...Christopher Hill 2002 by Duke University Press 2002 Mori Ogai’s¯ Resentful Narrator: Trauma and the National Subject in “The Dancing Girl” Christopher Hill The career of Mori Ogai,¯ in its most common interpretation, appears to be a symbol...

... a State-Christian normativity on which the “normalcy” of Philippine citizenship is based. Copyright 2011 by Duke University Press 2011 Managing the “Moro Problem”: Fractured Nation/Narration in Bagong Buwan Gladys Nubla When Bagong buwan (New Moon), Marilou Diaz-­Abaya’s...

... . London : Zed Books . Turner Victor . 1974 . Dramas, Fields, and Metaphors: Symbolic Action in Human Society . Ithaca, NY : Cornell University Press . Penan Storytelling as Indigenous Counter- Narrations of Malaysian Nation- State Developmentalism Zawawi Ibrahim and Lin Hongxuan Scholars...

...Gang Yue Copyright © 1995 by Duke University Press 1995 Surviving (in) The Chess King: Toward a Postrevolutionary Nation-Narration Gang Yue Ten years after its initial publication, Ah Cheng’s The Chess King’ has once again achieved recognition...

... and ethical problems of perspective raised by the act of narration itself, that also epitomized the strengths of the genre for Ōgai. His work throughout his career engages readers in moving stories of ethically complex interactions, while at the same time demanding a reflexive critical consciousness...

... slide, the modern periodical, and the recurring notion of outcry. As an autobiographical account, the preface contains narrated events that call for more media‐centered analysis, including the “slide incident” (renamed “screen incident”) and Lu Xun's failed experiment with the periodical medium. Reading...

... demonstrate how the traumatic war experiences of an elderly war-survivor character in “Heiwa dôri to nazukerareta machi or aruite” (“Walking the Street Named Peace Boulevard,” 1986) remain beyond her ability to narrate them. The article argues that Medoruma's war fiction needs to be interpreted within...

... story is narrated, and which cannot be reconciled with the rest of the film. Her captions hover in proximity to the filmic diegesis without seeking presence, rejecting a dialectical engagement with a presence in the film that stands in for a documented presence in the nation. By choosing instead...

... markers of poverty, which have been coined and widely narrated along with the very scheme. Importantly, however, their action does not just end up with a makeshift delineation of the other poor but also marks the embodiment of what they blame. The author’s ethnography brings to light how precarious...

...James E. Roberson This paper maps Okinawan songs from both pre- and postwar periods that have narrated Okinawan experiences of war and prayers for peace, arguing that these songs may be heard as sites of memory that trace Okinawa's conflicted positions within the Japanese empire and state...

... with the narrator's search for vintage bicycles, which are at once commodities, war vehicles, objects of expertise and connoisseurship, and most important, fetishes that allow characters to articulate strained, alienated, colonial, and communal relationships. The bicycle as a legacy of coloniality and a memento...

... and the male Indian manual laborer are respectively the subject of imaginative narration in No Day Off (2006) and My Magic (2008), both directed by Chinese Singaporean auteur Eric Khoo. In these films, Khoo allegorizes these three relations to construct the inter-Asian hinterland as a counter-discursive space...

..., The End of August presents a challenge to historical revisionism’s desire for a single, document-based narrative, for Yū incorporates a multitude of oral accounts of personally experienced history into a nonlinear, highly fragmented narration. Zooming in on an episode in which a young Korean girl...

..., the Korean's inability to discern or narrate a coherent truth in the interrogation room proved the Korean's incapacity for self-governance. When the Korean War broke out in 1950, the global war met this continued state of emergency on the ground, where the question of human subjectivity, and not only...

... but as objects of sex. They are feminized by the hands of the indifferent narrators of the images, and the workers' entirety as humans is reduced to those who are only good at making a living in bed. To analyze, Suzuki takes “Philippine cinema,” the theme of this journal, to mean a site that both veils...

...Gao Bingzhong This article narrates how a temple fair worshipping a dragon god, the object of superstition for about sixty years, became an official piece of intangible cultural heritage. This story takes place in three chapters: First, the temple fair as a local tradition was revived after China...

... this possibility by emphasizing the importance of continuity between places in the past and the present of the historian. In other words, this method reduces to a process of narrating the historical identity of the Eurocentric discipline. Furthermore, I suggest that the work of the wartime Kyoto School contains...

... in The Murmuring , which exceeds or is independent of the film's dialogue and narration, spoken to defy and subvert the tyranny of the social norms that regulate gender and sexuality. Although shot when the research on comfort women was inchoate, the critical power of The Murmuring is still unsurpassed because...

... the violent sociopolitical order as much as they might take the forms of revolutionary activity, resistance, or survival. These novels retrospectively narrate the experience of economic and geopolitical uncertainty within the frames of accepted historical knowledge. While Yang’s novel includes flashbacks...

... cohesion, and, above all, dissenting from the narration of a unified, ascendant national community. The article uses a methodology of the Deleuzian heterogenesis in constituting the radical particularism in the two texts. It argues that the method of heterogenesis is most effective in questioning...