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| Srl | Item |
| 1 |
ID:
170658
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| Summary/Abstract |
Central and Eastern Europe (CEE) had few historical opportunities to interact with China, but with the Belt and Road Initiative (BRI) and the 16+1 platform, that changed dramatically in recent years. The article discusses recent development in the China-CEE relations with the aim of explaining why the CEE countries became excited about China initially, but also why this excitement led prevailingly to disappointment. It will be argued that the frustration with the EU in the aftermath of the 2008 crisis created an environment in which China was, for a moment, perceived as a promising alternative. A few years into the new diplomatic initiatives, however, most of the CEE countries started to be unsatisfied with the lack of economic results. Eventually, the article will assess the implications of the new era of China-CEE relations for the EU affairs and broader Chinese relations with the developing world. The CEE region is in a specific position vis-à-vis China, for it is structurally in between the developed and the developing world. Moreover, the EU membership adds some critical features which make the Chinese offer less applicable and appealing.
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| 2 |
ID:
182978
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This article examines the making and circulation of vlogs on the Chinese platform Douyin during the Wuhan lockdown. We specifically draw attention to vlogs made in mobile cabin hospitals. Constructed between February and March in 2020, cabin hospitals were part of the state’s isolation and quarantine efforts, and these hospitals created spaces of confinement within a city under lockdown. The vlogs that we refer to are often bursting with energy, optimism, and play, and seem to be expressive of new modalities of care and social relationality. But they are also appropriated by the Chinese state, who used them as examples of ‘positive energy’ (正能量), and to promote the collective commitment to contain the virus. Focusing on the videos, blogs, and narrative storytelling of Li Jing, we show how the state appropriated her work to further its attempt to control the meaning of life and death during the ‘people’s war’ on the coronavirus. These and other state appropriations must also be understood within the context of the state’s involvement in platforms such as Douyin and the ‘platformization’ of everyday life both before and during the Wuhan lockdown.
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| 3 |
ID:
167094
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| Summary/Abstract |
India’s programme for biometric registration, Aadhaar, is organised through engineering concept work that depends upon three distinctive claims for the ‘social’ as human condition: (1) the social as ‘socialism’, the failed premise of Nehruvian decolonisation understood to have placed the poor into a condition of bare life; (2) the social-yet-to-come as the effect of a proper distribution of the good termed ‘service’, to bring the poor into a self-ameliorating form of life; and (3) the social as the affective entanglements that family, caste and religious ties of biography demand, ties that divert service from proper distribution. Within the concept-world of Aadhaar, such entanglements prevent the social-yet-to-come, demanding a form of government that can produce a political subject outside of biography, which for the engineers is achieved by conceiving of India as a database, an archive prone to the duplication of its elements, and thus governing India as one would govern a database: by continually ‘de-duplicating’ it.
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| 4 |
ID:
173002
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| Summary/Abstract |
This paper examines the duration of time in everyday life as depicted in Jia Zhangke’s 贾樟柯 second feature film, Platform 站台 (Zhantai) (2000). In light of the Bergsonian notion of time and Deleuze’s creative application of this notion in the realm of cinema, it demonstrates how the duration of time – the core of the experience of waiting depicted in the film – is brought out in the film’s narrative structure, cinematic devices, and acting style. Fundamental to the film’s creative endeavour is the attempt to capture the resistance of the present moment against the weight of its own virtual double, which is to say, to unearth the gaps and lacunae that lie beneath the temporal continuum assumed in our habitual way of living. On the basis of this particular vision of time, the film offers a critique of everyday life as the very site where the platitude of existing norms of culture is laid bare and where the unbearable pressure of time forces us to question the value of all existing possibilities.
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