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This groundbreaking study explores the recent dramatic changes brought about in Japan by the influx of a non-Japanese population, Filipina brides. Lieba Faier investigates how Filipina women who emigrated to rural Japan to work in hostess bars-where initially they were widely disparaged as prostitutes and foreigners-came to be identified by the local residents as \"ideal, traditional Japanese brides.\"Intimate Encounters, an ethnography of cultural encounters, unravels this paradox by examining the everyday relational dynamics that drive these interactions. Faier remaps Japan, the Philippines, and the United States into what she terms a \"zone of encounters,\" showing how the meanings of Filipino and Japanese culture and identity are transformed and how these changes are accomplished through ordinary interpersonal exchanges. Intimate Encounters provides an insightful new perspective from which to reconsider national subjectivities amid the increasing pressures of globalization, thereby broadening and deepening our understanding of the larger issues of migration and disapora.

This chapter contains sections titled: The Anxiety of Masculinity Returning to History, Revising Historiography Family Melodrama and the Search for Masculinity Conclusion

This chapter contains sections titled: Whistling Walking Affets réels References

This paper correlates Sigmund Freud and Rabindranath Tagore's writings on mourning through two specific texts. Despite being contemporaries and profoundly influential, Tagore and Freud's spheres of influence have tended to be separate, so that there have been but few attempts at connecting their philosophies. This essay examines the second chapter of Tagore's novella Play of Four (Chaturanga, 1916) in the light of Freud's essay 'Mourning and melancholia' (1917). It explores how mourning may at once demand confirmation and denial; how it affects love and desire. The essay examines the Freudian concept of the unconscious through Tagore's symbolism; it also looks at Tagore and Freud's references to autobiographical elements and Shakespeare in their writing. The paper thus offers a close and juxtaposed reading of texts by two of the most important writers of the past century, who wrote and revolutionized our thinking about human minds and lives. In doing so, it throws new light on Tagore's novella and further proves the universality of Freud's propositions.

This paper correlates Sigmund Freud and Rabindranath Tagore's writings on mourning through two specific texts. Despite being contemporaries and profoundly influential, Tagore and Freud's spheres of influence have tended to be separate, so that there have been but few attempts at connecting their philosophies. This essay examines the second chapter of Tagore's novella Play of Four (Chaturanga, 1916) in the light of Freud's essay 'Mourning and melancholia' (1917). It explores how mourning may at once demand confirmation and denial; how it affects love and desire. The essay examines the Freudian concept of the unconscious through Tagore's symbolism; it also looks at Tagore and Freud's references to autobiographical elements and Shakespeare in their writing. The paper thus offers a close and juxtaposed reading of texts by two of the most important writers of the past century, who wrote and revolutionized our thinking about human minds and lives. In doing so, it throws new light on Tagore's novella and further proves the universality of Freud's propositions.

The novel frames that question in relation to extraterrestrial visitors and the mysterious objects they leave behind, but the text's titular Visit is not accompanied by other tropes of the genre that one might expect: no war to save humanity breaks out and no plucky hero rises to the occasion. Following the Visit, Harmont goes from being a small, tightly-knit industrial town to a bustling frontier populated by entrepreneurs, scientists, entertainers, and agents of the military industrial complex who seek to cash in on the Zone's promise of wealth, power and fame. Science fiction authors, however, were still subject to persecution under Krushchev - Andrei Sinyavsky ('Abram Tertz') was imprisoned in a labour camp on account of his novel The Makepeace Experiment (1965) - so the Strugatskys had to engage with political themes obliquely to protect themselves. Red is not a hero in the conventional sense, but rather an ordinary person, confused and alienated - the proper inhabitant of a science Action novel as defined by Le Guin: 'a fundamentally unheroic kind of story' that constitutes a 'carrier bag full of wimps and klutzes' (Le Guin 2019: 35).

In a continuum from early voyages of “discovery,” Pacific landscapes continue to be created through the visual representations and geographical imaginings that inform foreign desires. Just as early exploration narratives and paintings fashioned the Pacific as an exotic Eden peopled with alluring women, contemporary media manufactures Pacific landscapes as sites of desire. Beginning with the filming of the Survivor reality television series, this article explores how the visual representations and narrative tropes attached to Efate Island in Vanuatu were instrumental in the commodification of customary land as real estate, subsequently sold to expatriates for tourism resorts and residential housing. Television, tourism, and real estate images are not benign. In these images the landscape is rendered terra nullius—absent of local inhabitants and ripe for possession—enabling the neocolonial possession of Pacific landscapes by foreigners and the dispossession of local Indigenous inhabitants.

The writers of dastan narratives reflect their age-old contextual desire(s) in fictional experiences. The never-ending popularity of these ideologically romantic tales is significant in the history of Urdu language and literature. Metonymically, the dastan, Tilism-e-Hoshruba, encompasses the much celebrated theme of Dastan-e-Amir Hamza-an eternal battle between virtue and vice-in its narrative discourse, but the quickness of the fantasized actions makes this dastan phantasmagorically more thrilling. Despite being enormous source(s) of narrative pleasure in the Subcontinent, these classical discursive practices prove to be an explicit reflection of the textual and sexual politics traditionally perpetuated in the Indo-Islamic patriarchal structures. The rendition of female characters, for instance, in the narrative discourse of Hoshruba, depends on the patriarchal modes of production and representation pre-existing in classical cultural contexts. Presented as alluring objects of the ideological syntax, many of the women in these fictional texts customarily remain victim to the patriarchal narrative gaze. The narrators of dastan employ an evocatively figurative language in sensationalizing the graphic description of the female characters in Hoshruba. From seductions to submissions, all of their acts are pre-eminently destined to serve the phallogocentric desires of their authors, audience and chivalrous heroes. This paper, therefore, is the critical study of the patterns of desire(s) with reference to sexuality and the culture of objectification in Dastan Hoshruba, the Land and the Tilism, Book 1.1 By intersecting romance and sexuality, it also aims at exploring the narrative units of desire that objectify the sexuality of female characters through the mechanics of fantasy and gaze.

In Nightwood,haunting signals the simultaneous presence and absence of the love object to the subject, who in psychoanalytic terms, disavows (simultaneously affirms and denies, includes and excludes) the object.5 Nightwood's frequent spectral tropes suggest the ghosts of rapacious and loved family members, of unspeakable scenes, and, by extension, of nation and gender. In Nightwood, phantoms are literarily functional: the social fabric of the novel presents a collective staging of love and loss.6 Ghosts of lost loves animate the characters' behavior in relation to phantasma tic institutional power (the nobility, the military, the church, and the medical profession), as well as influencing their behavior in relation to human love objects. [...]though Abraham and Torok write that \"to stage a word . . . constitutes an attempt at exorcism, an attempt... to relieve the unconscious by placing the effects of the phantom in the social realm\" {Shell, 176), I argue that Nightwood offers no exorcism through its ghost words because it is the social realm itself that haunts its characters, who like its circus people, have no inner life separate from \"public life\" (11).

Lytton Strachey's private correspondence turns continually to tropes of rediscovery and exhumation. Having made serious effort to arrange and preserve his letters for posterity, Strachey desperately hoped that they would one day be read by future generations. At the heart of this desire was the specter of his self-identified, but during his lifetime publicly undisclosed, homosexuality. As he negotiated the privacy of queer life in the early twentieth century, Strachey fantasized about a world “a hundred years hence” when his letters could finally be made public. The practice of letter writing worked for him as a way to insert himself into that imagined future, sustaining the illusion of a queer touch across time.