Said is best known for describing and critiquing "Orientalism"; what he perceived as a constellation of false assumptions underlying Western attitudes toward the East. In Orientalism (1978), Said decried the "subtle and persistent Eurocentric prejudice against Arabo-Islamic peoples and their culture". [1] He argued that a long tradition of false and romanticized images of Asia and the Middle East in Western culture had served as an implicit justification for Europe's and America's colonial and imperial ambitions. Critiquing Said, Christopher Hitchens, who writes for Vanity Fair, wrote that he denied any possibility "that direct Western engagement in the region is legitimate" and that Said's analysis cast "every instance of European curiosity about the East [as] part of a grand design to exploit and remake what Westerners saw as a passive, rich, but ultimately contemptible 'Oriental' sphere". [2] The British historian Bernard Lewis is another important critic who took issue with Said's work. The two authors exchanged a famous polemic in the pages of the New York Review of Books following the publication of Orientalism. Lewis' article, "The question of orientalism" was followed in the next issue by "Orientalism: an exchange".

《魅力史：激发欲望与视觉征服的艺术》营造魅力，就是唤醒消费者的三种关键情感——对当下的逃离，对改变的渴望，对神秘未知世界的向往。 1.探寻魅力的本源：尽管魅力所呈现的形式不同，它所揭露的始终是我们最真实的情感。魅力挖掘了现存的不满情绪，展示了我们在现实生活中所缺乏的事物。比如： 名人的魅力源自对倾慕、崇拜和成为重要人士的渴望； 时尚的魅力唤醒了我们对于改变生活状态、改变自我的欲望； 奢华的魅力不仅来自物质享受的诱惑，也来自我们渴望优雅地融入这个阶层的愿景。 2.解析魅力的构成元素 魅力有三个重要要素：对当下的逃离，对改变的承诺以及神秘感。 对逃离和转型的向往是魅力的情感核心，让我们将自我投射到某种设定或身份认同中，以此来感知我们那些没有阐明的愿望。 神秘是魅力的感知品质。人们常说“熟悉的地方没有风景”——没有神秘感，就没有魅力的存在。 3.还原魅力的进化历程 本书不仅梳理了魅力史上的大事件（从希腊英雄形象阿喀琉斯到苏格兰精灵，从17世纪后期的江户到18世纪的伦敦和巴黎，再到19世纪的纽约和芝加哥），还对具体形象进行了深入的分析（从美国总统奥巴马到电影里的超级英雄，从电影《蒂凡尼的早餐》中的橱窗到风情无限的上海外滩），从而展现出魅力在不同情境中的意义。 4.启发魅力的商业运用 在商业运用上，弗吉尼娅•波斯特莱尔指出魅力能够引发社会性嫉妒情绪，以此来促进商品销售。诉诸魅力的魔法，让商品成为“通往希望与理想的桥梁”，正如你着迷于无印良品的本子或宜家的家具，这种有形的、商业性的“桥梁”本身就充满了魅力。

什么颜色令画家为其举行盛大的葬礼？ 什么颜色是中产阶级的代表色？ 什么颜色是导致凡·高的《向日葵》逐渐枯萎、褪色的罪魁祸首？ 《色彩的秘密生活》揭秘色彩背后的奇闻逸事：从人类文明、科学艺术到坊间八卦，讲述75段引人入胜的色彩简史！ ※一部色彩改变世界的历史：石灰白预防鼠疫，卡其色改变了战争，粉色降低罪犯的攻击性…… ※一部如彩虹般绚烂的色彩宝典： 10大色系，75种颜色，从寻常的金黄到鲜为人知的天芥紫，将每种颜色的历史娓娓道来！ ※一部趣味性与权威性兼具的颜色简史：30余页、600余条注释与参考书目，支撑趣味历史的是背后的严谨考据。 ※一部备受推荐的榜单书：被评为美国国家公共电台年度好书、英国BBC 诚意推荐好书，是《纽约时报》《星期日泰晤士报》等媒体的榜单书。 ◎内容简介 《色彩的秘密生活》讲述了75种迷人的颜色及其不同寻常的故事。 从金发到红发，从改变了战争方式的棕色到保护人类免受鼠疫之害的白色，从毕加索的“蓝色时期”到拉斯科洞窟壁上的木炭画，从朋克的酸性黄到与圣徒同名的凯利绿……在历史长河中，这些令人惊异的故事就像其颜色本身一样熠熠生辉。 ◎媒体推荐 文字优美……满是引人入胜的色彩轶事和历史考据。这本优雅的色彩宝典包含了你对色彩的疑问的全部答案。 —— 美国国家公共电台（NPR）年度好书评语 不仅仅是色彩的历史，也是有关科学与艺术的故事。卡西亚· 圣克莱尔这本富有趣味的书真正地将二者变得生动、轻松。 ——《 华尔街日报》 圣克莱尔这一系列有关色彩文化与社会的秘史，兼具科学性、幽默感和艺术史考据性。 ——《 出版人周刊》 一席色彩的自助盛宴。 ——《Nature》杂志

【内容简介】 “伦敦人就是你目之所及的那些平常人。” 和我们一样，他们在大城市寻找、失去，在大城市祈祷、迷惘，在大城市里获得回报，也被大城市伤害。 作家克莱格•泰勒，历时5年，不分昼夜，穿梭在伦敦的各个角落，从200多次的访谈中选取85位普通人。在他们之中，有实现职业理 想的货币交易员、见惯世间百态的失物招领处职员、曾当过演员的水管工，也有环卫工、出租车司机、急救护理人员、房地产经纪人、厨师、飞行员等。这一个个普通人的真实故事，悲喜交集，构成了伦敦这座城市的众生浮世绘。每一个字都敲打着我们的心，引发我们的共鸣。 “当一个人厌倦了伦敦，那他肯定也厌倦了生活。”但是，只有在大城市生活过的人，才会明白其中的复杂况味：爱它、恨它、渴望它、厌倦它、逃离它，或是留下来，继续生活。 【编辑推荐】 ☆ 口述史大师克莱格·泰勒经典非虚构作品，献给所有在大城市中生活、迷茫、挣扎、打拼、奋斗的人！ ☆ 引发全球各大城市生活的人强烈共鸣的口碑之作，《纽约时报》《泰晤士报》《卫报》等百余家媒体盛赞。 ☆ 历时5年，200多次采访，85个普通伦敦人口述的悲喜故事。货币交易员、失物招领处职员、水管工、环卫工、出租车司机、急救护理人员、地产经纪人、厨师……他们用梦想与眼泪交织的故事，也是你的故事：爱这座城、恨这座城、逃离这座城、渴望这座城。 ☆ 你只要对人本身充满兴趣，不一定生活在伦敦，都应该读读这本书。 ☆ 真实还原每一位普通人的讲述。这些平凡人物真实的生活经历，让你感觉声音和故事汹涌而来，它们既不是“官方的声音”，也不是专家的观点，而是生机勃勃充满大众气息的讲述，就好像伦敦自顾自地在讲述着自身，使该书带有一种口述史特有的真实魅力。 ☆ 对一座城市最公正、最完整的呈现。城市的美好、迷人、丑恶与肮脏之处都在此书中一览无余，多样性与琐碎并存，这是一个独一无二、让人爱恨交加的伦敦。 【媒体及名人评价】 丰富多彩的万花筒，描绘了一个伟大的、凌乱的、嘈杂的、令人生畏的、让人振奋的、令人发狂又着迷的、不断变化的地方……在泰勒充满耐心和同理心的书写中，普通人成为诗人、哲学家、演说家。 ——《纽约时报》 你只要对人本身充满兴趣，不一定生活在伦敦，都应该读读这本书……克莱格•泰勒可以进入口述史大师之列。 ——《文学评论》 一座城的一部辉煌口述史。 ——《卫报》 这是由大量的碎片组成的一座纪念碑。 ——伊恩•辛克莱（英国作家） 从这本书中了解到的关于伦敦人的事情，我感觉比做一个40多年的伦敦人能了解到的还要多。 ——《泰晤士报》 至少十年来关于伦敦的最好的书。 ——《伦敦人》 本书无论对于伦敦还是它的人民都有着充分的公正，每个人都会喜欢它，不管他们热爱这个地方，还是后悔曾经去过那里。 ——《观察家》 本书无疑是今年关于伦敦的最杰出和最具创造性的著作……难以表达我对这本书的喜爱之情。 ——《伦敦标准晚报》 阅读泰勒令人兴奋的速写，让我想要立刻坐上第一趟到尤斯顿的火车。 ——《威尔士艺术评论》 忘记约翰逊和狄更斯吧——泰勒已经找到了关于这座城市最恰当的总结。 ——《麦克林》 充分展现了21世纪的伦敦样貌，无论对于生活在那里的人还是想去那儿的人，都是一部必读之作。 ——《妇女空间》

继《性别麻烦》和《身体之重》之后，巴特勒的这部论文集对她自己提出的性别操演观点进行了重新审视，并开始将对性别的关注点从哲学话语转向现实生活与政治。她针对身体解剖学、美学以及社会与政治等领域对性与性别的各种限定和标准，提出了消解性别这一应对策略。在本书中，她考察了乱伦禁忌的意义和目的、新型亲属关系、性别跨越、双性、性别诊断和变性手术等问题，将对性别规范的批判置于人类生存与延续的框架之内。巴特勒的论述涉及近年来出现的“新性别政治”的各个方面。

1990年面世的《性别麻烦》是女性主义理论和性别研究的重要著作，一经出版即引来赞誉和争议无数，并被奉为开创“酷儿理论”的经典文本。巴特勒因此书而一举成为当代思想界最闪耀的学术明星之一。 巴特勒在《性别麻烦》开篇，首先对“女性”作为女性主义的主体提出了质疑。她对波伏瓦、克利斯特娃、维蒂格、伊里格瑞等法国女性主义理论家的主要观点分别进行了梳理，并追溯到她们各自所依据或所反对的阳具逻格斯中心主义理论源头。她借用后结构主义、精神分析和女性主义的分析框架，通过对斯特劳斯结构主义人类学、福柯的管控性生产、拉康的原初禁制理论和弗洛伊德的性抑郁的解读，从哲学本体论层面重新追问语言、主体、性别身份等关键性概念，深刻阐述了异性恋框架下的性别身份和欲望关系是如何形成的，从而颠覆了霸权话语对性、性别、性欲的强制性规定。 巴特勒在本书中提出的、现已成为她的个人标记的“性别操演”理论，为性与性别开启了一个具有多种文化可能性的未来。 女性主义理论的必读书。 Hypatia 《性别麻烦》对性别的“自然性”提出了迄今为止最有说服力的质疑。这是一部富有创见的精彩论著。 Aandra Lee Bartky 巴特勒的作品改变了我们思考性、性别、性欲和语言的方式。她对性别身份的探问已对当代思想产生了重大影响，启发了在多个层面上对“主体”的批判性反思。 萨拉·萨莉 十年前我完成《性别麻烦》的稿子......我不知道这本书会有这么广大的读者，也不知道它会对女性主义理论构成具有挑衅意味的“介入”，并被引为开创酷儿理论的文本之一。这本书的生命超出了我的意图。 朱迪斯·巴特勒在1999年此书再版时附加了长篇序言，回应并澄清了针对此书的一些问题。

This interdisciplinary collection examines the shaping of local sexual cultures in the Asian Pacific region in order to move beyond definitions and understandings of sexuality that rely on Western assumptions. The diverse studies in AsiaPacifiQueer demonstrate convincingly that in the realm of sexualities, globalization results in creative and cultural admixture rather than a unilateral imposition of the western values and forms of sexual culture. These essays range across the Pacific Rim and encompass a variety of forms of social, cultural, and personal expression, examining sexuality through music, cinema, the media, shifts in popular rhetoric, comics and magazines, and historical studies. By investigating complex processes of localization, interregional borrowing, and hybridization, the contributors underscore the mutual transformation of gender and sexuality in both Asian Pacific and Western cultures. Contributors are Ronald Baytan, J. Neil C. Garcia, Kam Yip Lo Lucetta, Song Hwee Lim, J. Darren Mackintosh, Claire Maree, Jin-Hyung Park, Teri Silvio, Megan Sinnott, Yik Koon Teh, Carmen Ka Man Tong, James Welker, Heather Worth, and Audrey Yue.

China’s role in the history of world animation has been trivialized or largely forgotten. In Animated Encounters Daisy Yan Du addresses this omission in her study of Chinese animation and its engagement with international forces during its formative period, the 1940s–1970s. She introduces readers to transnational movements in early Chinese animation, tracing the involvement of Japanese, Soviet, American, Taiwanese, and China’s ethnic minorities, at socio-historical or representational levels, in animated filmmaking in China. Du argues that Chinese animation was international almost from its inception and that such border-crossing exchanges helped make it “Chinese” and subsequently transform the history of world animation. She highlights animated encounters and entanglements to provide an alternative to current studies of the subject characterized by a preoccupation with essentialist ideas of “Chineseness” and further questions the long-held belief that the forty-year-period in question was a time of cultural isolationism for China due to constant wars and revolutions. China’s socialist era, known for the pervasiveness of its political propaganda and suppression of the arts, unexpectedly witnessed a golden age of animation. Socialist collectivism, reinforced by totalitarian politics and centralized state control, allowed Chinese animation to prosper and flourish artistically. In addition, the double marginality of animation—a minor art form for children—coupled with its disarming qualities and intrinsic malleability and mobility, granted animators and producers the double power to play with politics and transgress ideological and geographical borders while surviving censorship, both at home and abroad. A captivating and enlightening history, Animated Encounters will attract scholars and students of world film and animation studies, children’s culture, and modern Chinese history.

《身体与社会理论(第2版)》内容简介：在当代消费社会，身体越来越成为现代人自我认同的核心，身体问题在西方社会文化理论中正在变得越来越重要，作为西方身体社会学领域的一本代表作，《身体与社会理论(第2版)》纵览该研究领域诸多研究路径的长短优劣，全面展现各路发展如何推动身体成为突破场所，探寻晚近来自女性主义、现象学、行动导向思路的身体研究，考察“身体规划”、“身体面具”和“身体潜势”等方面最新论述，分析身体与自我认同之间关系，提出了整合论的身体观，对国内相关领域研究具有较大参考与启发价值。

"Destination Culture" takes the reader on an eye-opening journey from ethnological artifacts to kitsch. Posing the question, 'What does it mean to show?' Barbara Kirshenblatt-Gimblett explores the agency of display in a variety of settings: museums, festivals, world's fairs, historical re-creations, memorials, and tourist attractions. She talks about how objects - and people - are made to 'perform' their meaning for us by the very fact of being collected and exhibited, and about how specific techniques of display, not just the things shown, convey powerful messages. Her engaging analysis shows how museums compete with tourism in the production of 'heritage'. To make themselves profitable, museums are marketing themselves as tourist attractions. To make locations into destinations, tourism is staging the world as a museum of itself. Both promise to deliver heritage. Although heritage is marketed as something old, she argues that heritage is actually a new mode of cultural production that gives a second life to dying ways of life, economies, and places. The book concludes with a lively commentary on the 'good taste/bad taste' debate in the ephemeral 'museum of the life world,' where everyone is a curator of sorts and the process of converting life into heritage begins.

In the depths of the Great Depression, when America's future seemed bleak, nearly 100 million people visited expositions celebrating the "century of progress." These fairs fired the national imagination and served as cultural icons on which Americans fixed their hopes for prosperity and power. In "All the World's a Fair", Robert W. Rydell described how Victorian-era world's fairs helped create a blueprint for modern America. Now, with "World of Fairs", he shows how the interwar exhibitions heralded the arrival of modern America - a new empire of abundance built on old foundations of inequality. Rydell demonstrates how the fairs reached their height of popularity following the crash of 1929 by offering a vision of recovery from the Depression through the united powers of science and industry. Beneath the surface, however, lay persistent themes of imperialism and racism as government officials, industrial leaders, and intellectuals alike used the fairs to reinforce their own authority and the established social order. Rydell revisits several fairs, highlighting the 1926 Philadelphia Sesquicentennial Exposition, the 1931 Paris Colonial Exposition, the 1933-34 Chicago Century of Progress Exposition, the 1935-36 San Diego California Pacific Exposition, the 1936 Dallas Texas Centennial Exposition, the 1937 Cleveland Great Lakes and International Exposition, the 1939-40 San Francisco Golden Gate International Exposition, the 1939-40 New York World's Fair, and the 1958 Brussels Universal Exposition.

日本を代表する文化“マンガ”の裏面にあって、決して日の目を見ることのないエロマンガ。「性的」であることを唯一のルールとして、世間の良識を逸脱した創造力と欲望が数多くの名作・怪作を生み出し、一般のマンガにも多大な影響を与えている。いつの時代も嫌悪と蔑視の対象であった“不可視の王国”に真正面から取り組んだ唯一無二の漫画評論、増補決定版。

今、商業誌・同人誌等マンガ文化を取り巻くさまざまな危機…。問題視されて来た、表現規制・著作権などのあり方と、本当の自主規制の意味とは?そして、マンガ文化のあるべき姿とは?これらをテーマに、ちばてつや氏・伊藤剛氏・三崎尚人氏ら各界の著名人への取材を行ない、コミックマーケット準備会・全国同人誌即売会連絡会の全面協力のもと、日本が誇る「マンガ文化」の今後のあり方を提案します。 もしも明日マンガ狩りが始まったら…?商業誌・同人誌を取り巻く、マンガ文化の危機。表現規制問題と著作権問題、自主規制の意味とは。そして、マンガ文化のあるべき姿とは。

Scott Bukatman's Terminal Identity—referring to both the site of the termination of the conventional "subject" and the birth of a new subjectivity constructed at the computer terminal or television screen--puts to rest any lingering doubts of the significance of science fiction in contemporary cultural studies. Demonstrating a comprehensive knowledge, both of the history of science fiction narrative from its earliest origins, and of cultural theory and philosophy, Bukatman redefines the nature of human identity in the Information Age. Drawing on a wide range of contemporary theories of the postmodern—including Fredric Jameson, Donna Haraway, and Jean Baudrillard—Bukatman begins with the proposition that Western culture is suffering a crisis brought on by advanced electronic technologies. Then in a series of chapters richly supported by analyses of literary texts, visual arts, film, video, television, comics, computer games, and graphics, Bukatman takes the reader on an odyssey that traces the postmodern subject from its current crisis, through its close encounters with technology, and finally to new self-recognition. This new "virtual subject," as Bukatman defines it, situates the human and the technological as coexistent, codependent, and mutally defining. Synthesizing the most provocative theories of postmodern culture with a truly encyclopedic treatment of the relevant media, this volume sets a new standard in the study of science fiction—a category that itself may be redefined in light of this work. Bukatman not only offers the most detailed map to date of the intellectual terrain of postmodern technology studies—he arrives at new frontiers, providing a propitious launching point for further inquiries into the relationship of electronic technology and culture.

Throwing down the theoretical gauntlet, Lee Edelman outlines a radically uncompromising new ethics of queer theory. His searing polemic takes aim at the figure of the child, whom he contends is the lynchpin of an entire rhetoric and politics of "reproductive futurity." Edelman argues that in the popular imaginary, the child - innocent, angelic, and imperiled - represents the possibility of the future and the queer is constructed as its radical negation, as the embodiment of morbidity, corruption, and stasis. He insists that in such a thoroughly heteronormative culture, the efficacy of queerness lies in its resistance to the social and political order.In "No Future", Edelman urges queers to abandon accommodation and embrace their status as figures beyond the consensus of those always "fighting for the children." Looking to literature and film, "No Future" offers several models of queer characters who take a perverse pleasure in repudiating the cult of the child. Edelman makes a compelling case for imagining Charles Dickens' Ebeneezer Scrooge without Tiny Tim and George Eliot's Silas Marner without little Eppie.Looking to Alfred Hitchcock's films "North by Northwest" and "The Birds", he embraces two of the director's most notorious creations: the sadistic Leonard stepping on the hand that holds the heterosexual couple above the abyss and the birds themselves, predators attacking couples and children. Edelman breathes new life into psychoanalytic theory as he brings it to bear not just upon film and literature but also upon current political issues such as gay marriage and gay parenting. A call to arms for a queer theory too often banalized, "No Future" is sure to incite passionate debate.

Puppets have existed in one form or another in nearly every culture throughout human history. From the intriguing shadow puppets of Java to the romantically challenged Miss Piggy, from African carved-wood actors with outsize genitalia to merry maniac Mr. Punch, puppets are incredibly diverse, reflecting the varied cultures, environments, and personalities of their creators. In this lavishly illustrated volume, Eileen Blumenthal provides a comprehensive overview of the history and techniques of puppetry, examining the unique nature and abilities of puppets and illustrating the countless roles they (and their creators) have played in societies across the globe for thousands of years. She draws on examples from an astonishing array of puppeteers, performances, and historical artifacts, providing readers with an in-depth view of this intricate world of constructed actors and the eclectic, and often eccentric, artists who create them. With a lively and accessible text and a wealth of illustrations, this one-of-a kind volume will be treasured by lovers of both visual and theater arts.

The relationship between feminism and domesticity has recently come in for renewed interest in popular culture. This collection makes an intervention into the debates surrounding feminism's contentious relationship with domesticity and domestic femininities in popular culture. It offers an understanding of the place of domesticity in contemporary popular culture whilst considering how these domesticities might be understood from a feminist perspective. All the essays contribute to a more complex understanding of the relationships between feminism, femininity and domesticity, developing new ways of theorizing these relationships that have marked much of feminist history. Essay topics in this work include Marguerite Patten, reality television shows like "How Clean is Your House?", the figure of the maid in contemporary American cinema, aging or widowed domestic femininities, and the relationship between domesticity and motherhood.