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Baozou manhua (rage comics), Internet humour and everyday life
Abstract
Wang Nima launched baozoumanhua.com in 2008 to introduce rage comics (Baozou manhua) to China after noticing its popularity in the USA. The emergence of Baozou manhua signifies a new form of expression for ordinary netizens where they move from simply being consumers of comics to producers, combining image and text in a humorous way and distributing them via a wide variety of communication tools. This paper examines how the genre of Baozou manhua enables Chinese netizens to vent about their everyday experiences and frustrations of daily life. It also explores how computer software technology and the Internet have influenced contemporary Chinese visual humour by focusing on the baozoumanhua.com Internet community. Although Baozou manhua is an Internet phenomenon emerging from the specific sociopolitical context of contemporary China, examining this form of expression not only sheds light on popular online culture in China and the issues Chinese netizens grapple with but also provides an understanding of how digital visual culture changes across time and space as North American rage faces circulate around the world and garner new meaning after being appropriated and reinterpreted in the ‘interpretative community’ of Chinese cyberspace.
... Others disagree: this linguistic or semiotic resistance in vogue among people living under a repressive government is essentially "slacktivism" that indulges netizens in online defiance at the expense of meaningful, engaged activism in the real world, which will eventually lead them to inadvertently support both the state and the market (Morozov, 2011;Wallis, 2015). What is certain, though, is that the Internet-based subcultures have expanded room for expression, heightened the visibility of nonmainstream lifestyles and allowed Chinese Internet users to criticize the government in subtle ways (Chen, 2014;King et al., 2013;Yang 2009). Investigation into the evolution of such cultural practices, therefore, becomes key to understanding the politics of contemporary Chinese digital media culture and China"s broader political culture in the Internet age. ...
... The gender-based analysis by Wallis (2015) of three illustrative cases of gender-based production of subculture exposes the discursive collusion between the Internet subculture in China and patriarchy and misogyny, warns against the academic tendency to happily glorify any form of resistance and finally demonstrates the need to confront the flaws of online resistance within the framework of China"s post-socialist gender politics. Chen (2014) surveys the popularity of the North American rage comics among young Chinese on the Internet by mapping the ways in which the riotous humor has been able to cross cultural boundaries in China"s cyber space, and recognizes the political significance of this subculture for having created room for emotional and political catharsis despite the unlikelihood that it will ever lead to political reform. Research by Qiu (2013) on the feizhuliu culture questions how articulations of female gender and sexuality relate to broader cultural politics in contemporary China and sheds light on the tensions between the so-called Chinese modernities and the different modernities reflected in certain forms of online subcultures and the gendered identities they construct. ...
... Second, this control/resistance framework seems to confine the analysis of other nonsatirical cases of political humour to a purely cultural level, e.g. examining the roles of political humour in promoting cultural values, lubricating interpersonal conversations, constructing cultural identity, and representing changes in social mentality (see for example Chen, 2014;Guo, 2018;Szablewicz, 2014;Yang and Jiang, 2015;Yates and Hasmath, 2017). ...
This thesis works on the digital cultures of friendly political humour on the Chinese internet, examining the potential of humour in bridging communication and negotiating the hegemonic relationship between the online public and the state. Previous research mostly emphasises the more extreme cases of digital humour in China, understanding them primarily as grassroots resistance with subversive potential in the authoritarian context. To move beyond the restricted scope of humour practiced by few and far between, my research focuses on non-contentious humour that circulates more widely among the online public. With its creative discourse strategies to repurpose political language for entertainment, non-contentious humour has much less critical or subversive implications and wider impacts on everyday life. I argue that these much-neglected cases of humour are highly relevant to understanding everyday politics in authoritarian societies. Based on ethnographic observations on Chinese social media, discourse analysis of online humour, and 40 in-depth interviews with cultural participants, I find that practices of friendly political humour can lubricate communication on sensitive and controversial topics, and open up the official rhetoric on socialist ideology in China to personalised reinterpretations and redefinitions. Furthermore, while interweaving individuals’ everyday experiences with ideological discourse, these practices of humour reconfigure the socialist hegemony in China from authoritarian coercion to be more firmly based on active cultural participation from the online public in the discourse formation process of dominant ideology. With these findings, I argue that humour plays an important role in enabling the public to negotiate the relationship between the dominant discourse of ideology and the public discourse of diversified voices orchestrated through practices of digital culture. In so doing, humour serves important functions of mediating and negotiating the hegemonic relationship between the state and the online public in China. Rather than signifying grassroots resistance to the authoritarian rule, friendly political humour can mobilise potentials of humour and digital affordances to steer political persuasion towards benign and harmonious ways of state-society interaction. This thesis on humour as negotiation brings much-needed theoretical nuance to our understanding of the power dynamic in authoritarian societies as well as valuable empirical nuance to the discussion of culture and everyday politics in the digital age.
... Self-enhancing humor is also meticulously associated to the concept of coping humor (Martin, 1996) and emotion regulation (Lefcourt et al., 1995). Chen (2014) conducted an empirical research to explore humor spread over internet and found that users are turning to producers of humor from just being consumers of comics. Author named it a new form of expression by the users of internet. ...
We have been observing a prominent drift for last few years across various social media networks. Clicking own photographs (“Selfies”) and sharing them across social media networks is on the rise among people. And, this typical change in behavior is not restricted here, but users are making use of many online tools (free / paid) to add fun aspect to the photographs. This type of self-posing behavior is becoming quite prominent among people of all ages; therefore, it is of great interest to know the motivations behind this type of behavior. To get some insights about this, study examined predictor (determinants) of funny selfie sharing behavior of people across various social media networks. A conceptual model, that incorporates narcissism, gratifications-sought, sensation seeking, sense of humor, and intensity of use is proposed and empirically tested by employing structural equation modeling. Results show that meta-message sensitivity, attitude towards humor and entertainment and relaxation needs are the significant predictors of an individual's intention to share funny selfies on various social media network sites. Implications of the results are deliberated with future scope for research.
... Stickers not only supplement the lack of information about online chatting between people but also act as a release of pressure [94]. Memes (as show in the Fig 1 (d)), a combination of picture and statement, have also transitioned from being made by professional designers to being made by average Internet users [14]. In China, average Internet users create memes based on their personal experiences but also acquire inspirations from popular cultural products such as television shows and video games. ...
Social media is often analyzed as a "front stage" where social media users perform their identities and manage impressions through various forms of user-generated content: text, picture, video, as well as visual expression such as emoticon, emoji, sticker, and meme. Previous scholarship has suggested various functions of visual expression in supporting computer-mediated communication. In this study, we move beyond the utility perspective to ask what constitutes the literacy to utilize visual expression for impression management. Towards this goal, we conducted an interview study with 30 social media users in China. We found that visual literacy intersects with its cultural context. Our interviewees used text and visual expressions in sophisticated, skillful ways and tailored for different audiences in order to construct desired images. They also interacted with audience memory in order to perform their uniqueness and creativity. Lastly, we discuss culturally-embedded visual literacy and provide implications for design.
... In the same way that, in many stand-up comedy performances, the audience suddenly discover that certain assumptions, habits or ideas are not privately held but widely communal, thus generating a sudden humorous awareness of mutuality (Yus, 2004, forthcoming b), Internet offers the possibility for this sudden realization as positive effect. An example is found in Chen (2014) regarding a website for user-generated comics, where members can express their artistic creativity without technical requirements, and humor is a powerful resource for this mutual discovery, since the members value the community as a place where they can rant about the issues they face in life and seek solace from a sympathetic audience who also grapple with similar problems [...] [They gather online] to laugh at each other's misfortunes, not to feel superior to others, but to revel in the fact that many netizens have experienced similar events (Chen 2014(Chen : 693-694). 2007). ...
In this chapter, the term (non-)intended non-propositional effect is proposed and applied to the kind of feeling, emotion, impression, etc. that Internet humorous texts generate in the user beyond the proposition-centered humor, and which may not be tightly connected to the act of communication. These effects may be intended as part of the effects of the discourse being interpreted, but the main interest of this Chapter lies in those non-propositional effects which are non-intended, and hence not part of humorous communication proper, but nevertheless leak from humorous communication. These non-propositional, non-humorous and non-intended effects may provide reward to the users at different levels and add to the eventual relevance (or even constitute the main relevance) of Internet-based humorous texts.
Despite not having traditionally aroused the attention of pragmatics and relevance theory, non-propositional effects (feelings, emotions…) become crucial when it comes to obtaining a fully satisfactory interpretation of the communicator’s utterance, and even more so on the internet. This chapter starts with comments on the need to account for feelings/emotions both offline and online, additionally focusing on those intended to be communicated (affective attitude) as well as the ones) derived by the addressee (affective effects), sometimes beyond the initial user’s intention, but which frequently end up being relevant. Several possible situations are portrayed. This chapter’s main contribution consists in an account of different non-propositional effects that may leak from humorous communication on the internet and occur at different levels: personal; interactive; middle-sized group; and large-sized group.KeywordsNon-propositional effectsFeelingsEmotionsAffective attitudeAffective effects
El meme en internet da lugar a una muy amplia variedad de usos sociales. En los entornos educativos permite la construcción de unidades portadoras de conocimiento que tienen el potencial de apoyar el proceso de enseñanza-aprendizaje. Sin embargo, en el contexto dado por las clases en línea a consecuencia del SARS-CoV-2 destaca su empleo como recurso catártico a partir de encuadres que corresponden a la amplificación de marcos que tienen que ver con la identificación de algunas limitaciones que implica dicha estrategia coyuntural.
El presente trabajo aborda el método iconográfico como una herramienta para la construcción de mensajes visuales. Para ello, se hace un breve recuento de las principales ideas en torno a su concepción y sus autores más destacados, y se presentan algunos ejemplos de su aplicación en la época actual, como un recurso creativo usado profusamente en la industria publicitaria.
Based on the framing theory, an analysis is made of a set of memes published in the context of the SARS-CoV-2 pandemic, which allude to various aspects of distance learning. The main results show the identification of issues that, from the laying of bridges of meaning, refer to the digital divide and inequalities in gender roles.
Con base en la teoría del encuadre (framing theory), se hace un análisis sobre un conjunto de memes publicados en el contexto de la pandemia por el SARS-CoV-2, que hacen alusión a diversos aspectos de las clases a distancia. Los principales resultados muestran la identificación de asuntos que, desde el tendido de puentes de sentido, se refieren a la brecha digital y a las desigualdades en los roles de género.
El sistema de educación superior en México, en marzo de 2020, procedió al cierre de sus instalaciones físicas como medida de prevención frente a la pandemia de COVID-19. A partir de ese momento, las instituciones y sus actores decidieron que la educación continuara bajo otras modalidades. El cambio fue de grandes dimensiones y abrió escenarios complejos e inéditos que afectaron el sistema en su conjunto. Este libro pretende contribuir al reconocimiento de la situación de la educación superior mexicana durante la pandemia. Con este fin, se analizan siete escenarios sobre los que se desarrolló la educación terciara en los meses que continuaron al cierre de las instalaciones físicas.
La triada comunicación, educación y tecnología se puede estudiar desde diversas disciplinas tanto sociales como exactas, en contextos reales y virtuales, de manera local, regional, nacional e internacional. Investigar en estos campos disciplinares resulta una constante en tanto que sus dinámicas y avances son cotidianos y responden a las mismas dinámicas de la sociedad. Por ello, es necesario observarlas para comprenderlas e interactuar de manera ecológicamente.
La presente obra se enfoca presenta una serie de investigaciones y experiencias académicas en torno al vínculo importante que se forma en la interacción de la comunicación, la educación y la tecnología, en contextos geográfica y situacionalmente diversos.
Se abarcan textos sobre algunos de los ejes de convergencia de la triada comunicación, educación y tecnología, tales como: estudios emergentes y transdisciplinarios de comunicación estratégica, organizacional y educativa. Comunicación y gestión de negocios; innovación educativa en la gestión y la cultura de inclusión aplicada a metodologías, enfoques didácticos, liderazgo y movilidad de recursos administrativos con el fin de disminuir barreras para el aprendizaje y la participación que enfrentan los estudiantes y docentes. Enfoques y estrategias de los procesos de enseñanza-aprendizaje a través de las nuevas tecnologías. Nuevas tecnologías, canales digitales de comunicación y transmisión para la creación y difusión de las humanidades, ciencias y tecnologías. La dimensión socio cultural de la tecnología como vía de comunicación. La modificación de las prácticas comunicativas a partir de la tecnología. La tecnología y su incidencia en las diversas esferas de la sociedad. La interacción de la sociedad con la tecnología a partir de la mediación comunicativa.
Memes in China are quite popular in recent years thanks to the high penetration of the Internet and usage of mobile phones. Previous studies on Chinese Internet memes mainly go into two directions, one is from a political perspective that addresses how memes reflect the tension between the Chinese party-state and civil society. The other direction is quite apolitical, which focuses on the playfulness of the Internet environment and youth culture. However, this paper proposes an "entanglement" between the apolitical and political memes and argues that under certain circumstances, apolitical memes could take on political significance and even strengthen the Chinese state's ruling power and hegemony. Thus, this paper applies a social semiotic analysis to examine the "China-Taiwan memes war" on Facebook in January 2016 to further observe the key contexts and circumstances that foster the entanglement of signs and meanings. The findings demonstrate that: 1) this entanglement should give credit to the popular culture and entertainment industry which often serve as a safe hub for mild political expression and circumvent the political surveillance; 2) only when the ideas expressed in the memes are not challenging but supporting the authority's ideology can they participate in the construction of nationalism; 3) when traditional cultural signs are reinforced with the help of popular culture (memes), consent is easily achieved and hails the netizens to re-imagine nationalism, which again, makes the Chinese party-state the ultimate beneficiary of this celebratory online culture.
China is home to the world's largest audience for e‐sports, or competitive videogames. While competitive videogames have become popular within a borderless, digital environment, the e‐sports fan base has a decidedly nationalist element to it. This article argues that new forms of digital nationalism are part and parcel of normal discourse within the Chinese competitive videogames environment. Through a case study of one specific competitive videogame, this article shows how nationalist narratives are enacted by the community itself at the grass roots, creating bottom‐up forms of nationalism. Combining digital fieldwork with offline interviews and observations, the study sheds light on new forms of nationalist expression appearing online in China. It focuses in particular on memes and how these serve as micro expressions of nationalism, maintaining and reinforcing nationalist narratives originating within state discourses.
Cuteness in Chinese is written as 可爱 (kě ài), which literally means “worth loving.” In this chapter, we first review the evolution of the meaning of cuteness in Chinese literature. Then, we present the conventional Chinese style of cuteness in visual design, followed by the three movements (i.e., kawaii culture, Moe culture, and Baozou phenomenon) that have reshaped how Chinese people perceive cuteness currently. After that, we discuss the general development of Chinese cuteness industry, and we use a successful case study to demonstrate how cuteness design may thrive as a business that bridges culture and technology in China.
Baozou comic, a.k.a. rage comic internationally, has been widely used as a form of visual communication of emotions in social media, advertisement, entertainment, and many other domains in China. In particular, Chinese netizens have converted this type of Internet memes into emoticons and use them extensively in Instant Messaging applications. This paper discusses the potential socio-economic context of the Baozou comic phenomenon in China. Baozou comic is a unique combination of cuteness and parody, and can serve as a vehicle to convey out-of-control, subtle, complicated, or hidden emotions. Its ugly aesthetics reflects the self-perception of a new generation of Chinese Internet users. The grassroots emoticon engineering process, including easy production, replication, and customization, also contributes to the growing popularity of Baozou comic in China. Analysis on miscommunication over Baozou emoticons reveal some related issues such as the need to balance ambiguity and emotional depth in expressions.
China On Video is the first in-depth study that examines smaller-screen realities and the important role they play not only in the fast-changing Chinese mediascape, but also more broadly in the practice of experimental and non-mainstream cinema. At the crossroads of several disciplines-film, media, new media, media anthropology, visual arts, contemporary China area studies, and cultural studies--this book reveals the existence of a creative, humorous, but also socially and politically critical "China on video", which locates itself outside of the intellectual discourse surrounding both auteur cinema and digital art. By describing smaller-screen movies, moviemaking and viewing as light realities, Voci points to their "insignificant" weight in terms of production costs, distribution size, profit gains, intellectual or artistic ambitions, but also their deep meaning in defining an alternative way of seeing and understanding the world. The author proposes that lightness is a concept that can usefully be deployed to describe the moving image, beyond the specificity of recent new media developments and which can, in fact, help us rethink previous cinematic practices in broad terms both spatially and temporally.
Many teens today who use the Internet are actively involved in participatory cultures—joining online communities (Facebook, message boards, game clans), producing creative work in new forms (digital sampling, modding, fan videomaking, fan fiction), working in teams to complete tasks and develop new knowledge (as in Wikipedia), and shaping the flow of media (as in blogging or podcasting). A growing body of scholarship suggests potential benefits of these activities, including opportunities for peer-to-peer learning, development of skills useful in the modern workplace, and a more empowered conception of citizenship. Some argue that young people pick up these key skills and competencies on their own by interacting with popular culture; but the problems of unequal access, lack of media transparency, and the breakdown of traditional forms of socialization and professional training suggest a role for policy and pedagogical intervention.
This report aims to shift the conversation about the "digital divide" from questions about access to technology to questions about access to opportunities for involvement in participatory culture and how to provide all young people with the chance to develop the cultural competencies and social skills needed. Fostering these skills, the authors argue, requires a systemic approach to media education; schools, afterschool programs, and parents all have distinctive roles to play.
The John D. and Catherine T. MacArthur Foundation Reports on Digital Media and Learning
This article investigates egao—technology-enabled online parody in contemporary China. Egao is a site where issues of power struggle, class reconsolidation, social stratification, (online) community formation, and cultural intervention, along with the transformative power of digital technologies, intersect. Through an analysis of Hu Ge’s “The Bloody Case of a Steamed Bun,” we argue that egao provides an alternative locus of power, permitting the transgression of existing social and cultural hierarchies. Satiric and ludicrous in nature, egao playfully subverts a range of authoritative discourses and provides a vehicle for both comic criticism and emotional catharsis. As an individualized form of expression of the new digital generation, it also offers insight into the collective attitudes of the new class of netizens.
Since the mid-1990s China has undergone an explosive growth in Internet usage and coverage. China became the second largest Internet nation (next to the United States) in 2002, with 59.1 million Internet users. By June 2006, the number hit 123 million (although this still comprises only 9.4 per cent of China's total population of 1.3 billion).] The Inter-net has become an integral part of the daily lives of urban Chinese. For most Chinese Inter-net users, the Internet provides aggregated sources of a rich variety of content: a platform for online commerce, a huge virtual billboard for advertisements, games and social net-working (including cyberlove, or wang lion). This entertainment-and-consumption pattern of Internet use at the micro, individual level is often put side by side with a control model at the macro, institutional level, which views information and communication technologies (lCT) as a means of control (see, for example, Qiu, 2007). People in the West are frequently told about the suppression of freedom of speech by the Chinese government, constraints on politically sensitive web-sites, arrests of cyber activists, and global Internet search companies (such as Google, Yahoo and MSN) giving in to the Chinese government by imposing stricter censorship to control the flow of Internet information. Both the micro and macro perspectives on Chinese ICT are at the same time counterbalanced by a meso-level view that takes the Internet as a tool for political activism and a platform for democratisation (see, for example, Schroeder, 2005). The use of the Internet as a tool for political activism has characterised overseas Chinese political movements, such as the Uyghur opposition move-ment (representing cyber-separatism) (see Gladney, 2(04) and the Falun Gong protest movement (representing cyber-sectarianism) (Thornton, 2(02). The macro and meso per-spectives are usually intertwined with each other, as the use of the Internet by dissidents and control of the Internet by the Chinese government are regarded as two sides of the same coin (Chase and Mulvenon, 2002). The apparent dichotomy of control versus freedom has constituted the internal logic of China's ICT development and dominated Western scholarship on Chinese new media.
This chapter examines two Punch-inspired English-language periodicals published in colonial enclaves in nineteenth-century China: The China Punch (1867–1868, 1872–1876) and Puck, or the Shanghai Charivari (April 1871-November 1872). The former was a subsidiary publication of the newspaper The China Mail, which since its inception in 1845 had been the ‘Official Organ of all Government Notifications’ in the British colony of Hong Kong; the latter was issued quarterly by a printing and stationary company in treaty-port Shanghai. Both periodicals featured staples akin to London’s Punch (1841–1992) such as whole-page caricatures, comedic verses, wry commentaries on local society and politics, filler jokes, and editorials written in the voice of their namesake trickster. Each struggled to solicit contributions from its small Anglophone community and ultimately ceased publication upon the abrupt departure of a proprietor.
The funny cat pictures and viral videos known as "internet memes" fill our inboxes and social media sites. Scholar Alice Marwick provides an overview of memes, a history of the term and its overall significance.
In the week that China's vice-president, Xi Jinping, was reported reaffirming the official status of the Chinese Communist Party (CCP) as a “ruling” rather than a “revolutionary” party,¹ I found myself in the Red Classics (Hongse jingdian)² restaurant in the suburbs of Beijing. Entering through a star-shaped doorway flanked by green-uniformed “soldiers,” customers are faced by a riot of propaganda iconography: revolutionary slogans and posters adorn its walls, facsimile People's Daily headlines cover the ceiling, and in the corner a bright red tractor is bursting through. The year is 1968: our waiters are cap-wearing “workers,” and at the far end…
Launched in 2005 as a video-sharing website, YouTube has become an emblem of participatory culture. A central feature of this website is the dazzling number of derivative videos, uploaded daily by many thousands. Using the ‘meme’ concept as an analytic tool, this article aims at uncovering the attributes common to ‘memetic videos’ – popular clips that generate extensive user engagement by way of creative derivatives. Drawing on YouTube popularity-measurements and on user-generated playlists, a corpus of 30 prominent memetic videos was assembled. A combined qualitative and quantitative analysis of these videos yielded six common features: focus on ordinary people, flawed masculinity, humor, simplicity, repetitiveness and whimsical content. Each of these attributes marks the video as incomplete or flawed, thereby invoking further creative dialogue. In its concluding section, the article addresses the skyrocketing popularity of mimicking in contemporary digital culture, linking it to economic, social and cultural logics of participation.
This article discusses the degree to which the Chinese government can control the internet and, more than that, to what degree the internet can be used as a means for control. Using a framework suggested by Lessig, an analysis will be provided of how the Chinese government establishes internet control from legal, economic, social, and technical perspec tives. 1 The concept of the Panopticon prison, invented by Jeremy Bentham and mediated by Michel Foucault, will be used as a metaphor to show that the Chinese government has all the tools at its disposal to further enforce control over the internet.
Henry Jenkins"s pioneering work in the early 1990s promoted the idea that fans are among the most active, creative, critically engaged, and socially connected consumers of popular culture and that they represent the vanguard of a new relationship with mass media. Though marginal and largely invisible to the general public at the time, today, media producers and advertisers, not to mention researchers and fans, take for granted the idea that the success of a media franchise depends on fan investments and participation. Bringing together the highlights of a decade and a half of groundbreaking research into the cultural life of media consumers, Fans, Bloggers, and Gamers takes readers from Jenkins's progressive early work defending fan culture against those who would marginalize or stigmatize it, through to his more recent work, combating moral panic and defending Goths and gamers in the wake of the Columbine shootings. Starting with an interview on the current state of fan studies, this volume maps the core theoretical and methodological issues in Fan Studies. It goes on to chart the growth of participatory culture on the web, take up blogging as perhaps the most powerful illustration of how consumer participation impacts mainstream media, and debate the public policy implications surrounding participation and intellectual property.
The category of the everyday has designated in social theory the remainder, what is left over after the important regions of politics and production. This left consumption in the under-theorized domain of the everyday. Since Veblen – and more recently Baudrillard and de Certeau – consumption has been reconfigured as significant in its own right, as a complex, articulated area related directly to culture. Liberal thinkers have also claimed consumer activity as central to society, as the domain where the individual is realized. This paper will review these positions and attempt to develop an understanding of consumption in daily life in relation to digital cultural objects. It will also argue that these mediated commodities, in the practices of appropriation connected with them, configure subjects in ways that are difficult to reconcile with existing structures of domination.
This article examines e gao (online spoofs) as a popular form of political expression which has recently emerged on the Chinese internet. I first introduce a cultural approach to internet-mediated political communication that emphasizes discursive integration and the mutual constitution of communicative activity and subjectivity. I then discuss how these two dimensions are configured in the specific media ecology in China with regard to the emergence of e gao. I will analyse the political implications of e gao through a close reading of the two most influential cases. Granted that these online spoofs neither qualify as rational debates aiming to achieve consensus nor have produced any visible policy consequences, but they constitute a significant component of civic culture that offers both political criticism and emotional bonding for all participants.
In this paper the author describes how contemporary digital technologies have changed the way in which images are constructed, distributed, and appropriated. The metaphor of cloning best describes this process, one that is dramatically different from images produced through mechanical means. Outlining an 'aesthetics of cloning,' the author proposes three shifts associated with the increased use of digital images in art educational spaces that might lead to a better understanding of contemporary issues related to digital technologies as they relate to the field of art education in general. Art educators who wish to address contemporary issues related to the use of digital technologies in art educational spaces must ask basic questions about their own practice. Why should we use computers in the art classroom? What can the computer do that other media cannot? If there is an aesthetics that is unique to digital technologies, then how can art educators structure relevant pedagogical practices that address these attributes without losing that which has proven important to the field?
In the era of late modernism, various pressures play a decisive role in shaping the texture
and meaning of the world around us. Population, work, transportation, new technologies of
information and communication, lifestyle cultures and other forces are increasingly mobile, and this in turn helps make for a new set of public and personal surroundings.
Social life everywhere now appears to share more and more in an international (if not a
global) order, even if inequality and stratification remain common inside territories and
across territories. Still, the perception is that a particular cultural life is increasingly
universal. More and more consumers come to share in its practices and products, with
those products becoming more and more homogeneous. This standardization argument
finds much support in the apparent internationalization of many elements of media,
entertainment, leisure and lifestyle cultures, with cultural conglomerates determined to
maximize their global market reach. Once upon a time, in order to understand the
economic, political and cultural forces affecting citizens and society, it was mostly
deemed sufficient to look within the boundaries of the nation-state. Over the past two
decades, these same pressures of globalization have impacted on critical research,
highlighting the methodological need to adopt an optic that is more cross-border and
transcultural as a means of gaining greater understanding of cultural life.
This book is not only a major twentieth-century contribution to Dostoevsky's studies, but also one of the most important theories of the novel produced in our century. As a modern reinterpretation of poetics, it bears comparison with Aristotle. "Concentrating on the particular features of 'Dostoevskian discourse,' how Dostoevsky structures a hero and a plot, and what it means to write dialogically, Bakhtin concludes with a major theoretical statement on dialogue as a category of language. One of the most important theories of the novel in this century." ââ¬âThe Bloomsbury Review
El concepto de vida cotidiana se ha convertido para las ciencias sociales y para las humanidades un concepto clave. El autor expone que existe una tradición de teorizar acerca de la vida cotidiana que ha ayudado a elevar nuestro entendimiento de la vida diaria a un status de conocimiento crítico. Aborda el pensamiento de Lefebvre, Bakunin, Heller, Certeau y de Smith.
The Internet simply because it exists in China will not bring democracy to China. It is a tool, not a cause of political change.
So far, the Chinese government has succeeded through censorship and regulation in blocking activists from using the Internet
as an effective political tool. Likewise, blogs may be a catalyst for long-term political change because they are helping
to enlarge the space for collaboration and conversation on subjects not directly related to political activism or regime change.
However their role in China is more likely to involve political evolution—not revolution.
Gaokao' System Needs Re-Examining in China The Straits Times Illustrator Sam Spratt Talks about How He Makes Art on Tumblr and Beyond The Daily Dot
- A L Ho
- K Holt
Ho, A. L. 2013. " 'Gaokao' System Needs Re-Examining in China. " The Straits Times, February 18. http://search.proquest.com/docview/1288340986?accountid¼8330 Holt, K. 2012. " Illustrator Sam Spratt Talks about How He Makes Art on Tumblr and Beyond. " The Daily Dot, April 20. http://www.dailydot.com/entertainment/illustrator-sam-spratt-art-tumblr-interview/
Illustrating Asia: Comics, Humor Magazines, and Picture Books
- J A Lent
Lent, J. A., ed. 2001. Illustrating Asia: Comics, Humor Magazines, and Picture Books. Honolulu:
University of Hawai'i Press.
Manga in East Asia In Manga: An Anthology of Global and Cultural Perspectives
- J A Lent
Lent, J. A. 2010. " Manga in East Asia. " In Manga: An Anthology of Global and Cultural Perspectives, edited by T. Johnson-Woods, 297– 314.
Yangcheng Evening News New Survey Finds China Unequal, Unemployed and Untrusting
- Na T La
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