.... Copyright 2013 by Duke University Press 2013 I Speak in the Third Person: Women and Language in Colonial Vietnam Ben Tran The first day — who knows when — that the word “I” (tôi) appeared in Vietnamese poetry, it was truly surprising. It was as if “I...

...Kamala Kempadoo Copyright © 1999 by Duke University Press 1999 Commentary Slavery or Work? Reconceptualizing Third World Prostitution Kamala Kempadoo Third World prostitution is often described as sexual slavery, as violence to women...

...Jonathan L. Beller 2001 by Duke University Press 2001 Third Cinema in a Global Frame: Curacha, Yahoo!, and Manila by Night Jonathan L. Beller “Could be the Fila-peeensThat’s definitely the Fila-peeensMax California offering expert commentary...

... about China that emphasizes China’s connection to the Soviet Union, while occluding the postcolonial and anti-imperialist dimensions of Chinese socialist culture, including its connection to the Third World movement of the late 1950s and early 1960s. This occlusion of postcolonial dimensions of Maoist...

...Yiren Zheng Abstract This article examines the role of whistling as an elusive voice in the literary world from around the third century onward. It argues that as an alternative to normalized forms of vocal, musical, and poetic expression, whistling destabilized, blurred, and reconfigured notions...

... is reconsidered. Finally, the article ends with two takes on the framing of piratical activities as “parasitical.” First, it argues that the “third” of Third Cinema now lives on in these “Southern” piratical practices. Second, in a more speculative vein, it argues for a development of the parasitical...

... ) and the unresolved debate over Frederic Jameson’s statement that “all third-world texts are necessarily . . . national allegories.” Kim’s “spellbinding” refers to the dual impossibilities faced by postcolonial Korean writers in Japan, who can neither maintain a distance from the Japanese language nor take full...

...Rea Amit Imamura Taihei (1911–86) is considered by many to be the first film theorist in Japan, and he is known chiefly for his two grand theories on documentary film and animation. Yet, at the same time, Imamura also developed a third, no less ambitious theory, that of “Cinema and Japanese Art...

... considered the most powerful trope to convey a sense of injustice. By situating my analysis in the larger context of third-world women and their changing roles vis-à-vis tradition during national crises, I argue that the definition of victimhood is, in fact, never readily transparent, and hence equivocal...

... through a variety of styles—including play-within-the-play, repetitions of plot and motif, and symbolic mise-en-scène—with Cai, in particular, testing the possibilities of antinarrative. Both directors also use a gendered filmic language to illustrate Taiwan's “third-world” deconstruction...

... to the ideological and intellectual conditions that laid the foundation for the critiques during the journal's founding years. The second section of the anniversary issue indicates some viable directions for future scholarship, and the third section includes interviews, commemorations, and commentaries...

... this so-called third world country up to speed with pop trends, Idol reveals the neocolonial processes and the culturalist terms under which global modernity is engendered in late capitalism. The author contends that global mass media — seen as free flowing, immaterial, and unbounded — reinforces...

... and colony. A coda briefly considers a third type of rattan chair and an accompanying set of sensibilities tied to circuits of deployment in the United States military empire in the Pacific after World War II. Copyright 2013 by Duke University Press 2013 Tropical Furniture and Bodily Comportment...

... “conversion” to supporting the Japanese empire, through textual analysis that highlights the continuities and discontinuities between his earlier Hegelian-Marxist philosophy of history and his later concerns with cultural crisis and Kyoto School dialectics. The third part looks more specifically at Sŏ's...

...Kenneth Paul Tan Forum theater is an interactive practice whose “third-world” revolutionary origins have been transposed into techniques for dealing with “oppressions” within bourgeois societies. By constructing an analytical framework that articulates a Marcusean “one-dimensional society” approach...

... adopted its Reform and Opening policy in 1978. Second, the temporary tent set up annually for worship was replaced by a building, dubbed both “museum” and “temple” by way of creative use of a “double-naming method.” And third, the temple fair was formally identified as a piece of intangible cultural...

... might approach the state system and popular religion as both enactments of the state idea. Instead of presenting the relation between the state system and popular religion in terms of a metaphorical or oppositional logic between two terms, local cosmology offers a third term and claims that the state...

... contexts, examining debates over authority and interpretation of propagandistic, racist, and violent visual imagery. The third stems from the promises of digital media and examines the challenges of public participation and dissent in the pedagogical sphere. In what ways should or could the norms...

.../reproductive labor. Second, this essay conceptualizes the net idols' production of cute culture as emotional labor and claims that the digital media economy has effectively expanded the practices through which value is extracted from women's unwaged labor far beyond the domestic sphere. Third, it demonstrates...

...Sarah Raymundo This article intervenes into the connections between Philippine cinema's construction of transnational imaginaries and the post-Marcos era when neoliberal policies such as the export of feminized labor to developed countries by so-called “third world” countries like the Philippines...