This book is a Topical Exploration in Literacy Education. It's critically examine two interrelated aspects of literacy education and It's attempts to explore issues on literacy by addressing two specific questions, what do we mean by literacy and what does it imply for literacy education.
This book consists of fifteen chapters which can be divided into five major themes: (i) Chinese religion, (ii) Chinese attitudes toward religion, (iii) Chinese spirit cults in Malaysia, (iv) the development of local spirit cults, and (v) major festivals celebrated in Malaysia. The first section deals with three Chinese religious traditions in Malaysia, in particular, and other countries like Singapore, Indonesia, and Thailand in Southeast Asia, in general. The second section attempts to discuss on Chinese attitudes towards religion, Chinese religious conception and its implication in their social life, and how Confucian ethics have contributed to the economic success of the Chinese in Malaysia. The Third section seeks to examine the various aspects of the Nine Emperor Gods, the Datuk Kong (Malay keramat), and the spread of Malay and Chinese spirit cults to Sabah, East Malaysia. The fourth section deliberates on three major processes of change in the development of spirit cults in Malaysia: the localization of Chinese locality cults, including Tudigong and Dabogong, the Sinicization of the Malay keramat, and the indigenization or desinicization of an aboriginal Datuk Seman in Broga, Selangor. And the last section winds up with the practical aspects of celebrating festivals in Malaysia and other parts of Southeast Asia, with special emphasis on festivals in general in the Chinese calendar, the festival of the Nine Emperor Gods in Southeast Asia, and the socio-psychological aspects of the Nine Emperor Gods Vegetarian Festival in Thailand.
Cinematic Howling presents a refreshingly unorthodox framework for feminist film studies. Instead of criticizing mainstream movies from feminist perspectives, Hoi Cheu focuses on women's filmmaking itself. Integrating systems theory and feminist aesthetics in his close readings of films and screenplays by women, he considers how women engage the process of storytelling in cinema. The importance of these films, he argues, is not merely that they reflect women's perceptions, but that they have the power to reframe experiences and, consequently, to transform life. A major contribution to feminist scholarship that will appeal to scholars of both gender and film, Cinematic Howling is written in an approachable and inviting style, full of vivid examples and attention to detail, which will suit both undergraduate and graduate courses in gender, film, and cultural studies.
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