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Nostalgia, place, and making peace with modernity in East Asia

机译:怀旧,地点,并在东亚与现代实现和平

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This essay sets out to theorize the nostalgia boom that has held East Asia in thrall to the past for some years now. It begins by noting that this nostalgic sentiment often has an ersatz cast, not least since much of it harks back to epochs—Showa-era Japan, 1930s Hong Kong, colonial Taiwan—of which the ‘remembering’ subject has no bodily recollection. This strange vogue for the unremembered past is typically interpreted as a flight from time, and from a troubled particular present in particular: Japan's oil shocks, the looming Hong Kong handover, KMT rule in Taiwan, and so on. The present essay argues, however, that this scene realigns its component parts into a different picture when we view it through the comparative lens. Seen not contextually, but intertextually across the region, this yearning for yesteryear expresses not just a flight from time, but from place, too, and from one locale in particular. This abandoned site is the city of lived memory, a psycho-physical topos to which nostalgia has quite obstinately refused to stick. Underlying this reticence is the notion that the ‘really remembered’ city is not a proper ‘place’: earthy, gemütlich, and thus worthy of nostalgia. This notion persists across East Asia, and most especially in its literature and cinema, despite the plain fact that cities are ever more the region's primary site of dwelling. And behind this refusal to reconcile with the city as a place of home and hearth lies, unsurprisingly, the same queasy trepidation about modernity that has both plagued and sustained cultural practice both in East Asia and abroad. The essay concludes, however, by looking at two recent films—by Miike Takashi and Wong Kar-wai—which articulate an alternative aesthetic of nostalgia, and thus bring about something of a rapprochement between ‘place’ and the city-we-know.View full textDownload full textRelated 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/10.1080/13688790.2010.520270
机译:本文着手理论化怀旧热潮,这种热潮使东亚过去几年陷入困境。首先要指出的是,这种怀旧情绪往往带有一种怪异的色彩,尤其是因为它很大程度上回溯到1930年代香港昭和时代,香港,台湾殖民地时代,“记忆”这个主题具有没有身体的回忆。对于未记起的过去,这种奇怪的时尚通常被解释为是时空的逃逸,尤其是从麻烦重重的当下尤其是逃避:日本的石油冲击,迫在眉睫的香港移交,台湾的国民党统治等等。但是,本文认为,当我们通过比较镜头观看时,该场景会将其组成部分重新排列为不同的图片。从过去的背景来看,不是跨区域的而是跨区域的,过去的这一年的渴望不仅表达了从时空出发,而且还表达了从地点出发,尤其是从一个地区出发的经历。这个被遗弃的地方是一个充满记忆的城市,一个怀旧的坚决拒绝坚持的心理物理主题。这种沉默的基础是“真正被记住”的城市不是一个适当的“地方”的概念:土质的,宝石般的,因此值得怀旧。尽管城市已经成为该地区的主要居住地,但这一事实在整个东亚,尤其是在文学和电影界仍然存在。毫不奇怪,拒绝与城市和谐相处的背后是,毫无疑问,对现代性的那种古怪的恐惧使东亚和国外的文化习俗都受到困扰和持续。然而,本文的结尾是看两部最近的电影,分别是Miike Takashi和Wong Kar-wai,这些电影表达了一种怀旧的另类美学,因此在“地方”和城市之间产生了某种和睦的关系。 -we-know。查看全文下载全文相关变量var addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,servicescompact:“ citlikelike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,更多”,pubid :“ ra-4dff56cd6bb1830b”};添加到候选列表链接永久链接http://dx.doi.org/10.1080/13688790.2010.520270

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  • 来源
    《Postcolonial Studies》 |2010年第4期|p.383-401|共19页
  • 作者

    Margaret Hillenbrand;

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  • 入库时间 2022-08-17 13:16:50

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