Beyond Parochialism: Southern Progressivism, Prohibition, and State-Building

2017 ◽  
pp. 303-332
Author(s):  
Ann-Marie Szymanski
Keyword(s):  
State Building

South Korea’s and Taiwan’s Territorial Disputes with Japan, 1990s to 2018

Asian Survey ◽  
2020 ◽  
Vol 60 (3) ◽  
pp. 583-606
Author(s):  
Christina Lai
Keyword(s):  
South Korea ◽  
Comparative Study ◽  
State Building ◽  
Territorial Disputes ◽  
Maritime Disputes ◽  
Constructivist Perspective ◽  
Senkaku Islands ◽  
Taiwanese Government

South Korea and Taiwan are former Japanese colonies that have undergone similar processes of state-building since WWII. But they have chosen different rhetorical frameworks in their maritime disputes with Japan. In South Korea, negotiating with Japan can be viewed as threatening the country’s independence and pride, whereas in the Taiwanese government, cooperation with Japan is considered mutually beneficial. Why have these two countries taken such divergent stances toward Japan? This article examines the territorial disputes between South Korea and Japan over Dokdo, and between Taiwan and Japan over the Senkaku Islands. It sets forth a rhetorical framework of comparison, and it proposes a constructivist perspective in understanding South Korea’s and Taiwan’s legitimation strategies toward Japan from the late 1990s to 2018. This comparative study suggests that the differences between their legitimation strategies can be traced to their different colonial experiences with Japan.

Virtual Embodiment as/and the Threshold of Love

2013 ◽  
Vol 3 (2) ◽  
pp. 97-109 ◽  
Author(s):  
Anne Harris
Keyword(s):  
Urban Space ◽  
State Building ◽  
Modern Life ◽  
Space And Time ◽  
Empire State Building ◽  
Arcades Project ◽  
Performance Texts ◽  
And Performance ◽  
The Stranger

This essay draws upon the author’s performance script Fall and Walter Benjamin’s The Arcades Project as a provocation for considering the ways performance texts provide a threshold for somatic inquiry, and for recognizing the limits of scholarly analysis that does not take up performance-as-inquiry. Set at the Empire State Building, this essay embodies the connections and missed possibilities between strangers and intimates in the context of urban modern life. Fall’s protagonist is positioned within a landscape of capitalist exchange, but defies this matrix to offer instead a gift at the threshold of life/death, virtual/real, and love/loss. Through somatic inquiry and witnessing as threshold experiences, the protagonist (as Benjamin’s flaneur) moves through urban space and time, proving that both scholarship and performance remain irrevocably embodied, and as such invariably tethered to the visceral, the stranger, risk, and death.

Dialogues

2020 ◽  
Vol 2 (3) ◽  
pp. 53-59
Keyword(s):  
Los Angeles ◽  
New Spain ◽  
American Art ◽  
Historical Trauma ◽  
State Building ◽  
University Of California ◽  
Religious Experiences ◽  
Political Space ◽  
California Missions ◽  
The University

The California missions, whose original church spaces and visual programs were produced by Iberian, Mexican, and Native artisans between 1769 and 1823, occupy an ambiguous chronological, geographical, and political space. They occupy lands that have pertained to conflicting territorialities: from Native nations, to New Spain, to Mexico, to the modern multicultural California. The physical and visual landscapes of the missions have been sites of complex and often incongruous religious experiences; historical trauma and romantic vision; Indigenous genocide, exploitation, resistance, and survivance; state building and global enterprise. This Dialogues section brings together critical voices, including especially the voices of California Indian scholars, to interrogate received models for thinking about the art historical legacies of the California missions. Together, the contributing authors move beyond and across borders and promote new decolonial strategies that strive to be responsive to the experience of California Indian communities and nations. This conversation emerges from cross-disciplinary relationships established at a two-day conference, “‘American’ Art and the Legacy of Conquest: Art at California’s Missions in the Global 18th–20th Centuries,” sponsored by the Terra Foundation for American Art and held at the University of California, Los Angeles, in November 2019.

The HeLa Bomb and the Science of Unveiling

2016 ◽  
Vol 2 (2) ◽  
pp. 1-30 ◽  
Author(s):  
Sandra Harvey
Keyword(s):  
Cultural Studies ◽  
Hela Cell ◽  
Sexual Desire ◽  
State Building ◽  
Social Progress ◽  
Scientific Journals ◽  
Science Journalism ◽  
Medical Institutions ◽  
A Cell ◽  
And Gender

This essay reads the narratives of HeLa cell contamination as accusations of racial and gender passing. It argues that the passing narrative is much more complex, rarely confined to an individual’s autonomous will, and far more entrenched in state building and concepts of social progress than previously considered. I urge us to move away from the desire of the passing subject, and back to our own to ask after the sort of anxiety, excitement, and panic that animate our attempts to see, classify, and regulate bodies. Thus, what becomes significant is an examination of an “ethics of knowing” within science. The paper draws on a collection of correspondence, lab notes, published articles, and newspaper clippings related to Henrietta Lacks and HeLa from the George O. Gey Collection at the Medical Archives of the Johns Hopkins Medical Institutions (1918-1974) and articles on HeLa published in scientific journals, science journalism, and cultural studies articles (1950-present). In doing so, it traces the narratives of science (and its complex of industries—journalism and cultural studies) and HeLa’s passing. Tracing the reactions to HeLa contamination, the paper asks after the ways national, racial, and sexual desire, fantasy, anxiety, and paranoia have animated the cells through time. Particularly it examines the agency of HeLa, a cell line that is passed through race and genders and ideas of mortality, as it makes clear its own vital, creative, and destructive forces.

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