Pub Date : 2021-12-15DOI: 10.22452/sare.vol58no2.18
David H.J. Neo
{"title":"Lilian Tong (Ed), Once Upon a Kamcheng","authors":"David H.J. Neo","doi":"10.22452/sare.vol58no2.18","DOIUrl":"https://doi.org/10.22452/sare.vol58no2.18","url":null,"abstract":"","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47124180","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-15DOI: 10.22452/sare.vol58no2.4
Rob Wilson
As an ethical and aesthetic mandate for the new millenium, the Cold War repression of Hiroshima within the American political imaginaryneeds to be symbolically confronted and undoneat national as well as global levels.As Americans and as Japanese citizens of the liberal global order, we must mutually move beyond the Cold War situation of historical repression that had obtained in 1965, when novelist Kenzaburo Ōelamented, “To put the matter plainly and bluntly, people everywhere on this earth are trying to forget Hiroshima and the unspeakable tragedy perpetrated there.” However traumatic, Americans and their allies must try to remember this Hiroshima sublimeas a trauma of geopolitical dominationand racialized hegemony across the Pacific Ocean. By thinking through and re-imagining the techno-euphoric grandeur of this Hiroshima sublime, as well as representing the ideological complicity of ordinary Americans in their own sublime (rapturedby these technological forces of sublimity as manifesting and globally installingPatriot missilesas signs of theirglobal supremacy) and ordinary Japanese (citizens of the Empire of the Sun fascinatedby self-sublation into zeros of solar force) in the production of this nuclear sublime, we can begin to mutually recognize that a ‘post-nuclear’era offers new possibilities and symbolic ties between America and Japan as Pacific powers. This post-nuclear era emerges out of World War II freighted with terror and wonder as a double possibility:at once urging the globe towards annihilation andyet also towards transactional and dialogical unityat the transnational border of national self-imagining. The phobic masochism of the sublime can no longer operate in a transnational world of global/local linkages, although the technological sublimity of the Persian Gulf War had suggested otherwise, withits “sublime Patriot”missiles and quasi-nuclear landscapes lingering in the world deserts from Iraq and Afganistan to Nevada and North Korea.
{"title":"\"Hiroshima Sublime\": Trauma, Japan, and the US Asia/Pacific Imaginary","authors":"Rob Wilson","doi":"10.22452/sare.vol58no2.4","DOIUrl":"https://doi.org/10.22452/sare.vol58no2.4","url":null,"abstract":"As an ethical and aesthetic mandate for the new millenium, the Cold War repression of Hiroshima within the American political imaginaryneeds to be symbolically confronted and undoneat national as well as global levels.As Americans and as Japanese citizens of the liberal global order, we must mutually move beyond the Cold War situation of historical repression that had obtained in 1965, when novelist Kenzaburo Ōelamented, “To put the matter plainly and bluntly, people everywhere on this earth are trying to forget Hiroshima and the unspeakable tragedy perpetrated there.” However traumatic, Americans and their allies must try to remember this Hiroshima sublimeas a trauma of geopolitical dominationand racialized hegemony across the Pacific Ocean. By thinking through and re-imagining the techno-euphoric grandeur of this Hiroshima sublime, as well as representing the ideological complicity of ordinary Americans in their own sublime (rapturedby these technological forces of sublimity as manifesting and globally installingPatriot missilesas signs of theirglobal supremacy) and ordinary Japanese (citizens of the Empire of the Sun fascinatedby self-sublation into zeros of solar force) in the production of this nuclear sublime, we can begin to mutually recognize that a ‘post-nuclear’era offers new possibilities and symbolic ties between America and Japan as Pacific powers. This post-nuclear era emerges out of World War II freighted with terror and wonder as a double possibility:at once urging the globe towards annihilation andyet also towards transactional and dialogical unityat the transnational border of national self-imagining. The phobic masochism of the sublime can no longer operate in a transnational world of global/local linkages, although the technological sublimity of the Persian Gulf War had suggested otherwise, withits “sublime Patriot”missiles and quasi-nuclear landscapes lingering in the world deserts from Iraq and Afganistan to Nevada and North Korea.","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49381280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-12DOI: 10.22452/sare.vol58no1.9
Adele Ward
{"title":"Where History Meets Imagination: An Interview with Chris Mooney-Singh","authors":"Adele Ward","doi":"10.22452/sare.vol58no1.9","DOIUrl":"https://doi.org/10.22452/sare.vol58no1.9","url":null,"abstract":"","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48271153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-12DOI: 10.22452/sare.vol58no1.12
Jona P. Chan
{"title":"rush, hornbill, char siew fan","authors":"Jona P. Chan","doi":"10.22452/sare.vol58no1.12","DOIUrl":"https://doi.org/10.22452/sare.vol58no1.12","url":null,"abstract":"","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48281668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-12DOI: 10.22452/sare.vol58no1.1
S. Gabriel
{"title":"World is Story","authors":"S. Gabriel","doi":"10.22452/sare.vol58no1.1","DOIUrl":"https://doi.org/10.22452/sare.vol58no1.1","url":null,"abstract":"","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41460439","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-12DOI: 10.22452/sare.vol58no1.4
Francis Paolo Quina
The comics medium has long proven to be fertile ground for worldbuilding, spawning not only imaginary worlds but multiverses that have become international transmedial franchises. In the Philippines, komiks (as it is called locally) has provided the Filipino popular imagination with worlds populated by superheroes, super spies, supernatural detectives, and creatures from different Philippine mythologies. The komiks series Mythspace, written by Paolo Chikiamco and illustrated by several artist-collaborators, takes the latter concept, and launches it into outer space. Classified by its own writer as a “Filipino space opera” consisting of six loosely interconnected stories, Mythspace presents a storyworld where the creatures of Philippine lower mythologies are based on various alien species that visited the Philippines long ago. The article will examine the use of interconnected narratives as a strategy for worldbuilding in Mythspace. Drawing from both subcreation and comic studies, this article posits that interconnected narratives is a worldbuilding technique particularly well-suited to comics, and that the collaborative nature of the medium allows for a diversity of genres and visual styles that can be used by future komiks creators to develop more expansive storyworlds.
{"title":"Making Space for Myth: Worldbuilding and Interconnected Narratives in Mythspace","authors":"Francis Paolo Quina","doi":"10.22452/sare.vol58no1.4","DOIUrl":"https://doi.org/10.22452/sare.vol58no1.4","url":null,"abstract":"The comics medium has long proven to be fertile ground for worldbuilding, spawning not only imaginary worlds but multiverses that have become international transmedial franchises. In the Philippines, komiks (as it is called locally) has provided the Filipino popular imagination with worlds populated by superheroes, super spies, supernatural detectives, and creatures from different Philippine mythologies. The komiks series Mythspace, written by Paolo Chikiamco and illustrated by several artist-collaborators, takes the latter concept, and launches it into outer space. Classified by its own writer as a “Filipino space opera” consisting of six loosely interconnected stories, Mythspace presents a storyworld where the creatures of Philippine lower mythologies are based on various alien species that visited the Philippines long ago. The article will examine the use of interconnected narratives as a strategy for worldbuilding in Mythspace. Drawing from both subcreation and comic studies, this article posits that interconnected narratives is a worldbuilding technique particularly well-suited to comics, and that the collaborative nature of the medium allows for a diversity of genres and visual styles that can be used by future komiks creators to develop more expansive storyworlds.","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42680152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-12DOI: 10.22452/sare.vol58no1.6
Sydney Paige Guerrero
In 2012, David Hontiveros revisited and expanded the world of his Carlos Palanca Memorial Award-winning short story, “Kaming Mga Seroks”, in Seroks Iteration 1: Mirror Man, which is set in a dystopic future where cloning is a booming industry, and genetic templates are pirated to create seroks or clones of clones. Mirror Man employs a fragmented style of storytelling that crafts a long-form narrative that is neither plot nor character-driven but world-driven. Through a mix of interviews, messages, recordings, and more, Mirror Man delves deeper into the world’s history and current events than it does into the lives of its recurring characters. In this way, the world of Seroks is not so much a backdrop against which the story takes place but the story’s main draw as it utilizes its dystopic setting to critique Philippine society, thus prompting the reader to reconsider the trajectory of the Philippines and reimagine its future.
2012年，David Hontiveros在《Seroks迭代1：镜像人》中重温并扩展了他获得卡洛斯·帕兰卡纪念奖的短篇小说《Kaming Mga Seroks》的世界，故事发生在一个反乌托邦的未来，克隆是一个蓬勃发展的行业，基因模板被盗版以创建Seroks或克隆人的克隆。《镜人》采用了一种碎片化的叙事风格，形成了一种既不是情节也不是人物驱动，而是世界驱动的长篇叙事。通过采访、留言、录音等，《镜人》比其反复出现的角色的生活更深入地探讨了世界的历史和时事。这样一来，塞洛克斯的世界与其说是故事发生的背景，不如说是故事的主要吸引力，因为它利用其反乌托邦背景来批判菲律宾社会，从而促使读者重新考虑菲律宾的发展轨迹，重新想象其未来。
{"title":"Genetic Templates and Coded Worlds: David Hontiveros’ Seroks Iteration 1: Mirror Man as World-Driven Dystopia","authors":"Sydney Paige Guerrero","doi":"10.22452/sare.vol58no1.6","DOIUrl":"https://doi.org/10.22452/sare.vol58no1.6","url":null,"abstract":"In 2012, David Hontiveros revisited and expanded the world of his Carlos Palanca Memorial Award-winning short story, “Kaming Mga Seroks”, in Seroks Iteration 1: Mirror Man, which is set in a dystopic future where cloning is a booming industry, and genetic templates are pirated to create seroks or clones of clones. Mirror Man employs a fragmented style of storytelling that crafts a long-form narrative that is neither plot nor character-driven but world-driven. Through a mix of interviews, messages, recordings, and more, Mirror Man delves deeper into the world’s history and current events than it does into the lives of its recurring characters. In this way, the world of Seroks is not so much a backdrop against which the story takes place but the story’s main draw as it utilizes its dystopic setting to critique Philippine society, thus prompting the reader to reconsider the trajectory of the Philippines and reimagine its future.","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47267099","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-12DOI: 10.22452/sare.vol58no1.5
Damini Kashyap, Hemjyoti Medhi
With the steady rise in the exploration of the idea of worldbuilding, studies have extensively researched the production and consumption of fantasy worlds created by animation studios like Disney and Studio Ghibli. However, the idea of worldbuilding remains inadequately studied in the context of South Asian fiction. This paper aims to engage with the thematic ramifications of ideas such as subcreation and worldbuilding by critically examining Sea of Poppies (2008), the first novel in Amitav Ghosh’s “Ibis” trilogy. The prevalent scholarship on this novel has largely romanticised the creation of the ship-community of jahaj-bhais and jahaj-bahens which was forged through the bond of jahaji-nata and have argued how, in the process of subcreating a world for themselves, the characters “transgress the accepted boundaries of race, gender, and caste” and free themselves from the artificial barriers and divisions prevalent on land. However, such a reading privileges the perspective of a few major characters such as Deeti and Paulette, while denying the multiple layers and hierarchies that permeate the physical space of the ship. Taking this as a point of departure, this paper explores through the eyes of a minor character, Jodu, how the dominant utopic narrative of jahaji-nata of Paulette and others may be challenged from within the heterotopic world of the Ibis. By reinforcing the structural inequities of our everyday lives in the subcreated world of the Ibis, Ghosh’s textual imagination constantly subverts the dominant perspective while holding the two worlds in precarious equilibrium.
{"title":"Between the Peechil-kamra and the Dabusa: Mapping Worldbuilding and Heterotopic Space on Board the Ibis in Amitav Ghosh’s Sea of Poppies","authors":"Damini Kashyap, Hemjyoti Medhi","doi":"10.22452/sare.vol58no1.5","DOIUrl":"https://doi.org/10.22452/sare.vol58no1.5","url":null,"abstract":"With the steady rise in the exploration of the idea of worldbuilding, studies have extensively researched the production and consumption of fantasy worlds created by animation studios like Disney and Studio Ghibli. However, the idea of worldbuilding remains inadequately studied in the context of South Asian fiction. This paper aims to engage with the thematic ramifications of ideas such as subcreation and worldbuilding by critically examining Sea of Poppies (2008), the first novel in Amitav Ghosh’s “Ibis” trilogy. The prevalent scholarship on this novel has largely romanticised the creation of the ship-community of jahaj-bhais and jahaj-bahens which was forged through the bond of jahaji-nata and have argued how, in the process of subcreating a world for themselves, the characters “transgress the accepted boundaries of race, gender, and caste” and free themselves from the artificial barriers and divisions prevalent on land. However, such a reading privileges the perspective of a few major characters such as Deeti and Paulette, while denying the multiple layers and hierarchies that permeate the physical space of the ship. Taking this as a point of departure, this paper explores through the eyes of a minor character, Jodu, how the dominant utopic narrative of jahaji-nata of Paulette and others may be challenged from within the heterotopic world of the Ibis. By reinforcing the structural inequities of our everyday lives in the subcreated world of the Ibis, Ghosh’s textual imagination constantly subverts the dominant perspective while holding the two worlds in precarious equilibrium.","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42848845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-12DOI: 10.22452/sare.vol58no1.17
Loo Hong Chuang
{"title":"Sharmani Patricia Gabriel (Ed.), Making Heritage in Malaysia: Sites, Histories, Identities","authors":"Loo Hong Chuang","doi":"10.22452/sare.vol58no1.17","DOIUrl":"https://doi.org/10.22452/sare.vol58no1.17","url":null,"abstract":"","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45397237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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