Project MUSE®: Journal of Asia-Pacific Pop Culture - Latest Articles
https://muse.jhu.edu/journal/720
Project MUSE®: Latest articles in Journal of Asia-Pacific Pop Culture.daily12026-05-11T00:00:00-05:00text/htmlen-USVol. 1 (2016) through current issueLatest Articles: Journal of Asia-Pacific Pop CultureTWOProject MUSE®Journal of Asia-Pacific Pop Culture2380-76872380-7679Latest articles in Journal of Asia-Pacific Pop Culture. Feed provided by Project MUSE®Digital Intimacies: Queer Men and Smartphones in Times of Crisis by Jamie Hakim, James Cummings, and Ingrid Young (review)
https://muse.jhu.edu/article/983081
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In Digital Intimacies: Queer Men and Smartphones in Times of Crisis, Jamie Hakim, James Cummings, and Ingrid Young present a body of work that delves beyond the initial ideas about hook-up culture and apps such as Grindr. The authors examine broader definitions surrounding queer men's intimate relationships and digital media. The book makes a critical contribution to media studies and queer theory by examining the everyday digital practices of queer men, particularly in the context of the COVID-19 global pandemic. The authors situate their analysis within the overlapping crises of the pandemic, centered around key events that further shaped online interactions, including the introduction of "safety bubbles," the
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/720/image/coversmallDigital Intimacies: Queer Men and Smartphones in Times of Crisis by Jamie Hakim, James Cummings, and Ingrid Young (review)2026-02-18text/htmlen-USDigital Intimacies: Queer Men and Smartphones in Times of Crisis by Jamie Hakim, James Cummings, and Ingrid Young (review)2026-02-182026TWOProject MUSE®151772026-05-11T00:00:00-05:002026-02-18Twelfth Night by William Shakespear (review)
https://muse.jhu.edu/article/983082
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The Delacorte Theater, home to Shakespeare in the Park, closed at the end of the 2023 season to undergo an almost two-year renovation. New Yorkers were eager to see the remodel and return to a cherished summer theater tradition. Since 1962, the Delacorte has staged at least one and often two or three Shakespeare plays every summer, out in the open, free to the public, in the heart of Central Park. Joseph Papp, the founder of the Public Theater in New York, believed that extraordinary theater should be accessible to all. James Earl Jones, Raul Julia, Sam Waterston, Ruby Dee, William Hurt, Meryl Streep, Morgan Freeman, Denzel Washington, and Natalie Portman, among many other iconic thespians of the past fifty-plus
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/720/image/coversmallTwelfth Night by William Shakespear (review)2026-02-18text/htmlen-USTwelfth Night by William Shakespear (review)2026-02-182026TWOProject MUSE®111552026-05-11T00:00:00-05:002026-02-18Fashioning Wonder: A Cabinet of Curiosities (review)
https://muse.jhu.edu/article/983083
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The Fashioning Wonder: A Cabinet of Curiosities exhibition was curated by Dr. Colleen Hill, who is senior curator of costume at the Museum at the Fashion Institute of Technology (MFIT). Hill holds an MA in Fashion and Textile Studies: History, Theory, Museum Practice from FIT and a PhD from the University of the Arts London. Since joining MFIT in 2006, she has curated eighteen exhibitions, including Statement Sleeves (2024), Shoes: Anatomy, Identity, Magic (2022), Reinvention and Restlessness: Fashion in the Nineties (2021), Paris Refashioned, 1957–1968 (2017), and Fairy Tale Fashion (2016).The Fashioning Wonder exhibition has various themes including "Aviary," "Anatomical Theatre," "Artisanship," "Kunstkammer"
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/720/image/coversmallFashioning Wonder: A Cabinet of Curiosities (review)2026-02-18text/htmlen-USFashioning Wonder: A Cabinet of Curiosities (review)2026-02-182026TWOProject MUSE®62352026-05-11T00:00:00-05:002026-02-18"I Was Happy the Whole Time and Still Feel Happy About It Now": Online and Offline Experiences of Hong Kong Cosplayers
https://muse.jhu.edu/article/983084
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Cosplay, a blend of costume and play, is more than just dressing up as a favorite character. It is a cultural phenomenon where adolescents immerse themselves in narratives and characters to express identity.1 Participants, known as cosplayers, derive pleasure, meaningful experiences, and personal fulfillment from embodying their beloved characters.2 Influenced significantly by anime, cosplay has surged in popularity over the past two decades, paralleling the global rise of Japanese anime culture. This cultural influence extends beyond comics and anime cafés, permeating entertainment through animations, music, games, and even online platforms such as YouTube. Anime characters, such as those from Creamy Mami, Dragon
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/720/image/coversmall"I Was Happy the Whole Time and Still Feel Happy About It Now": Online and Offline Experiences of Hong Kong Cosplayers2026-02-18text/htmlen-US"I Was Happy the Whole Time and Still Feel Happy About It Now": Online and Offline Experiences of Hong Kong Cosplayers2026-02-182026TWOProject MUSE®958742026-05-11T00:00:00-05:002026-02-18Echoes of Belonging: Navigating Diaspora and Identity in Indian Poetry
https://muse.jhu.edu/article/983085
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Indian poetry in English has intricately redefined the Indian diaspora, which encompasses a variety of identities and experiences. It serves as a powerful medium for exploring the complexities of migration, cultural displacement, and identity negotiation. Indian poets who write in English, such as A. K. Ramanujan, Meena Alexander, and Nissim Ezekiel, explore the interaction of belonging and alienation, home and exile, tradition and modernity. Their works reflect intricate depictions of diasporic subjectivities, emphasizing nostalgia, hybridity, and transnationalism. By leveraging linguistic creativity and intertextuality, these poets question Eurocentric assumptions and advocate a pluralistic view of cultural
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/720/image/coversmallEchoes of Belonging: Navigating Diaspora and Identity in Indian Poetry2026-02-18text/htmlen-USEchoes of Belonging: Navigating Diaspora and Identity in Indian Poetry2026-02-182026TWOProject MUSE®758492026-05-11T00:00:00-05:002026-02-18John Glover and the Primal Scene of Australian Art
https://muse.jhu.edu/article/983086
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In this article, I wish to return to the association that is now well established between the work of the early Australian colonial artist John Glover and the uncanny. It is a connection that has been principally developed by Ian McLean, first in his groundbreaking work White Aborigines: Identity Politics in Australian Art, and then reaffirmed in his more recent Double Nation: A History of Australian Art. Glover's work is central to both books, positioned not only as that which initiates the history of Australian art but equally as standing for an unresolved impasse around which this history continues to circulate. The two crucial features that McLean identifies in Glover's work in relation to this, and which I
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/720/image/coversmallJohn Glover and the Primal Scene of Australian Art2026-02-18text/htmlen-USJohn Glover and the Primal Scene of Australian Art2026-02-182026TWOProject MUSE®707792026-05-11T00:00:00-05:002026-02-18Hegemony, Subalternity, and Subjectivity in the Emergence of Chinese "Losers' Films"
https://muse.jhu.edu/article/983087
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The relationship between ideological formation and subjectivity within the framework of hegemony theory has received limited scholarly attention in popular culture studies. Existing academic discourse has primarily examined how popular culture facilitates social reproductions through the evolution of ideology and representations. Relatively little research has explored how this process actively works in subjective dimensions. This gap has resulted in an incomplete understanding of the social functions of popular culture. This article aims to address this limitation.Since the societal function of popular culture lies in its capacity to generate widespread appeal, this article focuses on the immensely popular Chinese
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/720/image/coversmallHegemony, Subalternity, and Subjectivity in the Emergence of Chinese "Losers' Films"2026-02-18text/htmlen-USHegemony, Subalternity, and Subjectivity in the Emergence of Chinese "Losers' Films"2026-02-182026TWOProject MUSE®637882026-05-11T00:00:00-05:002026-02-18Letter from the Editors
https://muse.jhu.edu/article/983088
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It is a confronting thought that, in our present time, popular culture is both a discrete concept and a universal phenomenon. Universal because it is contained in almost every encounter in our daily lives, either explicitly or through inflection. In a different time, in "the old days," it was proportionately far easier to differentiate popular culture from high or classic culture because the value system implied that the former was always more debased and simplified, the child to the adult. This has decisively changed, and what compounds the problems of classification and understanding is the very diversity of popular culture and that it is now a sub-branch of high culture or, rather, that high culture is a
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Project MUSE®https://muse.jhu.edu/2026-05-11T00:00:00-05:00https://muse.jhu.edu/journal/720/image/coversmallLetter from the Editors2026-02-18text/htmlen-USLetter from the Editors2026-02-182026TWOProject MUSE®84582026-05-11T00:00:00-05:002026-02-18