Culture studies

This article deals with women and corruption in China. The aim is to bring gender in and to make good the lack of focus on gender in studies of corruption in China. The article outlines different forms of female involvement in corruption, introduces various theories of corruption, and elaborates on the relevance of these theories in explaining and understanding the role of gender in the case of corruption in China. The article also proposes a theory of chaotic capital/resource acquisition as a supplement and discusses the potential of this theory in accounting for the role of women in corruption, whether as government officials or as the mistresses and wives (family members) of corrupt male officials. 

own understandings of feminism, often by mixing different theoretical and empirical trajectories of knowledge. The effort of delineating a clear, linear and progressive narrative of feminism in China is commendable; what such a history may omit or conceal is also an important question to ask: how does an 'alternative travelling theory' travel? Considering that transnational feminism is a keyword for the book, the author's definition of transnational feminism could have been more clearly articulated. 'Transnational feminism', in the book, is seen, on the one hand, as the global dominance of a Euro-American centric feminism, what some scholars call 'global feminism', pushed by the United Nations and various international foundations through political and economic means in order to 'liberalise' the global south as part of the neoliberal hegemony. On the other, it is seen as a diverse range of informal and grassroots exchange of ideas, people and movements across borders, represented by the Chinese Society of Women's Studies, a transnational feminist organisation which was sympathetic to the development of feminist theories that speak to the Chinese context and which gradually adopted a participatory and dialogic approach to feminist knowledge production. The two forms of transnationalism need to be distinguished in order to account for the theoretical complexities of transnational feminism. Overall, this is a fascinating piece of work that combines historical and theoretical scholarship, and interrogates fundamental questions about transnational feminism and Chinese feminism. Written in clear language and employing a lucid style, this book will become an indispensable reference for anyone interested in feminism, China and translation.

Nevertheless, the revolutionary power of the Internet is sometimes
overemphasized, for most writers and critics still insist on print literature
proper. But the idea that print is the only medium for serious literature is
questioned by Derrida and Miller. They believe that the nature of literature, as the spirit of human beings or as a representation of reality, cannot change
even if the medium of writing or the context of literature changes, as it already
has. The texts of the works of Internet literature suggest that their authors
agree with this sentiment. Seldom do these works use multimedia, flash, or
voice, which often can be found in electronic literature. Writers follow the
linear writing of print texts and interact with readers through comments
that are largely about readers’ hope for more chapters or readers’ attitudes
toward their works. Although this kind of feedback might influence the
plot of the story if the writer seriously considered it, readers cannot directly
join the production of the works. Critics overemphasize the originality of a
work as the writer’s priority, a holdover from romanticism, but since Internet
writers produce their works too fast to revise them carefully, many of these
works are far from perfect.

"Star Wars: The Force Awakens" is been showing in China. The box office has gained more than $50 million in the first three days. Another wave of "Star Wars" heat began. As an untypical fan of Star Wars, I think the most interesting thing of this serials is that it constructs an imaginary world visually as well as the real world metaphorically. For example, in the script of Star Wars II: Attack of the Clones, the young Jedi knight Obi-Wan Kenobi was consulting with Madame Jocasta Nu, the resident archivist of the Archives Library at the Jedi Temple about the existence of a planet system called Kamino. When Obi-wan was questioning the incompleteness of the archives since he can't find the planet he was looking for at the archive, Jocasta was obviously offended by his word and said: "The archives are comprehensive and totally secure, my young Jedi. One thing you may be absolutely sure of-if an item does not appear in our records, it does not exist!" Of course, Jedi is right since the force is with him. However, the authority of archive is still unchallengeable! Why archive has such kind of power even for Jedi knight? What the visibility and invisibility of archive mean? This short essay will investigate the states of archives of advertising in China, which begins with the ideas of archive in the past decades and the pragmatic particularity of archive in China. The digital resources of advertising studies could be categorized as following types: Databases of advertisements or the materials including advertisements, Websites of advertisements history or other materials and Academic resources of advertisements studies. All of them share the features that most of them are not research-oriented databases specialized in advertisements but a digital collection with very limited bibliographic information. Lacking of systemic collection of ads images, full-annotated metadata and the deeper analysis of ads content, especially of the period of Republic of China, are so obvious that databases are not very efficient and helpful for scholars in the sense of academic research. The deep and invisible reason lies that the tension between the over-commercialization and less academic oriented/participation.

Targeting to the debates on "computation" and "tool" of digital humanities, this essay points out that digital humanities is the unavoidable approach to the transformation of digital knowledge production but needs to be cautious with the dependence on the algorithm and the reduction the digital humanities to tool and break the black box of technology affected in the sense of optimism and pessimism. Regarding the computation as the simple algorithm, tool and method, it is impossible to resolve the crisis of computation of digital humanities. Hence, it would be necessary to expend the genealogy of knowledge of digital humanities and reconnect the relationship between digital humanities and other knowledge category, such as media studies. Only resetting the digital humanities in the broader context of digital culture, the crisis of computation would be able to be resolved.

Advertisements printed in newspapers generally are thought as ephemeral material appeared in Modern China and used as evidence and illustration of historical facts in humanities, such as advertising, journalism, cultural studies, history and sociology, etc. New digital media, digital technology and the large-scale digitized historical documents have changed social condition and context where we are living and thinking but also provide opportunity for researcher to rethink and reinvestigate the advertisement ephemera. Chinese Commercial Advertisement Archive is such a case. CCAA is collecting and digitizing advertisements collected from the five representative newspapers and then designing and laying the foundations for a searchable, online archive/database and eventually all images and their metadata will be released on archive and free for use and publicly accessible online. By building a image-oriented database, CCAA would hope to measure how commodity culture transformed the everyday expectations of millions of Chinese who used, discussed, and dreamed about industrially produced commodities. Focusing on the case of CCAA, especially the process of digitally archiving through the view of media theories, the new theoretical issues on ephemera studies in digital technology context raised up correspondingly, such as the ephemerality of print advertisement, the internal mechanism of image and text, the metadating process of image and the visual knowledge production, which also make us possible exploring, archiving and elaborating advertisements from the new perspective and with new approach. 关键词：中国商业广告档案库 广告 蜉蝣 图像 元数据

Rooted in the context of Contemporary Art, Internet Art has grown up to be a radical field getting to be known very widely. Telematic Art, net.art, WWW art and digital poetics, all of them were recognized as Internet art but can be only categorized as Internet art. Internet not only provides the tool and platform for art creation, communication and distribution but also create the new or refashioned ways of production, representation and reception of artworks, which challenged the traditional idea of artwork, artists and appreciate as well as the aesthetic experiences of audiences. The essay starts from the complication of definition of Internet Art from the perspective of integration of art and technology and focuses on the cases of artworks grouped as "Internet art" to explore the theoretical framework of the new media art, especially the question about how artists realized the integration of art and media to produce the art aesthetic value in the specific context and field. Abstract: Internet Art, Telematic Art, ASCII, Internet, Code 在批评的层面上讨论"新媒体艺术"（New Media Art）的时候，总会遇到"语境"的问题。

If we follow the history of definition of digital humanities in the western context, that is, recognizing the computational linguistics as the predecessor of digital humanities, then digital humanities has actually a much longer history in China than usually understood. I trace it in this way not only to make the history longer; I do so with the hope that exploring the prehistory and origins of DH in China allows us to examine the problems that the field and my colleagues in China face now.