Pub Date : 2023-01-02DOI: 10.22452/sare.vol59no2.3
Gigy J. Alex, B. Justin
Abstract In the last ten years, Indian cinema has envisaged culinary spaces as patriarchal structures embedded with the hegemonic practices of the family. Subsequently, Indian cinematic spaces have wielded the kitchens of the Indian subcontinent to interrogate the issues related to gender, identity, culture, and the nation through its visual spaces. The culinary is politicized; the domestic space that has depicted hegemonic masculinity and intersectionality for centuries has been analyzed, exposed, and reimagined in movies like Stanley Ka Dabba (Hindi, 2011), The Lunchbox (Hindi, 2013), Kaaka Muttai (Tamil, 2014), Aamis (Assamese, 2019), and The Great Indian Kitchen (Malayalam, 2021). These movies constantly interrogate and challenge the gender roles and performances prevalent in Indian kitchens. The act of cooking, an agent of a woman's creative expression, has long been understood as an act where food preparations become rituals and performances, and kitchen spaces become a prison house for women. These movies question the power relations which overlay the culinary preparation and consumption in kitchen spaces and thereby mimic the manifestation of gender politics and power play. With the increasing patrilocal families, especially in India, cooking is no more an art or a technique but a bonded labour. This paper investigates the practical ways in which the movies lay bare the issues related to the manifestation of gender identity and the representation of the hegemonic other by reimagining, reinventing and redefining culinary spaces.
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Pub Date : 2023-01-02DOI: 10.22452/sare.vol59no2.15
Regina Yoong
Book Review for The Call to Poetry: Poems from Pre-Independence Singapore. Ed. Rosaly Puthucheary.
《诗歌的呼唤：独立前的新加坡诗歌》书评。Rosaly Puthucheary编辑。
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Pub Date : 2023-01-02DOI: 10.22452/sare.vol59no2.10
Sick Lim
Just a New Way to Roll follows the story of Hiroya, a Japanese college student on exchange in the United States of America in the mid-80s. There, he embarked on a journey to discover the true meaning of the authenticity in dishes created in ways other than what he was familiar with. Through his experiences with his new friend Dave, he realized that similar food items prepared differently elsewhere did not mean that they were not genuine; instead they were creative variations to suit the local preferences. Hiroya also learned that it was insensitive to judge each dish without ample knowledge of its origins, and what he thought he had grown up eating was in fact an adapted dish from another country. This story explores the subliminal ways of how food forms part of our identity, and how respecting the identity of others is as important as acknowledging our own.
《Just a New Way to Roll》讲述了80年代中期在美国交换的日本大学生Hiroya的故事。在那里，他开始了一段旅程，以发现以他所熟悉的以外的方式制作的菜肴中真实性的真正含义。通过与新朋友Dave的经历，他意识到在其他地方以不同的方式制作的类似食物并不意味着它们不是真的；相反，它们是符合当地偏好的创造性变体。Hiroya还了解到，在不充分了解每道菜的起源的情况下评判每道菜是不敏感的，他认为自己从小吃的实际上是一道来自另一个国家的改编菜。这个故事探讨了食物如何成为我们身份的一部分，以及尊重他人的身份与承认自己的身份一样重要。
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Pub Date : 2023-01-02DOI: 10.22452/sare.vol59no2.4
Riswita Sarmah
Abstract The paper attempts to explore Aamis (Ravening) (2019), an Assamese film from India, written and directed by Bhaskar Hazarika. The film chronicles a story of passion between Nirmali, a married woman and Sumon, a young researcher. Sumon, a meat connoisseur, studying the meat eating habits of different communities serve as a metafictional strategy of the film. Meat becomes a mode of showcasing liminality and the body politic. The two create a carnivalesque world for themselves, where meat becomes a medium of expressing their unprofessed desire. With the turn of events Sumon makes Nirmali taste his own flesh, camouflaging it as an exotic meat. Resulting in Nirmali's extreme yearning for human flesh. Nirmali undergoes a process of 'unfinalizability', revealing a side to herself that she had never known. Aamis through its surrealistic portrayal of cannibalism brings forth the grotesque and the macabre. Nirmali's desire for human meat turns her into a monstrous 'other'. Sumon and Nirmali become figures of 'homo-sacer', beyond the control of the state. In the conclusive scene, for the first time Nirmali touches Sumon, in public with faces covered by cloth. The markers of identity become ineffectual by then. Almost indifferent to the world around them, they stand as lovers hand in hand who had tasted, that which is "forbidden".
{"title":"Forbidden Love, Meat and Cannibalism: An Analysis of Bhaskar Hazarika's Aamis (Ravening)","authors":"Riswita Sarmah","doi":"10.22452/sare.vol59no2.4","DOIUrl":"https://doi.org/10.22452/sare.vol59no2.4","url":null,"abstract":"Abstract The paper attempts to explore Aamis (Ravening) (2019), an Assamese film from India, written and directed by Bhaskar Hazarika. The film chronicles a story of passion between Nirmali, a married woman and Sumon, a young researcher. Sumon, a meat connoisseur, studying the meat eating habits of different communities serve as a metafictional strategy of the film. Meat becomes a mode of showcasing liminality and the body politic. The two create a carnivalesque world for themselves, where meat becomes a medium of expressing their unprofessed desire. With the turn of events Sumon makes Nirmali taste his own flesh, camouflaging it as an exotic meat. Resulting in Nirmali's extreme yearning for human flesh. Nirmali undergoes a process of 'unfinalizability', revealing a side to herself that she had never known. Aamis through its surrealistic portrayal of cannibalism brings forth the grotesque and the macabre. Nirmali's desire for human meat turns her into a monstrous 'other'. Sumon and Nirmali become figures of 'homo-sacer', beyond the control of the state. In the conclusive scene, for the first time Nirmali touches Sumon, in public with faces covered by cloth. The markers of identity become ineffectual by then. Almost indifferent to the world around them, they stand as lovers hand in hand who had tasted, that which is \"forbidden\".","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44679726","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 : 2022-07-25DOI: 10.22452/sare.vol59no1.27
S. Philip
{"title":"Jit Murad (1960-2022)","authors":"S. Philip","doi":"10.22452/sare.vol59no1.27","DOIUrl":"https://doi.org/10.22452/sare.vol59no1.27","url":null,"abstract":"","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48102926","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 : 2022-07-25DOI: 10.22452/sare.vol59no1.5
Pimpawan Chaipanit
Amid the quietness of ecological awareness in the general Thai artistic circle rise two rare gems: Palme D’Or Thai film maker, Apichatpong Weerasethakul and a Thai cli-fi writer, Pitchaya Sudbanthad. A middle-aged housewife, stuck in an in-between landscape between a modern urban city where she lives with her American husband and a supernatural world of dreams where she falls in love with the sleeping sickness suffering soldier, watches her field hospital being excavated to reveal the ancient ruins underneath with eyes wide open in Apichatpong’s Cemetery of Splendour (2015). A teak mansion in Bangkok built by the family's fortune in teak trade and haunted by memories drenching in family’s and nation’s traumas manifesting as tree spirits, eventually transforms and sinks with the drowned capital in Pitchaya’s Bangkok Wake to Rain (2019). This research paper aims to explicate their representations of social-ecological memories and their subversion of the nationalist and environmental discourse in Apichatpong’s magical-realist mise-en-scènes and film language and Pitchaya’s speculative narrative. This paper also enquires into the nature and critical applicability of EcoGothic in Thai context.
{"title":"Haunting Memories and Haunted Landscapes: Reading the EcoGothic in Apichatpong’s Cemetery of Splendour and Pitchaya’s Bangkok Wakes to Rain","authors":"Pimpawan Chaipanit","doi":"10.22452/sare.vol59no1.5","DOIUrl":"https://doi.org/10.22452/sare.vol59no1.5","url":null,"abstract":"Amid the quietness of ecological awareness in the general Thai artistic circle rise two rare gems: Palme D’Or Thai film maker, Apichatpong Weerasethakul and a Thai cli-fi writer, Pitchaya Sudbanthad. A middle-aged housewife, stuck in an in-between landscape between a modern urban city where she lives with her American husband and a supernatural world of dreams where she falls in love with the sleeping sickness suffering soldier, watches her field hospital being excavated to reveal the ancient ruins underneath with eyes wide open in Apichatpong’s Cemetery of Splendour (2015). A teak mansion in Bangkok built by the family's fortune in teak trade and haunted by memories drenching in family’s and nation’s traumas manifesting as tree spirits, eventually transforms and sinks with the drowned capital in Pitchaya’s Bangkok Wake to Rain (2019). This research paper aims to explicate their representations of social-ecological memories and their subversion of the nationalist and environmental discourse in Apichatpong’s magical-realist mise-en-scènes and film language and Pitchaya’s speculative narrative. This paper also enquires into the nature and critical applicability of EcoGothic in Thai context.","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43238099","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 : 2022-07-25DOI: 10.22452/sare.vol59no1.8
Jeffrey S. Dories
Abstract: This article examines Cixin Liu’s The Three-Body Problem and Ball Lightning using the framework of Liu’s essay “Beyond Narcissism: What Science Fiction Can Offer Literature,” as well as the idea of the ecogothic, as outlined by William Hughes, Andrew Smith, David Del Principe, and Emily Carr. Liu discusses the idea that literature primarily focuses on human relationships. He then explains that the universe is vast, and in the 13.2 billion years of history, humans have only been present for a small percentage of that time. Because of this, he calls for literature to experiment with challenging anthropocentric thought. This article focuses on how Liu uses ecological horror, feelings of dislocation, disorientation, fragmentation, and the uncanny to challenge anthropocentric ideology. It relies on close reading and an examination of intertextuality, especially focusing on Rachel Carson’s Silent Spring and Peter Singer’s Animal Liberation.
{"title":"Decentring Anthropocentric Narcissism: The Novum and the EcoGothic in Cixin Liu’s The Three-Body Problem and Ball Lightning","authors":"Jeffrey S. Dories","doi":"10.22452/sare.vol59no1.8","DOIUrl":"https://doi.org/10.22452/sare.vol59no1.8","url":null,"abstract":"Abstract: This article examines Cixin Liu’s The Three-Body Problem and Ball Lightning using the framework of Liu’s essay “Beyond Narcissism: What Science Fiction Can Offer Literature,” as well as the idea of the ecogothic, as outlined by William Hughes, Andrew Smith, David Del Principe, and Emily Carr. Liu discusses the idea that literature primarily focuses on human relationships. He then explains that the universe is vast, and in the 13.2 billion years of history, humans have only been present for a small percentage of that time. Because of this, he calls for literature to experiment with challenging anthropocentric thought. This article focuses on how Liu uses ecological horror, feelings of dislocation, disorientation, fragmentation, and the uncanny to challenge anthropocentric ideology. It relies on close reading and an examination of intertextuality, especially focusing on Rachel Carson’s Silent Spring and Peter Singer’s Animal Liberation.","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42141305","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 : 2022-07-25DOI: 10.22452/sare.vol59no1.10
J. Brewer
{"title":"How Prescient the Worm, If This Were Noh, Keeping the Mourning","authors":"J. Brewer","doi":"10.22452/sare.vol59no1.10","DOIUrl":"https://doi.org/10.22452/sare.vol59no1.10","url":null,"abstract":"","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42747640","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 : 2022-07-25DOI: 10.22452/sare.vol59no1.9
Christina Yin
This hybrid memoir-collage brings together myths and folklore from Iban communities in Sarawak and deep personal loss amid the pandemic that continues to shape and reshape the lives of humans around the world. The stories of death and life, reincarnation and the mingling of the orang-utan and human populations that share life in the Bornean rainforest are teased forth in this creative nonfiction piece. Upon these layers of many truths, hope still kindles and from this flickering light, new life emerges. It seems that the world that is rebuilt from this pandemic still has room for myths and folklore. Perhaps we live by creating new legends from the true tales that help us to survive though surrounded by the invisible alien that threatens to invade our bodies, damaging and sometimes killing its hosts, trying to find a way to live in this new century. We are living in a dystopian nightmare, but we survive on the hope that there is life still, beyond.
{"title":"Creating Legends, Kindling Hope, and Surviving – Beyond","authors":"Christina Yin","doi":"10.22452/sare.vol59no1.9","DOIUrl":"https://doi.org/10.22452/sare.vol59no1.9","url":null,"abstract":"This hybrid memoir-collage brings together myths and folklore from Iban communities in Sarawak and deep personal loss amid the pandemic that continues to shape and reshape the lives of humans around the world. The stories of death and life, reincarnation and the mingling of the orang-utan and human populations that share life in the Bornean rainforest are teased forth in this creative nonfiction piece. Upon these layers of many truths, hope still kindles and from this flickering light, new life emerges. It seems that the world that is rebuilt from this pandemic still has room for myths and folklore. Perhaps we live by creating new legends from the true tales that help us to survive though surrounded by the invisible alien that threatens to invade our bodies, damaging and sometimes killing its hosts, trying to find a way to live in this new century. We are living in a dystopian nightmare, but we survive on the hope that there is life still, beyond.","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41557637","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 : 2022-07-25DOI: 10.22452/sare.vol59no1.26
A. Whitehead
{"title":"Cherian George and Sonny Liew, Red Lines: Political Cartoons and the Struggle Against Censorship","authors":"A. Whitehead","doi":"10.22452/sare.vol59no1.26","DOIUrl":"https://doi.org/10.22452/sare.vol59no1.26","url":null,"abstract":"","PeriodicalId":40194,"journal":{"name":"SARE-Southeast Asian Review of English","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43675500","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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