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In France, the generation fed of Jap'Anime in the eighties became the first readership of Mangas during the nineties. Some of them have become in the last ten years Asian Drama fans. Digital technology and globalization allowed a worldwide organized community of drama fans, constructed on an effective division of collaborative work at a global scale. Cyber ethnography is made on a forum, observing the way South Korean romantic comedy dramas – still a mysterious cultural object for the French fans – are appropriated. As omnivorous consumers of heterogeneous cultural content as well as intercultural elites of globalizing world, the French drama fans, most of them females, are challenging the cultural hegemony of the American TV series. They claim autonomy in their emotions and cultural tastes against the patriarchal pressure and norms. The pursuit of a specifically female pleasure has a Queer reading potential. French female fans' reception of Asian drama can be understood in terms of a female counter-culture in a digital and global age.
Keywords: Hong-Mercier, drama, fans, séries télé, plaisir féminin, Asie de l'Est, Hong-Mercier, Drama, Fans, TV Series, Female Pleasure, East Asia, Hong-Mercier, drama, fans, series televisivas, placer femenino, Asia del Este
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The classification of the Genbaku Dome (of Hiroshima) as World Heritage in 1996 is part of a trend to distinguish heritage of the worst, like Auschwitz, for its supposedly true, educational and cautionary virtues. During Barack Obama's visit to the site on May 26, 2016, the first American president to do so, he deplored the “lack of historical perspective” at this place of memory which failed to give an adequate “understanding” of the “tragedy of Hiroshima.” Is it possible that the declaration as heritage could have the perverse effect of de-historicizing a site when the intention is to memorialize, thus creating a heritage which holds no memory and, in fact, militates against history? Has a strategy of avoidance and vindication perhaps transformed the Dome into a “place of un-remembrance?” This is one way of questioning the role of UNESCO in the process of building heritage narratives and the complex relationships which exist among memory, history, and heritage.