Suchergebnisse

Return to the garden : gwed, locating intentions and interpretive puzzles -- The trees : classificatory forms, landscape beacons and basic categories -- The forests and the fire : tasim, inverted landscapes, and tree meanings -- A story of Calophyllum : from ecological to social facts -- Vatul : a life form and a form for life -- Geometries of motion : trees and the boats of the eastern Kula Ring.

The observation that agents and structures are co-constituted is now commonplace, yet scholars continue to struggle to incorporate this insight. Rationalists tend to overemphasize actors' agency in the constitution of social order while constructivists tend to overstate the degree to which structures determine action. This article uses The Gift to rethink the agent–structure debate, arguing that the model of social relations Mauss outlines in this work sheds new light on basic concepts in international relations theory such as reciprocity, hierarchy, and obligation. Mauss' social theory locates the generative structure of social order in diffuse exchange relations, what he terms gift exchange, and assumes that actors are both socially positioned within hierarchical relations of exchange and reflexive agents who are able to understand and strive to change those relations. In so doing, he avoids reducing social order to either deeply internalized social norms or instrumental interests, navigating between agents and structures to develop a more dynamic model of social relations. This model of social order permits a richer understanding of hierarchy in world politics that appreciates the experience of domination and the possibility of resistance. It also provides a distinct understanding of the nature of social obligation and the "compliance pull" of social norms, locating their force in the reflexive recognition by actors that they are dependent on shared social relations for meaningful social agency. This points toward an ethics of stewardship that opens up new perspectives on the duties that states and others owe to each other, a duty grounded in an acknowledgment of our mutual vulnerability as socially constituted agents.

Current independent filmmaking in Malaysia has the potential to be an alternative and viable space for creative and political expression, relative to mainstream national cinema (Malay cinema) and to the state. I focus on alternative imagery and sociocultural mappings of Kuala Lumpur in three 'indie' films. All three films contain documentary elements capturing social geographies of the city not represented in mainstream Malay cinema, or even if represented not subjected to a critical gaze by the filmmaker. The Big Durian centres on the perspectives of the city's urban middle class of all ethnicities; Bukak Api portrays the daily struggles of Malay transsexual sex workers in Chow Kit, a predominantly working-class Chinese neighbourhood and red light district; and 18? highlights the opinions of the nongovernmental organization community, bohemians, artists, anarchists and media activists mostly in the cosmopolitan suburb of Bangsar. These representations of the Malaysian urban landscape are pretexts for and politicize the national landscape through a discussion of ethnicity and race politics, sexuality, and the lack of space for freedom of creative expression and critical thinking.

Current independent filmmaking in Malaysia has the potential to be an alternative and viable space for creative and political expression, relative to mainstream national cinema (Malay cinema) and to the state. I focus on alternative imagery and sociocultural mappings of Kuala Lumpur in three 'indie' films. All three films contain documentary elements capturing social geographies of the city not represented in mainstream Malay cinema, or even if represented not subjected to a critical gaze by the filmmaker. The Big Durian centres on the perspectives of the city's urban middle class of all ethnicities; Bukak Api portrays the daily struggles of Malay transsexual sex workers in Chow Kit, a predominantly working-class Chinese neighbourhood and red light district; and 18? highlights the opinions of the nongovernmental organization community, bohemians, artists, anarchists and media activists mostly in the cosmopolitan suburb of Bangsar. These representations of the Malaysian urban landscape are pretexts for and politicize the national landscape through a discussion of ethnicity and race politics, sexuality, and the lack of space for freedom of creative expression and critical thinking.