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HOPE AGAINST HOPES

机译:反对希望

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Born and bred in the Netherlands, Diana Zhu, at 15 years of age, won a Chinese singing contest in Amsterdam in 2006. Subsequently, she got a contract first from Warner Music Hong Kong, then from Warner Taiwan. Relocated to Shanghai, her parents’ ‘home’ city, Diana was working on her hope for a future in the Chinese pop market. This essay is my inquiry on the problematic of hope engendered by and embedded in the intersubjectivity between Diana and me. Taking my cues from Lash and Lury's method of ‘following the object’, I followed one person. I followed Diana and started to see her entanglement - particularly over her language, music and body - not only with Warner Music, but more fundamentally with the wider dynamics that seeks to configure and maintain a sense of hopefulness in the same Chinese society where inequality, injustice and inhumanity are threatening the ‘harmonious society’ the political establishment has been campaigning for. Through this journey with Diana, I aim to do two things. First, I aim to show, if we are to understand the complex relationship between the diasporic, the popular and the political in contemporary China, one possibility is to recuperate two sets of narratives - migration and modernity - and read them side by side in connection with hope. Second, I take this metonymic account as part and parcel of a critical Cultural Studies project that has such inequality, injustice and inhumanity in the heart of its politics and practices. I am trying to underwrite this story about Diana's hope with my own hope, against other hopes, that are constructed, circulated and transformed to serve the interests of the state and the capital. Hope management, I will argue, is a key site of political struggle if we want to see a better China in the future.View full textDownload full textKeywordsChinese diaspora, popular music industry, transnationalism, modernity, hope, the NetherlandsRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/09502386.2011.576766
机译:朱莉安娜(Diana Zhu)15岁,在荷兰出生并长大,并于2006年在阿姆斯特丹赢得了中文歌唱比赛。其后,她首先与香港华纳唱片公司(Warner Music Hong Kong),然后与台湾华纳唱片公司(Warner Taiwan)签订了合约。戴安娜(Diana)搬到了她父母的“家”城市上海,致力于她对中国流行音乐市场的希望。本文是我对戴安娜与我之间的主体间性所产生并嵌入的希望问题的质询。我从Lash和Lury的“跟随对象”方法中获得线索,我跟随了一个人。我跟随戴安娜(Diana),开始看到她的纠缠-尤其是在语言,音乐和身体方面的纠缠-不仅与华纳音乐(Warner Music)纠缠在一起,更重要的是,与更广泛的动力纠缠在一起,这些动力试图在同一个不平等,不公正和不人道正在威胁政治机构一直在争取的“和谐社会”。在与戴安娜(Diana)的这段旅程中,我打算做两件事。首先,我的目的是表明,如果我们要理解当代中国的侨民,民众与政治之间的复杂关系,一种可能性是调和两组叙事-迁徙与现代-并肩阅读充满希望其次,我将这个代名词解释作为一项重要的文化研究项目的一部分,该项目在其政治和实践的中心具有这种不平等,不公正和不人道。我试图用我自己的希望,而不是为服务于国家和首都的利益而构建,传播和改造的其他希望,来为戴安娜的希望这个故事提供支持。如果我们希望将来看到一个更好的中国,希望管理将是政治斗争的关键场所。查看全文下载全文关键字中国侨民,流行音乐产业,跨国主义,现代性,希望,荷兰相关变量var addthis_config = {ui_cobrand :“ Taylor&Francis Online”,services_compact:“ citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more”,pubid:“ ra-4dff56cd6bb1830b”};添加到候选列表链接永久链接http://dx.doi.org/10.1080/09502386.2011.576766

著录项

  • 来源
    《Cultural Studies》 |2011年第6期|p.783-808|共26页
  • 作者

    Yiu Fai Chow;

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