positions
Lydia H. Liu
Translingual Practice: The Discourse of Individualism between China and the West
positions Spring 1993 1(1): 160-193; doi:10.1215/10679847-1-1-160
Showing posts with label positions journal. Show all posts
Showing posts with label positions journal. Show all posts
Sunday, February 5, 2012
orientalism and the question of universality: the language of contemporary chinese literary theory / xiaobing tang
positions
Xiaobing Tang
Orientalism and the Question of Universality: The Language of Contemporary Chinese Literary Theory
positions Fall 1993 1(2): 389-413; doi:10.1215/10679847-1-2-389
Xiaobing Tang
Orientalism and the Question of Universality: The Language of Contemporary Chinese Literary Theory
positions Fall 1993 1(2): 389-413; doi:10.1215/10679847-1-2-389
on the edge of empires: flexible citizenship among chinese in diaspora / aihwa ong
positions
Aihwa Ong
On the Edge of Empires: Flexible Citizenship among Chinese in Diaspora
positions Winter 1993 1(3): 745-778; doi:10.1215/10679847-1-3-745
Aihwa Ong
On the Edge of Empires: Flexible Citizenship among Chinese in Diaspora
positions Winter 1993 1(3): 745-778; doi:10.1215/10679847-1-3-745
constructing perry's “chinaman” in the context of adorno and benjamin / d. r. howland
positions
D. R. Howland
Constructing Perry's “Chinaman” in the Context of Adorno and Benjamin
positions Fall 1995 3(2): 329-366; doi:10.1215/10679847-3-2-329
D. R. Howland
Constructing Perry's “Chinaman” in the Context of Adorno and Benjamin
positions Fall 1995 3(2): 329-366; doi:10.1215/10679847-3-2-329
redemption and consumption: depicting culture in the 1990s / dai jinhua
positions
Dai Jinhua
Redemption and Consumption: Depicting Culture in the 1990s
positions Spring 1996 4(1): 127-143; doi:10.1215/10679847-4-1-127
Dai Jinhua
Redemption and Consumption: Depicting Culture in the 1990s
positions Spring 1996 4(1): 127-143; doi:10.1215/10679847-4-1-127
ambiguity, absurdity, and self-creation in the art of ma liuming / maranatha ivanova
positions
Maranatha Ivanova
Ambiguity, Absurdity, and Self-Creation in the Art of Ma Liuming
positions Spring 1999 7(1): 201-223; doi:10.1215/10679847-7-1-201
Maranatha Ivanova
Ambiguity, Absurdity, and Self-Creation in the Art of Ma Liuming
positions Spring 1999 7(1): 201-223; doi:10.1215/10679847-7-1-201
meanings of china's cultural revolution: memoirs of exile / peter zarrow
positions
Peter Zarrow
Meanings of China's Cultural Revolution: Memoirs of Exile
positions Spring 1999 7(1): 165-191; doi:10.1215/10679847-7-1-165
Peter Zarrow
Meanings of China's Cultural Revolution: Memoirs of Exile
positions Spring 1999 7(1): 165-191; doi:10.1215/10679847-7-1-165
spectral times: the ghost film as historical allegory
positions
Bliss Cua Lim
Spectral Times: The Ghost Film As Historical Allegory
positions Fall 2001 9(2): 287-329; doi:10.1215/10679847-9-2-287
Bliss Cua Lim
Spectral Times: The Ghost Film As Historical Allegory
positions Fall 2001 9(2): 287-329; doi:10.1215/10679847-9-2-287
magic and modernity in china / laikwan pang
http://positions.dukejournals.org/content/12/2.toc
Laikwan Pang
Magic and Modernity in China
positions Fall 2004 12(2): 299-327; doi:10.1215/10679847-12-2-299
Laikwan Pang
Magic and Modernity in China
positions Fall 2004 12(2): 299-327; doi:10.1215/10679847-12-2-299
the great wall in contemporary chinese art / gao minglu
positions
Gao Minglu
The Great Wall in Contemporary Chinese Art
positions Winter 2004 12(3): 773-786; doi:10.1215/10679847-12-3-773
Gao Minglu
The Great Wall in Contemporary Chinese Art
positions Winter 2004 12(3): 773-786; doi:10.1215/10679847-12-3-773
the cultural revolution: the last revolution? / alain badiou
positions
Alain Badiou
The Cultural Revolution: The Last Revolution?
positions Winter 2005 13(3): 481-514; doi:10.1215/10679847-13-3-481
Alain Badiou
The Cultural Revolution: The Last Revolution?
positions Winter 2005 13(3): 481-514; doi:10.1215/10679847-13-3-481
mahjong politics in contemporary china: civility, chineseness, and mass culture / paul e. festa
positions
Paul E. Festa
Mahjong Politics in Contemporary China: Civility, Chineseness, and Mass Culture
positions Spring 2006 14(1): 7-36; doi:10.1215/10679847-14-1-7
Paul E. Festa
Mahjong Politics in Contemporary China: Civility, Chineseness, and Mass Culture
positions Spring 2006 14(1): 7-36; doi:10.1215/10679847-14-1-7
framing time: new women and the cinematic representation of colonial modernity in 1930s shanghai / guo-juin hong
positions
Guo-Juin Hong
Framing Time: New Women and the Cinematic Representation of Colonial Modernity in 1930s Shanghai
positions winter 2007 15(3): 553-579; doi:10.1215/10679847-2007-005
Guo-Juin Hong
Framing Time: New Women and the Cinematic Representation of Colonial Modernity in 1930s Shanghai
positions winter 2007 15(3): 553-579; doi:10.1215/10679847-2007-005
contagion of laughter: the rise of the humor phenomenon in shanghai in the 1930s / diran john sohigian
positions
Diran John Sohigian
Contagion of Laughter: The Rise of the Humor Phenomenon in Shanghai in the 1930s
positions Spring 2007 15(1): 137-163; doi:10.1215/10679847-2006-027
Diran John Sohigian
Contagion of Laughter: The Rise of the Humor Phenomenon in Shanghai in the 1930s
positions Spring 2007 15(1): 137-163; doi:10.1215/10679847-2006-027
"vegetarian between meals”: the dalai lama, war, and violence / barry sautman
positions
Barry Sautman
“Vegetarian between Meals”: The Dalai Lama, War, and Violence
positions Spring 2010 18(1): 89-143; doi:10.1215/10679847-2009-025
Abstract
In May 2008 Time magazine's annual “Time 100” list of influential people in the world put the Dalai Lama at the top. This outcome was related to the preceding six weeks of protests in Tibet and attendant Western criticisms of China's Tibet policies, but it also reflected the two-decade-long construction of the Dalai Lama's international persona as a “man of peace” and “compassion personified.”
This essay interrogates the ubiquitous representation of the Dalai Lama as an apostle of nonviolence. It argues that while he urges nonviolence in general, the Dalai Lama has supported a number of wars, especially those of India and the United States, the Tibetan exiles' two chief patrons. Western political elites and media have reciprocated by making a major contribution to the construction of the Dalai Lama's pacifistic persona.
The Dalai Lama's advocacy of nonviolence is associated with a special level of compassion, but that link is also problematic: his compassion has been largely disconnected from specific, major struggles of the oppressed. The primary examples considered here are the fight against apartheid in South Africa and the struggle against the occupation of Palestinian lands. This disconnect arises from the Dalai Lama's self-orientalizing approach to “race” and racial oppression, within which the peoples and interests of the West are valorized and those of the developing world subordinated. That, in turn, is a function not only of Western state and popular patronage, but also of the Dalai Lama's generally conservative worldview.
The construction of the Dalai Lama's persona of “man of peace” adversely affects efforts to resolve the Tibet question. The “Free Tibet movement” is built around the pacifist persona of the Dalai Lama. The movement garners support from that, but it seeks an outcome that can only be realized in the unlikely event that China disintegrates. The constructed “man of peace” persona thus diverts attention from efforts to forge a compromise solution to the Tibet question. This effect will continue until a critique of political representations of the Dalai Lama are allowed to become part of the international discourse of Tibet.
Barry Sautman
“Vegetarian between Meals”: The Dalai Lama, War, and Violence
positions Spring 2010 18(1): 89-143; doi:10.1215/10679847-2009-025
Abstract
In May 2008 Time magazine's annual “Time 100” list of influential people in the world put the Dalai Lama at the top. This outcome was related to the preceding six weeks of protests in Tibet and attendant Western criticisms of China's Tibet policies, but it also reflected the two-decade-long construction of the Dalai Lama's international persona as a “man of peace” and “compassion personified.”
This essay interrogates the ubiquitous representation of the Dalai Lama as an apostle of nonviolence. It argues that while he urges nonviolence in general, the Dalai Lama has supported a number of wars, especially those of India and the United States, the Tibetan exiles' two chief patrons. Western political elites and media have reciprocated by making a major contribution to the construction of the Dalai Lama's pacifistic persona.
The Dalai Lama's advocacy of nonviolence is associated with a special level of compassion, but that link is also problematic: his compassion has been largely disconnected from specific, major struggles of the oppressed. The primary examples considered here are the fight against apartheid in South Africa and the struggle against the occupation of Palestinian lands. This disconnect arises from the Dalai Lama's self-orientalizing approach to “race” and racial oppression, within which the peoples and interests of the West are valorized and those of the developing world subordinated. That, in turn, is a function not only of Western state and popular patronage, but also of the Dalai Lama's generally conservative worldview.
The construction of the Dalai Lama's persona of “man of peace” adversely affects efforts to resolve the Tibet question. The “Free Tibet movement” is built around the pacifist persona of the Dalai Lama. The movement garners support from that, but it seeks an outcome that can only be realized in the unlikely event that China disintegrates. The constructed “man of peace” persona thus diverts attention from efforts to forge a compromise solution to the Tibet question. This effect will continue until a critique of political representations of the Dalai Lama are allowed to become part of the international discourse of Tibet.
locating family portraits: everyday images from 1970s china / nicole huang
positions
Nicole Huang
Locating Family Portraits: Everyday Images from 1970s China
positions Winter 2010 18(3): 671-693; doi:10.1215/10679847-2010-018
Abstarct
Family portraits from the 1960s and 1970s have been a source of inspiration for contemporary Chinese artists. In recent experimental works, many artists have used family portraits to reinvent the very ideas of the camera, the album, and the familial gaze as vehicles of longing, remembering, and contesting. This article pursues the prehistory of these images to critically address the recollection and reinvention of familial ties and bloodlines in contemporary Chinese art. The article studies a group of photographs taken during the second half of the Cultural Revolution, the early and mid-1970s, that define the “family portrait [quanjiafu]” as an important cultural genre, in dynamic contrast to photographic propaganda of the same period. Prior to the entrance of contemporary experimental artists, there was a subtle attempt to turn the photographic medium into narratives of personal histories, to locate and reinvent a “past” that was still very much the present. While recent studies of visual culture in postsocialist or post-Holocaust societies focus on “postmemory,” this article examines the mechanisms of materializing and restructuring personal memory that were in place before the Cultural Revolution had drawn to an end.
Nicole Huang
Locating Family Portraits: Everyday Images from 1970s China
positions Winter 2010 18(3): 671-693; doi:10.1215/10679847-2010-018
Abstarct
Family portraits from the 1960s and 1970s have been a source of inspiration for contemporary Chinese artists. In recent experimental works, many artists have used family portraits to reinvent the very ideas of the camera, the album, and the familial gaze as vehicles of longing, remembering, and contesting. This article pursues the prehistory of these images to critically address the recollection and reinvention of familial ties and bloodlines in contemporary Chinese art. The article studies a group of photographs taken during the second half of the Cultural Revolution, the early and mid-1970s, that define the “family portrait [quanjiafu]” as an important cultural genre, in dynamic contrast to photographic propaganda of the same period. Prior to the entrance of contemporary experimental artists, there was a subtle attempt to turn the photographic medium into narratives of personal histories, to locate and reinvent a “past” that was still very much the present. While recent studies of visual culture in postsocialist or post-Holocaust societies focus on “postmemory,” this article examines the mechanisms of materializing and restructuring personal memory that were in place before the Cultural Revolution had drawn to an end.
photography at tiananmen: pictorial frames, spatial borders, and ideological matrixes / yomi braester
positions
Yomi Braester
Photography at Tiananmen: Pictorial Frames, Spatial Borders, and Ideological Matrixes
positions Winter 2010 18(3): 633-670; doi:10.1215/10679847-2010-017
Abstract
The essay examines photography at Tiananmen from 1949 to the present. Personal mementos are placed within personal narratives and used as scaffolding for memory work. Documentary films juxtapose photography with other social practices at the square. Photography both conveys and shapes the relation between Tiananmen's two functions, as an emblem of the state and as a cement-covered recreational park. Through the overlap of multiple frames—pictorial, spatial, and ideological—images and social practices define the relationship between photographed subject and prevailing values and iterate the link between culture and politics.
Yomi Braester
Photography at Tiananmen: Pictorial Frames, Spatial Borders, and Ideological Matrixes
positions Winter 2010 18(3): 633-670; doi:10.1215/10679847-2010-017
Abstract
The essay examines photography at Tiananmen from 1949 to the present. Personal mementos are placed within personal narratives and used as scaffolding for memory work. Documentary films juxtapose photography with other social practices at the square. Photography both conveys and shapes the relation between Tiananmen's two functions, as an emblem of the state and as a cement-covered recreational park. Through the overlap of multiple frames—pictorial, spatial, and ideological—images and social practices define the relationship between photographed subject and prevailing values and iterate the link between culture and politics.
Saturday, February 4, 2012
diaspora politics, homeland erotics, and the materialising of memory / louisa schein
positions
Louisa Schein
Diaspora Politics, Homeland Erotics, and the Materializing of Memory
positions Winter 1999 7(3): 697-731; doi:10.1215/10679847-7-3-697
Louisa Schein
Diaspora Politics, Homeland Erotics, and the Materializing of Memory
positions Winter 1999 7(3): 697-731; doi:10.1215/10679847-7-3-697
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