This article starts with a brief ethnography of the social actions in which Chinese personhood is constructed and then proposes a tripartite approach to help make sense of personhood as both a state of being and the action of doing. In the process of doing personhood, the reflective and ethical self is consistently mobilized and employed to fight against embodied, individuated desires for the purpose of making a proper relational person who is both social and agentive. This interactive cycle among the individual, self and person in the construction of Chinese personhood manifests itself repeatedly in a lifelong process of becoming, marked by earned recognitions, instead of a clearly defined structure of being that is endorsed by a set of natural rights. Chinese personhood, therefore, is inherently dynamic.
The Desiring Individual, Moralist Self and Relational Person
Sexual Relations in the Collectivist Society of Tajikistan
Desire focuses on a particular object, while horniness stems from a generalized feeling of sexual arousal. In Tajikistan, people are discouraged from the former and are expected to experience their sexuality as the latter. The story of Rustam and the clashes with his father Malik over the choice of his bride serve to demonstrate the tensions between the two types of sexuality. Women have more difficulties experiencing desire than men, owing to the reification of the hymen and their expected subordination to their husbands. The conceptual differences between Rustam and his father are to some extent due to differences between collectivism and individualism. The concluding discussion suggests that Western culture may be less individualistic in this regard than is often believed.
Richard Allen and Ira Bhaskar
This article describes how Kamal Amrohi's Pakeezah distils the idioms of the historical courtesan film, poised as they are between the glorification of courtesan culture and lamenting the debased status of the courtesan; between a nostalgic yearning for the feudal world of the kotha and a utopian desire to escape from it. The article argues that Pakeezah self-consciously defines the particular “chronotope”, or space-time, of the historical courtesan genre by showing that nothing less than a transformation of the idioms of that genre is required to liberate the courtesan from her claustrophobic milieu—whose underlying state is one of enervation and death—into the open space and lived time of modernity.
The New Wave of Finnish Girls' Literature
This article examines four works of contemporary Finnish girls' literature. The main focus is on the analysis of various aspects of sexuality represented in the novels in relation to these two questions: How do they depict adolescent female sexuality in comparison to the generic conventions and the history of girls' literature? Do the representations expand, change, preserve and/or challenge the genre? The noticeable change is that the desire and love depicted in contemporary Finnish girls' literature can be lesbian and bisexual. However, although these representations of sexuality challenge some generic limits, the genre characteristics of girls' literature seem to have remained relatively unchanged.
Danny Kaplan and Niza Yanay
Based on a case study of Israeli men's friendships, this article examines the inter-relations between the experience of male relationships in everyday life and established representations of fraternal friendship. We delineate a script for male bonding that echoes ancient epics of heroism. This script holds a mythic structure for making sense of friendship in everyday life and places male relatedness under the spectral ideal of death. Whereas various male-to-male arenas present diverse and often displaced expressions of male affection, we contend that sites of commemoration present a unique instance in which desire between men is publicly declared and legitimized. The collective rituals for the dead hero-friends serve as a mask that transforms a repudiated personal sentiment into a national genre of relatedness. We interpret fraternal friendship as a form of private/public identification/desire whereby the citizen brother becomes, via collective rituals of commemoration, the desired brother.
Daniel M. Knight
Associated with notions of family continuity, lineage, national belonging, and cultural roots, in Greece property inheritance was once highly desired. Yet, in recent years, there has been a rising trend of people wanting to be disinherited because of the economic burden of new taxes introduced as part of the international austerity program and the need to focus all resources on the short-term future of the immediate family. The desire for disinheritance amounts to a longing for disconnectedness, for exiting not only political structures but also kinship structures that have been historically closely linked with a Greek sense of self as particular political subjects. A focus on inheritance demonstrates how the political can be located in the mundane and the everyday.
While permitting other types of exploitation such as racism. With its emphasis on separate spheres, its depiction of Florence's superhuman healing powers, and its concern with redeeming the patriarch, Dombey and Son certainly seems more interested in a mildly gradual improvement of the status quo than in radical change. Yet to ignore Florence's desire, however conveniently that desire sometimes feeds into patriarchal dominance, is to overlook not only a complex portrayal of female sexuality that is neither condemned nor entirely denied, but also a depiction of the painful and difficult task of molding desire into culturally acceptable forms. Although the novel cannot imagine a full integration of women into the 'masculine' realm of politics and business, the dilemma of Florence and Edith in some ways reflects the problematic posed by conflicting concepts of twentieth and even twenty-first century feminism: does one, like Florence, focus on inclusion and acceptance in an attempt to change patriarchal structures from within, thereby abandoning truly radical change; or does one, like Edith, insist on rebellion from the margins, sacrificing community and risking the possibility that the center will conveniently ignore the margin's demands?
The Politics of Culture in the Rape Trial of Jacob Zuma
Thembisa Waetjen and Gerhard Maré
This article examines the recent trial of ANC president Jacob Zuma, and how gender power was framed in respect to, and within, the politics of culture. The trial centred on allegations of rape by Zuma of an HIV positive woman many years his junior, who was also the daughter of a former anti-apartheid struggle comrade. All of these details were considered pertinent, not only to the legal debates about whether a crime had been committed, but also to the political debates raging around the nation's key challenges of high rates of sexual violence and the 'denialist' state response to devastating levels of HIV infection. Many Zuma supporters saw the accusation of rape as politically motivated and as evidence of an anti-Zuma conspiracy. In visibly smaller numbers, women's rights groups were present on the streets as well, trying to draw attention to the general problem of the nation's extraordinarily high rates of sexual violence and the general failure of the justice system to address cases of rape. The article argues that the fervour surrounding this trial, the burning political question of women's status was continually cast as a private matter: debates about relations between men and women came to be focused on issues of propriety, behaviour and etiquette rather than on questions about rights and power. In short, the privatisation of gender was effected through the politics of culture. As culture is politicised as a legal and secular 'right', gender is de-politicised to become a normatively 'private' and 'customary' domain. This is not merely a South African dilemma, but a dilemma which is con-concomitant to the social conditions of modernity itself.
Mobility, Liquidity and History in Shakespeare’s Mediterranean
Rui Carvalho Homem
This article probes the ability of Shakespearean drama to provide expressive resources for coming to terms (conceptually, discursively) with current crises. These include both the power games of global finance, and those disasters that ostensibly concern other strands of geopolitics. The article focuses on two plays, The Comedy of Errors and Pericles, the actions of which unfold in the eastern Mediterranean – an area of the world associated, in the late modern imagination, either with mobility as pleasure (mass tourism and its apparatus) or mobility as crisis (disputed territories, the plight of displaced populations). It highlights the close bonds between prevalent modes – satire and farce in The Comedy of Errors, romance in Pericles – and the plays’ distinct strategies for representing human mobility: the sense of agency proper to acquisitive urges, the victimhood of forced displacement.
P. Steven Sangren
For many Western observers, Chinese religion and cosmology appear rife with contradictions, among them the recurrent motif in litera- ture and myth of preordination or fate, on the one hand, and a relentless attempt, through ritual means, to discern, control, or change fate, on the other. This article argues that the obsession with fate and luck is best comprehended with reference to desire understood as a human universal. Underlying one's hope to control the future lies a psychologically more fundamental wish to claim ownership of one's being. I argue that fate and luck are operators in a symbolic economy that implicitly posits what Freud terms the 'omnipotence of thoughts'. Moreover, if the underlying principle of Chinese notions of fate and luck can be termed an 'economy of desire', it is a principle that also coordinates and encompasses Chinese patriliny, family dynamics, and wider collective institutions.