Travelling with Chinese Theatre-Troupes: A "Performative Turn" in Sino-Southeast Asian Interactions

2021 ◽  
Vol 38 (1) ◽  
pp. 191-217
Author(s):  
Beiyu Zhang
Keyword(s):  
Southeast Asian ◽  
Chinese Theatre

How Sexual Objectification Generates Dehumanization in Western and Eastern Cultures

2018 ◽  
Vol 77 (2) ◽  
pp. 69-82 ◽  
Author(s):  
Robin Wollast ◽  
Elisa Puvia ◽  
Philippe Bernard ◽  
Passagorn Tevichapong ◽  
Olivier Klein
Keyword(s):  
Social Perception ◽  
Past Research ◽  
Objectification Theory ◽  
Southeast Asian ◽  
Sexual Objectification ◽  
Intense Pain ◽  
Eastern Cultures ◽  
Theory Research ◽  
Self Objectification ◽  
Asian Sample

Abstract. Ever since Fredrickson and Roberts (1997) proposed objectification theory, research on self-objectification and – by extension – other-objectification has experienced a considerable expansion. However, most of the studies on sexual objectification have been conducted solely in Western populations. This study investigates whether the effect of target sexualization on social perception differs as a function of culture (Western vs. Eastern). Specifically, we asked a Western sample (Belgian, N = 62) and a Southeast Asian sample (Thai, N = 98) to rate sexualized versus nonsexualized targets. We found that sexual objectification results in dehumanization in both Western (Belgium) and Eastern (Thailand) cultures. Specifically, participants from both countries attributed less competence and less agency to sexualized than to nonsexualized targets, and they reported that they would administer more intense pain to sexualized than to nonsexualized targets. Thus, building on past research, this study suggests that the effect of target sexualization on dehumanization is a more general rather than a culture-specific phenomenon.

Group Differences Among East, South, and Southeast Asian Men and Women in Body Image

2011 ◽  
Author(s):  
Alefiyah Z. Pishori ◽  
Michelle Williams ◽  
Bede Agocha ◽  
Seth J. Schwartz
Keyword(s):  
Body Image ◽  
Southeast Asian ◽  
Group Differences ◽  
Men And Women ◽  
Asian Men

Cross-border Implications: Transnational Haunting, Gender and the Persistent Look of The Eye

2018 ◽  
Author(s):  
Enrique Ajuria Ibarra
Keyword(s):  
Southeast Asian ◽  
Horror Films ◽  
Film Production ◽  
Visual Preference ◽  
Female Protagonists ◽  
Cross Border ◽  
Film Series ◽  
Eastern Traditions

The Eye (Gin Gwai, 2002) and its two sequels (2004, 2005) deal with pan-Asian film production, gender, and identity. The films seem to embrace a transnational outlook that that fits a shared Southeast Asian cinematic and cultural agenda. Instead, they disclose tensions about Hong Kong’s identity, its relationship with other countries in the region, and its mixture of Western and Eastern traditions (Knee, 2009). As horror films, The Eye series feature transpositional hauntings framed by a visual preference for understanding reality and the supernatural that is complicated by the ghostly perceptions of their female protagonists. Thus, the issues explored in this film series rely on a haunting that presents textual manifestations of transposition, imposition, and alienation that further evidence its complicated pan-Asian look. This chapter examines the films’ privilege of vision as catalyst of a transnational, Asian Gothic horror aesthetic that addresses concepts of identity, gender, and subjectivity.

ASA and ASEAN, 1961-1967: Southeast Asian Regionalism

Asian Survey ◽  
1970 ◽  
Vol 10 (3) ◽  
pp. 244-255 ◽  
Author(s):  
Vincent K. Pollard
Keyword(s):  
Southeast Asian ◽  
Asian Regionalism

Factors Affecting Bank Risk-Taking: Evidence from Southeast Asian Countries

2016 ◽  
Vol 23 (2) ◽  
pp. 120-136
Author(s):  
NGUYEN THANH LIEM ◽  
TRAN HUNG SON ◽  
HOANG TRUNG NGHIA
Keyword(s):  
Risk Taking ◽  
Southeast Asian ◽  
Bank Risk ◽  
Asian Countries ◽  
Factors Affecting ◽  
Southeast Asian Countries
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