|
|
|
Sort Order |
|
|
|
Items / Page
|
|
|
|
|
|
|
| Srl | Item |
| 1 |
ID:
083206
|
|
|
|
|
| Publication |
2008.
|
| Summary/Abstract |
This article explores the connections between the field of China studies and the field of gender and sexuality studies. It engages with three questions. First, why is it that theoretical, conceptual and methodological cross-fertilization between China studies and cultural studies remains quite scarce? Second, why are popular culture and art important domains of academic inquiry? Third, why is it crucial to theorize and problematize "Chineseness"? Drawing on the debates surrounding the translation of alleged "Western" theories related to the sex-gender distinction, feminism, and queer studies to a "Chinese" context, it is argued that the call for local knowledges runs the danger of becoming an essentializing, hegemonic discourse on its own. The article concludes with a plea for an interdisciplinary approach that combines theoretical and empirical insights from area studies and cultural studies, and an intersectional take in which gender is analyzed in conjunction with other parameters of difference, such as ethnicity, class or age, and, finally, a multisited, comparative research agenda as to avoid a sino-centric or Han-centric analysis. This may help to identify, understand, and hopefully resist the seduction of both cultural essentialism and cultural relativism
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 2 |
ID:
083208
|
|
|
|
|
| Publication |
2008.
|
| Summary/Abstract |
Contemporary and alternative art in Hong Kong has strong local roots and translocal connections, and while it reflects cultural politics in the city it lacks substantial international recognition. This interdisciplinary analysis focuses on the contexts of production of contemporary art by women in Hong Kong and their centrality in the city's arts community. The narrative contrasts the presence of contemporary and alternative arts and its absence from art criticism discourses through the disjuncture between the geopolitics of contemporary Asian art and the making of Hong Kong into an unprecedented territorial formation. Reading local art through alternative space-time concepts and intersubjective arts practice is proposed through the exhibit-event, "If Hong Kong, A Woman/Traveller."
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 3 |
ID:
083207
|
|
|
|
|
| Publication |
2008.
|
| Summary/Abstract |
The widespread phenomenon of outsourcing domestic work has profoundly altered the household life styles of urban families and reworked the division of labor at home. However, the extent to which urban consumers depend on the labor and service provided by the rural migrant women is by no means indicative of the degree of "harmony" and civility between the two groups. While the Chinese news media, with its urban and middle-class clientele base, see little chance of selling pictures or headlines featuring the everyday struggles of disenfranchised social groups such as rural migrant women who are employed as domestic workers, they have exercised unprecedented freedom in publishing stories about criminality and sexuality. With the figure of the maid becoming increasingly ubiquitous in urban households, urban consumers of paid domestic work also get a regular dose of "maid stories" in their everyday media consumption. Combining ethnography with detailed media analyses, this article examines the range of gendered positions and modes of sexual subjectivity which have been articulated in these stories. It shows that in a number ways the emergence of a new sexual sensibility for urban, middle-class men is contingent on the exclusion of subject positions for, and the derogation of, the "other" woman-the "intimate stranger" at home.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|