1930年代沪上文坛独特的“新感觉”--南洋华侨作家黑婴的“乡愁”书写

史称“新感觉派”后起之秀的黑婴是唯一一位跻身于1930年代中国主流文坛的南洋华侨作家。这位生于荷印棉兰，长于广东梅县，深造于“魔都”上海的新一代南洋华侨，在“民国时态”浓郁的南洋氛围中登陆沪上文坛。在此跨文化的激烈碰撞与深度融合中，黑婴经由“乡愁”的激发与引领，讲述了新一代南洋华侨青年的苦难、迷惘以及艰难的蜕变。今天看来，这种包含着独特生命体验和丰富历史痛感的文化乡愁，正是南侨作家黑婴在“华文文学”和“海派文学”的脉络之外，贡献给中国现代文学真正而独特的“新感觉”。     

Imagined Memories

Most discussions of popular music on the Internet focus on the utopian potential of new file-sharing technologies, yet applications that reproduce existing inequalities also deserve attention. Webcasting is the streaming (transmission) of digital video to multiple recipients in cyberspace. Paul McCartney's Webcast from the Cavern was a landmark case. It was a digital package staged for reproduction, and yet it felt live; in this article I explore why and offer a two-part explanation. The first part is that "live'-ness is based on an increasingly false opposition to recording, but, because that opposition still remains, Little Big Gig could seem live by adopting some trappings associated with it. The second part is that Internet use is mediated by daily life and computer users brought their own desire to the Webcast, in particular desires to see a Beatle play in the Cavern. Webcasting is an unanticipated use of the Internet that is being used to support corporate interests. With its widespread publicity, Little Big Gig helped naturalize that process.     

Images of transit: the experiential traces of Soviet Jewish emigration

ABSTRACT

Between 1971 and 1990, approximately 185,000 Soviet Jews who immigrated to countries other than Israel traveled through Austria and Italy. This period of transit migration through the “Vienna–Rome pipeline” left deep impressions on most emigrants, as it entailed their first encounter with the West as well as their first steps in their new identity as immigrants. This essay focuses on photography of remnants of the journey – of objects, of old photographs, and of landscapes – in order to explore ideas about immigrants' relationship to the passage of time and their migration experiences. It emphasizes the embodied though often unacknowledged tenor of the past rather than treating it as a distant object of nostalgia. This essay further shows that immigrants draw not only on their experiences in the Soviet Union or the United States to reflect on their lives; the places of transit migration also hold lasting meaning for them.     

Spectres of Afrikanerdom in contemporary commodity culture: history,memory, and imagining the self

The centrality of nostalgia in contemporary Afrikaner culture is contingent on the gradual demotion of Afrikaner history in post-apartheid South Africa. This article, however, departs from the view that such recapitulations of the past are necessarily always intransigent. Casting Afrikaner nostalgia as manifesting dissatisfaction with the government is ultimately not representative of the diverse spectres of Afrikanerdom that haunt selected commodity items, such as the t-shirts discussed in this article. If we allow for a melange of narratives and interpretations to emerge, as a postmodern view of history would encourage, it enables us to challenge a one-dimensional view of Afrikaner nostalgia. This article therefore posits that specific nostalgic imaginings of Afrikanerdom are decidedly self-reflexive and progressive. Instead of attempting to reify the past (together with irrecoverable positions of power), some of the discourses addressed in this article reveal Afrikanerdom’s capacities for appropriation, aestheticisation and commodification, which open up new possibilities for thinking about Afrikaner subjectivity in post-apartheid South Africa.     

The Peasant World in the Discourse of Generational Sorrow

This article spells out the methodological considerations and various procedural and methodological subtleties developed over the author's quarter century of sociological field studies of Russia's peasant worlds. Particular attention is paid to “voices from below”—peasant discursive formats that capture, in natural and undiluted form, the evolution of peasant practices constituting the core of everyday life. In particular, the phenomenon of generational sorrow and a special chronological nostalgia that functions as a “social gyroscope” is identified and discursively captured. This phenomenon is noteworthy and useful for its ability to retain a record of the productively longed for past in a rural community's collective memory and thereby influence new peasant worlds taking shape today.     

“内”“外”表达:桂林龙脊梯田景区乡愁意识的建构与重塑

桂林龙脊梯田的农耕文明和乡土文化是自然景观与乡愁旅游资源的综合体,承载着景区的历史记忆,是延续和传承龙脊梯田景区乡愁文化的重要表征。留住乡愁文化对于传承当地的历史文化、重塑乡愁记忆和树立乡土文化自信具有重要作用。村民作为龙脊梯田景区乡愁旅游感知的内部视野,与作为外部视角的政府、游客和媒体有着不一样的建构策略,在深描各行动者如何"留住"与"重塑"乡愁的基础上,提出活化社会记忆、激发集体记忆、凝聚情感记忆和赋能媒介记忆的乡愁旅游发展路径,旨在强化乡愁旅游主体地位、增强乡愁文化认同、搭建乡愁情感纽带和创新乡愁文化感知。     

晏几道词中的雁意象研究

雁意象是我国古代文学作品中常见的意象之一,它可以用来寄托相思之情,喻指男女恋情,也可以用来表达人们的离别怀旧之情,还可以用来表现古人的时间意识,甚至是边塞风情等种种情思.叔原亦不例外,而喜用雁意象,来展现自己深层的内心世界.     

The shtetl in the museum: representing Jews in the eras of Stalin and Putin

This article considers the representation of the shtetl in two museum narratives devoted to Jews in Soviet and post-Soviet Russia. The first, the state-funded 1939 exhibit “The Jews in Tsarist Russia and the USSR” was organized by the Jewish Section of the State Museum of Ethnography in Leningrad and remained on display to the Soviet public until the Nazi invasion in June 1941. The second is the privately funded Jewish Museum and Tolerance Center in Moscow, which opened in 2012. Though conceived under radically different ideological and political circumstances, each exhibition conveys a significant message about the place of Jews in Soviet and post-Soviet society, respectively, and each positions the shtetl as a formative arena for Jewish civic identity vis-à-vis the Russian homeland. Across the chasm of over seventy years, these two museum projects raise strikingly similar questions about how and why cultural institutions are mobilized to define the relationship of Ashkenazi Jews and the state. In both cases, the shtetl plays a significant role in narrating this unequal relationship.     

重释中国式的成功故事——论《中国合伙人》的身份转型与梦想实现

《中国合伙人》在向观众讲述三位主人公成功历程的同时,也重释了成功经验。这一重释建立在导演陈可辛独特的讲述策略的基础上,他将主人公的成功历程与他们不断转换的身份意识相沟通,用异于传统男女叙事伦理的手段以线性的发展脉络来表现女性如何实现逆袭,从而建构男性的身份意识,重新打造了一个全新的中国式成功故事。此后三者身份地位的翻转变化,则是他们重构人生理想蓝图的催化剂,重逢的遭遇成为加速理想实现的动力。在诠释成功的同时,陈可辛也努力在召唤青春记忆和友情伦理,这使得影片散发出浓厚的怀旧氛围,而这种氛围的营造主要得益于陈可辛的文化乡愁。     

姚孝锡诗歌情感探微

姚孝锡是由宋入金文人群体中的重要一员,其传世的诗歌虽仅有30余首,但都属于明性见情之作。他的诗作具有多元化的情感意蕴：一是萦绕心头的故国之思,二是似水流年的孤独情怀,三是优游人生的冲淡心境。这些数量不多却包孕诸多情感的诗歌,不仅极大地改变了金初＂借才异代＂时期滞金文人诗中多抒发内心激愤不平之气的单一风貌,同时也为金中期诗歌风格的多样化奠定了基础。