Suchergebnisse

Since 2002, with the enormously successful release of the movie Hero by Zhang Yimou, we have been witnessing the resurrection of the royal theme in contemporary East Asian cinema, and the return of Confucian cosmology as its philosophical foundation. In this paper, I focus on Vietnamese films which represent royal subjects and court life, like Heroes of the Tay Son Dynasty (Tây Sơn hào kiệt; Lý Hùng, Lý Huỳnh, and Phượng Hoàng; 2010), Blood Letter (Thiên mệnh anh hùng, Victor Vũ, 2012), and Tam Cam The Untold Story (Tấm Cám chuyện chưa kể, Ngô Thanh Vân, 2016); and Chinese films, like Hero (英雄, Zhang Yimou, 2002), The Banquet (夜宴, Feng Xiaogang, 2006), and Red Cliff (赤壁, John Woo, 2008). Firstly and most importantly, my essay examines how the cosmic and environmental elements in such movies are manipulated to advocate some particular political discourse as a kind of ecological politics. From this analysis, I analyse and explain the similarities in how the filmmakers in Vietnam and China establish the stereotypes of power and legitimacy of authority utilizing and transforming the Confucian spiritual cosmology. I also try to clarify the difference between the two cinemas in how they express the concepts "the Unity of Heaven and Man" (tianren heyi), "Rectification of Names" (zhengming), and "Virtue of Loving Life" (haosheng) in their political implications. Finally, I will discuss the layers of meaning and visual narratives by analysing the characters and social contexts of the films to reaffirm the varying degrees of influence of Confucian tradition on contemporary forms of cultural and political practices.

Since 2002, with the enormously successful release of the movie Hero by Zhang Yimou, we have been witnessing the resurrection of the royal theme in contemporary East Asian cinema, and the return of Confucian cosmology as its philosophical foundation. In this paper, I focus on Vietnamese films which represent royal subjects and court life, like Heroes of the Tay Son Dynasty (Tây Sơn hào kiệt; Lý Hùng, Lý Huỳnh, and Phượng Hoàng; 2010), Blood Letter (Thiên mệnh anh hùng, Victor Vũ, 2012), and Tam Cam The Untold Story (Tấm Cám chuyện chưa kể, Ngô Thanh Vân, 2016); and Chinese films, like Hero (英雄, Zhang Yimou, 2002), The Banquet (夜宴, Feng Xiaogang, 2006), and Red Cliff (赤壁, John Woo, 2008). Firstly and most importantly, my essay examines how the cosmic and environmental elements in such movies are manipulated to advocate some particular political discourse as a kind of ecological politics. From this analysis, I analyse and explain the similarities in how the filmmakers in Vietnam and China establish the stereotypes of power and legitimacy of authority utilizing and transforming the Confucian spiritual cosmology. I also try to clarify the difference between the two cinemas in how they express the concepts "the Unity of Heaven and Man" (tianren heyi), "Rectification of Names" (zhengming), and "Virtue of Loving Life" (haosheng) in their political implications. Finally, I will discuss the layers of meaning and visual narratives by analysing the characters and social contexts of the films to reaffirm the varying degrees of influence of Confucian tradition on contemporary forms of cultural and political practices. ; Od leta 2002, ko je bil prvič predvajan izjemno uspešen film Junak (英雄, Hero) v režiji Zhang Yimouja, smo bili priča ponovnega vstajenja kraljevske tematike v sodobnem vzhodnoazijskem filmu in vrnitvi konfucijanske kozmologije kot njegovega filozofskega temelja. V tem članku se osredotočam na vietnamske filme, ki uprizarjajo člane kraljevih družin in življenje na dvoru, kot na primer Junaki dinastije Tay Son (Tây Sơn hào kiệt; Lý Hùng, Lý Huỳnh in Phượng Hoàng; 2010), Krvavo pismo (Thiên mệnh anh hùng, Victor Vũ, 2012) in Tam Cam: Zamolčana zgodba (Tấm Cám chuyện chưa kể, Ngô Thanh Vân, 2016), ter kitajske filme, kot so Junak (英雄, Zhang Yimou, 2002), Gostija (夜宴, Feng Xiaogang, 2006) in Rdeča pečina (赤壁, John Woo, 2008). Najprej in najpomembneje, moj esej preučuje, na kakšen način tovrstni filmi ravnajo s kozmičnimi in okoljskimi elementi, da bi tako zagovarjali določen politični diskurz kot vrsto okoljevarstvene politike. V okviru te analize želim preučiti in razložiti podobnosti, kako z uporabo ter preobrazbo konfucijanske duhovne kozmologije kitajski in vietnamski filmarji ustvarjajo stereotipe moči in legitimnosti. V članku bom prav tako poskusil pojasniti razliko, kako s sporočanjem političnih implikacij obravnavani filmski industriji izražata »enotnost Neba in Človeka« (tianren heyi), »pravilnost imen« (zhengming) in »vrednoto ljubezni do življenja« (haosheng). Nazadnje bom z analizo likov in družbenih kontekstov v filmih obravnaval še njihove pomenske sloje ter vizualno narativo, da bi tako ponovno potrdil spreminjajoče se stopnje vpliva konfucijanske tradicije na oblike sodobnih kulturnih in političnih običajev.

This study aims to investigate the impact of the COVID-19 pandemic and how the government's intervention influenced the performance of Vietnamese stock market, including Ho Chi Minh and Hanoi stock exchanges, at the whole market level and especially at the sector-level. Panel data at the sector-level is obtained from 31 January 2020 to 23 July 2021 and divided into four different periods corresponding to the COVID-19 waves in Vietnam. GARCH (1,1) is used to predict stock market volatility and the random effect is employed in the panel regression model. The findings show that while stock market returns on the Ho Chi Minh stock exchange did not witness a significant change before and during the pandemic, empirical result indicates that stock market returns on the Hanoi stock exchange significantly changed. Stock market volatilities indicate a significant increase once the pandemic occurs in Vietnam on both stock exchanges. Specifically, the magnitude of the Covid-19 influence weakens over time. More importantly, we find that the intervention of the Vietnamese government significantly lessens the influence of the Covid-19 pandemic on the stock market, especially in the fourth period corresponding to the on-going wave of COVID 19. The results of this study might offer a useful reference for governors, investors, and other scholars in future public policies and empirical research.

This paper explores dynamics of conflict over forests in Vietnam, as the country lays the groundwork for Reducing Emissions from Deforestation and Forest Degradation (REDD+). Drawing on a case study in Lam Dong province and applying an environmental justice lens, we examine how various social actors assert claims over forests and how these claims invoke different notions of justice, authority and identity. Our analysis highlights that the development and implementation of the project has generated renewed competing claims and conflicts over forests among social actors. Underlying these conflicts there are incompatible notions of justice and associated rights, which lead different actors to accord legitimacy variously to the global norms brought about by REDD+, the customary resource practices of indigenous people, or to the state's laws. We show that the negotiations over forests in REDD+ reflect the influence of the specific historical and political-economic settings in which REDD+ activities take place, including pre-existing conflicts over forests and power relations underpinning forest management. From a policy perspective, our research suggests that any attempts to introduce simplified and uniform regulations for forest governance in REDD+ should be avoided, since local institutions and conceptions of justice will significantly influence what is regarded as legitimate policy and can thus be endorsed as inspiration for sustainable forest governance. Key policy insights REDD+ in Vietnam has spurred contestations over who is legitimately entitled to govern and manage forests. Claims and conflicts over forests can be explained by incompatible and distinct notions of justice, authority and identity. Contestations over justice pose radical challenges to any global and national efforts that attempt to implement simplified rules and ideas for forest based-climate change mitigation. Attention to justice, especially to compatibility and differences in ideas about justice, is crucial for sustainable forest governance.

Timber legality trade restrictions and verification are a bundle of contemporary mechanisms triggered by global concerns about forest degradation and deforestation. The European Union Forest Law Enforcement, Governance and Trade initiative is a significant effort to not only screen out illegal timber and wood products from the EU, but also support trading partner countries to improve their legality definitions and verification processes. But by using bilateral agreements (Voluntary Partnership Agreements) as a key mechanism, the EU legitimizes trade partner nation-states as the authority to decide what is legal. We engage in a theoretical debate about the complexities of the meaning of legality, and then analyze empirical data collected from interviews in Ghana, Indonesia, Vietnam and Europe with policy, civil society and industry actors to understand how different actors understand legality. We find hegemonic notions of Westphalian statehood at the core of 'global' notions of legality and often contrast with local understandings of legality. Non-state actors understand these hegemonic notions of legality as imposed upon them and part of a colonial legacy. Further, notions of legality that fail to conform with hegemonic understandings are readily framed by nation- states as immoral or criminal. We emphasize the importance of understanding these framings to elucidate the embedded assumptions about what comprises legality within assemblages of global actors. ; Peer reviewed