Pub Date : 2023-11-20DOI: 10.1080/02690055.2023.2237769
Theophilus Kwek
Published in Wasafiri (Vol. 38, No. 4, 2023)
发表于《Wasafiri》(第38卷第4期，2023年)
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Pub Date : 2023-11-20DOI: 10.1080/02690055.2023.2238421
Dina Zaman
Published in Wasafiri (Vol. 38, No. 4, 2023)
发表于《Wasafiri》(第38卷第4期，2023年)
{"title":"Tale of the Dreamer’s Son","authors":"Dina Zaman","doi":"10.1080/02690055.2023.2238421","DOIUrl":"https://doi.org/10.1080/02690055.2023.2238421","url":null,"abstract":"Published in Wasafiri (Vol. 38, No. 4, 2023)","PeriodicalId":42817,"journal":{"name":"Wasafiri","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138529228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-20DOI: 10.1080/02690055.2023.2238405
Sudhir Vadaketh
Published in Wasafiri (Vol. 38, No. 4, 2023)
发表于《Wasafiri》(第38卷第4期，2023年)
{"title":"A Space for Freedom of Thought and Expression: An Interview with The Mekong Review’s Kirsten Han","authors":"Sudhir Vadaketh","doi":"10.1080/02690055.2023.2238405","DOIUrl":"https://doi.org/10.1080/02690055.2023.2238405","url":null,"abstract":"Published in Wasafiri (Vol. 38, No. 4, 2023)","PeriodicalId":42817,"journal":{"name":"Wasafiri","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138529214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-20DOI: 10.1080/02690055.2023.2238425
Kwan Ann Tan
Published in Wasafiri (Vol. 38, No. 4, 2023)
发表于《Wasafiri》(第38卷第4期，2023年)
{"title":"The Great Reclamation; The Age of Goodbyes","authors":"Kwan Ann Tan","doi":"10.1080/02690055.2023.2238425","DOIUrl":"https://doi.org/10.1080/02690055.2023.2238425","url":null,"abstract":"Published in Wasafiri (Vol. 38, No. 4, 2023)","PeriodicalId":42817,"journal":{"name":"Wasafiri","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138529215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-20DOI: 10.1080/02690055.2023.2238417
Reuven Pinnata
Published in Wasafiri (Vol. 38, No. 4, 2023)
发表于《Wasafiri》(第38卷第4期，2023年)
{"title":"People Everywhere: Three Books on Authoritarianism and Resistance","authors":"Reuven Pinnata","doi":"10.1080/02690055.2023.2238417","DOIUrl":"https://doi.org/10.1080/02690055.2023.2238417","url":null,"abstract":"Published in Wasafiri (Vol. 38, No. 4, 2023)","PeriodicalId":42817,"journal":{"name":"Wasafiri","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138529216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-02DOI: 10.1080/02690055.2023.2238412
Maung Htike Aung
{"title":"People of Nowhere; Burma, 2021; The Fall of Revolution","authors":"Maung Htike Aung","doi":"10.1080/02690055.2023.2238412","DOIUrl":"https://doi.org/10.1080/02690055.2023.2238412","url":null,"abstract":"","PeriodicalId":42817,"journal":{"name":"Wasafiri","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139324756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/02690055.2023.2208959
L. Hingley
This paper considers the vision and practice of Indian born transmedia artist Poulomi Basu. It takes Basu's exhibition ‘Eruptions: a decade of creation' (SIDE Gallery 2021) as a starting point to explore her use of analogue and digital photography, film, print, and virtual reality (VR) as tools for collaboration and storytelling with women in India and Nepal. The artist's interview and accompanying images showcase the evolution of Basu’s work and imagination through the projects To Conquer Her Land (2009-12); Blood Speaks: A Ritual of Exile (2013-18) and Centralia (2010-21). Exposing the contemporary injustices and the disinheritance brought by British colonial divisions of land and power, including those along religious lines, the multifaceted stories within these works respond to an important critical juncture. They look back to the past as well as to the present post-colonial struggles in which the complexities and contradictions of tradition are brought firmly into question.
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Pub Date : 2023-07-03DOI: 10.1080/02690055.2023.2208972
Saba Ahmed
Finding myself in a perfectly delightful rabbit hole on the Internet, I learn that the word ‘gossip’ comes from theOld English god-sibb, to mean one who contracted spiritual affinity with another by acting as a companion at a baptism, at a time when womenfolk attended a birth to offer support and talk. It figures that themen around, annoyed by the influx of chattering women, might have lent the word its negative associations of idle prattle as we have it in modern usage. But the ancient promise of gossip as a site for something sacred, for connection, is alluring. The Internet – our modern-day baptismal font where we congregate to go over the day’s news – has a way of making us feel more clued up, and simultaneously invoking the existential dread of not being in the know, or of never being able to know enough, or even of not knowing what to do with all the scraps of information we acquire. (My own pleasurable detour in semantics quickly dulls when I remember I’m on a deadline to write this essay.) To consider the Internet linguist Gretchen McCulloch’s observation in Because Internet (): ‘Writing and weaving are both acts of creation by bringing together. A storyteller is a spinner of yarns, and the internet’s founding metaphor is of a web’ (). The question of how to represent the Internet in contemporary literature – how to tell a story in the digital age – has been taken up by the North American millennial writers Patricia Lockwood and Lauren Oyler to different effects. But might the Internet novel be more universal in scope? Is it possible that our ancestors could have read these works and identified with the human impulse to know more, want access to more? North-West Londoner Sheena Patel’s debut novel I’ma Fan uses the form of the fragment tomimetically enact the feeling of doom-scrolling, but there’s something stickier and wilier about her textual choices. The open interstices of the World Wide Web – its silken network promising the ‘optics of transparency and democracy’, as Patel’s narrator notes () – is actually structured by complicated algorithms and market forces, holes and gaps, and rotting hyperlinks. I’m reminded of how Instagram, Facebook, and other tech firms have made the work of Palestinian creators less visible, for instance, via shadow banning, and sometimes outright deletion and erasure. Or the more insidious way that social justice slideshows on Instagram can neutralise and flatten revolutionary ideals into something performative, gestural, and disembodied. I’m a Fan is fuelled by the narrator’s corrosive emotions, turning in one moment from rage to anguish to despair to wistful longing, rarely letting up for breath. It’s as though the unnamed narrator – a young woman of colour – is aggressively online, furiously clicking through the innumerable open tabs of her mind, accessing memories of her interactions with the problematic older man she wants to be with as if they’re data streams, logging in on Instagram to hate
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