Commentary: An Invitation to Cross-Cultural Conversation

2010 ◽  
Vol 19 (4) ◽  
pp. 532-534 ◽  
Author(s):  
Dan Bustillos
Keyword(s):  
Cross Cultural ◽  
Clinical Ethicist ◽  
Ethical Norms ◽  
Cultural Conversation

The case of Mrs. J is interesting not only because of the difficult questions that the clinical ethicist must confront but also because of the intriguing way in which such cases make Western clinicians and ethicists confront their own oft-unspoken cultural ethical norms and presuppositions.

Jewish Christian Sects in Southern Russia

2016 ◽  
Author(s):  
Ellie R. Schainker
Keyword(s):  
Cross Cultural ◽  
Cultural Hybridity ◽  
Political Movements ◽  
Liminal Space ◽  
The Public ◽  
Southern Russia ◽  
Cultural Conversation

Chapter 6 charts the proliferation of Jewish-Christian sects in southern Russia in the 1880s and the confessional journeys of their leaders and adherents who were in conversation with contemporary sectarian and revolutionary political movements. These sects provided a forum for a cross-cultural conversation in the public press on Jewish and Russian fears of conversion, cultural hybridity, and trespassing the boundaries of imperial confessions. The liminal space occupied by the sects highlighted the tension between tolerated confession and personal faith in the empire, and the question of where converts and schismatics communally belonged.

Shared Affinities: Katherine Mansfield, Ling Shuhua and Virginia Woolf

2015 ◽  
Author(s):  
Patricia Laurence
Keyword(s):  
Virginia Woolf ◽  
Visual Arts ◽  
Cross Cultural ◽  
Katherine Mansfield ◽  
Methodological Issues ◽  
Female Writers ◽  
Cultural Conversation

Though the term chinoiserie has historically been applied to the decorative and visual arts, this chapter explores its theoretical and practical extension into literature in a specific conversation among and about three female writers from England and China, Virginia Woolf, Katherine Mansfield and Ling Shuhua, presenting a notion of chinoiserie as a valuable aesthetic training of the British visual and reading eye. Woolf, for example, valued the writing of Ling Shuhua-- labeled ‘the Chinese Katherine Mansfield’ in China-- for ‘the charm of the unlikeness’ of her aesthetic perceptions. The Chinese admired the writing of Katherine Mansfield and Virginia Woolf, translating them into Chinese beginning in the 1920s. This aesthetic reciprocity informs the theoretical and methodological issues in this chapter which weaves the style of ‘chinoiserie,’ feminism and modernism into a cross-cultural ‘conversation.’

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