Chinese outbound tourism: An alternative modernity perspective

Abstract While the Japanese sinologist Takeuchi Yoshimi is frequently mentioned in discussions of “alternative modernity” on the part of Asia, people have not sufficiently addressed the asymmetrical relationship between literature and politics in Takeuchi's thinking, as his literary analysis is oftentimes associated with a Hegelian reading of subjectivity. Through a reading of Takeuchi's “What Is Modernity?,” published in 1948, this article examines Takeuchi's discourses on politics from a literary standpoint that is radically nondialectical and “powerless” with regard to “politics” as he understands it. Takeuchi's critique of modernity as well as his idea of Asian nationalism cannot do without his idiosyncratic understanding of literature, especially his reading of Lu Xun, and his insistence on the powerlessness of literary resistance. Takeuchi's literary reshuffling of the political, the article argues, opens up a horizon where the very historico-political condition of possibility of existing political institutionalizations can be put into reexamination—it helps us reconsider the concepts of relation, otherness, and equality, which are still in operation to frame our understanding of the world.

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Cosmopolitan Consumption

The Global Bourgeoisie ◽

10.23943/princeton/9780691177342.003.0006 ◽

2019 ◽

pp. 123-142

Author(s):

Utsa Ray

Keyword(s):

Middle Class ◽

Social Reform ◽

Sacred Space ◽

Social Practices ◽

Middle Classes ◽

Colonial India ◽

Hybrid Culture ◽

Culinary Culture ◽

The Universe ◽

Alternative Modernity

This chapter demonstrates that, while scholars have long focused on the economic origins of the middle class, it is crucial to understand the ways in which it fashioned itself. Although the universe of the Indian middle class revolved around contesting colonial categories, the chapter shows that the project of self-fashioning of the Indian middle class was not an instance of alternative modernity, nor did the locality of the middle class in colonial India result in producing some sort of indigenism. This middle class borrowed, adapted, and appropriated the pleasures of modernity and tweaked and subverted it to suit their project of self-fashioning. An area in which such cosmopolitan domesticity can be observed was the culinary culture of colonial Bengal, which utilized both vernacular ingredients and British modes of cooking in order to establish a Bengali bourgeois cuisine. This process of indigenization was an aesthetic choice that was imbricated in the upper caste and in the patriarchal agenda of middle-class social reform, and it developed certain social practices, including imagining the act of cooking as a classic feminine practice and the domestic kitchen as a sacred space. It was often this hybrid culture that marked the colonial middle classes.

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The Modern Foundations of Brazilian Cinema

Foundational Films ◽

10.1525/california/9780520290983.003.0001 ◽

2018 ◽

pp. 1-18

Author(s):

Maite Conde

Keyword(s):

Nation State ◽

Early Cinema ◽

Brazilian Cinema ◽

Political Project ◽

Modern Nation State ◽

Alternative Modernity

The introductory chapter outlines a theory of early cinema in Brazil and its relationship to the country’s invention of modernity. Theories and examinations of early film’s relationship to modernity have by and large focused on the medium’s links to changes and transformations wrought by the advent of industrialization. Noting that such transformations were not present in Brazil, the introduction outlines how early film in Brazil—that is, its arrival and dissemination—were linked instead to a political project impelled by the first Republican regime, one that sought to transform the country into modern nation-state of order and progress. The chapter maps ways in which this imbrication between film and this project laid the foundations for the birth Brazilian cinema and modernity in Brazil. In doing so, it provides an alternative modernity of early cinema.

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