Rey Chow – författare

Each year in the United States, millions of mass-produced greeting cards proclaim their occasional messages: "For My Loving Daughter," "On the Occasion of Your Marriage," and "It's a Boy!" For more than 150 years, greeting cards have tapped into and organized a shared language of love, affection, and kinship, becoming an integral part of American life and culture. Contemporary incarnations of these emotional transactions performed through small bits of decorated paper are often dismissed as vacuous cliches employing worn-out stereotypes. Nevertheless, the relationship of greeting cards to systems of material production is well worth studying and understanding, for the modern greeting card is the product of an industry whose values and aims seem to contradict the sentiments that most cards express. In fact, greeting cards articulate shifting forms of love and affiliation experienced by people whose lives have been shaped by the major economic changes of the late nineteenth and twentieth centuries.A Token of My Affection shows in fascinating detail how the evolution of the greeting card reveals the fundamental power of economic organization to enable and constrain experiences of longing, status, desire, social connectedness, and love and to structure and partially determine the most private, internal, and intimate of feelings.Beautifully illustrated, A Token of My Affection follows the development of the modern greeting card industry from the 1840s, as a way of recovering that most elusive of things -- the emotional subjectivity of another age. Barry Shank charts the evolution of the greeting card from an afterthought to a traditional printing and stationery business in the mid-nineteenth century to a multibillion-dollar industry a hundred years later. He explains what an industry devoted to emotional sincerity means for the lives of all Americans. Blending archival research in business history with a study of surviving artifacts and a literary analysis of a broad range of relevant texts and primary sources, Shank demonstrates the power of business to affect love and the ability of love to find its way in the marketplace of consumer society.

Chow situates contemporary Chinese film within the broad context of Chinese history and culture, giving readers a glimpse of the unique shared identity that characterizes the current crop of outstanding filmmakers, such as Chen Kaige and Zhang Yimou.

In late-capitalist Western society, cross-ethnic cultural transactions are an inevitable daily routine. Yet, according to acclaimed cultural critic Rey Chow, the notion of ethnicity as it is currently used is theoretically ambivalent, confusing, indeed self-contradictory, straddling as it does an uneasy boundary between a universalist rhetoric of inclusion on the one hand, and actual, lived experiences of violence and intolerance on the other. To drastically reconceptualize ethnicity in the contemporary world, Chow proposes that it be examined in conjunction with Max Weber's famous theory about the Protestant work ethic and capitalism, which holds that secular belief in salvation often collaborates effectively with the interpellation, disciplining, and rewarding of subjects constituted by specific forms of labor. The charged figure that results from such a collaboration, resonant with the economic, psychological, and spiritual implications of the word "protest, " is what she refers to as the protestant ethnic.Chow explores the vicissitudes of cross-ethnic representational politics in a diverse range of texts across multiple genres, including the writings of Georg Lukacs, Michel Foucault, Max Weber, Jacques Derrida, Fredric Jameson, Etienne Balibar, Charlotte Bronte, Garrett Hongo, John Yau, and Frantz Fanon; the films of Alfred Hitchcock, Marguerite Duras, and Alain Resnais; and the cartoon drawings of Larry Feign. Tracing out hauntingly familiar scenarios from stereotyping and coercive mimeticism to collective narcissistic abjection, the rise of white feminist racial power, and intraethnic ressentiment, Chow articulates a series of interlocking critical dialogues that challenge readers into hitherto unimagined ways of thinking about an urgent topic.

What is the sentimental? How can we understand it by way of the visual and narrative modes of signification specific to cinema and through the manners of social interaction and collective imagining specific to a particular culture in transition? What can the sentimental tell us about the precarious foundations of human coexistence in this age of globalization? Rey Chow explores these questions through nine contemporary Chinese directors (Chen Kaige, Wong Kar-wai, Zhang Yimou, Ann Hui, Peter Chan, Wayne Wang, Ang Lee, Li Yang, and Tsai Ming-liang) whose accomplishments have become historic events in world cinema.Approaching their works from multiple perspectives, including the question of origins, nostalgia, the everyday, feminine "psychic interiority," commodification, biopolitics, migration, education, homosexuality, kinship, and incest, and concluding with an account of the Chinese films' epistemic affinity with the Hollywood blockbuster Brokeback Mountain, Chow proposes that the sentimental is a discursive constellation traversing affect, time, identity, and social mores, a constellation whose contours tends to morph under different historical circumstances and in different genres and media. In contemporary Chinese films, she argues, the sentimental consistently takes the form not of revolution but of compromise, not of radical departure but of moderation, endurance, and accommodation. By naming these films sentimental fabulations--screen artifacts of cultural becoming with irreducible aesthetic, conceptual, and speculative logics of their own--Chow presents Chinese cinema first and foremost as an invitation to the pleasures and challenges of critical thinking.

What is the sentimental? How can we understand it by way of the visual and narrative modes of signification specific to cinema and through the manners of social interaction and collective imagining specific to a particular culture in transition? What can the sentimental tell us about the precarious foundations of human coexistence in this age of globalization? Rey Chow explores these questions through nine contemporary Chinese directors (Chen Kaige, Wong Kar-wai, Zhang Yimou, Ann Hui, Peter Chan, Wayne Wang, Ang Lee, Li Yang, and Tsai Ming-liang) whose accomplishments have become historic events in world cinema.Approaching their works from multiple perspectives, including the question of origins, nostalgia, the everyday, feminine "psychic interiority," commodification, biopolitics, migration, education, homosexuality, kinship, and incest, and concluding with an account of the Chinese films' epistemic affinity with the Hollywood blockbuster Brokeback Mountain, Chow proposes that the sentimental is a discursive constellation traversing affect, time, identity, and social mores, a constellation whose contours tends to morph under different historical circumstances and in different genres and media. In contemporary Chinese films, she argues, the sentimental consistently takes the form not of revolution but of compromise, not of radical departure but of moderation, endurance, and accommodation. By naming these films sentimental fabulations--screen artifacts of cultural becoming with irreducible aesthetic, conceptual, and speculative logics of their own--Chow presents Chinese cinema first and foremost as an invitation to the pleasures and challenges of critical thinking.

Rey Chow is arguably one of the most prominent intellectuals working in the humanities today. Characteristically confronting both entrenched and emergent issues in the interlocking fields of literature, film and visual studies, sexuality and gender, postcolonialism, ethnicity, and cross-cultural politics, her works produce surprising connections among divergent topics at the same time as they compel us to think through the ethical and political ramifications of our academic, epistemic, and cultural practices. This anthology - the first to collect key moments in Chow's engaging thought - provides readers with an ideal introduction to some of her most forceful theoretical explorations. Organized into two sections, each of which begins with a brief statement designed to establish linkages among various discursive fields through Chow's writings, the anthology also contains an extensive Editor's Introduction, which situates Chow's work in the context of contemporary critical debates. For all those pursuing transnational cultural theory and cultural studies, this book is an essential resource.Praise for Rey Chow "[Rey Chow is] methodologically situated in the contentious spaces between critical theory and cultural studies, and always attending to the implications of ethnicity."--Social Semiotics "Rich and powerful work that provides both a dazzling synthesis of contemporary cultural theory and at the same time an exemplary critique of Chinese cinema."--China Information "Should be read by all who are concerned with the future of human rights, liberalism, multiculturalism, identity politics, and feminism."--Dorothy Ko "Wide-ranging, theoretically rich, and provocative...completely restructures the problem of ethnicity."--Fredric Jameson

Rey Chow is arguably one of the most prominent intellectuals working in the humanities today. Characteristically confronting both entrenched and emergent issues in the interlocking fields of literature, film and visual studies, sexuality and gender, postcolonialism, ethnicity, and cross-cultural politics, her works produce surprising connections among divergent topics at the same time as they compel us to think through the ethical and political ramifications of our academic, epistemic, and cultural practices. This anthology - the first to collect key moments in Chow's engaging thought - provides readers with an ideal introduction to some of her most forceful theoretical explorations. Organized into two sections, each of which begins with a brief statement designed to establish linkages among various discursive fields through Chow's writings, the anthology also contains an extensive Editor's Introduction, which situates Chow's work in the context of contemporary critical debates. For all those pursuing transnational cultural theory and cultural studies, this book is an essential resource.Praise for Rey Chow "[Rey Chow is] methodologically situated in the contentious spaces between critical theory and cultural studies, and always attending to the implications of ethnicity."--Social Semiotics "Rich and powerful work that provides both a dazzling synthesis of contemporary cultural theory and at the same time an exemplary critique of Chinese cinema."--China Information "Should be read by all who are concerned with the future of human rights, liberalism, multiculturalism, identity politics, and feminism."--Dorothy Ko "Wide-ranging, theoretically rich, and provocative...completely restructures the problem of ethnicity."--Fredric Jameson

Although the era of European colonialism has long passed, misgivings about the inequality of the encounters between European and non-European languages persist in many parts of the postcolonial world. This unfinished state of affairs, this lingering historical experience of being caught among unequal languages, is the subject of Rey Chow's book. A diverse group of personae, never before assembled in a similar manner, make their appearances in the various chapters: the young mulatto happening upon a photograph about skin color in a popular magazine; the man from Martinique hearing himself named "Negro" in public in France; call center agents in India trained to Americanize their accents while speaking with customers; the Algerian Jewish philosopher reflecting on his relation to the French language; African intellectuals debating the pros and cons of using English for purposes of creative writing; the translator acting by turns as a traitor and as a mourner in the course of cross-cultural exchange; Cantonese-speaking writers of Chinese contemplating the politics of food consumption; radio drama workers straddling the forms of traditional storytelling and mediatized sound broadcast.In these riveting scenes of speaking and writing imbricated with race, pigmentation, and class demarcations, Chow suggests, postcolonial languaging becomes, de facto, an order of biopolitics. The native speaker, the fulcrum figure often accorded a transcendent status, is realigned here as the repository of illusory linguistic origins and unities. By inserting British and post-British Hong Kong (the city where she grew up) into the languaging controversies that tend to be pursued in Francophone (and occasionally Anglophone) deliberations, and by sketching the fraught situations faced by those coping with the specifics of using Chinese while negotiating with English, Chow not only redefines the geopolitical boundaries of postcolonial inquiry but also demonstrates how such inquiry must articulate historical experience to the habits, practices, affects, and imaginaries based in sounds and scripts.

Although the era of European colonialism has long passed, misgivings about the inequality of the encounters between European and non-European languages persist in many parts of the postcolonial world. This unfinished state of affairs, this lingering historical experience of being caught among unequal languages, is the subject of Rey Chow's book. A diverse group of personae, never before assembled in a similar manner, make their appearances in the various chapters: the young mulatto happening upon a photograph about skin color in a popular magazine; the man from Martinique hearing himself named "Negro" in public in France; call center agents in India trained to Americanize their accents while speaking with customers; the Algerian Jewish philosopher reflecting on his relation to the French language; African intellectuals debating the pros and cons of using English for purposes of creative writing; the translator acting by turns as a traitor and as a mourner in the course of cross-cultural exchange; Cantonese-speaking writers of Chinese contemplating the politics of food consumption; radio drama workers straddling the forms of traditional storytelling and mediatized sound broadcast.In these riveting scenes of speaking and writing imbricated with race, pigmentation, and class demarcations, Chow suggests, postcolonial languaging becomes, de facto, an order of biopolitics. The native speaker, the fulcrum figure often accorded a transcendent status, is realigned here as the repository of illusory linguistic origins and unities. By inserting British and post-British Hong Kong (the city where she grew up) into the languaging controversies that tend to be pursued in Francophone (and occasionally Anglophone) deliberations, and by sketching the fraught situations faced by those coping with the specifics of using Chinese while negotiating with English, Chow not only redefines the geopolitical boundaries of postcolonial inquiry but also demonstrates how such inquiry must articulate historical experience to the habits, practices, affects, and imaginaries based in sounds and scripts.

Leadership, innovation, diversity, inclusiveness, sharing, accountability—such is the resounding administrative refrain we keep hearing in the contemporary Western university. What kinds of benefits does this refrain generate? For whom? What discursive incitements undergird such benefits? Although there are innumerable discussions of Michel Foucault in the English-speaking academy, seldom is his work used systematically to unravel the dead ends and potentialities of humanistic inquiry as embedded in these simple but dynamic questions.Rey Chow takes up this challenge by articulating the plight of the humanities in the age of global finance and neoliberal mores through a resharpened focus on Foucault’s concept “outside.” This general discussion is followed by a series of micro-arguments about several loosely linked topics: the biopolitics of literary study, visibilities and invisibilities, race and racism, sound/voice/listening, and confession and self-entrepreneurship. Against what she polemicizes as the moralistic-entrepreneurial norming of knowledge production, Chow foregrounds a nonutilitarian approach, stressing anew the intellectual and pedagogical objectives fundamental to humanistic inquiry: How to process, analyze, and evaluate different types of texts across languages and disciplines; how to form and sustain viable arguments; how to rethink familiar problems through less known as well as very well-known sources, figures, and methods. Above all, she asks in an abidingly humanistic spirit, how not to know all the answers before the questions have been posed.

Leadership, innovation, diversity, inclusiveness, sharing, accountability—such is the resounding administrative refrain we keep hearing in the contemporary Western university. What kinds of benefits does this refrain generate? For whom? What discursive incitements undergird such benefits? Although there are innumerable discussions of Michel Foucault in the English-speaking academy, seldom is his work used systematically to unravel the dead ends and potentialities of humanistic inquiry as embedded in these simple but dynamic questions.Rey Chow takes up this challenge by articulating the plight of the humanities in the age of global finance and neoliberal mores through a resharpened focus on Foucault’s concept “outside.” This general discussion is followed by a series of micro-arguments about several loosely linked topics: the biopolitics of literary study, visibilities and invisibilities, race and racism, sound/voice/listening, and confession and self-entrepreneurship. Against what she polemicizes as the moralistic-entrepreneurial norming of knowledge production, Chow foregrounds a nonutilitarian approach, stressing anew the intellectual and pedagogical objectives fundamental to humanistic inquiry: How to process, analyze, and evaluate different types of texts across languages and disciplines; how to form and sustain viable arguments; how to rethink familiar problems through less known as well as very well-known sources, figures, and methods. Above all, she asks in an abidingly humanistic spirit, how not to know all the answers before the questions have been posed.

" . . . this is no doctrinaire tract but rather a concerted attempt to look at important cultural problems from a fresh perspective. . . . Chow's book is an excellent example of its type."—Discourse & Society"I believe that Rey Chow has written a powerful set of essays which offer a critical strategy for approaching questions of otherness and other societies by forcing us to constantly reassess our position." —Harry HarootunianWriting Diaspora questions aspects of cultural politics, including the legacies of European imperialism and colonialism, the media, pedagogy, literature, literacy, sexuality, intellectual labor, the uses and abuses of theory, and popularized notions about "others."

"Methodologically situated in the contentious spaces between critical theory and cultural studies, and always attending to the implications of ethnicity, this book constitutes a unique intervention in contemporary cultural politics." —Social SemioticsAt a time when cultural identity has become intrinsic to the way we read our many "others," Rey Chow argues that what demands to be examined critically is no longer identity politics per se but the idealism—especially in the sense of idealizing otherness—that lies at the heart of identity politics. She discusses multiple cultural forms—fiction, film, popular music, poetry, and essays—and a range of cultural topics—pedagogy, multiculturalism, fascism, sexuality, miscegenation, fantasy, nostalgia, and postcoloniality.

Examines the relationship of “woman” to issues of non-western culture.Examines the relationship of "woman" to issues of non-Western culture: ethnic spectatorship, popular literature, the construction of literary history, and the revolutionary production and emotional reception of national literature.

These groundbreaking essays use critical theory to reflect on issues pertaining to modern Chinese literature and culture and, in the process, transform the definition and conceptualization of the field of modern Chinese studies itself. The wide range of topics addressed by this international group of scholars includes twentieth-century literature produced in Taiwan, Hong Kong, and mainland China; film, art, history, popular culture, and literary and cultural criticism; as well as the geographies of migration and diaspora.One of the volume’s provocative suggestions is that the old model of area studies-an offshoot of U.S. Cold War strategy that found its anchorage in higher education-is no longer feasible for the diverse and multifaceted experiences that are articulated under the rubric of “Chineseness.” As Rey Chow argues in her introduction, the notion of a monolithic Chineseness bound ultimately to mainland China is, in itself, highly problematic because it recognizes neither the material realities of ethnic minorities within China nor those of populations in places such as Tibet, Taiwan, and post–British Hong Kong. Above all, this book demonstrates that, as the terms of a chauvinistic sinocentrism become obsolete, the critical use of theory-particularly by younger China scholars whose enthusiasm for critical theory coincides with changes in China’s political economy in recent years-will enable the emergence of fresh connections and insights that may have been at odds with previous interpretive convention.Originally published as a special issue of the journal boundary 2, this collection includes two new essays and an afterword by Paul BovÉ that places its arguments in the context of contemporary cultural politics. It will have far-reaching implications for the study of modern China and will be of interest to scholars of theory and culture in general.Contributors. Stanley K. Abe, Ien Ang, Chris Berry, Paul BovÉ, Sung-cheng Yvonne Chang, Rey Chow, Dorothy Ko, Charles Laughlin, Leung Ping-kwan, Kwai-cheung Lo, Christopher Lupke, David Der-wei Wang, Michelle Yeh

Martin Heidegger once wrote that the world had, in the age of modern science, become a world picture. For Rey Chow, the world has, in the age of atomic bombs, become a world target, to be attacked once it is identified, or so global geopolitics, dominated by the United States since the end of the Second World War, seems repeatedly to confirm. How to articulate the problematics of knowledge production with this aggressive targeting of the world? Chow attempts such an articulation by probing the significance of the chronological proximity of area studies, poststructuralist theory, and comparative literature-fields of inquiry that have each exerted considerable influence but whose mutual implicatedness as postwar U.S. academic phenomena has seldom been theorized. Central to Chow’s discussions is a critique of the predicament of self-referentiality-the compulsive move to interiorize that, in her view, constitutes the collective frenzy of our age-in different contemporary epistemic registers, including the self-consciously avant-garde as well as the militaristic and culturally supremacist. Urging her readers to think beyond the inward-turning focus on EuroAmerica that tends to characterize even the most radical gestures of Western self-deconstruction, Chow envisions much broader intellectual premises for future transcultural work, with reading practices aimed at restoring words and things to their constitutive exteriority.

How might the pornographic be associated with Brecht's and Benjamin's media theories? How are Foucault's and Deleuze's writings on visibilities "postcolonial"? What happens when RanciÈre's discussions of art are juxtaposed with cultural anthropology? What does a story by Lao She about collecting reveal about political collectivism in modern China? How does Girard's notion of mimetic violence speak to identity politics? How might Arendt's and Derrida's reflections on forgiveness be supplemented by a film by Lee Chang-dong? What can Akira Kurosawa's films about Japan say about American Studies? How is Asia framed transnationally, with what consequences for those who self-identify as Asian? These questions are dispersively heterologous yet mutually implicated. This paradoxical character of their discursive relations is what Rey Chow intends with the word "entanglements," by which she means, first, an enmeshment of topics: the mediatized image in modernist reflexivity; captivation and identification; victimhood; the place of East Asia in globalized Western academic study. Beyond enmeshment, she asks, can entanglements be phenomena that are not defined by affinity or proximity? Might entanglements be about partition and disparity rather than about conjunction and similarity?Across medial forms (including theater, film, narrative, digitization, and photographic art), and against more popular trends of declaring things and people to be in flux, Chow proposes conceptual frames that foreground instead aesthetic, ontological, and sentient experiences of force, dominance, submission, fidelity, antagonism, masochism, letting-go, and the attraction to self-annihilation. Boundary, trap, capture, captivation, sacrifice, and mimesis: these riveting terms serve as analytic pressure points in her readings, articulating perversity, madness, and terror to pursuits of freedom.

Is a sound an object, an experience, an event, or a relation? What exactly does the emerging discipline of sound studies study? Sound Objects pursues these questions while exploring how history, culture, and mediation entwine with sound’s elusive objectivity. Examining the genealogy and evolution of the concept of the sound object, the commodification of sound, acousmatic listening, nonhuman sounds, and sound and memory, the contributors not only probe conceptual issues that lie in the forefront of contemporary sonic discussions but also underscore auditory experience as fundamental to sound as a critical enterprise. In so doing, they offer exciting considerations of sound within and beyond its role in meaning, communication, and information and an illuminatingly original theoretical overview of the field of sound studies itself.Contributors. Georgina Born, Michael Bull, Michel Chion, Rey Chow, John Dack, Veit Erlmann, Brian Kane, Jairo Moreno, John Mowitt, Pooja Rangan, Gavin Steingo, James A. Steintrager, Jonathan Sterne, David Toop

Is a sound an object, an experience, an event, or a relation? What exactly does the emerging discipline of sound studies study? Sound Objects pursues these questions while exploring how history, culture, and mediation entwine with sound’s elusive objectivity. Examining the genealogy and evolution of the concept of the sound object, the commodification of sound, acousmatic listening, nonhuman sounds, and sound and memory, the contributors not only probe conceptual issues that lie in the forefront of contemporary sonic discussions but also underscore auditory experience as fundamental to sound as a critical enterprise. In so doing, they offer exciting considerations of sound within and beyond its role in meaning, communication, and information and an illuminatingly original theoretical overview of the field of sound studies itself.Contributors. Georgina Born, Michael Bull, Michel Chion, Rey Chow, John Dack, Veit Erlmann, Brian Kane, Jairo Moreno, John Mowitt, Pooja Rangan, Gavin Steingo, James A. Steintrager, Jonathan Sterne, David Toop