scholarly journals Le «SARS» et les maux identitaires chinois. Néologismes, métissage et tradition de la traduction

2011 ◽  
Vol 1 (4) ◽  
pp. 123
Author(s):  
Florent Villard
Keyword(s):  
National Identity ◽  
Historical Perspective ◽  
Cultural Nationalism ◽  
Modern History ◽  
Political World ◽  
Modern Chinese ◽  
The World ◽  
History Of ◽  
Globalized World

Dans une Chine contemporaine engagée dans un très important renouveau du discours culturaliste, la langue et l'écriture, en tant que symboles essentialistes de l’identité chinoise, sont aussi l'objet d’enjeux politiques nationalistes. A partir de la querelle autour de la juste appellation à donner au virus du SARS, nous questionnons, dans une perspective historique, la dimension politique et idéologique des néologismes. Il s’agit surtout d’insister sur l’histoire transculturelle des concepts du monde intellectuel et culturel en Chine moderne, et de dépasser l’illusoire opposition discursive entre la posture universaliste et son double culturaliste. Since the mid-1980s, China’s intellectual and political world has been prey to a strong cultural nationalism which has tended to contest or to deny modern history and culture. This paper is a case study which brings to the fore the linguistic quarrel concerning the SARS epidemic which spread over China and part of the world during the Winter of 2002-2003. By discussing this discourse which balances between national identity affirmation and integration in a globalized world, we will try to overcome the triviality of this linguistic quarrel by replacing it in a broader political and historical perspective. This paper aims at insisting on the transcultural history of the modern Chinese cultural and intellectual lexicon helping to overcome the dominant and false discursive opposition between a universalist position and its culturalist counterpart.

The End of Song: Improvisation as Social Critique in Brazil

2020 ◽  
pp. 1-28
Author(s):  
JAMES McNALLY
Keyword(s):  
National Identity ◽  
Hip Hop ◽  
Social Critique ◽  
Popular Song ◽  
Creative Project ◽  
Free Improvisation ◽  
The World ◽  
Alternative Means ◽  
History Of

Abstract This article addresses an emerging phenomenon in which Brazilian popular musicians have begun to depart from popular song (canção popular) in favour of free improvisation in response to rising authoritarianism. As a case study, I examine the creative project Carta Branca, which brings together popular and experimental musicians from styles such as MPB and hip-hop to perform freely improvised concerts. Following a consideration of the history of Brazilian canção popular, the article discusses how contemporary popular musicians engage in free improvisation as an alternative means of musical critique. I contend that their actions constitute evidence of a broader ‘post-canção’ moment, with the potential to facilitate more flexible and collective ways of responding to Brazil's reactionary moment. The article further discusses how the musicians’ improvisational turn fosters a renewed engagement with a form of cultural improvisation tied to understandings of national identity and being in the world specific to Brazil.

Flowers Through Concrete

2021 ◽  
Author(s):  
Juliane Fürst
Keyword(s):  
Soviet Union ◽  
Psychiatric Hospitals ◽  
Stable Relationship ◽  
Youth Cultures ◽  
The Soviet Union ◽  
The World ◽  
The Face ◽  
History Of ◽  
Late Socialism

Flowers through Concrete: Explorations in Soviet Hippieland does what the title promises. It takes readers on a journey into a world few knew existed: the lives and thoughts of Soviet hippies, who in the face of disapproval and repression created a version of Western counterculture, skilfully adapting, manipulating, and shaping it to their late socialist environment. This book is a quasi-guide into the underground hippieland, situating the world of hippies firmly in late Soviet reality and offering an unusual history of the last Soviet decades as well as a case study in the power of transnational youth cultures. It tells the almost forgotten story of how in the late sixties hippie communities sprang up across the Soviet Union, often under the tutelage of a few rebellious youngsters coming from privileged households at the heart of the Soviet establishment. Flowers through Concrete recounts not only a compelling story of survival against the odds—hippies were harassed by police, shorn of their hair by civilian guards, and confined in psychiatric hospitals by doctors who believed nonconformism was a symptom of schizophrenia. It also advances a surprising argument: despite obvious antagonism the land of Soviet hippies and the world of late socialism were not incompatible. Indeed, Soviet hippies and late socialist reality meshed so well that the hostile, yet stable, relationship that emerged was in many ways symbiotic. Ultimately, it was not the KGB but the arrival of capitalism in the 1990s that ended the Soviet hippie sistema.

Epistemic media and critical knowledge about the self: Thinking about algorithms with Habermas

2021 ◽  
pp. 089692052110441
Author(s):  
Eran Fisher
Keyword(s):  
Digital Media ◽  
Historical Perspective ◽  
The Self ◽  
Theory Of Knowledge ◽  
Digital Platforms ◽  
Self Reflection ◽  
Types Of Knowledge ◽  
Critical Knowledge ◽  
The World ◽  
History Of

This article explores the ontology of personal knowledge that algorithms on digital media create by locating it on two axes: historical and theoretical. Digital platforms continue a long history of epistemic media—media forms and practices, which not only communicate knowledge, but also create knowledge. As epistemic media allowed a new way to know the world, they also facilitated a new way of knowing the self. This historical perspective also underscores a key difference of digital platforms from previous epistemic media: their exclusion of self-reflection from the creation of knowledge about the self. To evaluate the ramifications of that omission, I use Habermas’s theory of knowledge, which distinguishes critical knowledge from other types of knowledge, and sees it as corresponding with a human interest in emancipation. Critical knowledge about the self, as exemplified by psychoanalysis, must involve self-reflection. As the self gains critical knowledge, deciphering the conditions under which positivist and hermeneutic knowledges are valid, it is also able to transform them and expand its realm of freedom, or subjectivity. As digital media subverts this process by demoting self-reflection, it also undermines subjectivity.

scholarly journals Ironia i nihilizm. Figura bibliotekarza w Posłuchaniu u Lucypera Józefa Sękowskiego

2019 ◽  
pp. 83-94
Author(s):  
Jarosław Ławski
Keyword(s):  
National Identity ◽  
Present Article ◽  
Short Story ◽  
Subject Matter ◽  
Russian Literature ◽  
Absolute Power ◽  
Polish Literature ◽  
The World ◽  
History Of ◽  
The Subject

The subject matter of the present article is the image of library and librarian in a forgotten short story by a Polish-Russian writer Józef Julian Sękowski (1800−1858). Sękowski is known in Polish literature as a multi-talented orientalist and polyglot, who changed his national identity in 1832 and began to write only in Russian. In the history of Russian literature he is famous for Library for Reading and Fantastic Voyages of Baron Brambeus, an ironic-grotesque work, which was precursory in Russian prose. Until 1832 Sękowski was, however, a Polish writer. His last significant work was An Audience with Lucypher published in a Polish magazine Bałamut Petersburski (Petersburgian Philanderer) in 1832 and immediately translated into Russian by Sękowski himself under the title Bolszoj wychod u Satany (1833). The library and librarian presented by the author in this piece are a caricature illustration proving his nihilistic worldview. Sękowski is a master of irony and grotesquery, yet the world he creates is deprived of freedom and justice and a book in this world is merely a threat to absolute power.

Modern domestic cinema and the legacy of shaken Aimanov

Keruen ◽  
2020 ◽  
Vol 4 (69) ◽  
Author(s):  
A.S. Jumadilov ◽  
Keyword(s):  
National Identity ◽  
Soviet Union ◽  
National Culture ◽  
Film Industry ◽  
National Cinema ◽  
Soviet State ◽  
The Soviet Union ◽  
The World ◽  
History Of ◽  
First Time

Following the collapse of the Soviet Union, the post-Soviet state of post-Soviet autonomous republics turned out to be the ideology for which cinematographers and screenwriters have to make a film epic of epoch - national cinema. In this article, the author can only use the ever-present cinematography, the unmerciful nationalistic culture, the ideological orientation of the film industry, the uniqueness or national identity. It's a good idea to have a world-renowned artisan who is doing all the same, seeking internationalization and gloss? Another - cinematic and astrophysical art of Shaken Aimanov, whose works live in volumes or polls, and others. For many years, many changes have taken place in the national cinema, such as national culture, a national emblem of national culture. For the first time in the history of national cinema, national cinema and the world of cinema, the future and future films have been transformed into a lot of changes. The Concept of distinguished singer Shaken Aimanova is embodied in the volume, which, unlike the researchers and artists all over the world of cinema Shaken Aimnayev, the director of which, as long as he is a filmmaker, creates a film studio as part of national culture.

Conclusion

2017 ◽  
Keyword(s):  
National Identity ◽  
Geographical Distribution ◽  
Crucial Role ◽  
Large Scale ◽  
Small Scale ◽  
Modern History ◽  
Late Modernity ◽  
History Of ◽  
Definition Of

This chapter extends the book’s insights about nature, technology, and nation to the larger history of the modern period. While the modern nation loses its grip as a locus of identity and analysis, attempts to understand the operation, disruption, and collapse of continental and global infrastructures continue to mix the natural and the machinic in ways that define them both. Those vulnerabilities emphasize large-scale catastrophe; historiographically, they mask the crucial role of small-scale failures in the experience and culture of late modernity, including its definition of nature. Historical actors turned the uneven geographical distribution of small-scale failures into a marker of distinctive local natures and an element of regional and national identity. Attending to those failures helps not only situate cold-war technologies in the larger modern history of natural and machinic orders; it helps provincialize the superpowers by casting problematic “other” natures as central and primary.

Current Historians of the World, De-Nationalhistoricize Ourselves! Reading the Writing the Nation Series in a Globalized Age

2020 ◽  
Vol 8 (2) ◽  
pp. 163-174
Author(s):  
Naoki Odanaka
Keyword(s):  
Main Question ◽  
National History ◽  
The World ◽  
History Of ◽  
Globalized World

Abstract This article aims to analyze and evaluate the arguments presented in the Writing the Nation series (8 vols., ed. Stefan Berger, Christoph Conrad, and Guy Marchal [Basingstoke: Palgrave Macmillan, 2008–2015]). The main question to answer here is: In a globalized world, do we historians still need to talk about national history, that is, the practice of writing the history of nations, or should we instead seek to produce historical works suitable for the globalized world, including global histories?

National museums and international museums

1993 ◽  
Vol 1 (3) ◽  
pp. 273-278
Author(s):  
David M. Wilson
Keyword(s):  
National Identity ◽  
Natural History ◽  
Country Of Origin ◽  
Important Material ◽  
The World ◽  
History Of ◽  
National Museums ◽  
Points Of View ◽  
National Boundaries

At a time when nationalism grows more strident, the role of national museums assumes great importance. National museums encourage not only an understanding of national identity, but also patriotism. While this is natural, it has dangers in that the museum can be used politically to endorse racial and other charged emotions. The great international museums have provided an antidote to such tendencies by providing a universal view of the culture and natural history of the world from the earliest times. Because these museums have important material from other countries they are often attacked as odious relics of colonialism. Rather they should be seen as representative of internationalism and encouraged to collect as widely as possible—within the law. They should not be pressurized into returning material to its country of origin for narrow nationalistic purposes. National museums should themselves collect outside their own national boundaries so that countries can see themselves against the background of other cultures. As nationalism grows, internationalism must be stressed in national museums so that countries may understand each others' culture and points of view.

The Consolation of Community: Innovation and Ideas of History in Ratpert's ‘Casus Sancti Galli’

2013 ◽  
Vol 65 (1) ◽  
pp. 1-24
Author(s):  
CHRISTINA PÖSSEL
Keyword(s):  
Human Agency ◽  
Rhetorical Strategies ◽  
Methodological Issues ◽  
Christian Community ◽  
The World ◽  
History Of ◽  
Monastic History

This paper takes the case study of a well-known but also rather poorly-regarded text, Ratpert of St Gall's Casus Sancti Galli, to examine some of the methodological issues of modern historians reading medieval historians. It is argued that features of Ratpert of St Gall's monastic history which modern readers have found frustrating or even boring were actually the result of the author's specific rhetorical strategies and ideas of history. Ratpert developed an innovative way of writing the history of a Christian community in the mortal world. Unlike other monastic historians who were developing the genre at the time and who followed more hagiographical models, Ratpert chose to put the anonymous, timeless collective of the monks at the centre of his text. His idea of history suggests a lack of effective human agency in the world, in which ups and downs forever follow one another, and contrasts this with the eternity of God.

Pierre-Jean-Baptiste Chomel (1671–1740): A Case Study in Problems Relating to the Social Status of Scientists in the Early Modern Period

1986 ◽  
Vol 19 (3) ◽  
pp. 301-322
Author(s):  
David Sturdy
Keyword(s):  
Early Modern ◽  
Early Modern Period ◽  
Scientific Activity ◽  
Social Mechanisms ◽  
Modern Period ◽  
The Social ◽  
The World ◽  
History Of ◽  
Practice Of Science

Consider this statement: the practice of science influences and is influenced by the civilization within which it occurs. Or again: scientists do not pursue their activities in a political or social void; like other people, they aspire to make their way in the world by responding to the values and social mechanisms of their day. Set in such simple terms, each statement probably would receive the assent of most scholars interested in the history of science. But there is need for debate on the nature and extent of the interaction between scientific activity and the civilization which incorporates it, as there is on the relations of scientists to the society within which they live. This essay seeks to make a contribution mainly to the second of these topics by taking a French scientist and academician of the eighteenth century and studying him and his family in the light of certain questions. At the end there will be a discussion relating those questions or themes to the wider debate. There is an associated purpose to the exercise: to present an account of the social origins and formation of Pierre-Jean-Baptiste Chomel (botanist, physician and member of the Academic des Sciences) which will augment our knowledge of this particular savant.

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