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| Srl | Item |
| 1 |
ID:
189408
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| Summary/Abstract |
This article explores the haunting aspects of queer migration within two documentary films: Season of Migration to the North (Laumann 2015), a film about a queer Sudanese migrant who fled to Norway after hosting a fashion show, and Shelter: Farewell to Eden (Masi 2019), a film about a Filipino transgender migrant navigating European borders. Instead of focusing on how the films make the protagonists intelligible, I focus on how absences are conjured to question the necessity of making the subject intelligible. This is important because queer migrants are often framed as only victims of persecution who must become intelligible to the demands of sexual humanitarianism. Disrupting the way visibility is heralded as an achievement for queer migrants, I explore the importance of unintelligibility in migration, especially when the terms of appearance are controlled by not only norms surrounding sexuality, gender, race, and class but also the violence of European borders.
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| 2 |
ID:
164021
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Taking an ethnographic point of departure in the relationship between two women in Bishkek, the capital of Kyrgyzstan – a doctor and a clairvoyant – the article will focus on the ambiguous ways the visible and the invisible intersect in the lives of the Kyrgyz. Esoteric experiences such as ayan, dream omens, sometimes stand out as flashes of insight which bring clarity and guidance, but are equally often unwanted disturbances which haunt people against their will. In order to do justice to this ambiguity I engage the phenomenology of the alien as developed by Bernhard Waldenfels, arguing that esoteric experiences may be seen as an example of what he terms radical alienness which cast doubt on interpretation itself.
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| 3 |
ID:
191777
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| Summary/Abstract |
This paper examines enduring fears and anxieties about ‘Chineseness’ that widely and persistently circulate in the Philippine cultural imaginary. Chinese Filipinos have historically been implicated in a prejudicial politics of recognition within the Philippine postcolonial state, which has attempted to forge a national identity through problematic notions of ethnic and cultural purity. To undermine what Franz Fanon calls the pitfalls of national consciousness, scholars have often turned to concepts such as syncretism and hybridity, which celebrates heterogeneity and diversity as it opposes essentialism and purity. The agenda of this paper, however, is to examine the forces that generate obstacles to an affirmative politics of cultural assimilation and belonging. Toward that goal, we offer a symptomatic reading of the film Feng Shui (2004), which we suggest condenses anxieties about Chineseness that circulate in the Philippine cultural imaginary, anxieties that amplify difference and potentially undermine the reparative force of hybridity.
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| 4 |
ID:
087982
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| Publication |
2009.
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| Summary/Abstract |
a seductive specter is haunting the efforts to save the nation and the world from a second great depression
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| 5 |
ID:
083843
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2008.
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| Summary/Abstract |
The paper argues that a project to re-member China lies embedded in The Monster that Is History as Wang examines the monstrous violence which ravages modern China through the lenses of fiction. Through the alchemy of what the author calls 'diasporic ambivalence', it finally assumes the form of huawen wenxue, or Sinophone literature. As the project inevitably encounters resistance from the Taiwanese nativist, it falls into an aporia/differend between Sinophone and Taiwanese literature as struggling means to constitute a community formation.
*This paper comes from the author's MA thesis in comparative literature from the University of Washington. During the writing of the thesis, Professor Francisco Kiko Benetiz, my principal advisor, and Professor Yomi Braester, my reader, provided patient, careful and invaluable guidance. I have benefited tremendously from their comments and criticisms, though I alone, of course, am responsible for any inadequacy in the paper. I am most fortunate to have them as mentors: To them my deepest gratitude and heartfelt thanks
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| 6 |
ID:
090570
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| Publication |
2009.
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| Summary/Abstract |
The Armed Forces Special Powers Act (1958) (AFSPA) has been debilitating for people in Manipur, already struggling with socio-economic and political marginalisation since independence. The consistent erasure of Manipur by an apathetic and forgetful 'mainland' India provides the political impetus for anti-state groups demanding autonomy. The people of the state are, however, ambivalent about taking sides, having experienced the violence engendered by both factions. It is within this complexity that I situate my study of the AFSPA. My paper will elaborate on a theory of haunting, a metaphor I evoke to address this complexity of postcolonial modernity and its silences, by focusing on the protesting icons of the Meira Paibi and Irom Sharmila. Examining the idea of haunting provides us with a vocabulary to push at the limits of rationality that both political movements and social sciences rely upon; haunting, then, is both a methodology and a theme that might help us account for lived realities that are far from rational, clear-cut and thus easy to access. The figure of Sharmila emerges then as one not only haunted by the violence of the postcolonial moment but also simultaneously haunting us - isolated, confined and outlawed, she occupies a liminal position between the living and the dead, enacting a disruption that simply cannot be contained by the modern Indian state or even a rational social science seeking to represent her.
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