In Defence of Kazakshilik: Kazakhstan's War on Sacha Baron Cohen

This article explores the controversy surrounding Borat Sagdiyev—the fictitious Kazakhstani reporter whose foibles mock Kazakhstan in particular and post-Soviet culture in general. With his appearances on Da Ali G Show, Sacha Baron Cohen's Borat persona long ago became the bête noire of the Kazakhstani government. However, when Borat was selected to host the MTV Europe Music Awards, the dispute over Borat's authenticity as a Kazakhstani became an international incident. In response to his negative portrayal of Kazakshilik (Kazakhness) through the deterritorialized medium of MTV, the government of President Nazarbayev threatened Baron Cohen with legal action and brought down his web site borat.kz. Baron Cohen immediately responded in character via his new domain (.tv) and defended the actions of Kazakhstan, thus fuelling the controversy. The ongoing feud has prompted an interesting postmodern praxis—one in which a fictional persona and national government can carry on a mass-mediated dialogue. As I document the details of this ongoing conflict on the global and local levels, I seek to explain the changes in the international system which have enabled this intriguing paradox. In doing so, I attempt to draw some larger conclusions on the importance of protecting national identity in the postmodern era, especially from threats (both internal and external) which weaken a country's global brand.     

公祭、文化遗产与民间信仰——以天津市G镇三霄娘娘信仰的恢复为例

改革开放以来,尤其是进入新世纪以来,政府的公祭活动与民间信仰的恢复一同成为学者瞩目的焦点。随着非物质文化遗产制度及其实践的展开,各种民间信仰也获得了空前的发展机遇。天津市G镇三霄娘娘信仰的恢复过程说明了国家公祭活动以及非物质文化遗产制度对于三霄娘娘信仰恢复的促进作用。换句话说,公祭活动与非物质文化遗产制度代表了国家的价值诉求,而在此之下,民间信仰仍然按照原来固有的逻辑在国家的价值诉求之下寻求生存与发展的空间。     

扭捏作态的都市爱情-论李健吾戏剧改译本《说谎集》

戏剧改译的目的是为了演出,所以改译要有效调动观众的文学经验和艺术经验,而观众作为此在存在的人,时间和经验的有限性和历史性是他们理解戏剧作品和戏剧艺术技巧的先在条件。本文通过分析萧伯纳戏剧改译本在现代中国演出的失败和成功,考察李健吾成功改译本《说谎集》是如何把握本民族观众理解的有限性和历史性,并最终接通本民族的传统文化心理,达到对民族社会生活现实的批判。