‘Let the People Sing’: J.B. Priestley and the Significance of Music

Abstract

In a writing life that spanned the 1910 to 1970s, J.B. Priestley engaged with a variety of subjects, across various literary forms, ranging from politics, popular culture and Englishness through to theories of time. However it has rarely been noted that he also wrote passionately and knowledgeably about music, with the latter playing an important role in key novels, plays and nonfiction. Priestley also promoted chamber festivals, wrote the libretto for an opera ‘The Olympians’, and even occasionally performed himself. Priestley’s writings on music fitted into his concerns about the rise of an Americanized mass order, and his mistrust of commericalized musical forms was shared by other critics of the time. However, Priestley’s work is more significant than a binary high/low low cultural validation of classical music/dismissal of more popular musical forms. He was often critical of jazz and ragtime, but more positive about popular music that was produced in, reflected, and empowered the individual and community. Priestley’s writings on music marked a genuine attempt at understanding the role of music in culture, and contributed to his democratic critique of the mass society.     

Beyond the Rule of Thumb: The Materiality of Marital Violence in England c. 1700–1857

This article examines how marital violence was articulated in and around particular places, spaces, and objects, to reveal the tensions embedded in the physical structure of the household and its control. It also demonstrates that space and objects shaped marital violence both as an idea and an act and did ‘emotional work’ in the sense that they operated upon people’s emotions and behaviour. Finally, it argues that an imagined material culture of marital violence contributed to the construction and maintenance of class stereotypes.     

Agrarian Capitalism and Poor Relief in England, 1500–1860: Rethinking the Origins of the Welfare State. By Larry Patriquin.

ABSTRACT

Drawing on Paul Ricoeur's notion of narrative identity and on his observations concerning testimony in Memory, History, Forgetting, this article explores the operation of memory under two aspects, that of narrative identity and that of witness. This exercise involves some related discussion both of the history/memory problem and of the relationship between written and spoken traces in engaging the past. The methodological focus for the work is a written text of an unusual kind, comprising an extensive and detailed eyewitness account written, forgotten and re-discovered by the same individual – Lionel Curtis – after an intervening period of half a century.     

Outcasts of Echo Park,Heroes of Brentwood: Quinceañera,Keeping Up with the Steins and Coming of Age in Ethnic L.A.

The challenge of maintaining a national identity as a subculture in America is most evident in connection with special occasions, like transition rites. Coming of age is such an event. The continuity and transformation of the subculture is at stake. In American cities, as exemplified by Los Angeles, the ethnic neighborhood becomes a New Old Country. Those who welcome change and those who resist change may belong surprisingly to unexpected categories, and the roles of the generations can also be more nuanced than popular stereotypes suggest.     

‘The Charlatanry of the Learned’: On the Moral Economy of the Republic of Letters in Eighteenth-Century Germany

The notion of charlatanism is central to the social workings of the eighteenth-century republic of letters. Starting with Johann Burkhard Mencke's famous treatise The Charlatanry of the Learned, this paper traces how accusations of academic and scientific misconduct put in terms of ‘charlatanry’ initially helped to produce the new species of the erudite ‘charlatan’. Facing a growing complexity of scientific culture, this new frame of meaning, structured by numerous examples of scientific misconduct, offered a way of mapping the world of learning. But besides its cognitive impacts, the discourse of charlatanry allowed the creation of symbolic boundaries, which determined decisions as to the affiliation or non-affiliation to this recently forming scientific community by separating honourable from dishonourable scientific personae. Speaking of charlatanry therefore always implied a social distinction as much as a scientific one. The discourses on charlatanry also mirror differentiations within the scientific field. At first dominated by a critique built on courteous or bourgeois values, the scientific field later developed its own criteria of appraisal, such as authorship, originality, transparency, etc. Attracting the attention of a growing public sphere, the explicit verbalization of claims which were not related to the value system of a republic of letters primarily concerned with the production and distribution of knowledge finally led to a more implicit moral economy of science.     

‘Somewhere over the rainbow’: global projections/local allusions in Tears of the Black Tiger/Fa thalai jone

Abstract

When director Wisit Sasanatieng’s retro cowboy flick Fa thalai jone (2000 Wisit, Sasanatieng. 2000. Tears of the Black Tiger (Fa thalai jone)  [Google Scholar]) became the first Thai film to be screened at the Cannes Film Festival in May 2001, under the English‐language title Tears of the Black Tiger, Thai cinema seemed to have truly ‘gone international’. This paper examines the striking disparity, however, in the reception of the film by local and global audiences, to the extent that Fa thalai jone and Tears of the Black Tiger might arguably be understood as two discrete and divergent cinematic texts at the level of viewer signification. For Western critics, ‘Tears…’ is unquestionably a piece of postmodern filmmaking, awash with surface aesthetic appeal, intertextual richness and an apparently unrelenting obsession with style that is seemingly devoid of an original reference point. Fa thalai jone, by contrast connotes distinct meanings for Thai audiences, who are more fully attuned to the original references the film pursues and able to read the aesthetic appeal it has to offer in a framework beyond that of the dominant ‘force field’ of interpretation that postmodernism has come to be in the West. Instead Fa thalai jone offers a homage to Thailand’s cinematic past, posing as a ‘genuine Thai film’ (phaphayon thai thae) and comprehended in terms of an alternative dominant force field of meaning, that of traditionalism and reverence for the past. This paper examines the ways in which Tears of the Black Tiger/Fa thalai jone straddles two alternative interpretive positions in an accomplished move on the part of the director to pursue the globally focused aspirations of modern Thai cinema while remaining idiosyncratically faithful to local sensibilities.     

Culture = politics: the emergence of new cultural forms of protest in the age of freeter

This paper examines new cultural and political movements that have developed outside of traditional leftist politics since the early 1990s in Japan. The new movements, including Dame‐ren, the Cardboard House Art movements in Shinjuku and recent anti‐war protests on the Iraqi war, were mainly led by young people, in particular, the freeter generation, who did not experience the leftist politics of the 1960s. These movements are different from traditional Marxist political ones and even from the new social movements in the 1960s and 1970s in the sense that they incorporate more cultural practices such as art, music, dance and performance into their political activities. The paper also explores the historical background against which the new movements were born and have developed since the end of the Bubble economy. It sees freeters, young part‐time workers, as emerging, new political actors that have appeared through the transition of a mode of production from Fordism to post‐Fordism. The transformation of society, economy and politics, known as ‘post‐modernization’ or recently as ‘globalization’, has asked us to re‐consider and re‐define the basic concepts such as class, proletariat, power, labour and work which we once shared. The paper tries to locate, through a critical examination, the new movements within a broader context of anti‐neo‐liberalism and anti‐globalization and find political potentiality within it.     

Seeing the Communist past through the lens of a CIA consultant: Guy J. Pauker on the Indonesian Communist Party before and after the ‘1965 Affair’

Abstract

This paper explores Guy J. Pauker’s works on Indonesia in the 1960s, particularly the ones concerning the Indonesian Communist Party (PKI) before and after the killing of six top Army officers on 30 September 1965 (called the ‘1965 Affair’ for short). Of Western scholars working on Indonesia in 1960s, Pauker was indeed infamous. Being a consultant for the CIA‐sponsored RAND Corporation has made his academic integrity doubtful. In addition, his active roles in several historical events in Indonesia in the 1960s have given his scholarship a bad reputation. Consequently, it is his name, rather than his works, that has often been mentioned and associated with what happened in Indonesia in the 1960s. However, this paper argues that precisely because of such a position, his pre‐‘1965 Affair’ works were to give a cool report and analysis of the current history, through which one can understand better the PKI before it was exterminated due to being accused of masterminding the killing of six top Army officers. Through these works the narrative of the Communist past can ironically be freed from the demonizing image constructed by the New Order regime. Yet, his post‐‘1965 Affair’ works were not only in parallel with, but also a part – if not the core – of the demonization as such. Through his ways of seeing the PKI in 1960s, one can see the shift from Baconian knowledge/power to Foucaultian power/knowledge relations.     

Haining Shadow Play:Legacy of the Song Dynasty

Leather silhouette was rst introduced to the court as a toy during the Western Han Dynasty (206 BC – 24 AD). According to the History of the Han Dynasty, Lady Li, Emperor Wudi’s favorite concubine, was a beautiful dancer but died of illness when she was very young. The emperor felt so sorrowful that he missed her day and night. A Taoist claimed that he could call back the spirit of Lady Li. In fact, he played leather images of the concubine behind a screen and the emperor watched it o…     

Introduction: the “vectors” of Chinese history

This issue contains essays by the important Japanese sinologist and intellectual historian, Mizoguchi Yūzō (1932–2010). Born in Nagoya, he studied in the literature department in Tokyo University and then went to graduate school in Nagoya University. He was a student of Iriya Yoshitaka, the famous sinologist. Mizoguchi has taught at Saitama University, Hitotsubashi University and Tokyo University. He was also a Distinguished Professor at Tokyo University. Mizoguchi Yūzō left a number of important works throughout his life. The selection is unable to provide a complete picture of Mizoguchi’s ideas about the principle of Chinese history, but it provides an entry point for English readers to understand Mizoguchi’s work. In this introduction, we attempt to bring out certain key ideas of Mizoguchi’s writings and discuss his historical and theoretical significance.     

Theaters of war: Tracing the strange careers of Shina No Yoru in the military contact zones of the Pacific, 1937–1954

This article examines the ways in which multiple traditions of camp shows and the overlapping and relational layers of Imperial Japan and U.S. presence in Korea shaped Korean entertainers’ lives after 1945, producing their idiosyncratic performances in response to rapid shifts in Korea’s relations with Japan and the United States in the 1940s–1950s. When the United States sought to reposition Japan at the top of the newly emerging American hegemonic order of Asian countries, Korean entertainers who served the Imperial Japanese Army a few months earlier found themselves performing for American soldiers. The stage of the Korean native camp shows became a “strange and exotic” yet “familiar and even comforting” place where inconsistent logics, such as Imperial Japan’s pan-Asian ideology and American Orientalist fantasy, mingled. Under the complicated legacies of overlapping militarization and colonization in Korea, militarization has constituted a structuring force that enabled Korean women camp show entertainers generating their hybrid performance styles in ironies, contradictions, and complexities. Building on postcolonial theorists’ notion of hybridity, I argue that Korean entertainers’ performances were being shaped or negotiated in contact with different audiences and expectations as well as Korean entertainers attempted to navigate the acceptable ground of performances and womanhood in the constantly changing political and ideological environment.     

Made in China: the cultural logic of OEMs and the manufacture of low‐cost technology

Abstract

This paper investigates the conditions of the manufacture of low‐cost technology in China with the examples of ‘pirated’ VCD players, ‘no‐name’ DVD players, and Shenzhen’s development as a techno‐urban city. It emphasizes the significance of the cultural logic of original equipment manufacturers (OEMs) and argues that the various transformations and deflections that are derived from ubiquitous OEM experiences have gone beyond the original model of an authorized OEM, experiences that are to some extent embodied in the transgression of brand name and patent hegemonies, which are mainly controlled by high technology companies. OEMs have been associated with China’s current imperative and uninhibited development of low‐cost technology capitalism. ‘Made in China’ signifies the production of any product, legal or illegal, for transnational high technology giants or domestic technology manufacturers. Learning to ‘become an OEM’ in China has partly resulted in excessive technological mimesis that may be part of an unauthorized, underground economy that is based on low‐cost technology. Based on the Shenzhen experience, part of this study will show industrial production‐oriented OEM cultures in which illegal operations and counterfeit trade are incorporated, even in city projects that are shared by municipal governments and Chinese technological companies, and undergo spatial restructuring in the development of the economy, consumerism, and urbanism.     

A Question of Trousers: Seafarers,Masculinity and Empire in the Shaping of British Male Dress,c. 1600–1800

Trousers have a history. The British-imperial biography of this garment reveals the significance of ready-made clothing production for naval and merchant administrations with global reach. This history demonstrates the significance of male sartorial experiments in colonial settings. And it also confirms the rising importance of imperial and maritime cultures in shaping masculine ideals and habits of dress. Ultimately, middle ranked and elite male Britons came to rethink their allegiance to breeches and hose, a mnemonic of the ancien régime. Social cross-dressing ensued, with men of higher status adopting the garb of nautical working men, at a time when mariners were increasingly esteemed. The study of trousers opens new vantage points from which to assess the forces altering British masculinity, forces that also reshaped material norms.     

Beyond the crisis: the “chaotic formula” of Hong Kong cinema

Abstract

Hong Kong's film industry has been living through and beyond the 1997 handover to China. Along a complicated socio-economic and cultural heritage, the city's “crisis cinema” successfully milked takeover fears for an anarchic display of showmanship. Local filmmaking conditions, popular narratives and aesthetics from that time can be identified as ingredients in a “chaotic formula” that instigated Hong Kong cinema's “Golden Age.” Unlike other film industries, which point to their disaster centres in a search or celebration of national identity, Hong Kong survived at a fragile historic juncture largely by sailing around the cliffs of political affront and resorting to metaphorical speech instead. Yet, following the handover, the film industry has retired its previous attitudes about itself and the future; it has integrated a new “China factor” and riddled cinema with contradictory statements about the “condition” of Hong Kong. System failure, madness and identity theft in crime stories appear alongside celebratory historicism, cultural allegiance and escapist spectacle, especially in Hong Kong-China co-productions. This paper follows the evolution of the crime genre along general dynamics and transformations of the formula from the 1980s, past the turbulent 1990s and into recent postcolonial Hong Kong, in which the inability to formulate a new crisis, or the resolution of the previous one, has put cinema itself into crisis.     

Kinship,Camaraderie and Contestation: Fāṭimid Relations with the Ashrāf in the Fourth/Tenth Century.

The founding of the Fā?imid caliphate across the southern Mediterranean, and then in Egypt, Syria and the ?ijāz at the turn of the fourth/tenth century, necessitated its negotiation with the ashrāf, those who claimed lineal descent from the Prophet Mu?ammad, and who by this time had gained significant influence as a social class based on their charismatic descent. While other dynastic powers fostered relationships with various members of the ashrāf, the Fā?imid–ashrāf dynamics were distinctive in that the Fā?imids legitimised their rule as Ismā?īlī Shī?ī imām-caliphs, based on their claim of descent from the Prophet Mu?ammad, and as the sole successors to his authority and leadership over the Islamic world. Consequently, Fā?imid–ashrāf relations were permeated by fraternal camaraderie as well as by competing contestations based on their shared claim to Prophetic lineage.