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History of the Opium Problem

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ISBN: 9789004221581 Year: Language: English
Publisher: Brill Grant: Knowledge Unlatched - 101511
Subject: History --- Migration
Added to DOAB on : 2018-07-31 11:01:04
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This is the first scholarly study in which the production, trade and political effects of opium and its derivatives are shown over many centuries, and in many countries (China, India, Indonesia, Japan, all Southeast Asian countries and some in Europe and the Americas). Starting in the 16th century, slavery and opium became the two means with which the bodies and souls of men and women in the tropics were exploited in western imperialism and colonialism. The first waned with the abolition movement in the 19th century, but opium production and trade continued to spread, with the associated serious social and political effects. Around 1670 the Dutch introduced opium as a cash crop for mass production and distribution in India and Indonesia. China became the main target in the 19th century, and only succeeded in getting rid of the opium problem around 1950. Then it had already been transformed from an “Eastern” into a “Western” problem.

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History --- History --- colonialism --- opium

Pollution: China Story Yearbook 2015

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ISBN: 9781760460686 Year: Language: English
Publisher: ANU Press
Subject: Environmental Sciences --- Languages and Literatures
Added to DOAB on : 2016-11-09 11:01:38
License: ANU Press

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Environmental pollution poses serious challenges for China, including to its economy as well as public health. The China Story Yearbook 2015: Pollution looks at how China’s Communist Party-state addresses these problems and how Chinese citizens have coped with and expressed their concerns about living with chronic, worsening pollution. This Yearbook also explores the broader ramifications of pollution in the People’s Republic for culture, society law and social activism, as well as the Internet, language, thought, and approaches to history. It looks at how it affects economic and political developments, urban change, and China’s regional and global posture. The Chinese Communist Party, led by ‘Chairman of Everything’ Xi Jinping, meanwhile, has subjected mainland society to increasingly repressive control in its new determination to rid the country of Western ‘spiritual pollutants’ while achieving cultural purification through ‘propaganda and ideological work’. To adulterate, contaminate, spoil or violate—these are among the metaphorical and literal connotations of pollution expressed in this Yearbook via the character ran 染, which forms part of the word for pollution in Chinese, wuran 污染. As the world increasingly relies on economic ties with China, the complexities of China’s one-party system and the Chinese government’s attitudes towards ‘pollution’ are of increasing global significance.

Rhetorical Agency: Mind, Meshwork, Materiality, Mobility

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ISBN: 9781947447240 Year: Pages: 206 Language: English
Publisher: punctum books
Added to DOAB on : 2017-11-17 21:58:57
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In recent accounts of rhetoric’s storied productivity, commentators have implied, along systematically Kantian lines, albeit with the occasional protestation, that agency must be coextensive with subjectivity. But is that all there is (to 2,500 years’ worth of hypothesizing about the ways in which communication might promote social change)? Les Belikian’s answer, drawing not only on traditional and contemporary rhetorical studies but also on Deleuzean thinking, actor-network theory, and object-oriented ontology, takes the form of a quadruply contrarian thesis: Rhetorical agency inheres, irreducibly so, in subjectivity, in conventionality, in transcendence, and in materiality, all of which are themselves always under production.TABLE OF CONTENTS //Chapter 1: Productivity as a Context for Theorizing Rhetorical Transaction • A Miscellaneously Self-Effacing Rhetorical Agency? • Rhetoricity Bound, Unbounded, and Both • Variegation (Not Conglomeration) — Chapter 2: A Four-Folded Rhetorical Agency • Tetradic Due Diligence • Disaggregating a Constitution • A Willfully Productive Rhetorical Agency • Assemblage–Theoretical Resources • Triangulation • An Investigative Itinerary — Chapter 3: Subjectivity in the Social-Structural Landscape • Co-Constructing Constraint • Can the Speaker Speak? • An Ineffectual Agency • Subtracting from Rhetorical Practice • What Else Is Wrong with This Paradigm? • A Chimerical Agency for a Colossal Agent — Chapter 4: Conventionality in the Rhetorical-Humanistic Landscape • De-Leviathanizing the Normative • From Normativity to Shared Values • A Tribe of Equals • Keeping Shared Values between the Ceiling and the Seat • Staying the Same by Doing Something Differently • Maximizing Assent by Minimizing Recalcitrance • Still Missing So Far — Chapter 5: Transcendence in the Existential-Transversal Landscape • Existence, Transcendence, and Transversality • Philosophizing for the Living by Getting Rid of Their Materiality • The Two Styles of Transcendence • The Fideistic Appeal • Correcting Forgetfulness through a Material Phenomenology • Rhetorical Agency and the Existential Self • On Pivoting, Transcendence, and Emergence • The Rhetorical Agent and the Original Body • A Re-Corporealized Transversality — Chapter 6: Materiality in the Material-Semiotic Landscape • A Parable of Materiality-and-Relationality • Assemblaging, Stratification, and Circulating Reference • Entering at Biblical Precept • Crossing over to Race • From Race to Gender • Rescaling the Envoy • And A’n’t We a Meshwork? — Chapter 7: Agency in the Rhetorical-Theoretical World • No More Homogenization Now! • On Keeping Difference Different • A Fluctuating Rhetorical Agent

Ravish the Republic: The Archives of The Iron Garters Crime/Art Collective

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Book Series: Dead Letter Office ISBN: 9780692283950 Year: Pages: 104 Language: English
Publisher: punctum books
Added to DOAB on : 2015-11-09 20:09:22
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In the 2011 book Dark Matter: Art and Politics in the Age of Enterprise Culture, the artist Gregory Sholette posits that we are living in an era of surplus creative energies concentrated in a teeming archive of artists, the poor, the “unskilled” and the “economically invisible.” It is a potentially disruptive archive that capitalism can’t always manage but can still hope to eventually exploit and assimilate. Within this archive seethes creative energy that can extend itself in unique and unsettling ways, across multiple categories and disciplines. Often, however such energy is captured by the winners and arbiters in our “risk society” and thereby sanitized and neutralized. So it becomes necessary for artists, theorists, writers and activists to be versatile in their tactics, cryptic and evasive in their manifestations and criminally implacable in their visions.The Iron Garters are an “art gang” that masquerades, disseminates and performs as your archetypal “criminals,” “outcasts” “mystics,” “losers” and “lunatics”: in short, a vital and necessary social surplus. Their antics have been traced back to Jean Genet’s novel The Thief’s Journal, the films of Kenneth Anger, as well as the Dada poems of Baroness Elsa and Hugo Ball. Yet still other Garters have been nourished on the Vienna Actionists, Genesis P-Orridge, Diamanda Galas, Gilles Deleuze, Samuel Delany, and the dulcet sounds of The Cramps. With a critical and aesthetic arsenal salvaged from underground “kulchurs” and academia’s collective libido, the Iron Garters are not afraid to demand excitement along with analysis, frenzy coupled to resistance, and fashion inseparable from infiltration. Founded in San Francisco on a full moon night after a “deathpunk” show, the original members grew adversely impacted by the economic invasions reducing a once great city to a tepid monoculture. Fueled by queer, antinomian, heretical and radical traditions, the Garters pilgrimaged into various trans-continental sanctuaries and beachheads, leaving behind them radiant paper trails of provocation and sedition. This volume is one such radiant paper trail.Despite its many hiatuses, the Garters archive has grown more fertile, thanks in part to its endurance in imaginary/speculative realms. Currently, the Garters are remobilizing as a “crime art collective,” with cells operating in cities most in need of “crime-art,” while also re-asserting itself as an ongoing “transmedia” project. This present archive is a small fraction of the decade’s worth of Garter experiments, epistles, stories and communiqués. In a political epoch when risk and anxiety seem to predicate our every move, and when being poor, different, “unskilled” or “a failure” (as judged by the demigods of Profit, Fear, Reason & Security) means that you are essentially criminalized, then it becomes imperative for art (wedded to theory and style) to celebrate its own “criminal,” “dangerous” and “unassimiliable” nature. So let the Garters initiate you into the mysteries that are already yours, once you rid yourself of fear, anxiety and the need to be respectable.

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