The New Neighborhood Policy of the EU: An Appropriate Response to the Arab Spring?

This article analyzes the extent, substance, and underlying objectives of the European Union's (EU) new neighborhood policy in response to the Arab Spring. It questions whether the new policy approach constitutes a major policy shift or is just “old wine in new wineskins.” The article discusses the causes for much continuity and limited change in the new policy from a neo-institutionalist perspective. It concludes that both continuity and change primarily result from constraints inherent to the EU. In particular, the interaction between the Commission and the Council shapes a policy that corresponds with the normative aspirations and realist interests of the EU but hardly with the needs and expectations of the partner states.     

Constructing a Feminist Cinematic Genealogy: The Gothic Woman's Film beyond Psychoanalysis

The Gothic woman's film, as a particular 1940s phenomenon, responded to the social changes caused by the upheavals of the Second World War. It featured female protagonists, expressed anxieties about marriage and complicated the classic realist premises of narrative and heterosexual closures. As the Gothic narrative trajectory revolved around the heroine's pursuit of marital happiness, these films are often theorized in the sexually differentiated terms of Lacanian psychoanalysis. As a result, they are interpreted as cinematic manifestations of paranoia, primal scenes, passive female desires and the impossibility of female subjectivity. Tay considers how the Gothic woman's film may resist such psychoanalytic codifications by considering critiques of psychoanalysis and investigating the ways in which Gilles Deleuze's cinematic topography may apply to the genre. This engagement with Deleuze reveals how 1940s Gothic films--such as Suspicion (Hitchcock, 1941), Gaslight (Cukor, 1944), and Sleep, My Love (Sirk, 1948)--breach the narrative normativity of classic realist love stories like Random Harvest (LeRoy, 1942). Culminating in a detailed analysis of Hitchcock's Rebecca (1940) as a film that sustains female transgression in its textual operation, Tay posits possibilities for furthering a feminist cinematic discourse beyond psychoanalytic codifications.     

危机幕后的东亚地区秩序分析

本文认为,东亚当前出现"大战不犯,小乱不断"状况的根源在于新旧嬗变中的地区秩序远未就域内各国的政治安排形成制度化设计,在于东亚地区秩序的"有气无力"。历史上,东亚地区秩序曾经历了天朝礼治秩序、条约秩序和冷战下"自主"秩序三种形态。依据历史脉络的梳理,本文认为有美国、中国、日本等七个要素影响着东亚地区秩序。为明确这些要素的特征及相互作用,本文提出了反映国家和国家关系总体形态的"锥体"模型。美国是影响东亚地区秩序的决定性变量,利用"锥体"模型,本文认为,美国现实主义的热情与贪婪,地缘战略的坚持与冷静,相互依赖的推动与困惑等特征共同勾画着东亚战略。中国的复兴是影响东亚地区秩序的突出变量,其显著特征在于整体性的成长。日本"正常化"是影响东亚地区秩序的另一主要变量,其特征在于日本自身的"二重性"。朝鲜半岛、台湾、东南亚由于其关键性和不稳定性而成为东亚地区秩序的缝合口。此外,俄罗斯要素也不可或缺。在美国要素与中国、日本等要素的复杂互动中,中美关系是东亚地区秩序的主轴,作为其中一方的中国,如何把握自身不断增长的力量至关重要。     

Local specificities,global resonances: contesting representations of violence in African films

This article is framed by Adichie's (2010, 2) warning of ‘the dangers of the single story’. It investigates the local specificities and global resonances of the representation of violence projected in two African films. The documentary by Ross Kemp on gangs in Pollsmoor Prison in South Africa (2003) captures and generates distinct cinematic biographies that extend our perceptions of production, exhibition and distribution. In contrast, the fictional film, Dakan, by Guinean producer Mohamed Camara (2001), cinematises the enigma of homosexuality as taboo and an aberration, including the attendant socially constructed homophobia. Both films markedly underemphasise the political and pedagogical imperative of African film producers and audiences, and in this they contest ‘established’ representations of violence that have characterised documentaries about Africa and ‘Third Cinema’ (Solanas and Getino 1996). More critically, this article questions the palpable occlusion of systemic violence that characterises the multiple and complex views of Africa in these two films, to unpack the novel documentation and reformulation of violence, as disseminated by Kemp and Camara.