Unitas (Helsinki, Finland : English edition)最新文献

{"title":"BOOK REVIEW: Affect, Narratives and Politics of Southeast Asian Migration, by Carlos M. Piocos III","authors":"J. M. L. Quizon","doi":"10.31944/20229501.05","DOIUrl":"https://doi.org/10.31944/20229501.05","url":null,"abstract":"","PeriodicalId":83395,"journal":{"name":"Unitas (Helsinki, Finland : English edition)","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89499104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Walking Mobility Focusing on the Expression of Walking in Modern Japanese Novels","authors":"I. Shin","doi":"10.31944/2022950207","DOIUrl":"https://doi.org/10.31944/2022950207","url":null,"abstract":"This paper analyzes walking as portrayed in Sōseki Natsume’s Sanshirō (1908) and Yasunari Kawabata’s The Dancing Girl of Izu (1925), Takeo Arishima’s Descendants of Cain (1917), and A Certain Woman (1919). Of course, walking in everyday life is essential, but the interest of this study is the depiction of the different types of walking and the distinctiveness of each kind in these literary texts. Specifically, the four stories discussed in this paper describe the “types” of walking of two male intellectuals, an illiterate peasant family and an elite woman across the city of Tokyo and the rural villages in modern Japan, which, as the paper tries to show, unravel the ways mobility is experienced historically by human beings on the level of the literary significance of literal motion as experienced socially through physical bodily movement. The description of walking in a literary text means more than just moving from one place to another. In a capitalist society, humans may crave high mobility. Yet, people have not stopped walking in a post-industrial society although they have walked differently from context to context. Across cultures, walking has various meanings and forms, and literary texts portray the social body as people walk in the midst of the rapid development of mobility technology. In this paper, explored are the different types of walking: walking in a city, walking in a mountain, walking in a civilized manner, and walking to live in order to explain the various forms and meanings behind this everyday action. In particular, Sanshirō shows how urban space is given meaning as a place only when people move around it. In this novel, a young intellectual who comes to a big city for the first time communicates with his body, as he walks around the city, and develops into a subject. In The Dancing Girl of Izu , the protagonist who is walking her way to a travel destination, from which a transient set of experiences of a carefree traveler is accumulated. Such an experience allows for a degree of pleasant but momentary camaraderie with someone with a different social status. It is in stark contrast to Sanshirō , whose main protagonist exerts an effort to transform a space into a place quickly upon arriving in the capital from his rural hometown. These stories may be said to represent “civilized walking.” In Descendants of Cain , the depiction of walking extends to a struggle against nature and a wandering image of diaspora, which does not appear in civilized walking. However, in A Certain Woman , Yōko catches the gaze of random members of the public, especially men, signaling the beginning of a time when a woman’s walking becomes an object of the masculine gaze. From this attention, we realize how modern culture might have developed from a male perspective in the name of civilization. The analysis of walking allows us to consider that walking in modern times is not a meaningless, plain, and neutral human activity, as the aforementioned novels ","PeriodicalId":83395,"journal":{"name":"Unitas (Helsinki, Finland : English edition)","volume":"52 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81378896","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"BTS and Global Capitalism","authors":"A. G. Lee","doi":"10.31944/2022950213","DOIUrl":"https://doi.org/10.31944/2022950213","url":null,"abstract":"This essay aims to discuss the “machinic enslavement” of capitalism across the globe through the illustrative example of a Korean boy band (BTS). I argue that the rise of the BTS fandom is a cultural repercussion of depthless commodification in connection with the political logic of nationalism against the capitalist nihilism. Endorsing the concept of interpassivity, my argument will suggest that the interpassivity of fandom reveals the “depthlessness” of global capitalism against nationalism. The fans do not want to act as subjects but as delegates of their desire. What they desire is not the fulfilment of their wanting but the ongoing state of desiring as such. They are not interested in the object of the desire but the craving deference of the pleasure for the desire, for they must stop desiring if they can easily own the object. Therefore, BTS is not only a cultural commodity but also an intangible object beyond the pleasure principle.","PeriodicalId":83395,"journal":{"name":"Unitas (Helsinki, Finland : English edition)","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91312910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Poetry Against Calamity Post-capitalist Economic Media and the Decolonization of Money","authors":"Jonathan L. Beller","doi":"10.31944/2022950214","DOIUrl":"https://doi.org/10.31944/2022950214","url":null,"abstract":"“Economic Media” conceptualizes the already well advanced convergence of communications media and monetary media that currently subsumes species creativity to the detriment of planetary well being and ecology. The calculus of exchange under racial capital threatens to fully colonize daily life, converting even poetic aspirations for a better world into fodder for capital extraction. How to keep practices of radical care, food assistance, mutual aid and liberation from collapsing back into feeding racial capitalism, its computational colo-nialism and Neo-imperialism? A perennial question, navigated here through a critique of the political economy of mediation and the social relations its global operating system would organize—paradigmatically through and as social media, but effectively everywhere. In this essay, this navigation takes the form of an hypothesis offered in the imperative: We must attack money and we must decolonize it. Money as a digital system of writing has been vertically integrated into all other digital systems such that its logic overdetermines the parameters of life. Such an attack—waged not in place of other struggles but as a way of securing their gains—entails seeking a new type of writing, beyond contemporary digital archiving and accounting, that allows for the people to collectively write our own futures in accord with our own values, in expressions denominated by our own activity and activism. I call this writing decolonial ecography and see it as necessary to the flourishing, which is to say the materialization of the poetics of an abiding and yet-emergent Communism.","PeriodicalId":83395,"journal":{"name":"Unitas (Helsinki, Finland : English edition)","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85602619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Community Pantries Phenomenon in the Philippines","authors":"Delfo C. Canceran","doi":"10.31944/20229503.03","DOIUrl":"https://doi.org/10.31944/20229503.03","url":null,"abstract":"Some businesses have closed down and many workers have been laid off, and the poor have become poorer due to the prolonged coronavirus pandemic. The Philippine government has been indecisive, if not insensitive, to the plight of the people. Thus, community pantries emerged and were established in response to the starvation of the people. The community pantry is a complex phenomenon so multiple perspectives are needed in order to understand it as a phenomenon. It started with a personal initiative by a single person, and then through the media, the news about the pantry circulated and multiplied in different areas of the country. Other leaders and organizers mobilized their capitals to these pantries. The initial personal initiative has transformed itself into a collective behavior or action of different groups. This paper explores the emergence of community pantries in the Philippines at the height of the coronavirus pandemic as a phenomenon, its challenges, the political consequences of initiating this pandemic response, and how such initiative permeated the consciousness of the Filipinos.","PeriodicalId":83395,"journal":{"name":"Unitas (Helsinki, Finland : English edition)","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74903237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Allegory of the Billiken in Nick Joaquin’s The Woman Who Had Two Navels Capitalism as Religion in the Philippines under US Rule (1902-1946)","authors":"J. Blanco","doi":"10.31944/2022950201","DOIUrl":"https://doi.org/10.31944/2022950201","url":null,"abstract":"At the center of Philippine writer Nick Joaquin’s masterpiece, The Woman Who Had Two Navels (published in 1961), is a series of dialogues and debates around an image worshipped by the central character, Connie Escobar. This image, as we discover, is a Billiken, which is a Buddha-like image that was largely responsible for inciting a doll craze in the United States towards the end of the first decade of the twentieth century. In this essay, I bring the history of this image to bear on an interpretation of Nick Joaquin’s novel, which revolves around the author’s diagnosis of the postwar Philippines. My analysis highlights Joaquin’s threefold critique of capitalism, Christianity, and the state in their historical conjuncture; one that, paradoxically, coincides with the identification of the Philippines as an independent and national republic in 1946. By studying this critique, I show how the baroque ethos that drives much of Joaquin’s writing features a poetic and political project that involves the dismantling, disentanglement, and disengagement of each object of critique with the other two.","PeriodicalId":83395,"journal":{"name":"Unitas (Helsinki, Finland : English edition)","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87274433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Music Labels and Digital Competitors Tracing the Great Rollercoaster of the Last 20 Years","authors":"P. Messerlin","doi":"10.31944/2022950210","DOIUrl":"https://doi.org/10.31944/2022950210","url":null,"abstract":"This paper examines the tense relationships between the large music labels and the emerging digital companies. Looking back at the anti-digitization feelings in the music industry of the last twenty years, it proposes a radically different picture than what those sentiments feared. It argues that the collapse of global music revenues between 2001 and 2014 reflects the “excessive” expenses imposed on many consumers by the rigid format of CDs—too many songs or too high quality for every day listening for the taste of many consumers who then started to look at alternatives to CDs. The paper relates this evolution to the increasingly excessive duration of copyrights which has strongly induced the research labels to be less efficient and diligent. It then looks forward by comparing the business practices of the labels and digital companies for the three main market functions ensured by these firms. First, when informing the consumers of the existence of the cultural works produced, the digital companies are much more efficient than the labels, hence have compensated the informational deficits of the latter. Second, when fighting piracy, the subscription policies of the streaming companies distributing the musical works copyrighted by the labels have substantially contributed to the fight against piracy. However, when distributing the works produced under their own copyrights, digital companies are likely to succumb to the same fatal attraction as the labels—overpricing until massive piracy forces them to rectify. Finally, when paying the music revenues to their authors, digital companies could help to rectify the bad management practices that labels have left to proliferate for their own narrow interests.","PeriodicalId":83395,"journal":{"name":"Unitas (Helsinki, Finland : English edition)","volume":"53 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78266058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Coloniality of Linguistic Entrepreneurship","authors":"Ruanni Tupas","doi":"10.31944/2022950205","DOIUrl":"https://doi.org/10.31944/2022950205","url":null,"abstract":"Neoliberalism as a lens through which language learning—and by extension education in general—is viewed is insufficient in accounting for the transforming nature of education and language learning today. In other words, the neoliberalism of education and language learning—operationalized, for example, through the practices and ideologies of linguistic entrepreneurship— is imbricated in histori-cally-mediated sociopolitical relations. This can be exemplified by the case of the Philippines where entrepreneurial discourses and practices ‒ for example, language learning for employment opportunities, pursuit for profit and as a moral obliga-tion to society—are historically traceable to the Philippines’ enduring encounters and confrontations with 20 th century (neo)colonialism. Linguistic entrepreneurship fittingly describes the dispositions, practices and ideologies of the neoliberal language learner, but as soon as this language learner becomes the neoliberal Filipino speaker, it becomes politically imperative to historically unpack the ‘Filipino’ in language learning. In this sense education and language learning are characterized primarily by their coloniality, mediated by the logics of neoliberalism; linguistic entrepreneurship is mobilized in conditions of coloniality.","PeriodicalId":83395,"journal":{"name":"Unitas (Helsinki, Finland : English edition)","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82943196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"K-pop Fans, Climate Activism, and Participatory Culture in the New Media Era","authors":"D. L. Leksmono, Tarisya Putri Maharani","doi":"10.31944/20229503.05","DOIUrl":"https://doi.org/10.31944/20229503.05","url":null,"abstract":"","PeriodicalId":83395,"journal":{"name":"Unitas (Helsinki, Finland : English edition)","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76190940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"This Genre Which Is Not One The Philippine Multicharacter Film","authors":"J. David","doi":"10.31944/2022950211","DOIUrl":"https://doi.org/10.31944/2022950211","url":null,"abstract":"The use of multiple characters in film may sound like a commonplace occur-rence, but by actual standard definitions of characters, most commercial movies have historically only featured primarily heroes, or at most heroes with part-ners or antagonists. The dismantling of this unarticulated rule, which insisted that the audience be able to identify with the same character throughout a film narrative, began to be explored after the collapse of Classical Hollywood and the influx of European influences in US and global cinema. The Philippines had its own mode of multicharacter presentation, sustained via the launching of multiple stars in distinctively named batches. The persistence of this mode of narrative film practice as a commercially recognized (and profitable) genre preceded the same handling of multicharacter films in the West. It also enabled local viewers and critics to perceive and appreciate formally grounded critiques of Philippine society and culture.","PeriodicalId":83395,"journal":{"name":"Unitas (Helsinki, Finland : English edition)","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74529523","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}