民族学的民族国家形态及其他——中国民族学史散论

本文围绕民族学/人类学的民族国家形态、民族学和中国的现代性、殖民主义和中国民族学等三个论题,结合中国民族学的发展史,对中国民族学知识的发展及其性质展开深入的理论探讨和反思。其中,对民族学知识中国形态的发展及其学术价值所作的细致分析,以及对现代性和殖民主义在中国民族学发展上的影响所给予的分析和评价,对理解中国民族学史的发展,提供了较为新颖的视角。     

Neo-Gramscian Theory and Third World Violence: A Time for Broadening

Abstract

This article argues that the neo-Gramscian theory of hegemony is not as useful in explaining the rise and consolidation of the modern world system. In particular, while the force-consensus approach may indeed be relevant in examining relations among the Western countries, it is fundamentally wanting when applied to the third world. The two main reasons concern the persistent violence against the third world, and the dominance of race and racism as social forces in the production and maintenance of successive world orders. Neo-Gramscian theory needs to be broadened perhaps by paying attention to the relevant thinking in postcolonialism.     

Consultancy to a Care Home: The Influences of Family and Gender Roles,and of Race and Colonialism

This paper is an account and critical analysis of the psychodynamic and systemic consultancy that the author provided to a care home (and the voluntary organisation running it) over a period of about 16 months. In addition two emergent, linked themes are identified and discussed: family and gender roles in care homes, and racism and colonialism. Care homes are of course part of the society in which they exist and of which they are a product. This means that all the overt and covert psychological and social pressures, defences and trends that occur in the wider society, for individuals, families, groups and communities are also to be found in care homes and in the organisations that run them. They are not isolated from these forces, indeed, it is argued in this paper, the forces are intensified in the ‘hot house’ environment of a care home and, if ignored, avoided and denied, result in the exploitation, abuse and neglect of both staff and residents.     

后殖民主义视角下的热播美剧及对策研究

文章应用爱德华·萨伊德的后殖民主义理论作为武器，选取美剧中的中国元素作为研究对象，首先解析了美剧中作为他者消费性的、建立在西方种族优越构筑机制之下的中国元素的显著特点；然后分析了这一现象可能导致的社会问题及解决这些问题的相应对策。     

Policing native pleasures: a colonial history

The moral modality of colonial power is still with us when it comes to the recreation of sexual norms of traditional or feudal society. We can examine the emergent properties of colonial knowledge anew by exploring how the colonial regime's strategic attention of regulating brothels in India differed from the analytic of power Foucault described for sexuality in European society. It turns out that amongst other things, public anxieties about the failure of adaptation by South Asians are incapable of leaving sexuality aside as a key interpretive device for their culture. The British preoccupation with reproducing the dynamics of the bourgeois matrimonial market on foreign soil in the mid‐nineteenth century similarly necessitated a sociological pretext for racial purity. However, the kind of knowledge a typical traveller and employee of the East India Company brought to the Victorian public from his own researches in the brothels and streets of colonial India, which revealed how popular prostitution was as a vice amongst the officer class, was also more than a welcome imaginary relief from Christian morality; it was an alternative vision of modernity.     

Forward,Ever Forward: a reading of Robert Harris,Photographic Album of South African Scenery,Port Elizabeth,c.1880–1886

Early copies of the Photographic Album of South African Scenery that was published between c.1880 and c.1888 by Robert Harris in Port Elizabeth consisted of 28 double-card pages with two, occasionally one, tipped-in photographs per page. During the near-decade of its production, the number of images increased, printed captions replaced handwritten captions and both the selection and arrangement of images became gradually more coherent and programmatic. The paper interprets these changes as Robert Harris’s attempt to construct a public identity for South Africa at the moment its economy and society were being transformed by the diamond mines at Kimberley and elsewhere that constitute the focus of the later form of the form Album. In the developed form of the Album, a narrative progression is suggested to move from Cape Town and the Western Province, to Port Elizabeth and the Eastern Province, to the Kimberley Diamond Fields, Natal, etc. In order to read this journey critically, the paper is arranged to demonstrate the constituent parts of this journey in the representation of cities and towns, laid out in grid plans on the African veld; the depiction of individual buildings with their expressive vocabulary of architectural style; and the idea of commerce – represented in street scenes, markets and seaports – and the facilitation of commerce through roads, bridges and mountain passes. The disproportionately large number of photographs of Kimberley, with both its mining operations and no less than three commercial markets, underlines the significance of commerce and industry in the new South African identity. The emphasis on commercial achievement in the Album leaves an obviously subordinate role for images of nature in both agriculture and landscape. Farming is represented through such exploitative practices as forest clearing and hunting, rather than the developed forms of agriculture of wine farming, sheep farming and wheat farming. And landscape in the Album is either a landscape subdued to the wants and needs of a settler population that would bludgeon its way through mountain passes or divert the course of rivers to facilitate commerce, or a landscape that is defined by the imported aesthetic conventions of the picturesque and sublime. Similarly, grouping the photographs of indigenous peoples that are scattered throughout the Album, one may see that their representation is entirely instrumental, divided crudely into roles of either war-like barbarians or pliant labourers. In these ways, the Photographic Album may be understood as a true mirror of the colonial achievement.     

博弈下的暗涌——解读20世纪中期英国加勒比流散文学

20世纪中期英国殖民统治逐渐走向衰落,与此同时美国正在迅速崛起,曾称霸一时的英国文化面临着被其取代甚至同化的危机。因此英国文化不断寻找着既能助其保持殖民统治,又能抵制美国化的同盟军。它们在英国加勒比移民文化中找到了可团结的力量,以此一度对加勒比移民采取拉拢的态度。反映在文学上,加勒比流散文学也需要这种拉拢才能得到英国主流文化的承认,并确立其在英国的地位,因此欣然接受拉拢,甚至主动向其靠拢;但流散书写总是不断对自我身份进行重新审视,这使加勒比作家进一步反抗殖民主义和帝国主义对其的统治。由此,二者之间虽呈现出短暂的、反常的融洽,但这种平衡终究会被打破。20世纪中期英国加勒比流散文学正是这一特殊时期的典型反映。     

A transient presence: black visitors and sojourners in Imperial Germany, 1884–1914

The onset of German colonial rule in Africa brought increasing numbers of black men and women to Germany. Pre-1914 the vast majority of these Africans can best be described as visitors or sojourners and the black population as a whole was a transient one. This makes recovering their presence in the archival record exceptionally difficult and it is not surprising that the existing historiography is dominated by biographies of well-documented lives. Through utilising a number of recently digitised archival materials, particularly the Hamburg Passenger Lists, this article draws upon a database with information on 1094 individuals from sub-Saharan Africa who spent time in Germany over the period 1884–1914 in order to widen our understanding of the black presence as a whole. It offers new insights and detail into the composition and character of this fluid population – where visitors came from, why they came to Germany, their age on arrival – as well as more accurate information on the temporal and spatial distribution of African visitors.     

Unruly Voices in the Museum

ABSTRACT

This article addresses the use of audio recordings and oral memory for the critical engagement with colonial pasts in ethnographic museums by focusing on the traveling exhibition What We See, curated by Anette Hoffmann (2009). Specifically, it draws on Jeffrey Feldman's notion of colonial “contact points,” i.e. material traces of colonial encounter, to highlight the exhibition's ability to convey and critique the sensory experience of colonial contact. In What We See, this colonial contact consisted in an anthropometric project conducted in South-West Africa, today's Namibia, in 1931, resulting in an archive of anthropometric measurements and photographs, life-casts, and phonographic recordings. The exhibition proposed an innovative way of reworking this archive by staging an intricate interplay between sound and sight, thereby disrupting conventional ocularcentric forms of display. However, this multisensory approach provoked highly divergent reactions at its various exhibition venues. This article argues that the divergent reactions in Cape Town, South Africa, and Vienna, Austria, were due to different levels of what Ann Stoler describes as “colonial aphasia”—that is the context-dependent difficulty of addressing disquieting colonial pasts and its sensory dimensions.