Artykuły w czasopismach na temat „Science fiction films – Political aspects”
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Belghazi, Taieb, i Abelhay Moudden. "Visualizing the Painful Past". Middle East Journal of Culture and Communication 11, nr 3 (23.11.2018): 229–47. http://dx.doi.org/10.1163/18739865-01103001.
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Abstract Conventional social science studies of state violence privilege ‘instrumental’ approaches in which the main focus is on rational and calculated acts of state violence that operate as a means to achieve specific ends. In this paper, we use six Moroccan feature films on the subject of violence as an introduction to ‘expressive’ dimensions of state violence, the set of meanings it expresses and the affects it triggers. Fictive as they are, the films highlight key issues pertaining to the topic, issues that have remained insufficiently addressed by social scientists. These issues include the cultural meanings of retributive justice for state perpetrators, political betrayal, political innocence, the multiple aspects of activism and resistance and societal reconciliation. The films not only trigger pertinent intellectual dilemmas, they also offer a ‘fictional framing’ of political reconciliation in which the family operates as the ‘weapon of the weak’ and the locus for restoring a lost past order are shattered by state violence.
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Simoni, Marcella. ""Spara e prega!". Il cinema israeliano a trent'anni dalla guerra del Libano". PASSATO E PRESENTE, nr 88 (luty 2013): 111–30. http://dx.doi.org/10.3280/pass2013-088006.
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The first decade of the new century has seen the appearance of numerous Israeli films by different directors, and at least one fiction book, who addressed various aspects of the Israeli involvement in Lebanon in some of its phases: the 1982 Lebanon War, the occupation of Beaufort and the evacuation from the so-called Security Zone (2000). Using these movies and the book as a sources - and framing them in the critical literature on the subject - this article discusses if such a cultural production gave rise to a public or political debate in Israel, or if they just responded to the individual needs of the directors who filmed them.
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Leonard, Karen. "Sandhya Shukla. India Abroad: Diasporic Cultures of Postwar America and England. Princeton, N.J.: Princeton University Press, 2003." Comparative Studies in Society and History 47, nr 3 (lipiec 2005): 670–72. http://dx.doi.org/10.1017/s001041750524029x.
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Sandhya Shukla has written a highly interdisciplinary comparison of Indian diasporic cultures in Britain and the United States. Specializing in Anthropology and Asian American Studies, she is particularly strong on historical and literary text analysis. She says, “The relational aspects of a range of texts and experiences, which include historical narratives, cultural organizations, autobiography and fiction, musical performance and films, are of paramount importance in this critical ethnography” (20). Contending that the Indian diaspora confronts “a simultaneous nationalism and internationalism,” she is celebratory about India and “formations of Indianness,” and uses phrases like “amazing force” and “wildly multicultural” (17). Her exploration shows “the tremendous impulse to multiple nationality that Indianness abroad has made visible” (14) and, “the amazing persistence of Indian cultures in so many places” (22).
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Hao, Tianhu. "Scientific Prometheanism and the Boundaries of Knowledge: Whither Goes AI?" European Review 26, nr 2 (13.02.2018): 330–43. http://dx.doi.org/10.1017/s1062798717000710.
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This article discusses John Milton’sParadise Lost, Mary Shelley’sFrankenstein, and the contemporary filmEx Machinaas a coherent group concerning the boundaries of knowledge and the perils of scientific Prometheanism. The development of AI (Artificial Intelligence) should be delimited and contained, if not curtailed or banned, and scientists ought to proceed in a responsible and cautious manner. An obsessive or excessive pursuit of knowledge, aiming to equal God and create humanoid beings, constitutes the essential feature of scientific Prometheanism, which can end in catastrophic destruction. BothFrankensteinandEx Machinastringently critique scientific Prometheanism as one aspect of modernity, and expose the real dangers that AIs pose to the very existence of humanity and civilization. InParadise Lost, Milton provides the epistemological framework forFrankensteinandEx Machina. The article concludes that the union of science and arts in science fiction (films) can be very productive.
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Genovese, Michael A. "Politics and Science Fiction Films". News for Teachers of Political Science 46 (1985): 7–8. http://dx.doi.org/10.1017/s0197901900001793.
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The movie theatre may seem like an odd place for politics, but almost all movies could be considered “political.” Even stranger is the notion that those spacemen, monsters and aliens we are so accustomed to seeing in science fiction films may be more than just entertaining us, they may be conveying a political message. In fact, most science fiction films make deeply political statements about the society from which they emerge.Science fiction films provide a unique opportunity for movie makers to comment on the implications of both human and “non-human” behavior. Through science fiction, one can look ahead to the way the world “might” look if the right wing, left wing, scientific rationalists, corporations, etc., take over and create their own “Brave New World.” It is an opportunity to play out the implications of various political philosophies for all to see and evaluate.
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Henebury, Anja. "Holocaust as Fiction: Bernhard Schlink's ‘Nazi’ Novels and Their Films". Journal of Contemporary European Studies 21, nr 1 (marzec 2013): 140–42. http://dx.doi.org/10.1080/14782804.2013.766456.
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Hladki, Janice. "Hazardous Futures and Damned Embodiments: Disability and White Masculinization in Science Fiction Film". Journal of Literary & Cultural Disability Studies: Volume 14, Issue 4 14, nr 4 (1.10.2020): 453–67. http://dx.doi.org/10.3828/jlcds.2020.30.
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Drawing on critical disability interrogations of the “human,” this article explores how frameworks of normalization shape conceptions of human qualification and disqualification in two science fiction films. It examines how representations of the contaminated, injured, unstable, and mutated body produce discourses of, and social anxieties about, abnormalization and monstrosity. The films The Thing (1982) and Deadpool (2016), both characterized by science fiction cult popularity, are linked through multiple concerns for human futurity, including the dangers of monstrous disability and the need to redeem damaged and infected bodies. Bringing disability together with gender and race, the article argues that white able-bodied masculinization in the films, including aspects of militarism and colonialism, focuses on human qualification and on securing a future made non-hazardous by a masculinity recuperated from vulnerability and disability.
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Mörth, Ingo. "Elements of Religious Meaning in Science-Fiction Literature". Social Compass 34, nr 1 (luty 1987): 87–108. http://dx.doi.org/10.1177/003776868703400107.
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La science-fiction en tant que genre littéraire représente une sphère de significations sans doute marginale, encore qu'elle soit solidement associée à la vie quotidienne. En analysant son contenu, on perçoit qu'il existe des relations singulières et intenses entre la science-fiction et la religion. Elles concernent non seulement des éléments formels propres à la pen sée utopique, mais également les structures matérielles du monde dans ses dimensions temporelles, spatiales et sociales. Les thèmes de la science-fiction et de la religion ont des racines communes: les limites du monde vivant. Mais en permettant de surmonter les frontières de la vie quotidienne, de ses origines et de sa destinée, la science-fiction opère une sorte de désenchantement de la sphère du religieux en permettant de substituer une spéculation illimitée à l'affirmation divine traditionnelle et aux certitudes qu'elle contient. L'Auteur analyse ces aspects de la science-fiction à travers différents livres importants de science-fiction. Il utilise pour ce faire l'approche d'A. Schutz et de Th. Luckmann. La relation thé matique entre la science-fiction et la religion le conduit à établir en quoi la spéculation utopique de la science-fiction constitue un véritable « culte », notamment par l'observation du groupe social de ceux qui y croient et lui confèrent une plausibilité sociale. Des exemples de ceci sont empruntés aux cas de l'Eglise de Scientolo gie et de certains groupes centrés sur l'existence d'un inconscient collectif et de civilisations extra-terrestres.
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Longden, Kenneth. "China Whispers: The Symbolic, Economic, and Political Presence of China in Contemporary American Science Fiction Film". Open Cultural Studies 2, nr 1 (1.09.2018): 151–61. http://dx.doi.org/10.1515/culture-2018-0014.
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Abstract China has long been present in Western science fiction, but largely through notions of Orientalism and depictions as the 'Yellow Peril'. However, with China's new ascendancy and modernization over the last 15 years, along with its investment and collaboration with Hollywood in particular, contemporary film in general, and contemporary science fiction in particular, has embraced this new China in ways hitherto unseen before. This essay examines three contemporary western/American science fiction films which each represent and construct China in slightly different ways, and in ways which reveal the West, and Hollywood's reappraisal of the relationship with China and its emerging 'Soft Power.'.
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Ayhan, Kadir Jun. "Transferring Knowledge to Narrative Worlds: Applying Power Taxonomy to Science Fiction Films". International Studies Perspectives 21, nr 3 (3.12.2019): 258–74. http://dx.doi.org/10.1093/isp/ekz024.
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Abstract Instructors of courses in international relations increasingly use films to facilitate students’ learning of abstract concepts and to deepen their understanding of theories. This paper introduces how the fictional universes presented in films can be utilized as platforms for students to learn about the application of analytical frameworks. This method aims to enhance students’ abilities to transfer learned knowledge to a different setting. Knowledge transfer requires skills that go beyond lower-order thinking. Higher-order thinking aids students’ retention of concepts, and enables them to apply what they have learned to new situations. This article illustrates an application of a power taxonomy in the narrative world of the non-historical science fiction films. This exercise can easily be transported to various political science, international relations, and other courses to help students learn various analytical concepts, frameworks, and theories.
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Dahms. "Science-Fiction Films and “Love”: Toward a Critique of Regressive Social Relations". Soundings: An Interdisciplinary Journal 103, nr 2 (2020): 121. http://dx.doi.org/10.5325/soundings.103.2.0121.
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Knapp, Jeffrey. "Selma and the Place of Fiction in Historical Films". Representations 142, nr 1 (2018): 91–123. http://dx.doi.org/10.1525/rep.2018.142.1.91.
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Every historical film must contend with the possibility that its viewers will be scandalized by its mixture of fact and fiction, but no recent historical film has faced such pressure to justify its hybrid nature as Selma has, in large part because no recent film has taken on so momentous and controversial a historical subject: the civil rights marches from Selma to Montgomery that led to the passage of the Voting Rights Act in 1965. The renewed urgency of the issues Selma dramatizes, along with the film’s own commitment to the “moral certainty” of the civil rights movement, helps explain why Selma wavers in a self-defense that links the fictionality of its historical reenactments to the purposely theatrical element of the marches themselves. But politics are not the only problem for fiction in Selma, and to show why, this essay compares Selma to an earlier historical film, The Westerner (1940), that openly flaunts the commercial nature of its fictionality.
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Liu, Xinmin. "‘Place’ Construction: innovative reworking of fiction in recent Chinese films". Journal of Contemporary China 17, nr 57 (29.10.2008): 699–716. http://dx.doi.org/10.1080/10670560802253428.
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Simsone, Bārbala. "Zinātniskā fantastika kā ideoloģiskais ierocis". Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, nr 25 (4.03.2020): 165–75. http://dx.doi.org/10.37384/aplkp.2020.25.165.
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Since one of the main characteristics of the science fiction genre is the modelling of future societies, often from the safe distance perspective drawing quite visible parallels with those of the present world, the discussion about political and social topics has been an integral part of the genre since the beginnings. Moreover, since science fiction, especially regarding the subgenre of utopia, allegorically projects a particular ideology in an imaginary world, certain propaganda was also frequent compound in the genre works. These factors were largely responsible for the fact that some political regimes, especially those of the 20th century, made direct and indirect use of science fiction as a powerful tool of ideological propaganda that helped to turn the thinking of readers, especially young people, in the direction favoured by the regime. Still, it must also be remembered that the presence of political ideas in the science fiction works as well as interpretation of these works has always been quite a complicated matter, and science fiction authors frequently found ways to circumnavigate the limitations set by censorship and include messages unflattering to the regime in their works. The paper provides an insight into the aspects of relationship between science fiction and ideology in contemporary literary theory, turns a particular attention to the practical aspects of these relationships as they formed during the 20th century in the literary space of Soviet regime – discussing original works as well as translations and literary criticism; finally, the paper outlines some topical ideological directions visible in modern science fiction works.
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Orr, David MR. "Dementia and detectives: Alzheimer’s disease in crime fiction". Dementia 19, nr 3 (28.05.2018): 560–73. http://dx.doi.org/10.1177/1471301218778398.
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Fictional representations of dementia have burgeoned in recent years, and scholars have amply explored their double-edged capacity to promote tragic perspectives or normalising images of ‘living well’ with the condition. Yet to date, there has been only sparse consideration of the treatment afforded dementia within the genre of crime fiction. Focusing on two novels, Emma Healey’s Elizabeth is Missing and Alice LaPlante’s Turn of Mind, this article considers what it means in relation to the ethics of representation that these authors choose to cast as their amateur detective narrators women who have dementia. Analysing how their narrative portrayals frame the experience of living with dementia, it becomes apparent that features of the crime genre inflect the meanings conveyed. While aspects of the novels may reinforce problem-based discourses around dementia, in other respects they may spur meaningful reflection about it among the large readership of this genre.
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Clarke, Patricia. "The Queensland Shearers' Strikes in Rosa Praed's Fiction". Queensland Review 9, nr 1 (maj 2002): 67–87. http://dx.doi.org/10.1017/s1321816600002750.
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Novelist Rosa Praed's portrayal of colonial Queensland in her fiction was influenced by her social position as the daughter of a squatter and conservative Cabinet Minister, Thomas Lodge Murray-Prior, and limited by the fact that she lived in Australia for much less than one-third of her life. After she left Australia in 1876, she recharged her imagination, during her long novel-writing career in England, by seeking specific information through family letters and reminiscences, copies of Hansard and newspapers. As the decades went by and she remained in England, the social and political dynamics of colonial society changed. Remarkably, she remained able to tum sparse sources into in-depth portrayals of aspects of colonial life.
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Magerstädt, Sylvie. "Love Thy Extra-Terrestrial Neighbour: Charity and Compassion in Luc Besson’s Space Operas The Fifth Element (1997) and Valerian and the City of a Thousand Planets (2017)". Religions 9, nr 10 (27.09.2018): 292. http://dx.doi.org/10.3390/rel9100292.
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The role of romantic love in cinema–and its redeeming aspects–has been extensively explored in film studies and beyond. However, non-romantic aspects of love, especially love for the neighbour, have not yet received as much attention. This is particularly true when looking at mainstream science fiction cinema. This is surprising as the interstellar outlook of many of these films and consequently the interaction with a whole range of new ‘neighbours’ raises an entirely new set of challenges. In this article, the author explores these issues with regard to Luc Besson’s science fiction spectacles The Fifth Element (1997) and Valerian and the City of a Thousand Planets (2017). Both films have divided fans and critics and it is indeed easy to dismiss them as mere spectacle with little depth or message, as many reviewers have done. Yet, as this article demonstrates, beneath their shiny, colourful surface, both films make a distinct contribution to the theme of neighbourly love. What is more, Besson’s films often seem to develop a close link between more common notions of romantic love and agapic forms of love and thus offer a perspective of exploring our relationship to the alien as our neighbour.
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Ryu, Sunghan. "How does film adaptation influence box office performance? An empirical analysis of science fiction films in Hollywood". Arts and the Market 10, nr 3 (12.10.2020): 125–43. http://dx.doi.org/10.1108/aam-05-2019-0018.
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PurposeThis study aims to identify the factors that influence box office performance in the specific context of the adaptation of science fiction (SF) to film in Hollywood.Design/methodology/approachFifty-one film adaptation cases were collected and empirically analyzed with two-stage least-squares (2SLS) regression.FindingsEmpirical analysis demonstrates that the adaptation of the title, the popularity of the original novel and the director's experience in film adaptation have significant impacts on box office performance.Research limitations/implicationsThe study contributes to the literature by bridging the gap between two separate streams of the research literature on film performance and film adaptation. Moreover, the study has extended the literature on the prediction of film performance by examining important factors in the special context of SF film adaptation.Practical implicationsIn the case of film adaptation, recruiting an experienced director will be a good choice. Author power is also required for attracting more investment and increasing audience share in the short term. From a marketing perspective, pointing out in the title that the film is an adaptation of an original novel would be an advantageous approach.Originality/valueThis is among the pioneering research related to the effects of film adaptation on box office performance. The approach and results of this study direct future studies in many aspects.
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Pastourmatzi, Domna. "Researching and Teaching Science Fiction in Greece". PMLA/Publications of the Modern Language Association of America 119, nr 3 (maj 2004): 530–34. http://dx.doi.org/10.1632/003081204x20613.
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In the dreams our stuff is made of, Thomas M. Disch talks about the influence and pervasiveness of science Fiction in American culture and asserts the genre's power in “such diverse realms as industrial design and marketing, military strategy, sexual mores, foreign policy, and practical epistemology” (11-12). A few years earlier, Sharona Ben-Tov described science fiction as “a peculiarly American dream”—that is, “a dream upon which, as a nation, we act” (2). Recently, Kim Stanley Robinson has claimed that “rapid technological development on all fronts combined to turn our entire social reality into one giant science fiction novel, which we are all writing together in the great collaboration called history” (1-2). While such diagnostic statements may ring true to American ears, they cannot be taken at face value in the context of Hellenic culture. Despite the unprecedented speed with which the Greeks absorb and consume both the latest technologies (like satellite TV, video, CD and DVD players, electronic games, mobile and cordless phones, PCs, and the Internet) and Hollywood's science fiction blockbuster films, neither technology per se nor science fiction has yet saturated the Greek mind-set to a degree that makes daily life a science-fictional reality. Greek politicians do not consult science fiction writers for military strategy and foreign policy decisions or depend on imaginary scenarios to shape their country's future. Contemporary Hellenic culture does not acquire its national pride from mechanical devices or space conquest. Contrary to the American popular belief that technology is the driving force of history, “a virtually autonomous agent of change” (Marx and Smith xi), the Greek view is that a complex interplay of political, economic, cultural, and technoscientific agencies alters the circumstances of daily life. No hostages to technological determinism, modern Greeks increasingly interface with high-tech inventions, but without locating earthly paradise in their geographic territory and without writing their history or shaping their social reality as “one giant science fiction novel.”
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Fergnani, Alessandro, i Zhaoli Song. "The six scenario archetypes framework: A systematic investigation of science fiction films set in the future". Futures 124 (grudzień 2020): 102645. http://dx.doi.org/10.1016/j.futures.2020.102645.
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Gardell, Mattias. "‘The Girl Who Was Chased by Fire’: Violence and Passion in Contemporary Swedish Fascist Fiction". Fascism 10, nr 1 (24.06.2021): 166–85. http://dx.doi.org/10.1163/22116257-10010004.
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Abstract Fascism invites its adherents to be part of something greater than themselves, invoking their longing for honor and glory, passion and heroism. An important avenue for articulating its affective dimension is cultural production. This article investigates the role of violence and passion in contemporary Swedish-language fascist fiction. The protagonist is typically a young white man or woman who wakes up to the realities of the ongoing white genocide through being exposed to violent crime committed by racialized aliens protected by the System. Seeking revenge, the protagonist learns how to be a man or meets her hero, and is introduced to fascist ideology and the art of killing. Fascist literature identifies aggression and ethnical cleansing as altruistic acts of love. With its passionate celebration of violence, fascism hails the productivity of destructivity, and the life-bequeathing aspects of death, which is at the core of fascism’s urge for national rebirth.
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ATTIA, Nesrine, i Kantaoui MOHAMED. "CONTEMPORARY CREATIVE FICTION WRITING SOCIAL AND HOMELAND ISSUES". RIMAK International Journal of Humanities and Social Sciences 03, nr 07 (1.09.2021): 11–16. http://dx.doi.org/10.47832/2717-8293.7-3.2.
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The narrative story has evolved from its precursor, when the old myths are shattered, in which the new novel has become a text with numerous cultural formats within its contents. Fragmentation and separation have been two of the most significant aspects of modern creative writing. In order to grasp the evolving reality, novelists must assume new creative forms in which the reader joins the realms of secrecy and marginalization. Those looking for the positions of the novelist critics will notice that contemporary writing has occupied a distinguished position due to the issues it raises regarding humanity and the homeland and pushing its readers to become conscious and understand what is lacking. The issues of the homeland have become thorny issues due to the imagination of the novelist and his intellectuality. It became more and more evident. The novel, with its transformation and development in content and structure, has become an autonomous literary genre that hides complex topics beyond the words. Its reader must search for distinct critical mechanisms to read it and decode its words. Hence, contemporary novelists did not write fictional texts arbitrarily. But, behind every text there was a significance and a human issue affecting the community whose conditions deteriorated socially and politically. From the above, we will try, in this research paper, to dig into the depth of the issue and reveal the features of the contemporary fictional text and its marginalization. Perhaps the most important question is: Did contemporary creative writing really contribute to educating societies? And revealed the issues that are absent and marginalized? Will the continuation of this type of writing change and solve the nation's crises? In order to answer these questions, we have to research contemporary creative writing and dive into the most important cultural, social, political and even ideological systems.
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Jacques, Christian. "Les Représentations des Migrations Forcées des « Allemands »: De Tchécoslovaquie dans les Films de Fiction Tchèques Après 1990". Revue d’études comparatives Est-Ouest 47, nr 01-02 (marzec 2016): 141–68. http://dx.doi.org/10.4074/s0338059916001066.
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CASADO DA ROCHA, ANTONIO. "Narrative Autonomy". Cambridge Quarterly of Healthcare Ethics 23, nr 2 (12.02.2014): 200–208. http://dx.doi.org/10.1017/s096318011300073x.
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This section welcomes submissions addressing literature as a means to explore ethical issues arising in healthcare. “Literature” will be understood broadly, including fiction and creative nonfiction, illness narratives, drama, and poetry; film studies might be considered if the films are adaptations from a literary work. Topics include in-depth analysis of literary works as well as theoretical contributions, discussions, and commentary about narrative approaches to disease and medicine, the way literature shapes the relationship between patients and healthcare professionals, the role of speculative fiction as a testing ground for future scenarios in healthcare, and so on. Articles discussing the uses of literature for bioethics education and outreach will be particularly appreciated. Research on literature not originally written in English will be considered as long as it has also been published in translation. Submissions should include an abstract and should conform to the CQ Guidelines for Contributors. To submit an article or discuss a suitable topic, write to Antonio Casado da Rocha at antonio.casado@ehu.es.
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Köroğlu, Erol. "Theses on the “National Truth”: Border Crossings between History Writing and Historical Fiction in Attilâ İlhan's Gâzi Paşa". New Perspectives on Turkey 36 (2007): 97–123. http://dx.doi.org/10.1017/s0896634600004611.
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AbstractThe aim of this essay is to read Attilâ İlhan's novel Gâzi Paşa, a historical novel about the Turkish Independence War, with a focus on the distinction between history writing and historical novel. I begin my analysis of this novel from the narratological perspective developed by Dorrit Cohn, who emphasizes two aspects of this distinction: different reference fields of history and fiction, and fiction's distinctive ability in reaching into the minds of characters. These aspects will help me to unravel the production of meaning in Gâzi Paşa through its ambivalent and intentional border crossings between the two fields. Then, I will explain this intentional textual swing through an analysis of its roman à thèse features, which I ground on Susan Rubin Suleiman's description of the genre. Finally, the essay will discuss Gâzi Paşa's authorial intention that aims at instructing an audience through a narrative of charisma, founded on a specific representation of Mustafa Kemal for the purpose of propagating a black-and-white perception of history and politics.
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Marrone, Gaetana. "Federico Fellini as Auteur: Seven Aspects of His Films (review)". Italian Culture 24, nr 1 (2007): 252–54. http://dx.doi.org/10.1353/itc.2007.0018.
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Zalomkina, Galina. "The Moon as an Object of Exploration in the Perception of Russian Science Fiction". Semiotic studies 1, nr 2 (13.09.2021): 47–54. http://dx.doi.org/10.18287/2782-2966-2021-1-2-47-54.
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Purpose: to trace how the representative Russian science fiction texts reflect the process of the exploration of the Earths satellite, both in scientific/technical and socio-philosophical aspects.
Methods: comparative-historical, mythopoetic, socio-historical, hermeneutical, structural analysis.
Results: Konstantin Tsiolkovsky, the outstanding rocket scientist and pioneer of the astronautic theory, in his story On the Moon conjectured in detail the impression of an observer on its surface. The Soviet science fiction writer Alexander Belyaev developed Tsiolkovskys hypotheses in the story The Star KETs in which the Moon becomes accessible due to the construction of a space station in Earths orbit, named after the scientist: Star K(onstantin) E(duardovich) Ts(iolkovsky). In the Soviet Union, which was actively engaged in the research of the Moon, the interest in it was so great that it was reflected even in childrens literature. Simultaneously with the deployment of the Soviet lunar program, a fairy-tale novel by Nikolai Nosov Dunno on the Moon appeared. The novel shows the atmosphere of rivalry between the USSR and the United States in the exploration of the Moon. The science fiction vector is unfolded in the picaresque genre. In Victor Pelevins novel Omon Ra the question is raised not only of the research prospects of lunar landings, but also of the spiritual price of scientific search which implies the active participation of the state: is a free intellectual and technical search possible for astrophysicists, engineers, and cosmonauts under the pressure of acute political necessities?
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FOKKEMA, DOUWE. "Focus: China, tradition and modernity Introduction". European Review 11, nr 2 (maj 2003): 163–69. http://dx.doi.org/10.1017/s1062798703000176.
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This Introduction was written in November 2002, when the 16th Congress of the Chinese Communist Party was being held where more than 2000 delegates (representing 66 million Party members) decided on future policies and changes in the leadership. The way these decisions were prepared and endorsed reminds us how China differs from Western democracies. However, apart from the political structures, to what extent is China different?The following five essays, all written by Chinese scholars, allow us a glimpse into contemporary Chinese culture through informative reports on philosophy, cultural studies, fiction, gender construction and women's poetry, and traditional Chinese medicine. Of course, these articles are far from covering all aspects, or even all major aspects, of Chinese culture, yet they offer us views of specific areas by experts who, from their insiders' vantage points, lead us into the heart of the intellectual debate in contemporary China.Although the authors of these essays, with few exceptions, hesitate to generalize on present conditions and possible future scenarios, their arguments have something in common and suggest, perhaps unknowingly, important clues for understanding Chinese culture. When reading these essays, I am struck by the following, recurrent aspects.
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Tomé-Alonso, Beatriz, i Lucía Ferreiro Prado. "Mapping Orientalist Discourses: Using Waltz with Bashir in the Classroom". International Studies Perspectives 21, nr 2 (13.08.2019): 154–71. http://dx.doi.org/10.1093/isp/ekz009.
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Abstract While fiction and non-fiction productions can be used as tools to observe, describe, and analyze the “world-out-there,” within these events-issues centered approaches post-positivists posit films themselves as “cultural artifacts” to be analyzed. This paper proposes a critical analysis of Waltz with Bashir (2008) to be conducted with students in the classroom. This acclaimed animated film by Israeli writer and director Ari Folman depicting the 1982 Lebanon War is a non-obvious but germane example of Said's “Orientalism.” After explaining post-structuralism and post-orientalist stances on subjectivity, power relations, and the political consequences of the narratives we create, we analyze the film by applying an orientalist grid to Waltz with Bashir and raising qualitative questions to foster the student's criticality. We conclude by examining student's reactions to the film and their understanding of “Orientalism.”
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Marsh, Rosalind. "The Nature of Russia's Identity: The Theme of “Russia and the West” in Post-Soviet Culture". Nationalities Papers 35, nr 3 (lipiec 2007): 555–78. http://dx.doi.org/10.1080/00905990701368795.
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The aim of this essay is to present a brief overview of the treatment in post-Soviet culture and the media, especially in literature, film and publitsistika on historical themes, of certain aspects of the perennial debate about “Russia and the West.” I will ask whether the West is still regarded as Russia's “Other,” or whether, in a period when Russia has been more open to the West than ever before, and Western and Russian tastes in historical and other fiction appear to be converging, such a polar opposition can now be seen as fundamentally outdated.
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Brown, Kevin M. "‘Racial’ Referents: Images of European/Aboriginal Relations in Australian Feature Films, 1955–1984". Sociological Review 36, nr 3 (sierpień 1988): 474–502. http://dx.doi.org/10.1111/j.1467-954x.1988.tb02926.x.
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The article discusses fifteen feature films which re-present aspects of European/Aboriginal relations. Through an analysis of the narrative structures of the films, three basic themes are identified and outlined, each of which could be implicated in the processes through which racist ideology inheres in the encoding/decoding nexus. The concept of ‘racial’ register is utilised to signify the limits to these forms of representations. It is argued that at both the levels of the narrative theme (intertextual) and the syntagmatic (intratextual), the ‘racial’ register works to reconstruct ‘race’ as an overdetermined ideological notion which cements ideas of essential difference and fixes them to ideas of place. The article concludes with an examination of three films which lie partially outside the ‘racial’ register.
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Ademakinwa, Adebisi. "'Acquisitive Culture' and its Impact on Nigeria's Socio-Economic Development". Matatu 40, nr 1 (1.12.2012): 285–300. http://dx.doi.org/10.1163/18757421-040001020.
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This is an interdisciplinary study of the role of culture in the development of Nigeria as a nation. The essay raises questions, among which are: what are the externalized and internalized aspects of Nigerian national culture? Which innate concepts of this culture do contemporary Nigerians understand and which concepts are grasped or misunderstood by foreigners? Russian and Nigerian literary works – Nikolai Gogol's and Chinua Achebe's, to mention but two – are utilized to determine similarity and dissimilarity of the pervasive nature of materialism in two different cultures. The essay finds philistine the platitude of Nigerian cultural managers inherent in such externalized cultural fiestas as FESTAC '77 and Nigerian Carnivals, while the more beneficial one, the internalized aspects which we call the fundamental culture, are merely mulled over, wholly misjudged, and mostly left unexplored. The essay finds, furthermore, that development can only be strengthened when the internalized aspects of Nigerian traditional societies are understood and synthesized with modern hybrid cultures before human development can take place. The essay makes no pretence to being a specialist study; rather, it crosses the borders of fiction, the social sciences, cultural anthropology, and history.
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Lanovoy, Vladyslav, i Sally O’Donnell. "Climate Change and Sea-Level Rise". International Community Law Review 23, nr 2-3 (29.06.2021): 133–57. http://dx.doi.org/10.1163/18719732-12341466.
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Abstract This article examines the challenges that climate change and sea-level rise pose to certain key aspects of the law of the sea. Sea-level rise is likely to impact maritime baselines, the qualification of maritime features and the entitlements they generate, and ultimately the stability of maritime boundaries, which are critical for the peaceful co-existence of sovereign States. This article examines whether some of the relevant provisions of the United Nations Convention on the Law of the Sea can accommodate a liberal interpretation so as to provide some, even if incomplete, answers to the challenges posed by sea-level rise to the law of the sea regime. It is argued that the legal fiction of permanency that underpins key elements of this legal regime, and thus ignores future physical changes to coastlines, is the most appropriate temporary solution, unless and until new rules are agreed by States to deal comprehensively with sea-level rise.
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Thomas, Sarah. "Primed for Suffering: Gender, Subjectivity, and Spectatorship in Spanish Crisis Cinema". boundary 2 48, nr 3 (1.08.2021): 215–51. http://dx.doi.org/10.1215/01903659-9155817.
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Examining three fiction films (Techo y comida, Ayer no termina nunca, and Magical Girl), this essay illuminates the traces of the economic crisis in recent Spanish cinema, focusing on how it is inscribed on female-gendered bodies and subjectivities. In exploring how female pain accumulates across the boundaries of genre in these disparate films, it asks what kind of gendered subjects these films construct, and what work women's suffering is asked to perform, both for the benefit of the film's plot and the spectator's engagement. It shows how, even in cinema sympathetic to those devastated by crisis, women are cast as disposable raw material, as it were, “primed for suffering.” At the same time, it argues, these films bring to light and embody experiences that are seldom revealed, enacting an ethical gesture of potential solidarity with those devastated by multiple forms of crisis.
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Axelson, Tomas. "Movies and the Enchanted Mind". YOUNG 25, nr 1 (1.01.2017): 8–25. http://dx.doi.org/10.1177/1103308816668920.
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The outcome of an empirical audience study in Sweden, including questionnaires, focus groups and 10 in-depth individual interviews discussing favourite films, supports claims about viewers as active and playful (cf. Frampton, 2006; Hoover, 2006; Plantinga, 2009). The soft side of mediatization processes is illustrated showing young adults experiencing enchantment through films (Jerslev, 2006; Klinger, 2008; Oliver and Hartmann, 2010; Partridge, 2008). The outcome is in line with a growing number of empirical case studies which support conclusions that both thinking and behaviour are affected by film watching (Axelson, 2014; Marsh, 2007; Oliver and Hartmann, 2010; Suckfüll, 2010). The results of the interviews exploring specific scenes of idiosyncratic relevance support theories about fiction films as important sources for moral and spiritual reflection (Lynch, 2007; Partridge, 2004; Plantinga, 2009; Zillman, 2005). The concept of ‘thick viewing’ is proposed for capturing these moments of film experience when profound and enchanted emotional interpretations take place.
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Pedersen, Sune Bechmann. "The Aesthetics of a Collapsing Border". East Central Europe 41, nr 2-3 (3.12.2014): 254–76. http://dx.doi.org/10.1163/18763308-04103007.
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This article is a diachronic study of the fall of the Berlin Wall as it has been represented in German fiction films from 1989 until 2010. The focus is on the formal features of the inclusion of the event in filmic narratives and on the reactions by film critics to the representations. By studying the aesthetics of representation and the reactions and expectations expressed by critics, it is possible to trace the ways in which the event has changed from a sacrosanct experience, vividly remembered, to a historical affair of little controversy. At the same time, the article also depicts a change in the representations themselves. Starting with gritty realism, the films turn to ironic hyperbole in their depictions of the fall from around 1999. After 2003, however, the unreal representations give way to generic dramas that adhere to strictly conventional narratives and aesthetics. This, the article concludes, coincided with the transformation of the memories of the event from communicative to cultural.
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Abu-Remaileh, Refqa. "The Kanafani Effect". Middle East Journal of Culture and Communication 7, nr 2 (2014): 190–206. http://dx.doi.org/10.1163/18739865-00702006.
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Guided by Ghassan Kanafani’s seminal studies on ‘resistance literature’, this paper extends the concept to contemporary Palestinian fiction film to explore its permutations in the visual medium. The resistance label has had its repercussions on Palestinian cultural production; however, it continues to inspire an aesthetically-driven innovative defiance in the face of an ongoing Israeli occupation. Tracing the divorce of cultural production from political organizations, I focus on a Palestine configuring ‘inside’, attending to the films of Michel Khleifi and Elia Suleiman, to explore therein a particular synthesis of counter-narratives of resistance. Embedded in the moving image medium itself, in its structures, techniques and narrative forms, the aesthetic resistance Kanafani had anticipated shines through these artists’ films to disclose new spaces of everyday resistance, in expressions of freedom, satire, self-criticism and humor. The spectator is called on to partake in creating these spaces, by reading silences and interpreting multilayered images so as to construct meanings that cannot be hijacked by language or confined by oppression.
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Krishnamurthy, Mekhala. "Reconceiving the grain heap". Contributions to Indian Sociology 52, nr 1 (2.01.2018): 28–52. http://dx.doi.org/10.1177/0069966717743382.
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This article returns to what was once an ethnographic staple in the sociology of India: the post-harvest grain heap. Having long occupied centre stage in analyses of a moneyless, redistributive transactional order widely known as the jajmani system, it has also been the subject of influential critique, where it has been argued that the misconceived heap sustained a powerful anthropological fiction. Moving beyond these positions, which seem to have left the heap grounded in the past, the grain heap in this work is reconceptualised as a critical entry point and analytic for the study of contemporary commodity markets. Based on long-term ethnographic fieldwork in an agricultural market (mandi) in Madhya Pradesh, it finds that it is along the seams or internal margins of the market, at routine sites of physical transfer and exchange, assembly and dispersal, integration and disruption, that heaps of agricultural produce materialise. An analysis of critical aspects of the heap—its position, composition, measurement and distribution—provides sharp insights into the changing dynamics of the market and its complex relationships. In the process, it also reveals important yet often unnoticed shifts in the sources and distribution of economic and social margins, and their diverse and differentiated effects on market life and livelihoods.
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BUBB, ALEXANDER. "The Life of the Irish Soldier in India: Representations and Self-Representations, 1857–1922". Modern Asian Studies 46, nr 4 (17.02.2011): 769–813. http://dx.doi.org/10.1017/s0026749x11000059.
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AbstractThe Irish in India present an interesting case. Arguably a colonized people, the colonies of the British Empire ironically afforded them employment and profit on a large scale. Although studies have been made of Irish administrators, it was Irish soldiers that were most numerous and it is the ‘stereotyped’ Irish soldier who represents his nation in depictions of the colonial military. This paper first summarizes the Irish military involvement in India. The reasons why men joined the army in large numbers and, in particular, why they sought service in India, are explored. The regimental culture into which they were absorbed is also examined. The representation of Irish soldiers in officers’ writings, both in fiction and popular media, is then discussed. The various aspects of the stereotype surrounding them are delineated, and the purposes of the colonial state served by their stereotypical representation are explained. Lastly, the reactions of Irish soldiers to their stereotype label are discussed. There were advantages to be gained from acting up to it, but it is argued also that soldiers found ways of rejecting bad or rebellious aspects of the stereotype and, by drawing on the ‘good’ or loyal aspects, helping to establish their own identity. Hence they manage to sustain and reconcile multiple national affiliations. Ultimately, however, the politics of Irish independence precipitates a crisis of identity which makes their position impossible. The paper concludes by considering the lives and memories of veterans of Indian service, and hence the afterlife of the Irish military identity beyond Irish independence.
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Godhe, Michael. "After Work: Anticipatory Knowledge on Post-Scarcity Futures in John Barness Thousand Cultures Tetralogy". Culture Unbound 10, nr 2 (30.10.2018): 246–62. http://dx.doi.org/10.3384/cu.2000.1525.2018102246.
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What would happen if we could create societies with an abundance of goods and services created by cutting-edge technology, making manual wage labour unnecessary – what has been labelled societies with a post-scarcity economy. What are the pros and cons of such a future? Several science fiction novels and films have discussed these questions in recent decades, and have examined them in the socio-political, cultural, economic, scientific and environmental contexts of globalization, migration, nationalism, automation, robotization, the development of nanotechnology, genetic engineering, artificial intelligence and global warming. In the first section of this article, I introduce methodological approaches and theoretical perspectives connected to Critical Future Studies and science fiction as anticipatory knowledge. In the second and third section, I introduce the question of the value of work by discussing some examples from speculative fiction. In section four to seven, I analyze the Thousand Culture tetralogy (1992–2006), written by science fiction author John Barnes. The Thousand Cultures tetralogy is set in the 29th century, in a post-scarcity world. It highlights the question of work and leisure, and the values of each, and discusses these through the various societies depicted in the novels. What are the possible risks with societies where work is voluntary?
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Peplinski, Maciej. "Gatunek na usługach doktryny. Ideologia w polsko-enerdowskiej koprodukcji Milcząca gwiazda". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, nr 37 (31.03.2021): 77–97. http://dx.doi.org/10.14746/i.2020.37.05.
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The East German-Polish co-production The Silent Star (1960, Kurt Maetzig) belongs to the group of early postwar Eastern European science fiction films which still remain barely examined by film and genre historians. The article summarizes the existing research on the film and investigates not only the specific formal character of Maetzig’s unprecedented project, but also the numerous ideological and political motivations which stood behind it.
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Tyron, Olena M. "HOW TO USE WRITERS' PIECES OF ART – POPULARIZERS OF SCIENCE AND TECHNOLOGY FOR THE DEVELOPMENT OF SOFT SKILLS OF ENGINEERING STUDENTS". Scientific Notes of Ostroh Academy National University: Psychology Series 1, nr 13 (24.06.2021): 68–75. http://dx.doi.org/10.25264/2415-7384-2021-13-68-75.
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Fiction writers who are engaged in science is a phenomenon. We studied this phenomenon to gain new opportunities for the development of soft skills in students of technical specialties and to widen the possibility of popularizing scientific achievements. The chronological boundaries of the study cover the period of XVIII – the first half of XX century; geographical boundaries cover Europe, the United Kingdom and the United States. The relevance of the study is related to the relevance of popularizing science among students of technical specialties, as well as the development of soft skills through writing stories about scientific discoveries, fostering interest in reading fiction about science and technology. The purpose of the study was to find psychological and informational material that will affect the emotional sphere of the student's personality and motivate him to write and read works of art about research and innovation. The ability to use research on the role of writers as promoters of science and technology depends on how we provide information about their works. In this regard, we offer a psychological technique to impress readers of scientific stories, i.e. the effect of “wow” as a combination of the factor “wow” and the halo effect. Stories about science affect different areas of human activity. They are used to address environmental, medical, political and other issues. The information material of the study confirms the following: if scientists and inventors do not demonstrate the consequences of their inventions and discoveries, it leads to erroneous assumptions, causes alarm in society and affects the mind of the individual. We studied the nature of writers' connection to science and sought answers to the question of whether writing works of art and the ability to do research could be equal aspects of an individual's abilities. The results of the study prove that these abilities predominate in only one area of activity. We also support the view that writers can be impartial promoters of science and technology. However, we propose this idea for discussion because writers demonstrate more the ethical side of the interaction between science and the human mind than they disseminate scientific facts. The further development of the study will be related to the study of the influence of science fiction on consciousness, namely how science fiction informs the reader about the current state of the world and draws attention to the changes we must make as a species.
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Mahmutćehajić, Rusmir. "ANDRIĆISM". East European Politics and Societies: and Cultures 27, nr 4 (30.07.2013): 619–67. http://dx.doi.org/10.1177/0888325413494773.
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Andrić’s fiction is closely identified with Bosnia and often taken for a faithful reflection of that country’s culture, social relations, and tragic history. Rather than reflecting Bosnian pluralism, however, his oeuvre undermines its very metaphysical underpinnings, in part because his works are so firmly rooted in the European experience of the nineteenth and twentieth centuries. From the perspective of a dominant modernity, certain cultures and peoples came to be presented as un-European, Oriental, and essentially foreign. Bosnia, which had always been a religiously plural society, now became one where ideological models excluded its Muslim inhabitants. In line with long-standing European practice, Andrić drew an image of the Bosnian Muslim as Turk and the Turk as Bosnian Muslim, converting the real content of Bosnian society into a plastic material for the ideologues of homogenous societies to use in modelling external and internal enemies that were essentially identical. This process required as its precondition the destruction of that enemy through a process described as the social and cultural liberation of the Christian subject. Over time, this exclusion took on forms now termed genocide. In creating this image, Andrić deployed narrative techniques whose function may fairly be characterized as the aesthetic dissimulation of our ethical responsibilities towards the other and the different. Such elements from his oeuvre have been used in the nationalist ideologies anti-Muslimism serves as a building block. In this paper, certain aspects of the ideological reading and interpretation of Andrić’s oeuvre are presented.
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Howard, Nigel. "Negotiation as Drama: How "Games" Become Dramatic". International Negotiation 1, nr 1 (1996): 125–52. http://dx.doi.org/10.1163/157180696x00322.
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AbstractThe metaphor of drama has recently been proposed as a means of extending game-theoretic methods of analysis to include an understanding of irrationality, emotion and the way in which players "reframe" their situation so as to create for themselves a new, different game. This paper attempts to describe in terms accessible to non-mathematicians how to model and analyze a negotiation process as a drama. The central idea is that by analyzing a game (renamed a "frame") and certain objects within it, we can find its gradient, i.e., the tendency of its different parts to change under the pressure of the emotions generated by its perceived fixity. Thus rather than an analysis of what must happen inside a given game, we have an analysis of the transformations the game - now a "frame"- must undergo in order to solve the problems it generates. To illustrate, the endings of two recent films -Reservoir Dogs and Pulp Fiction - are analyzed to show why the three-way duel in the first case ends in a shoot-out while in the second case, it ends peacefully. The same model, with a few changes, is then used to model "peace-keeping" negotiations such as might take place between the UN and a group involved in ethnic conflict.
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Kerlan-Stephens, Anne. "The Making of Modern Icons: Three Actresses of the Lianhua Film Company". European Journal of East Asian Studies 6, nr 1 (2007): 43–73. http://dx.doi.org/10.1163/157006107x197664.
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AbstractBetween 1930 and 1937, the Lianhua Film Company was one of the major studios in China, and in many ways was a symbol of modernity. The policy of the Company towards its actors was quite new and contributed to the creation of a new social status for this group, especially for the women. This paper focuses on three female stars (Wang Renmei, Chen Yanyan and Li Lili,) who worked for the Lianhua Film Company. Through a detailed analysis of the photos published in its magazine, Lianhua Huabao, as well as feature films produced by the Company, we will study Lianhua's strategies to transform these women into professional actresses. Their image was created by the entanglement of three spheres: their private lives, their public lives and their fiction lives played on screen. We will consider the sometimes conflicting relationships between these spheres by looking at the visual sources (photos and feature films) in conjunction with the actresses' biographies and movie roles. This will underline the complexity and ambiguity of a process understood by the Lianhua Film Company not only as the making of professional actresses but also as the creation of a new, modern Chinese woman.
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Johnston, Nessa. "Beneath sci-fi sound". Alphaville: Journal of Film and Screen Media, nr 3 (8.08.2012): 49–63. http://dx.doi.org/10.33178/alpha.3.04.
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Primer is a very low budget science-fiction film that deals with the subject of time travel; however, it looks and sounds quite distinctively different from other films associated with the genre. While Hollywood blockbuster sci-fi relies on “sound spectacle” as a key attraction, in contrast Primer sounds “lo-fi” and screen-centred, mixed to two channel stereo rather than the now industry-standard 5.1 surround sound. Although this is partly a consequence of the economics of its production, the aesthetic approach to the soundtrack is what makes Primer formally distinctive. Including a brief exploration of the role of sound design in science-fiction cinema more broadly, I analyse aspects of Primer’s soundtrack and sound-image relations to demonstrate how the soundplays around with time rather than space, substituting the spatial playfulness of big-budget Hollywood sci-fi blockbuster sound with temporal playfulness, in keeping with its time-travel theme. I argue that Primer’s aesthetic approach to the soundtrack is “anti-spectacle”, working with its mise-en-scène to emphasise the mundane and everyday instead of the fantastical, in an attempt to lend credibility and “realism” to its time-travel conceit. Finally, with reference to scholarship on American independent cinema, I will demonstrate how Primer’s stylistic approach to the soundtrack is configured as a marketable identifier of its “indie”-ness.
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Andreescu, Florentina. "The changing face of the Other in Romanian films". Nationalities Papers 39, nr 1 (styczeń 2011): 77–94. http://dx.doi.org/10.1080/00905992.2010.532776.
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This article focuses on how the Other is represented and understood in films produced in Romania during periods of radical political, social and economic change. Specifically it addresses films produced during the years of communism and the planned economy, during the transition to democracy and to capitalism, as well as films produced during the period of democracy, capitalism and membership in the European Union. The research acknowledges two main aspects: the changing face of the Other over time (the socialist state, the foreign investors, the West, etc.) and the consistency of the fantasy structure. More specifically, the relationship between self and the Other generally follows a strict masochist fantasy script in which the Other has the power to constrain freedom, to inflict pain, and to function as an essential element through which pleasure is understood and experienced. The research proposes an understanding of this structure of fantasy, reflected in film through the existence of a national psyche written by the main myths and stories embraced by the society in discussion. This structure of fantasy hails and constructs a certain subject that has a basic masochistic psychic structure.
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Förster, Yvonne. "Art and Technology". Yearbook for Eastern and Western Philosophy 2018, nr 3 (27.05.2019): 122–34. http://dx.doi.org/10.1515/yewph-2018-0009.
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AbstractThe world we live in is shaped by technology and its development. This process is observed and debated in the humanities as well as in computer science and cognitive sciences. Narratives of human life being merged with and transcended by technology not only belong to science fiction but also to science: Theorists like Katherine Hayles or Mark B. N. Hansen speak of a technogenesis of consciousness. These accounts hold that our cognitive abilities are deeply influenced by technology and digital media. The digitalization of the lifeworld is a global phenomenon, which unfolds regardless of local cultures. It is art which seeks to explore the experiential aspects of technologically shaped life-worlds. In my contribution I will present examples of artworks which focus on the possibility of aesthetic experiences with new technologies and getting in touch with the so-called technological unconscious. I attempt to investigate the potential of art to unfold experiential aspects of human rapport with technology and thereby develop aisthetic practices for understanding the cultural and political dimensions of digitalized life-worlds.
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Aleksov, Bojan. "One hundred years of Yugoslavia: the vision of Stojan Novaković revisited". Nationalities Papers 39, nr 6 (listopad 2011): 997–1010. http://dx.doi.org/10.1080/00905992.2011.619180.
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This article examines a text written 100 years ago by Stojan Novaković, a leading Serbian scholar and president of its Academy of Science. Written in a political science fiction genre, it foresees a country of united South Slavs in 2011. Yugoslavia, in the enlightened vision of Novaković, will appear and strengthen due to scientific and economic development on one hand and common culture based on a common vernacular on the other. Elite-driven unification is the only mode for South Slavs to survive facing the challenges of modernization and the territorial threats of their neighbors. Accurate in some and grossly naive in other aspects, this text is a testimony of Yugoslav ideas preceding the actual creation of the state, as shared by the most prestigious among the Serbian intellectual elites.
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Lancashire, Edel. "The Lock of the Heart Controversy in Taiwan, 1962–63: A Question of Artistic Freedom and a Writer's Social Responsibility". China Quarterly 103 (wrzesień 1985): 462–88. http://dx.doi.org/10.1017/s030574100003071x.
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The early 1960s marked a period of intellectual and literary ferment in Taiwan. The East-West Controversy, which had its roots in the debate that took place in the middle of the last century regarding the continued validity of the Chinese tradition in the face of western military and economic superiority and in the controversy regarding westernization as the road to modernization in the 1930s, had broken out afresh. Creative writers, musicians and painters were experimenting with new forms and new techniques. As early as 1954 the writers of modern Chinese poetry had started the search for a more contemporary expression of their art form; and modern poetry societies, each with its own philosophy on how modernization should take place, had come into being. Writers of fiction who up till then had been almost exclusively concerned with the Sino-Japanese War; the mainland before the communist takeover in 1949, or the various aspects of the struggle against communism, were moving away from this kind of “propaganda-motivated writing” towards the production of “pure literature.” However, there were few modern Chinese creative writers of stature on whom either the poet or fiction writer could model himself. This was because of the ban imposed by the government in Taiwan on the works of writers prior to 1949 due to the association of many of them with communism or with ideologies unacceptable to the authorities. This meant that they had to seek for inspiration in the works of western writers which could be found in translation or in pirated versions of the original texts in the major cities of Taiwan. The traditionalists viewed this growing trend with alarm as did those writers who were closely associated with the Kuomintang. The latter had formed themselves during the early 1950s into three writers' associations, the China Association of Literature and Art, the Chinese Youth Writers' Association, and the Taiwan Women Writers' Association.