H Kim

This paper provides estimates of the economic welfare effects of tobacco taxation in India, S.Africa, S.Korea, Japan and the European Union. It argues that past studies of the cost-benefits of smoking are flawed as they fail to net out Paretoirrelevant pecuniary externalities. It estimates tobacco demand for both the myopic and rational addiction models and finds the latter invariably perform better. It finds that the net welfare losses associated with current tax levels an increase over current taxation of 10% and an increase of 10% a year for!0 years in all these countries, but particularly in the poorest, are large.Cet article fournit des estimations des effets des taxes sur le tabac sur le bien-être : l’Inde, l’Afrique du Sud, la Corée du Sud, le Japon et l’Union Européenne. L’article soutient que les analyses antérieures des coûts et des bénéfices de la cigarette sont erronées car elles ne tiennent pas compte des externalités pécuniaires non pertinentes dans un monde parétien. Il donne des estimations de la demande non tant pour les modèles myopes que pour ceux supposant une addiction rationnelle et constate que ces derniers donnent de meilleurs résultats. Il en ressort aussi que les pertes nettes de bien-être associées aux niveaux actuels de taxes, à une augmentation de 10% des taxes actuelles et à une augmentation annuelle de 10% des taxes sur 10 ans dans toutes les zones étudiées, mais particulièrement dans les plus pauvres d’entre elles, sont conséquentes.

This article interrogates the way/s in which rival schools studying hypnotism in late 19th-century France framed what counts as valid evidence for the purposes of science. Concern over the scientific reality of results is particularly situated in the notion of simulation (the faking of results); the respective approaches to simulation of the Salpêtrière and Nancy schools are analysed through close reading of key texts: Binet and Féré for the Salpêtrière, and Bernheim for Nancy. The article reveals a striking divergence between their scientific frames, which helps account for the bitterness of the schools’ disputes. It then explores Bernheim’s construction of scientific authority in more detail, for insights into the messiness entailed by theorizing hypnotism in psychical terms, while also attempting to retain scientific legitimacy. Indicative of this messiness, it is argued, is the way in which Bernheim’s (apparently inconsistent) approach draws on multiple epistemic frames.

This paper attempts to reinterpret the idea of minjung messiah, a major doctrine of Korean minjung theology, in order to reveal its nondualistic understanding of Christian eschatology, by using process non-substantialist metaphysics. In a dialogue with process panentheism, minjung theology gets philosophical languages to articulate its organic ideas of the relationships between historical liberation and eschatological salvation, minjung’s self-transcendence and divine providence, and history and the Kingdom of God.

This article discusses the artist, filmmaker, and writer Lana Lin’s “revisioning” of Audre Lorde’s The Cancer Journals (1980) to consider how the poetic encounter between two artists from different generations exemplifies the relational praxis that Lorde pursued throughout her life. In revealing the ways in which Lorde opens acoustic sensory spaces for contemporary readers and listeners of her work, I specifically focus on the political and aesthetic dynamic of recitation in Lin’s experimental documentary The Cancer Journals Revisited (2018). I trace how recitation becomes a coalitional practice of feminist chorus through which readers and listeners embody the sonorous space they co-create through and with Lorde. The article further looks into the ways Lin pairs recitation performance with visceral images of body parts on the screen to argue that the film’s visuals dwell in and extend the form of the chorus; which is to say, the film expands the meaning and practice of chorus beyond the realm of the sonic. The bodies on the screen extend the chorus, immersing the audience in a participatory rethinking of the experience of cancer (particularly breast cancer) not merely as an individual misfortune or an aesthetic concern. In adjoining textual, visual, and acoustic elements, Lin’s film provides a powerful transformative sensory environment, reverberating through the reciters and the audience.