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博碩士論文 etd-0913112-175243 詳細資訊
Title page for etd-0913112-175243
論文名稱
Title
遇見全球化之下的印度文化生產:電影、電視、與阿蘭達蒂•洛伊
Encounters in Cultural Production of Globalized India: Cinema, Television, and Arundhati Roy
系所名稱
Department
畢業學年期
Year, semester
語文別
Language
學位類別
Degree
頁數
Number of pages
141
研究生
Author
指導教授
Advisor
召集委員
Convenor
口試委員
Advisory Committee
口試日期
Date of Exam
2012-07-25
繳交日期
Date of Submission
2012-09-13
關鍵字
Keywords
阿蘭達蒂.洛伊、印度電視、印度電影、全球化、流行文化
popular culture, Indian cinema, Indian television, Arundhati Roy, globalization
統計
Statistics
本論文已被瀏覽 5731 次,被下載 2275
The thesis/dissertation has been browsed 5731 times, has been downloaded 2275 times.
中文摘要
2001年,印度以其經濟崛起的新興大國之姿,在獨立六十多年後成為金磚四國的一員。此舉引起境內外對全球化之下的印度想像,且此想像不再侷限於印度電影、電視、文學,更將擴大直結合經濟、人口、歷史、政治學等不同領域的實體。隨著印度經濟自由化與全球化的來臨,藉由不同領域的全球性與在地性,透過歷史的調查及定位解釋除了全球化入何導致印度文化的產生以外,也探討印度文化生產又給予了世界什麼。如此一來,身為印度主流文化中的電影與電視被當作是印度與西方全球化之間的對話,有別於西方對東方的單向文化帝國主義與文化霸權論述。為描繪出印度面臨全球化當下的輪廓,本文除了應用了電影與電視等主流文化的廣泛討論和例子,也結合了撰寫過許多全球化之下的不同議題的作家——阿蘭達蒂.洛伊。面對經濟不景氣、貧富差距所造成的政治動盪與國家分裂,印度政府必須重新評估其對市場導向與經濟價值的政策。因此本文將藉由阿蘭達蒂所提出對企業全球化道德與社會的批判與建議,嘗試建構出全球性想像的歸屬感。
Abstract
In 2001, after more than sixty years of independence, India came to be coined into the acronym, BRIC, recognizing India for her emerging economic development status. Liberalization of India’s economy since 1991 from stringent state control has resulted in the opening up its markets to world participation in the form of lowered trade barriers, and invitation of foreign direct investments. Such changes in the economy have stirred up both external and internal imaginations of a globalized India no longer focused exclusively on her films, television, and literatures, but as an intricately woven entity of conglomerate spheres involving economics, demographics, histories, political science, and so on. This is to inspect the composites of each arena through historical surveys and position each arena’s globality with their respective locality to suggest what they produced for the world, in addition to how globalization produced them. In doing so, the popular culture of the Indian cinema(s) and the Indian television are analyzed as dialogues between Indian nation state and the global rest, striving to differ from the unidirectional discourse of cultural imperialism/hegemony by the general West in the process of globalization. Extensive examples are drawn to map the contours of a globalized India, as well as other social issues are also addressed by introducing Arundhati Roy-who has written extensively on various subjects linked to globalization-for a comprehensive picture of the issues the nation is currently embroiled in in its encounter with globalization. Drawing on Arundhati Roy’s criticism of corporate globalization, the suggestion of a morally and socially responsible globalization is evoked for an alternative global imagination to belonging.
目次 Table of Contents
論文審定書 ..................................................................................................................i
摘要 ..............................................................................................................................ii
Abstract .......................................................................................................................iii
Chapter One ................................................................................................................ 1
Introduction
Chapter Two ...............................................................................................................15
Differentiating Bollywood and the Indian Cinema: Fissures in the Global Circulation
of Indian Films
Chapter Three ............................................................................................................47
Changes in Cultural Re-imagination of the Indian Self: from Doordarshan to
Satellite Television
Chapter Four .............................................................................................................78
Arundhati Roy and Globalization
Chapter Five .............................................................................................................112
Conclusion
Works Cited .............................................................................................................120
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