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In 1973 twenty-five young women drowned in a ferry accident on their way to work in factories in Taiwan's Kaohsiung Export Processing Zone. Their remains were recovered and interred collectively in what came to be called the Twenty-five Maiden Ladies Tomb. Without a husband's ancestral hall where they would have been laid to rest, the spirits of these unmarried women were considered homeless and possibly vengeful, and so the Maiden Ladies Tomb was viewed as a place to be avoided--especially by young men traveling alone, fearful of encountering a female ghost searching for a husband. Over the years, numerous plans were made to revamp the tomb site; finally, in 2008, at the urging of local feminist communities, the Kaohsiung City government renovated the Twenty-five Maiden Ladies Tomb and renamed it the Memorial Park for Women Laborers. Haunted Modernities interrogates the nature of shared expressions of history, sentiments, and memory as it investigates the role of these women and other female workers in the shifting public narrative during and after the Maiden Ladies Tomb renovation. By exploring the ways in which the deceased young women were perceived to "haunt" the living and the diverse renovations recommended, the book illuminates how women workers in Taiwan have been conceptualized in the last several decades. In their proposals to renovate the tomb, the interested parties forged specific accounts of history, transforming the collective burial site according to varying definitions of "heritage" as Taiwan shifted to a postindustrial economy, where factory jobs were no longer the main source of employment. Their plans engaged with acts of remembering--communal and individual--to create new ways of understanding the present. The Twenty-five Maiden Ladies Tomb as a heritage site elucidates how "history" and "memory" are not simply about the past but part of a forward-looking process that emerges from the social, political, and economic needs of the present, legitimized and validated through its associations with the past.
In Sciences from Below, the esteemed feminist science studies scholar Sandra Harding synthesizes modernity studies with progressive tendencies in science and technology studies to suggest how scientific and technological pursuits might be more productively linked to social justice projects around the world. Harding illuminates the idea of multiple modernities as well as the major contributions of post-Kuhnian Western, feminist, and postcolonial science studies. She explains how these schools of thought can help those seeking to implement progressive social projects refine their thinking to overcome limiting ideas about what modernity and modernization are, the objectivity of scientific knowledge, patriarchy, and Eurocentricity. She also reveals how ideas about gender and colonialism frame the conventional contrast between modernity and tradition. As she has done before, Harding points the way forward in Sciences from Below. Describing the work of the post-Kuhnian science studies scholars Bruno Latour, Ulrich Beck, and the team of Michael Gibbons, Helga Nowtony, and Peter Scott, Harding reveals how, from different perspectives, they provide useful resources for rethinking the modernity versus tradition binary and its effects on the production of scientific knowledge. Yet, for the most part, they do not take feminist or postcolonial critiques into account. As Harding demonstrates, feminist science studies and postcolonial science studies have vital contributions to make; they bring to light not only the male supremacist investments in the Western conception of modernity and the historical and epistemological bases of Western science but also the empirical knowledge traditions of the global South. Sciences from Below is a clear and compelling argument that modernity studies and post-Kuhnian, feminist, and postcolonial sciences studies each have something important, and necessary, to offer to those formulating socially progressive scientific research and policy.
Ghost-watching American Modernity explores the intersections of haunting and space in nineteenth- and twentieth-century works from Spanish America and the US. In an intervention that will reconfigure the critical uses of haunting for scholars across different fields, Blanco advances ghost-watching as a method for rediscovering haunting on its own terms.
From feminist philosophy to genetic science, scholarship in recent years has succeeded in challenging many entrenched assumptions about the material and biological status of human bodies. Likewise in the study of Chinese cultures, accelerating globalization and the resultant hybridity have called into question previous assumptions about the boundaries of Chinese national and ethnic identity. The problem of identifying a single or definitive referent for the "Chinese body" is thornier than ever. By facilitating fresh dialogue between fields as diverse as the history of science, literary studies, diaspora studies, cultural anthropology, and contemporary Chinese film and cultural studies, Embodied Modernities addresses contemporary Chinese embodiments as they are represented textually and as part of everyday life practices. The book is divided into two sections, each with a dedicated introduction by the editors. The first examines "Thresholds of Modernity" in chapters on Chinese body cultures in the late nineteenth and early twentieth centuries—a period of intensive cultural, political, and social modernization that led to a series of radical transformations in how bodies were understood and represented.The second section on "Contemporary Embodiments" explores body representations across the People’s Republic of China,Taiwan, and Hong Kong today. Contributors: Chris Berry, Louise Edwards, Maram Epstein, Larissa Heinrich, Olivia Khoo, Fran Martin, Jami Proctor-Xu, Tze-lan D. Sang, Teri Silvio, Mark Stevenson, Cuncun Wu, Angela Zito, John Zou.
In Detecting Chinese Modernities: Rupture and Continuity in Modern Chinese Detective Fiction (1896–1949), Yan Wei historicizes the two stages in the development of Chinese detective fiction and discusses the rupture and continuity in the cultural transactions, mediation, and appropriation that occurred when the genre of detective fiction traveled to China during the first half of the twentieth century. Wei identifies two divergent, or even opposite strategies for appropriating Western detective fiction during the late Qing and the Republican periods. She further argues that these two periods in the domestication of detective fiction were also connected by shared emotions. Both periods expressed ambivalent and sometimes contradictory views regarding Chinese tradition and Western modernity.
This is the first book to explore comparatively how magic—usually portrayed as the antithesis of the modern—is also at home in modernity.
A range of meaningful objects—exhibits of human remains or live people, fetishes, objects in a Catholic Museum, exotic photographs, commodities, and computers—demonstrate a subordinate modern consciousness about powerful objects and their ‘life’. The Spirit of Matter discusses these objects that move people emotionally but whose existence is often denied by modern wishful thinking of ‘mind over matter’. It traces this mindset back to Protestant Christian influences that were secularized in the course of modern and colonial history.
Haunting Bollywood is a pioneering, interdisciplinary inquiry into the supernatural in Hindi cinema that draws from literary criticism, postcolonial studies, queer theory, history, and cultural studies. Hindi commercial cinema has been invested in the supernatural since its earliest days, but only a small segment of these films have been adequately explored in scholarly work; this book addresses this gap by focusing on some of Hindi cinema’s least explored genres. From Gothic ghost films of the 1950s to snake films of the 1970s and 1980s to today’s globally influenced zombie and vampire films, Meheli Sen delves into what the supernatural is and the varied modalities through which it raises questions of film form, history, modernity, and gender in South Asian public cultures. Arguing that the supernatural is dispersed among multiple genres and constantly in conversation with global cinematic forms, she demonstrates that it is an especially malleable impulse that routinely pushes Hindi film into new formal and stylistic territories. Sen also argues that gender is a particularly accommodating stage on which the supernatural rehearses its most basic compulsions; thus, the interface between gender and genre provides an exceptionally productive lens into Hindi cinema’s negotiation of the modern and the global. Haunting Bollywood reveals that the supernatural’s unruly energies continually resist containment, even as they partake of and sometimes subvert Hindi cinema’s most enduring pleasures, from songs and stars to myth and melodrama.
This collection presents an exciting and ambitious foray into the cultural politics of contemporary Taiwan film that goes beyond the auterist mode, the nation-state argument and vestiges of the New Cinema.
This book explores Victorian and modernist haunted houses in female-authored ghost stories as representations of the architectural uncanny. It reconsiders the gendering of the supernatural in terms of unease, denial, disorientation, confinement and claustrophobia within domestic space. Drawing on spatial theory by Gaston Bachelard, Henri Lefebvre and Elizabeth Grosz, it analyses the reoccupation and appropriation of space by ghosts, women and servants as a means of addressing the opposition between the past and modernity. The chapters consider a range of haunted spaces, including ancestral mansions, ghostly gardens, suburban villas, Italian churches and houses subject to demolition and ruin. The ghost stories are read in the light of women’s non-fictional writing on architecture, travel, interior design, sacred space, technology, the ideal home and the servant problem. Women writers discussed include Elizabeth Gaskell, Margaret Oliphant, Vernon Lee, Edith Wharton, May Sinclair and Elizabeth Bowen. This book will appeal to students and researchers in the ghost story, Female Gothic and Victorian and modernist women’s writing, as well as general readers with an interest in the supernatural.