The spatial bipolar of neiwai, that marks proper gender distinctions in the Chinese world, is often assumed to be congruous with the Western dualistic concept of private/public. However, the neiwai binary in the Chinese imaginary is rather a shifting boundary between what is perceived as central and peripheral, or civil and barbaric. In the following, we will explore the philosophical roots of the term neiwai whose ritual, symbolic functions in the process of genderization are extended beyond gender and are intrinsically (...) intertwined with the very defining features of a civilized society. (shrink)

ABSTRACT If phenomenology is a research methodology uniquely positioned to enable us to learn from others, I aim to demonstrate the idea that cinema is a privileged site from which to investigate the notion of virtuality (sight and reality), even in an age where vision’s predominance is waning. In order to do so, I consider the painfully disruptive mother-daughter relationship found cross-culturally and discourse-analytically in contemporary patriarchal societies. This bond is arguably of central concern to feminists (and women in general) (...) since previous research has found that the fractious nature of this dynamic points to a very specific psychological deformation of the female psyche under conditions of sexist oppression. The views of French psychoanalyst and philosopher Julia Kristeva and other feminist contributors to the debate on this psychological construct are considered. The possibility of a cultural remedy inspired by a secularised trend of Chinese Buddhism in post-Maoist China, a society very different from that of the West, is investigated. This will involve the analysis of the film Curse of the Golden Flower (Chinese Mandarin soundtrack and English subtitles). I subsequently explore whether or not a valuable model for the compromised mother/daughter relationship is available within the context of the notion of a “slave economy” in the comparatively healthier mother/son relationship of (contemporary) Han Chinese culture. By means of cross-cultural analysis as research tool, this article finds confirmation for the proposition of a positive mother/daughter dynamic in the French novelist Colette’s relationship with her mother, Sido. In conclusion, I find that cinema (as an art form serving the eye, i.e. virtuality) is particularly well suited as a site to investigate psychological phenomena by way of interpretative phenomenology as a research methodology, even as vision – as the human sense of choice – has begun to wane amid a global crisis in masculinity. (shrink)

A script traditionally used exclusively among women, nüshu, was first identified in southern rural China in 1982. Its discovery opened a new window onto women’s lifeworlds and drew many scholars to explore its ethnographic and theoretical significance. Local authorities paid no attention to this “women’s script” until the 2000s. Scholarly investigation and governmental involvement over the past three decades have shaped nüshu’s cultural politics – specifically, how it is represented and practiced in contemporary society. Based on fieldwork conducted since 1992, (...) this article traces the trajectory of nüshu’s evolving function and social meanings. In the past it served as a communication platform and social forum where women could recount and release their perturbations, and this transformed their vulnerable being into a resilient and determined becoming. This power to transform, however, became a liability once nüshu was claimed as academic property and writing nüshu became a government-supervised profession. All this calls for a rethinking of where nüshu, an endangered expressive tradition, might be heading. (shrink)