Ateneo de Manila University: Journals Online
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Wrestling with or Embracing Digitization in the Music Industry: The Contrasting Business Strategies of J-pop and K-pop
Get PDFDigitization has significantly changed the process for producing and consuming music: from analogue to digital, albums to songs, possess to access, audio to visual, and end products to promotional products. In this globalized digital era, actively embracing digitization would likely help enhance the competitiveness of the music industry. The rise of K-pop and the decline of J-pop clearly demonstrate the different results from whether to embrace or wrestle with digitization. The Korean music industry recognized changes brought on by digitization earlier and was more active in responding with effective strategies. By contrast, the Japanese music industry did not immediately respond to these changes but stuck to its rent-seeking behavior in order to take advantage of its larger market size and “sophisticated” copyright regime. The implications from this paper is that business activities are the core element for creating and enhancing competitiveness of the music industries
Cultural Capital and the Tale of Two Lu Xuns
Get PDFHistorically, Lu Xun’s canonical status in China had been used for purposes other than strictly or specifically “literary,” although the aesthetic merits of his works remain indisputable even from the broader perspective of World Literature today. Nonetheless, such uses, which this study refers to as “cultural capital,” have brought about certain inconsistencies and contradictions in the evaluation of his works. In order to survey the complex and shifting history of reception to Lu Xun’s works, this paper attempts to explain the contextual determinations of his canonicity from the rise of vernacular literature in 1917 in China and his use of sophisticated techniques of the short story from the modern aesthetics learned when he studied abroad. Both developments earned Lu Xun a fairly wide readership among the Chinese, and the respect of Chinese intellectuals and the literati from the very beginning of his career; later, his essays on revolutionary literature and proletarian literature appear to have contributed to his full recognition even by the Communist Party since the 1930s. The positive reception of these different sectors resulted in a “cultural capital” that would be at the core of the changes in the history of the reception to his works in China. Drawing from Pierre Bourdieu’s theorization and John Guillory’s elaboration in terms of literary evaluation and in order to show how Lu Xun’s works were used as cultural capital, this paper discusses the changes in representation of Lu Xun’s works in Middle School and High School Chinese textbooks, as well as the related historical movements and social activities after the founding of the People’s Republic of China. The discussion also tries to show how he was later aligned with the political struggle and propaganda demands to convince the masses to follow the government’s policy and practice. In this regard, the study attempts to describe how his works were chosen in accordance with the mechanisms by which political preferences and cultural values are historically inculcated and normalized in literature in China. All these developments resulted in the production of “Lu Xun” whose hybrid identity was anchored on the differing and contradictory uses as cultural capital
“Maranao-ness” Reconsidered:The Impact of Islam on Maranao Dance
Get PDFThis study examines the production and development of dances among the Maranao, a Muslim group in the Southern Philippines. It explores the changing dance traditions and expressions of ethnic identity of Maranao dancers in the face of Islamization. It also draws attention to the role of local elites as mediators of the cultural and artistic practices and meanings between the national-center and local communities. Finally, it demonstrates how Maranao dances are sites of constant negotiation, accommodation, and resistance as local and national cultural authorities and artists struggle to define and gain control of the definition of what it means to be authentic
“Ilaw ng Tahanan” Ang Bisa ng Urbana at Feliza (1864) sa Nobelang Tagalog
Get PDFHigit isaandaan at limampung taon matapos unang mailathala ang Urbana at Feliza (1864), waring napangibabawan na ng mga ideyang bitbit ng globalisasyon at modernisasyon ang diskursong inilatag nito. Layunin ng sansaysay na suriin ang posibleng kabuluhan ng aklat kahit na sa kasalukuyang panahon sa pamamagitan ng, u na, pagli li naw ng mga kontesktong panlipunan at ideyolohikal na kakabit ng pag-iral ng akda at, ikalawa, pagtatasa sa impluwensya ng mga kaisipang inilatag ng aklat, lalu na sa pagsasalarawan ng kababaihan, sa ilang nobelang Tagalog sa unang dekada ng ika-20 dantaon
Bedeviling Quijano De Manila’s Discourses of the Devil’s Advocate
Get PDFUsing a Marxist framework, this paper looks at Nick Joaquin’s conduct of history writing and uses this analysis to comment on the general practice of writing on history. The paper first assesses the extent by which a strand of dialectical thought operates in Discourses. Second, typical assertions of history as “narrativized” discourse are put into test. The ideas of Linda Hutcheon and Edel Garcellano are utilized to bring in the larger sociality where textual discourses take place, thereby shunning the supposed primacy of texts and positing the dynamic ties between history writing and society. Third, the relationship between oral and written discourses and how these types of sources figured in the book are examined. Following this, the potentials of oral sources for alternative practices of history writing and interpretation—more dispersed, refusing the singularity of the “official”—are hailed. Toward the end, a call for reflexivity is reaffirmed. This is done to counter both the pretentiously grand claims of History and the flirtations with liberal tendencies of history writing that opens itself to multiple sources. What is espoused is history writing that is open precisely because of its awareness of its location in the complexity of the societal whole
Im Hwa, Hybridity, and the Anti-Colonial Politics of Modern Korean Literature
Get PDFThis paper deals with the hybridity of modern Korean literature as it tries to explain its anticolonial politics by focusing on the exposition of Joseon literary history and the discourse of the “serious novel” in the late colonial era by Im Hwa, who is considered as one of the foremost critics of modern Korean literature. Im Hwa characterized modern Joseon literature as the result of the hybridization of pre-modern Joseon literature and modern Western literature, thereby devaluing the perceived influence of Japanese literature on modern Joseon literature. This idea was premised on his assumption that the tradition of modern Joseon literature focused on the pursuit of “immaculate individuality.” As such, he imagined the “serious novel” as consistent with the form of the Western novel of the 19th century and as a realization of “immaculate individuality.” However, due to the political and ideological context of the late colonial era, the apparent modern trait of the “serious novel” was deemed to have broken loose from the ideology embodied in the notion of “East Asia” or the “New Order.” As a result, the “serious novel” was believed to have resisted the formal realization of such ideology in what was at that time considered “national literature.” In line with Im Hwa’s argument, the ideology of “national literature” (in contrast to “immaculate individuality” which was marked by modernity), represented pre-modernity, and hence embodied ideas like collectivity and totalitarianism. Modern Joseon literature, in fact, might be viewed as the result of colonization, having developed as it did under the influence of Japanese literature. Nonetheless, Im Hwa’s argument posited the possibility of a combined inscription of literary form and anti-colonial politics in the hybrid formation of modern Joseon literature as shaped by Western modernity
Adapting to Technological Changes in the Music Business: The Case of the British Music Industry and New Record Formats in the 1950s
Get PDFTechnological changes have had a major impact on music industries across all areas of business, ranging from production to distribution. When looking at the history of emerging music industries, it is evident that those who have effectively adapted to new technological changes have been able to achieve significant and meaningful success. This is clearly the case with the British music industry during the emergence of rock and roll from the 1950s to the 1960s.This paper examines how EMI, the leading British music company, responded to changes in record formats in the 1950s. A form of new technological development at the time, the transformation from shellac to vinyl records facilitated the wider consumption of music. Initially reluctant to adapt to this new change, EMI soon found itself in an uncompetitive position. However, once the company’s management recognized the benefits, it rapidly transformed its approach which helped it to achieve unparalleled success and become an established leader in the music industry
