By Q. S. Tong, Shouren Wang, Douglas Kerr
Severe region is a discussion board the place groups of severe scholarship can come jointly to proportion rules and perform the debates that preoccupy the arts at the present time. The booklet sequence goals to enhance figuring out throughout cultures, traditions, discourses, and disciplines and to provide overseas severe wisdom. serious sector is an expression and an embodiment of well timed collaboration between students in Hong Kong, mainland China, theUnited States, and Europe and is conceived as an highbrow bridge among China and the remainder of the realm.
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Additional resources for Critical Zone 1: A Forum of Chinese and Western Knowledge (Vol 1)
In Pleasantvilk (dir. Gary Ross, 1998) the crossover works the other way: two people from our present move through the television screen into the black and white world of a 1950s sitcom. Last Action Hero (dir. J o h n McTiernan, 1993), meanwhile, has it all. Arnold Schwarzenegger plays Arnold Schwarzenegger playing the fictional Hollywood hero, Jack Slater. Jack crosses the line into the world of the audience, where the bad guys can win; gradually, the entire cast of fictional characters turns u p in an actual New York, including the villains; and Jack is in "real" danger for the first time, when the fictional villains realise that if they kill Arnie, they will necessarily destroy the character he plays.
Is there a difference between the two? Or is reality itself a product of our minds, either a subjective construct or the effect of culture? Recent cultural theory has contested the conventional view that human behaviour is predominantly natural and that Western capitalist society in particular is the supreme realisation of nature. We have successfully challenged the common-sense assumptions that o u r social arrangements and values are the expression of a universal, foundational humanity and, indeed, cultural theorists have relativised common sense itself.
What's Real? " 21 O n the other hand, what subsists as the materiality of the body does so, Butler argues, not as "an ontological in-itself' but only as a requirement on consciousness, a demand to be named, pressing to be theorised or dealt with in language. Culture, the inscription of meanings, modifies the materiality that motivates it. There is in principle nothing that cannot be brought inside language, mapped, because for Butler language is ultimately referential. Materiality, in her intensely difficult prose, turns out to be the referent of language and is a p p r o a c h e d t h r o u g h the signified, which it never fully escapes.
Critical Zone 1: A Forum of Chinese and Western Knowledge (Vol 1) by Q. S. Tong, Shouren Wang, Douglas Kerr