Memory and forgetting: examining the treatment of traumatic historical memory in Grave of the Fireflies and The Wind Rises

Within Japanese popular culture, manga and anime have played a significant role in mediating responses to the outcome of the Pacific War. Miyazaki Hayao's (possibly) final feature-length film, The Wind Rises, has been an important addition to the preceding body of popular media ‘texts’ that raise such themes. This article aims to address the question of how far cinematic animation can reasonably be obliged to follow the kinds of historiographical concerns that inevitably arise when engaging with Japan's militarist past. To answer this question, considerable space is devoted to examining the historical context of what others have done in the post-war period and integrate that commentary into an analysis of how the works of Takahata Isao and Miyazaki Hayao fit amongst a succession of creative works that have been co-opted in the reshaping of historical perceptions of the Japanese at war amongst the Japanese themselves. This will also require some incidental discussion of methodological issues that arise when dealing with such cases as vehicles for understanding transformations in historical consciousness. Ultimately it is argued that Miyazaki does indeed make an important contribution to the commentary on the Japanese war experience, although it must, perhaps unavoidably, be on highly personal terms so far as The Wind Rises is concerned.     

#Democracy: social media use and democratic legitimacy in Central and Eastern Europe

Since 1989, many of the former communist countries in Central and Eastern Europe (CEE) have made the dramatic change from communist regimes to democratic nations that are integrated in the European sphere. While these sweeping changes have given rise to a successful transition to democracy unlike any the world has ever seen, there remain issues with governance as well as citizen support for the regime. While other studies have shown that mass media can influence a person's attitudes and opinions in the region, none has explored what effect social media can have on orientations toward democracy in the region. In the following paper, I build several hypotheses based on previous studies of media effects and democratic survival. I then employ survey data to empirically test whether social media increases support for democracy. The study finds that not only does using social media increase support for democracy, but also simple usage rather than information seeking provides more consistent effects on a person's support for democracy in CEE.     

两岸投资争端解决机制的制度创新及其完善

投资争端解决机制是《海峡两岸投资保障和促进协议》（简称《两岸投资协议》）中体现两岸特色的重要制度创新之一。相较于传统双边投资协议中的投资争端解决机制而言,两岸投资争端解决机制除了引入两岸私人投资争端解决方式,还规定了投资者与投资所在地一方投资争端的协调、协处和调解等多元化机制,实现了单方规定的协议化和国际实践的两岸化,从而有效降低了两岸投资争端的“泛政治化”风险。未来,应进一步完善两岸投资补偿争端的调解程序,确保调解协议的法律约束力和执行力。     

连横《台湾通史》论析：基于学术史的考察

连横一生以搜集、记录、整理、保存、研究台湾历史和文化为职志,著述颇丰,尤以《台湾通史》名世。纵观《台湾通史》的出版史和相关研究的学术史,实与近代以来中国历史进程相契合,其独特的学术价值和现实意义也逐步彰显。20世纪90年代以来,海峡两岸的《台湾通史》研究均进入新的发展阶段,无论视角还是视野、方法还是理论,特别是在学术性或学理性上,都有显著的推进和拓展。     

新世纪两岸对台湾文学诠释权的争夺——以“反攻”大陆学者写的《台湾文学史》为例

某些台湾作家在新世纪对大陆学者撰写的《台湾文学史》或分类史所做的“反攻”,主要是出版《台湾新文学史》或类文学史的著作,对“台湾文学是中国文学一个组成部分”、“反共文学”是一种逝去的文学、“皇民文学”就是汉奸文学的观点作出反弹。他们从政治上和学理上清算大陆学者的台湾文学史观时,还把岛内的统派学者“捆绑”在一起．。代表人物有钟肇政、陈芳明、林瑞明、谢辉煌。     

大陆学界台湾史研究的宏观检讨

台湾史是一门兼具学术与政治意义的新兴特色学科。中国大陆的台湾史研究,从学科建设的角度来说,属于中国历史学的分支学科。从研究史的角度,对于60多年来大陆学界台湾史研究成果做一宏观性的检讨,具体分析各个不同时期台湾史研究的特点,剖析唯物史观与“台独”史观论争的典型事例,提出新的研究问题,展现新的研究趋向,将有助于推动台湾史研究的深入拓展。     

Contesting Ideologies: Deconstructing Racism in African-American Fiction

Baillie's article is concerned with how African-American fiction seeks to define and shape an aesthetic in opposition to racial ideologies as diffused through science, education and popular culture. In an examination of Count Joseph de Gobineau's Essai sur l'inégalité des races humaines (1853-5), it traces the construction of racialized discourse in nineteenth-century America. Baillie examines Toni Morrison's first novel The Bluest Eye (1970) in terms of Morrison's engagement with nineteenth-century racial theory and its implicit presence within ideologies of beauty and American popular culture of the 1930s. Through the figure of Shirley Temple, Morrison shows how the African-American community's internalization of cinematic images of beauty can lead to a psychosis that leaves identity fractured and the racial self all but erased. As well as reading The Bluest Eye as both a critique of scientific racism and as an historical novel in sustained debate with the cultural hegemony of the 1930s, Baillie examines its significance as a text in dialogue with the social and political milieu in which it was written. Here, The Bluest Eye becomes an intervention into the affirmative aesthetic of 1960s Black Power politics and its extreme proclamations of racial pride rooted firmly in black lower-class expression. She discusses the Black Power movement's appropriation of Frantz Fanon's theories and argues that Morrison's own articulation of a black identity eschews the nationalism of Black Power, and instead finds its focus in the political contestation of ideologies through the expression of African-American art forms. The Bluest Eye is an oppositional narrative that draws on western forms and yet privileges African-American vernacular as a counter-balance to language as a vehicle for ideologies of beauty and scientific racism.     

What is Black British Feminism?

Young looks at the place of black feminists in today's academy in Britain, and poses some questions for contemporary self-identified black and white feminists based in that country. There is a new confidence among some black, professional Britons but infiltration into the academy remains problematic for many. Black British feminists and writers are largely absent in so-called postcolonial literary canons developed in the Anglo-American institutions, and by and large black British feminists are only offered fragile support by white feminists. Although African-American feminism offers intellectual sustenance and networks, the situation in the United States is very different, particularly as, there, black feminism has had much more impact and recognition. Discussions of the intersections of race, class and gender are rare in Britain outside black feminism, and there has been much less attention than in the States to black women's writing. Perhaps some kind of 'provisional essentialism' is still needed, for it is difficult for black feminist academics ever to feel the question of race is optional. It can be argued that 'blackness' is used to describe women of very different origins, and can obscure differential histories, but 'blackness' is always a political concept, not a register of national belonging. Black women have transformed British culture, but white feminists have largely failed to understand their problems. Attention to the social history of black women in Britain, and particularly to the creative work of black women writers, filmmakers and other cultural workers, is the place at which a new analysis should begin.     

East Is East and South Is South: The Cases of Sarojini Naidu and Arundhati Roy

Boehmer begins by outlining suggestive parallels between the doubly orientalizing reception of an Indian woman poet, Sarojini Naidu, in 1890s London, and the publicity and critical enthusiasm surrounding the appearance of Arundhati Roy's first novel, The God of Small Things , in the 1990s. Building on these century-broad connections, she goes on to observe how, despite its liberatory agendas, certain constructions within postcolonial criticism appear to emerge virtually intact out of the colonial discourses of the past: in particular, the conflation of biology and biography in representations of the writing of the South, and constructions of a singular oriental femaleness, and an extravagant oriental style. The second part of the essay examines more closely these seemingly 'neo-orientalist' underpinnings of postcolonial literary criticism located in the West, and then considers resistances to these, both in terms of cultural contextualization and verbal recalcitrance.     

Gettin’ Down Home With the Neelys: gastro-porn and televisual performances of gender,race, and sexuality

This article illuminates how performances of gender, race, and sexuality are integrated with representations of food and food performance in contemporary American cooking television. Interrogating the intersections of food, gender, race, sexuality, and performance, this essay explores how the cable-television show, Down Home with the Neelys, depicts a nouveau gastro-porn anchored in the perceived pornographic level of blackness itself. The author reveals the ways that food and performances of food become a medium of gendering and racialization employed by American popular media. Through the lens of reality television, shows like Down Home (re)produce a certain type of black heterosexuality and gendered enactments of domesticity and space, while challenging dominant televisual reflections of black love and labor. The author argues that the Neelys self-consciously employ a vernacular aesthetic performative of “down home” (a uniquely classed, temporally–spatially situated, and sexualized blackness) to exploit the phenomenon of gastro-porn in a highly lucrative performance that signals the entangled artifice of gender, race, and sexuality. More than offering culinary expertise and education, such cooking instruction reveals the pedagogy of gender, race, and sexuality as visual lessons of a complex and contradictory authenticity. This essay reveals television cooking shows as critical sites for considering the domestic laboring of gendered and racialized sexualities. In particular, shows like Down Home evince the ways that race continues to be rendered in visual terms and the enduring edibility of blackness.