over this period reveals that, both as a mass and among individuals, Australians held complex views in which positive appraisals of Indonesian people and culture co-existed with an underlying fear of Indonesia as a potential military threat. Yet rather than accepting these findings at face value, this article calls for nuanced scrutiny of the role played by polling companies and the media in the construction and representation of so-called “public” opinion. Sensitive to recent developments in the historiography of public opinion polling, it suggests that public opinion polls not only attempted to measure Australian attitudes towards Indonesia, but also helped construct Indonesia as an object of popular and political concern.     

The ruse of consent and the anatomy of ‘refusal’: cases from indigenous North America and Australia

This article takes the notion of ‘refusal’ to be an alternative to recognition politics in settler colonial society. This is argued as alternative with recourse to ethnographic examples that highlight the way in which ‘consent’ operates as a technique of recognition and simultaneous dispossession in historical cases from Indigenous North America and Australia. Attention is paid to the ways in which Indigenous life in these cases refused, did not consent to, and still refuses to be folded into a larger encompassing colonising and settler colonial narratives of acceptance, and in this, a governmental fait accompli. It is those narratives that inform the apprehension and at times, the ethnography and governance of Indigenous life and are pushed back upon in order to document, reread, theorise and enact ways out of the notion of a fixed past and settled present.     

‘Oh You Pretty Thing!’: How David Bowie ‘Unlocked Everybody’s Inner Queen’ in spite of the music press

The 1967 Sexual Offence Act decriminalised homosexual acts between men allowing gay men to discuss their sexuality in public. Few prominent popular musicians came-out until 1972 when David Bowie claimed that he was bisexual in an interview with Melody Maker. Music papers and Bowie had substantial cultural power: Bowie was a rising star and music papers recruited journalists who discussed and perpetuated social change. The subsequent conversation, however, reinforced negative stereotypes in constructing the queer subject and tried to safeguard commercial concerns due to the assumption that the market for popular music avoided queer music. This undermined arguments that associate permissive legislation with a permissive media and society, but, to some, representation alone empowered people and destabilised preconceptions about queer identity.     

Simulacra and simulation: double simulation at a North Song Dynasty theme park

ABSTRACT

This paper examines an unusual type of ‘cultural theme park’, one that is not based on simulating existing cultural diversity or historical places, but based in some senses on a ‘double simulation’. The theme park is based on an historical painting assumed to represent the North Song Dynasty period in Kaifeng, China; however, it is a representation that historians argue may never have existed. Utilising on-site interviews and participant observation, this paper traces the connections between the classic painting (清明上河图) and the actual historical landscape of Bianjing (the first simulation), and in so doing, unravels the links between the painting and the theme park (the second simulation) and the simulacra that are envisioned to form within the spaces of the theme park as a result of the interplay of simulations during theme park visits. The simulations and intended simulacra are ‘consumed’ to various degrees, suggesting that the representations of Kaifeng's historical past and culture have been impactful and (in)authenticity has not been an issue. Moreover, the theme park has served to entertain and, in some cases, inspire through playful appropriations of Kaifeng's past and culture. The resultant simulacra and its double simulations (in simulating both the real Bianjing and the neo-real landscape painting) contrast and simultaneously connect with rampant replications of the Occident in contemporary Chinese residential landscapes, townships and themed spaces.     

‘Rocking the nation’: the popular culture of neo‐nationalism

The aim of this paper is to understand contemporary forms of nationalism in a socio‐political context in which neo‐nationalism has obtained a dominant role not just in politics but in public discourse and in the cultural field as well. It investigates the emergence of a particular music scene in the beginning of the 21^st century, shaped by rock bands and performers and supported by far‐right political actors, which has made the ‘national’ imagination emotionally and ideologically appealing to a considerable part of Hungarian society and first of all to young people.