Daniel F. Detzner, Elder Voices: South East Asian Families in the United States, Altamira, Walnut Creek, California, 2004, 240 pp., pbk $26.95, ISBN 0 7591 0577 4.

2005 ◽  
Vol 25 (3) ◽  
pp. 445-446
Author(s):  
GAIL WILSON
2019 ◽  
pp. 317-334
Author(s):  
Chin-Hao Huang ◽  
David C. Kang

States interact in a multiplicity of domains, and most of them are not military in nature. Situating the security domain alongside economic and social domains of interaction among countries is important for creating a full analysis of a state’s priorities in a particular region, or with any particular other state. Failure to appreciate the nonmilitary dimensions of international relations in Asia in particular can lead one to misdiagnose the prospects of conflict and cooperation, potentially leading to tragic spirals. Data on East Asian defense spending over twenty-five years appears to present a puzzle: by many measures, East Asian military expenditures have declined significantly over the past quarter century. This finding appears starkly at odds with the conventional wisdom that Chinese bellicosity, its expenditure on anti-access/area-denial capabilities, and the United States’ reallocation of forces are increasing tensions in the region. Any policy of cross-domain deterrence that fails to appreciate interactions across the full multiplicity of domains of international intercourse risks courting deterrence failure.


Author(s):  
Gérard Camy ◽  
Camilla Wasserman

Here, representations of suicide in fiction film from the United States, Europe, and South East Asia are presented. Films are helpful in addressing discourses on suicide worldwide. Typically, the sufferings of the characters considering suicide or taking their lives occupy a minor part of the plot in scenarios highlighting action, cultural, and social reflection or existential interrogations. In Hollywood dramas, redemption, punishment, lost love, and solitude are major reasons for suicides; often the consequence of genuine injustice. In the European films discussed, suicides on screen often open to comments and reflections on many tragic circumstances explaining the protagonists’ actions. Not recognizing oneself in and by society seems an important reason for suicide. Wanting to understand the motives behind the voluntary death of a peer is recurrent. Much South East Asian cinema reflects the malaise of a society, its interiorized violence, death’ fascination, and the distress of a youth lacking excitement.


2019 ◽  
Vol 46 (1) ◽  
pp. 19-41
Author(s):  
Bhubhindar Singh ◽  
Sarah Teo ◽  
Shawn Ho ◽  
Henrick Tsjeng

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