Disability has been perceived as a social conditioning phenomenon and a sign system marking the body and mind. Accordingly, photographs of disability could shape our cultural perceptions about disability and disabled persons. In response to this position, we engage in a critical semiotic inquiry into press photographs of disability from The Star, a Malaysian mainstream English newspaper. We adapted Van Leeuwen’s social and visual actor networks to understand the visual techniques employed in depicting disabled actors in these images. The depiction (...) is examined in relation to their absence and/or presence in these published photographs. If absent, the inclusion of non-disabled is analyzed. When present, the social categorizations of roles, grouping and specific/generic depictions are investigated. Findings reveal disabled persons have been symbolically excluded and thus, socially othered. These exclusionary strategies imply disabling journalistic practices which should be cautioned as they could could potentially undermine the advocacy for an inclusive society. (shrink)

The thought of Kang Youwei 康有為, who is revered as one of the most important Confucian politicians of modern China, has received considerable attention in recent decades. While many studies are devoted to Kang’s theory of Confucianism and his political visions underlying the theory, what is generally overlooked is that, to a large extent, his arguments are built upon his understanding of Mohism. This article argues that Kang Youwei employs the Mozi 墨子 and early narratives about Mozi and Mohism to (...) support his claims that Kongzi 孔子 authored the New-Text versions of the Five Classics, that he was a reformer of political institutions, and that he was a religious leader. By shedding light on Kang Youwei’s discussions of Mohism, this article offers a reconstruction of his argument and an alternative perspective for investigating his New-Text interpretation of Confucianism. (shrink)

Background: An understanding of the ethical concerns encountered by visiting nurses in the community is needed. Yet, there is a lack of research on this topic. Objectives: The purpose of this study was to explore the ethical concerns that visiting nurses experience when caring for vulnerable older people living in a community. Design and sample: A qualitative thematic analysis was used to explore the nature of the ethical issues experienced by visiting nurses (N = 13) who care for vulnerable older (...) people, over 65 years of age, in a South Korean community. Methods: In-depth interviews were conducted with visiting nurses. Qualitative thematic analysis was used to explore the main themes of the phenomenon. Ethical considerations: This study was approved by the Institutional Review Board of Chung-Ang University Bioethics Committee in South Korea. Results: Four ethical themes emerged from the qualitative data: (a) quantitative performance rather than quality care, (b) clients being invisible, (c) tuning the level of the relationship with clients, and (d) facing the visiting nurses’ own limitations. Conclusion: This study provides a theoretical basis to understand the ethical aspects of visiting nurses’ interactions with clients, which should facilitate the development of ethical guidelines for visiting nurses to use in making ethical decisions in their practice. (shrink)

This article examines two distinct ways in which anticolonial thinkers in early twentieth-century Korea reconstructed their nondemocratic tradition in an attempt to justify (rather than take for granted) the claim of self-determination. The exposure to modern education and ideas of democracy prompted these thinkers to critically engage their tradition in the struggle for self-determination. That said, they could not simply abandon the cultural foundation of their nation. Japanese colonial rule drew its legitimacy from not only an assimilation ideology that the (...) Japanese and Koreans shared the same ethnic origin but also a developmentalist conception of the colonized that they were premodern and incapable of self-rule. To reject imperial domination, Korean anticolonial thinkers needed to invent out of their country’s nondemocratic tradition (1) an unassimilable nation/people (2) capable of self-rule. Drawing upon the political writings of two early twentieth-century thinkers in colonial Korea, Yi Kwang-su (1892–1950) and Cho So-ang (1887–1958), I discover from their political thought two nuanced approaches to this project of inventing “the people” in the colonial world. I argue that while Yi succeeded in rebutting the colonial ideology of assimilation, he fell into the trap of developmentalism. I contend that Cho, on the contrary, sidestepped this trap with his revisionist reading of the Confucian past as a history of democratic transformation, thus providing an immediate alternative to imperial sovereignty. (shrink)

Using Ang Lee’s Lust, Caution (2007), this article illustrates how an affective mode of address is encouraged when one attends to the ways in which on-screen cinematic audio-visual spectacles are produced through the interaction of different bodies on-screen. Affective cinematic encounters open up other ways of understanding the female body as productive assemblages of everyday affective interactions and relationalities with other bodies within material culture. Particularly, I demonstrate an affective mode of address that attends to the interaction of cinematic objects (...) and how they are constructed, arranged, and engaged with on-screen to reveal hidden dynamics to characters’ relationship and overarching narratives off-screen. (shrink)

In this essay I argue that Machiavelli does not hold that all deception is permissible in war. While Machiavelli claims that "deceit... in the conduct of war is laudable and honorable," he insists that such deceit, or ruses of war, is not to be confounded with perfidy. Any Lee's U.S. Civil War film, "Ride With the Devil," illustrates this difference. The film also illustrates the difference between lying as part of romance, which is permitted, and lying at the moment of (...) truth in a relationship, when admitting one's feelings, which is not. (shrink)

In the context of the well-recognized dialogue between faith and film culture, this article considers Ang Lee's award-winning and controversial film, Brokeback Mountain . Against the misinterpretations and ideological rhetoric that coopted the film, it effects a close reading of the narrative, tracing the development of the film's central theme, the constitutive vocation of the human being to give and receive love, an experience touched by human sinfulness and divine grace. After analyzing the film's masterful adaptation of the short story (...) on which it is based, its complex use of metaphorical language and its rich, expressive soundtrack, the article concludes with a consideration of the epilogue of the film as representing a breakthrough of grace and as an expression of the redeeming power of love. (shrink)

From a perspective of multiculturalism, this paper aims to analyze Ang Lee’s Wedding Banquet and Brokeback Mountain by elaborating on the issues of sex/gender/identity in the hope of exploring the process and problematics of cultural formations in the era of globalization characterized by multiculturalism. Based on Judith Buthler’s deconstructive/postmodernist view of sex/gender/identity, the first part of this essay evaluates simultaneously both the positive and negative aspects of these two films; whereas Deleuze’s literary aesthetics of minor literature offers me a subtle (...) perspective on Ang Lee’s extraordinary achievement in creating a minoritarian artistic work that exposes the complexity of human psyche/desire, which constitutes the second part of this essay. In addition, both parts intend to reexamine, from a perspective of multiculturalism, how Ang Lee’s special micropolitics/aesthetics enables him to rewrite successfully Annie Proulx’s short story for the screen so as to create a globally popular American love story that not only distinguishes him from the mediocre Hollywood commercial romance film makers but also simultaneously brings him fame and profit. (shrink)

Claire Molloy Memento Geoff King Lost in Translation Gary Needham Brokeback Mountain American Indies Series. Edinburgh: Edinburgh University Press.

Upon the release of Brokeback Mountain, the conservative film critic, Michael Medved, in a television interview, predicted that a gay western – or maybe he called it a gay cowboy movie – would not attract an audience, presumably on grounds that the intersection of the audience for gay movies and the audience for westerns would yield, as the logicians say, the null set. Medved was proven wrong, as Brokeback, which cost $14 million to produce, went on to earn $83 million (...) on first release in the United States (plus $95 million abroad). But Medved was also wrong in his initial description. Although rodeos, horses, and cattle percolate through the film, Brokeback does not fit the classic American Western movie storyline. From the films of William S. Hart and Tom Mix down through Gary Cooper in The Virginian and High Noon, John Wayne in Stagecoach, Alan Ladd in Shane, and Clint Eastwood in The Unforgiven, the Western hero wears a cowboy hat, rides a horse, and carries a gun. His ultimate goal is to save the good folks from the bad guys, and he always succeeds. Brokeback, of course, is not like these films at all. Jack Twist and Ennis Del Mar are not engaged in the Westerner’s project of vanquishing evil. In fact, Ang Lee’s film more closely resembles the stories of such star-crossed lovers as Abelard and Heloise, Tristan and Isolde, and Romeo and Juliet. More interestingly, it fits a narrative pattern common in the nineteenth-century operas of Bellini, Donizetti, Verdi, and Wagner. In.. (shrink)

An episiotomy is ‘an intrapartum procedure that involves an incision to enlarge the vaginal orifice,’1 and is primarily justified as a way to prevent higher degrees of perineal trauma or to facilitate a faster birth in cases of suspected fetal distress. Yet the effectiveness of episiotomies is controversial, and many professional bodies recommend against the routine use of episiotomies. In any case, unconsented episiotomies are alarmingly common, and some care providers in obstetric settings often fail to see consent as necessary (...) in context. In their article, ‘The ethics of consent during labour and birth: episiotomies,’ van der Pijl et al reiterate that consent is necessary for episiotomies. They specify, further, that the antenatal period is crucial for exchanging information, establishing trust between the birthing subject and provider, and exploring the birthing subject’s—rather than the care provider’s—values and preferences regarding episiotomies. They recommend an individualised approach, which would enable birthing subjects to choose how and when they want to give consent. I applaud van der Pijl et al on their practicable recommendations regarding consent for episiotomies. This is certainly a step in the right direction where respect for birthing subjects’ bodily autonomy and integrity is concerned. Still, we must be reminded that consent alone is not coextensive with autonomy. The conditions for securing informed consent in healthcare does not guarantee that one’s decision is truly reflective of their values. After all, even valid consent does not rule out ‘normatively significant external influence’.2 Consent acquisition for obstetric procedures present no …. (shrink)

베르그송의 생명사상은 진화론에 대한 나름의 재해석과 종교적 지평의 형이상학적 사유가 잘 어우러져 일치와 종합을 이루고 있는 놀라운 사상이다. 베르그송의 생명에 대한 논의에서 생명의 본질은 물리화학적 차원을 넘어선 초월성을 갖고 있기 때문에 분석과학과 기술은 온전히 이해할 수 없다고 여겨진다. 그는 생명의 근원을 비물질적인 ‘생의 약동(élan vital)’으로 보았고, 생명이란 물질의 장벽을 넘어서는 의식의 자기실현으로 보았다. 모든 생물은 정도의 차이가 있는 의식을 가지고 있으며, 인간에게는 의식이 고도로 발달되어 있어 ‘자기의식’을 가질 수 있다. 그는 생명이 의식을 향해 진화하는 데 가장 중요한 열쇠를 환경적 조건이 (...) 아니라 스스로 미래를 창조하고 선택할 수 있는 ‘자유’라고 보았다. 그래서 그의 진화론을 ‘창조적 진화론’이라 부르는 것이다. 이러한 기본 전제 하에서 그는 기존의 진화론적 생명관을 완전히 새롭게 갱신하였는데, 이는 우리로 하여금 생명의 존엄성을 일깨워주고 있다. 반면 그의 ‘창조적 진화’에서 진화의 방향성에 결정적인 열쇠가 되는 자유란 거의 절대적인 인간의 선택의 자유를 의미하는 것이기에 반드시 낙관적인 것은 아니며, 또한 그가 스스로 공언한 크리스천의 도덕관과도 완전히 조응하지는 않는다. 이러한 의문점을 해결해주는 것이 그의 ‘사랑의 도약’에 관한 이론이다. 이 사랑의 도약에서 이루어지는 ‘생의 변모’가 인간으로 하여금 신비주의적 사랑을 가능하게 하며, 이를 통해 존재하는 모든 것을 동등한 사랑으로 사랑하게 되는 아가페적 사랑 혹은 신적인 사랑이 가능한 것이다. (shrink)

Labyrinths of Love is an interdisciplinary examination of the self, psyche, and soul, providing a comparative analysis from religious, paranormal research and transpersonal theory perspectives. The work creates a unique synthesis that unfolds what it means to be human and demonstrates a visionary epistemology of the self.

Seminal essays on environmental philosophy from Indian, Chinese, and Japanese traditions of thought. Environmental Philosophy in Asian Traditions of Thought provides a welcome sequel to the foundational volume in Asian environmental ethics Nature in Asian Traditions of Thought. That volume, edited by J. Baird Callicott and Roger T. Ames and published in 1989, inaugurated comparative environmental ethics, adding Asian thought on the natural world to the developing field of environmental philosophy. This new book, edited by Callicott and James McRae, includes (...) some of the best articles in environmental philosophy from the perspective of Asian thought written more recently, some of which appear in print for the first time. Leading scholars draw from the Indian, Chinese, and Japanese traditions of thought to provide a normative ethical framework that can address the environmental challenges being faced in the twenty-first century. Hindu, Buddhist, Confucian, and Daoist approaches are considered along with those of Zen, Japanese Confucianism, and the contemporary philosophy of the Kyoto School. An investigation of environmental philosophy in these Asian traditions not only challenges Western assumptions, but also provides an understanding of Asian philosophy, religion, and culture that informs contemporary environmental law and policy. J. Baird Callicott is University Distinguished Research Professor of Philosophy at the University of North Texas and author and editor of many books, including Beyond the Land Ethic: More Essays in Environmental Philosophy, also published by SUNY Press. James McRae is Associate Professor of Philosophy and Religion at Westminster College in Missouri. He is the coeditor (with Robert Arp and Adam Barkman) of The Philosophy of Ang Lee. (shrink)

This study gathered preliminary baseline data on the moral development of journalists using the Defining Issues Test, an instrument based on Kohlberg's 6 stages. Results show that a sample of journalists scored 4th highest among professionals tested using the DIT. The journalists ranked behind seminarians/philosophers, medical students, and physicians but above dental students, nurses, graduate students, undergraduate college students, veterinary students, and adults in general. No significant differences were found between various groups of journalists, including men and women, and broadcast (...) and print journalists. The journalists in the study scored significantly higher on the 3 journalism-specific dilemmas than on 3 nonjournalism dilemmas. (shrink)

In a recent set of publications Ballantyne :485–503, 2011, Synthese 185:319–334, 2012, Synthese 91:1391–1407, 2013) argues that luck does not have a significant role in understanding the concept of knowledge. The problem, Ballantyne argues, lies in what is commonly thought to be a necessary condition for luck—a significance or value condition :385–398, 2007; Lackey, in Austral J Philos 86:255–267, 2008, Ballantyne, in Can J Philos 41:485–503, 2011). For an event, like forming a true belief, to be lucky then it must (...) be of some significance or value to an agent. Yet, if significance, as it has also been commonly thought, plays a role in determining the degree of luck :485–503, 2011), then this leads to a result similar to an absurd form of pragmatic encroachment. If this problem cannot be avoided, then anti-luck epistemology should be abandoned. However, this paper will argue that with proper considerations about the nature of luck according to at least one theory, no such problem arises. (shrink)

This article discusses the Tang Wei incident, which evolved across the first half of 2008, during the run-up to the Olympic Games in Beijing. Tang Wei is a Chinese actress whose breakthrough role in Ang Lee’s film Lust, Caution caused a sensation amongst Chinese audiences. The nudity and sex scenes in the film were explicit, and as such challenged accepted norms in film content. This aspect of the film, combined with the characterization of a national traitor as a heroine, caused (...) deep concern among some parties involved in film regulation and censorship. The argument presented here is that Tang Wei, who was singled out for criticism and upon whom travel and work restraints were placed in the aftermath of the film’s release, was made a scapegoat for the disgust experienced by a masculinist political class when faced with female dissent and sexuality. (shrink)

An ethics of bewilderment, which differs dramatically from the more familiar ethics of ease, is best understood through poetic presentations. Using examples drawn from Chinese and Western sources—notably Du Fu and Dante—this inquiry treats bewilderment as both an emotion and a virtue. Both these forms of bewilderment involve an acknowledgment of how minimal is the ethical confidence we have, given the feelings we have and the judgments we must make, but they also extend in productive ways the implications of that (...) acknowledgment. (shrink)

Independent philosopher Lee (recently of the U. of Manchester) attends to the deeper implications of ecologically insensitive technology beyond its polluting effects. Contrasting modern with premodern worldviews provides the context for exploring how new sciences like biotechnology require an expanded environmental ethos encompassing both the biotic and the abiotic. The author considers misconceived the notions of nature as either a work of art or a mere social construct per some postmodern thinking. Annotation copyrighted by Book News, Inc., Portland, OR.

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 45, no. 1. © 2019 by Feminist Studies, Inc. 13 Stephanie Yingyi Wang When Tongzhi Marry: Experiments of Cooperative Marriage between Lalas and Gay Men in Urban China Ang Lee’s film The Wedding Banquet could be classic introductory material for tongzhi studies and, particularly, for research on cooperative marriage.1 In the film, Wai-Tung, a Taiwanese landlord who lives happily with his American boyfriend Simon in New York, (...) is troubled by his parents’ constant efforts to try and find him a bride. His partner Simon suggests he could arrange a marriage of convenience with WaiTung ’s tenant Wei Wei who is from mainland China and is also in need of a green card to stay in the United States. However, their plan backfires when Wai-Tung’s enthusiastic parents arrive in the United States and plan a big wedding banquet. As the film critic and scholar Chris 1. Tongzhi, literally “same purpose,” is the Chinese term for “comrade.” Since the 1990s, it has been appropriated to replace the more formal tóngxìnglìan (same-sex love) to refer to gay men and lalas (same-sex desiring women) in the Chinese-speaking world. The translation of xinghun as “cooperative marriage” is debatable, as xinghun literally means “pro-forma marriage.” In other works, “contract marriage,” “fake marriage,” or “pro-forma marriage” are used to refer to gay-lala marriage. Informed by Lucetta Kam’s work, I use “cooperative marriage ” to highlight that such marriage is not merely functional without sustenance, but is contingent on the cooperation and negotiation between multiple parties in the relationship, as my findings suggest. See Lucetta Yip Lo Kam, Shanghai Lalas: Female Tongzhi Communities and Politics in Urban China (Hong Kong: Hong Kong University Press, 2013), 85. winner of the 2018 Feminist Studies Graduate Student award 14 Stephanie Yingyi Wang Berry points out, analysis of the film rests not on any individual, but on the Confucian family as “it negotiates the interface with globally hegemonic American culture,” suggesting that there exists an understanding of gayness in the context of the family that is distinct in Chinese culture.2 Berry continues to argue that the moral ambivalence produced by the film is structured by different sets of values: the gay person is not merely concerned about individual identity fulfillment, but he also adjusts his actions to satisfy the family expectation; the parents, especially the father figure, is not merely a patriarch with strict moral provisions and standards, but someone who can allow for implicit negotiation to keep the surface harmony as long as he gets a grandson; the woman is not merely an independent agent freed from social constraints, but a bride who is also attached to emotional comfort and conjugal ideals. Just as The Wedding Banquet tactfully reveals one type of cooperative marriage with its mutual benefits and examines the multilayered complexity of each individual player in the marriage game, this research takes as its subject cooperative marriage between gay men and lalas as an exciting departure to understand queer subjectivities and queer kinship intersected with gender, sexuality, class, and tongzhi politics in urban China.3 Though seemingly monolithic, marriage and family have become contested terrains for tongzhi to negotiate their gender performance, queer desires, and aspirations for better lives. The transnational makings of gayness and rights-based identity politics have contributed to the increasing awareness of a cosmopolitan gay identity and the desiring of alternative life choices of Chinese tongzhi, which lays the very foundation of their motivation to seek ways to cope with the heteronormative family model. Coming out and gay marriage are upheld as primary tropes of identity politics, facilitated by the self-identified tongzhi grassroots groups that emerged during the initiation of AIDS work in 1994 for gay men and at the 1995 Fourth World Conference on Women, which gathered hundreds of lesbians from around the world in Beijing.4 How2. Chris Berry, “Wedding Banquet: A Family (Melodrama) Affair,” in his Chinese Films in Focus: 25 New Takes (London: British Film Institute, 2003), 183. 3. Lala is a slang term in China for same-sex desiring women and includes lesbian, bisexual, and trans women. 4. Katie King, “‘There Are No... (shrink)

Complex tensions define us, and that is why rational evaluative analysis and the deliberate application of principles to cases can, at best, claim to account for only a limited register in the full compass of ethical voice. Close analysis of brief texts from the "Mencius" and Dante's "Inferno" discloses in both an approach to ethical reflection that aims to expand the capacity for virtue, the ethical skillfulness exercised in response and evaluation, through affective engagement of the reader. This approach, a (...) kind of "re- flexive tropology," may involve us in a Han-tan walk. Nevertheless, if virtue and models of the self are interconnected, then right self-understanding is where the foundations of virtue are laid. Because the religious orientation calls into question the false fixities that inform ordinary activities and ordi- nary models of the self, it is crucial to the work of distinguishing among true and false forms of virtue. (shrink)

Political character, the dynamic intersection of personality and public performance within a cultural and historical context, is appropriately the subject of news reports. The article provides journalists with an ethical rationale for covering political character while acknowledging the human need for privacy and then outlines a set of characterrelated issues that journalists should explore. It concludes with the suggestion that journalists should once again begin to cover the public record of political figures in-depth and that this public record be linked (...) with deeper, psychologically based explorations of character. (shrink)