Sovereign Screens

While Indigenous media have gained increasing prominence around the world, the vibrant Aboriginal media world on the Canadian West Coast has received little scholarly attention. As the first ethnography of the Aboriginal media community in Vancouver, Sovereign Screens reveals the various social forces shaping Aboriginal media production including community media organizations and avant-garde art centers, as well as the national spaces of cultural policy and media institutions. Kristin L. Dowell uses the concept of visual sovereignty to examine the practices, forms, and meanings through which Aboriginal filmmakers tell their individual stories and those of their Aboriginal nations and the intertribal urban communities in which they work. She explores the ongoing debates within the community about what constitutes Aboriginal media, how this work intervenes in the national Canadian mediascape, and how filmmakers use technology in a wide range of genres--including experimental media--to recuperate cultural traditions and reimagine Aboriginal kinship and sociality. Analyzing the interactive relations between this social community and the media forms it produces, Sovereign Screens offers new insights into the on-screen and off-screen impacts of Aboriginal media.

This is the first comprehensive volume to explore and engage with current trends in Geographies of Media research. It reviews how conceptualizations of mediated geographies have evolved. Followed by an examination of diverse media contexts and locales, the book illustrates key issues through the integration of theoretical and empirical case studies, and reflects on the future challenges and opportunities faced by scholars in this field. The contributions by an international team of experts in the field, address theoretical perspectives on mediated geographies, methodological challenges and opportunities posed by geographies of media, the role and significance of different media forms and organizations in relation to socio-spatial relations, the dynamism of media in local-global relations, and in-depth case studies of mediated locales. Given the theoretical and methodological diversity of this book, it will provide an important reference for geographers and other interdisciplinary scholars working in cultural and media studies, researchers in environmental studies, sociology, visual anthropology, new technologies, and political science, who seek to understand and explore the interconnections of media, space and place through the examples of specific practices and settings.

Discover four seminal masterworks of Chinese thought—Lao Tzu’s Tao Te Ching, the Analects of Confucius, the Chuang Tzu, and the Mencius—presented in one volume for the first time in nearly two centuries. Award-winning translator David Hinton offers fresh insights on the most influential texts on Taoism, Zen Buddhism, Chinese philosophy, and more. Hinton’s award–winning experience translating a wide range of ancient Chinese poets makes these books sing in English as never before. But these new versions are not only inviting and immensely readable—they also apply much-needed consistency to key philosophical terms in these texts, lending structural links and philosophical rigor heretofore unavailable in English. Breathing new life into these classics, Hinton’s new translations will stand as the definitive texts for our era. Perhaps the most broadly influential spiritual text in human history, Lao Tzu’s Tao Te Ching is the source of Taoist philosophy, which eventually developed into Ch’an (Zen) Buddhism. Equally influential in the social sphere, Confucius’ Analects is the source of social wisdom in China. The Chuang Tzu is the wild and wacky prose complement to the Tao Te Ching. And with its philosophical storytelling, the Mencius adds depth and complexity to Confucius’ vision.

Sovereignty is among the most important phenomena for making sense of political life. But there are many mistaken assumptions associated with the concept. This book provides a new and somewhat unorthodox interpretation of it from the standpoint of a theory of practice. The Sovereign responds to pressing political issues of our time, like immigration and refugees, transnationalism and populism, the prospects for democracy, and the relationship between civil society and the state. The chapters trace the concept of sovereignty from its origins in political theory, providing perspective and insights that leave the reader with a phenomenological sketch of the sovereign. Bronner transforms our ideas about political power, what it is, how it has been used, and how it can be used. His new theory of sovereignty concludes with twenty-five provocative theses on the sovereign’s role in modern capitalist society. The Sovereign is a novel and unparalleled overview of a crucial concept by an influential thinker. It is especially and particularly recommended to scholars and student of comparative politics, international relations, contemporary political theory, and the wider general public.

This companion consists of chapters that focus on and bring forward critical theories and productive methodologies for Indigenous art history in North America. This book makes a major and original contribution to the fields of Indigenous visual arts, professional curatorial practice, graduate-level curriculum development, and academic research. The contributors expand, create, establish and define Indigenous theoretical and methodological approaches for the production, discussion, and writing of Indigenous art histories. Bringing together scholars, curators, and artists from across the intersecting fields of Indigenous art history, critical museology, cultural studies, and curatorial practice, the companion promotes the study and dissemination of Indigenous art and stimulates new conversations on such key areas as visual sovereignty and self-determination; resurgence and resilience; land-based, embodied, and nation-specific knowledges; epistemologies and ontologies; curatorial and museological methodologies; language; decolonization and Indigenization; and collaboration, consultation, and mentorship.

Oklahoma is bound to both the South and the Southwest and their legacies of conquest and Indigenous survivance. At the same time, mobility, ingenuity, cultural exchange, and creative expression—all part of the experience of urbanization—have been fundamental to people of the tribes that call this place home. Tulsa, New Orleans, and Santa Fe, with their importance in histories of geopolitical upheaval and mobility that shaped the establishment of the United States, are key to uncovering the history of urbanization experienced by Native Americans from Oklahoma. Urban Homelands, while examining the overlooked histories of Oklahoma Indigenous urbanization relative to these regions, engages literature and film as not just mirrors of experience but as producers of it. Lindsey Claire Smith brings the work of three-time poet laureate Joy Harjo into conversation with the great Cherokee playwright Lynn Riggs and breakout filmmaker Sterlin Harjo. Flying in the face of civic landmarks and settler histories that at once obscure Native origins and appropriate Native culture for tourism, this creative reclaiming of Indigenous cities points toward the productive possibilities of recognizing untold urban histories and the creative relationships with urban space itself.

《汉学家〈论语〉英译研究》从史学的角度出发，围绕19世纪60年代以来汉学家《论语》英译的四个阶段，利用跨学科理论多维度探研汉学家《论语》英译现象。全书运用融微观的文本分析和宏观的文化研究为一体的综合研究方法，考察译者个人背景、历史文化语境、翻译动机与翻译目的等因素，聚焦汉学家《论语》英译本典型个案研究，揭示汉学家《论语》英译本的翻译取向、汉学家翻译行为的内外影响因素以及汉学家译者主体性的演变特点，初步构建中国典籍的跨文化传播模式，并对中国典籍外译加以思考与展望。本书既适合翻译研究者及中国典籍外译政策制定者参考，又可供儒学、汉学爱好者阅读与品鉴。

Indigenous and settler scholars and media artists discuss and analyze crucial questions of narrative sovereignty, cultural identity, cultural resistance, and decolonizing creative practices. Humans are narrative creatures, and since the dawn of our existence we have shared stories. Storytelling is what connects us, what helps us give shape and understanding to the world and to each other. Who tells whose stories in which particular ways leads to questions of belonging, power, relationality, community and identity. This collection explores those issues with a focus on settler-Indigenous cultural politics in the country known as Canada, looking in particular at Indigenous representation in media arts. Chapters feature roundtable discussions, interviews, film analyses, resurgent media explorations, visual culture advocacy and place-based practices of creative expression. Eclectic in scope and diverse in perspective, Indigenous Media Arts in Canada is unified by an ethic of conciliation, collaboration, and cultural resistance. Engaging deftly and thoughtfully with instances of cultural appropriation as well as the oppressive structures that seek to erode narrative sovereignty, this collection shines as a crucial gathering of thoughtful critique, cultural kinship, and creative counterpower.