In the same accent, Jimin congratulated him that day when he got home.
He was waiting for the younger with warm seaweed soup and a hug; Jimin even ruffled his hair and promised to help him look for a job. This was another reason why Jungkook loved Jimin's voice. It was promising nice things.
The man accepted Jungkook with open arms, quite literally as he pulled Jungkook into a hug and wished him good luck on his first day. It was a kiosk so it was difficult at first, running into his coworker with every step he took. It took only a week for him and Se-Ra to get used to each other, Jungkook taking smaller steps and Se-Ra making sure to listen to him moving and leave enough space for him to walk through. Jungkook had no complaints.
He was aware of how people saw him, incompetent and delicate because of something they called disability. To Jungkook it was normal, the darkness was familiar and the voices were getting easier to ignore. It was merely an imperfection that he could live with because he knew no one was perfect. Not even one of his former teachers was perfect.
Be the first to ask a question about Blind Innocence Thought provoking, inspirational and an easy read--Truly, one of the best books I have read in a while. Blind Innocence Paperback – May 1, . BLIND INNOCENCE by Author A. Adams Jones is a book that brings to your attention the issues of mental health.
Get an Invitation. Comments: 21 Kudos: Bookmarks: Hits: Taehyung falls in love with his eyes. The film cannot repress the desire to produce a comic skit on blindness, taking part in the age-old tradition of entertaining the audience at the expense of the disabled.
The skit in Happy Times is more than a slip of the tongue of the desire to eroticize the disabled ; the comic-cum-erotic skit effectively contradicts the overall repression of quasi- incest in the narrative. Blind characters are routinely deceived by sighted characters in movies; Little Wu is no exception. She has been ushered by Old Zhao into a world of falsities. His hotel, like the massage parlor, is built inside a deserted factory; her bourgeois clients are his danwei members.
While the tramp in City Lights is a wage laborer in a factory in the growing American economy, these danwei members are given neither pay nor work in an abandoned factory in a neolib- eral Chinese economy that rapidly phases out its factories and the workers of the socialist tradition. As the false clients cannot afford to consume any luxury such as a session of massage, they cheat on Little Wu by paying her not with real banknotes but plain paper for her service. This false world is made of brico- lage in two senses: Old Zhao and his danwei members recycle garbage to create this world; bricolage also partially consists of speech acts, which are as free as the waste discharged from the city.
Blind Women in Chinese-Language Visual Culture 75 argues that verbal descriptions do things to the blind: you describe the factory as a hotel to the blind girl, and a hotel materializes for her. As the speech acts transform the factory into a massage parlor in a hotel, acts beyond speech such as watching on the part of the sighted and touching on the part of the blind change the same space into a circus for the danwei members.
Historically, the disabled have been often recruited to perform at a circus to entertain the able- bodied patrons. The girl shows her own legerdemain, her sleight of hand: her massaging hands are magically therapeutic to the danwei members. Meanwhile, her hands function as the legerdemain defined by Michel de Certeau in his Practice of Everyday Life 37 , a tactic with which she earns a living. Yet she is paid no real money, and the massage parlor-cum-circus is further transformed into a sweat- shop exploiting her labor.
There are two versions of Happy Times with different endings. Whereas Chow and Li respectively analyze the one ending that mollifies the anxiety to- ward disabilities, I turn to the other ending, which accentuates the uneasy rela- tion of urban spaces to disabilities. In that version, it is the able-bodied man, Old Zhao, rather than the blind girl, Little Wu, who is eventually severely in- jured in traffic. In other words, Little Wu chooses to reject the model of the sweet innocent at home in order to adopt the model of the blind flaneuse at large.
During the famous reunion of the flower girl and the tramp in City Lights, the newly-sighted girl recognizes the tramp not because of her newly acquired vi- sion, but because of her tactile sense: by holding his hand. Happy Times also ends with a reunion. This reunion, however, is uncanny, or the Freudian un- 4 Many researches in disabilities studies have made this point, such as Garland-Thomson, Extraordi- nary Bodies, passim.
The Zhao-Wu reunion happens as a danwei member reads the deceitful letter to a tape recorder playing the truthful cassette, but this virtual reunion is doomed to be a miscommunication: his letter is written on the presumption that she, being blind, never recognizes any lie; her cassette emphasizes that she, despite her blindness, has been aware of all the lies.
In a tone mixed with gratitude and irritation, she interrogates Old Zhao and his danwei members about deceiving her with all the tricks that she easily detected. If the danwei members are good at bricolage, so is she: her legerdemain has col- lected informative fragments of lived factuality. Happy Times is all about the management of a blind person, but it is ex- ceptionally silent about the apparatuses of the Chinese state, which are devoted to managing a blind citizenry.
The film dictates that Little Wu relies on Old Zhao, because she has been cast out by her family and has no other social rela- tion, as if there were no law protecting the disabled population or institutions designed for the blind in China. Actually, laws to defend the rights of the disabled were proclaimed before the film was made, and free education for the blind in China has been available for decades.
In , tuition and boarding were free for its 81 students Liu This survey located 70, citizens with visual impairments, and addressed such differences as gender, ethnicity, educational status, and employment status in this citizenry. Shili canjiren ziliao Data of the Visually Impaired People , ed. Similar ambitious surveys of the disabled are abundant in China. The book does not in- dicate the editor. Blind Women in Chinese-Language Visual Culture 77 Little Wu if she has been to a school for the blind, but it does not matter how she answers. After the perfunctory question, nobody is ever interested again if she has been involved in any pedagogical situation.
Although her status as a professional masseuse is heavily emphasized, nobody ever wonders how she has become such a professional, as if this blind person were simply born a skillful massager. Such an omission of her potential educational background is particu- larly noteworthy, as Happy Times is thoroughly aware of the educational relation between Old Zhao and his disciple Fu. The Sweet Innocent Returns Home: The Eye In the texts under discussion, the protagonists are female, solitary, ordinary, and situated in the city.
Being female and solitary at the same time, these hero- ines are made to embody vulnerability, which is supposed to elicit humanist reactions from the viewer. However, in the history of Chinese-language visual culture, many blind characters are neither female nor alone. Furthermore, the blind women under discussion are ordinary persons in contemporary cities, and thus are unlike the numerous extraordinary figures in pre-modern settings.
In Taiwanese cinema Taiyupian , for example, the year alone witnessed four titles capitalizing on blind women in the tradition of Chinese martial arts movies. As de Certeau criticizes the normative society as belittling the users of everyday things xxiv , I associate his emphasized users of everydayness with the blind women I discuss. The Eye differs from Happy Times in two primary aspects.
Firstly, the heroine in Happy Times is entrusted to merely one single trusted relation, Old Zhao and by extension, his danwei in the city of Dalien, where public support for the blind seems nonexistent. In The Eye, how- ever, various relations of trust can be found in the city of Hong Kong, where the blind are intricately interwoven in a support network. The heroine Mun is a participant in a Hong Kong community for people with visual impairments, where other blind denizens and social workers interact with each other in a friendly fashion.
In the community, she plays the violin not for subsistence but for something beyond monetary calculation: for social connection with other blind musicians, and for self-affirmation. Such a trust-laden network is not even remotely possible for Little Wu in Happy Times. Secondly, Little Wu in Happy Times is not given any substantial prospect of an optical cure, but Mun in The Eye is fortunate enough to receive one surgery. The infrastructure of medical care for the blind is pointedly ignored in Happy Times, but is foregrounded in The Eye.
Before her cornea transplant surgery, the blind Mun is very nearly a fla- neuse, independently roaming between public and private spaces. Admittedly, she is markedly different from the classic flaneur male and able-bodied ; how- ever, as a blind woman out of the home, she already demonstrates impressive autonomy, despite a dependence on her familiar routes and trusted acquaintances.
After the seemingly redemptive surgery, Mun becomes a post-blind person, or a sighted person-in-training. Ironically, though, she becomes a more dependent person than she was previously. As a post-blind person, she is assigned to Dr. Wah in order to be re-visioned as a sighted person. Her dependence on Wah, who soon becomes her boyfriend, gradually replaces her relationships with the community of blind musicians, which starts to isolate her because of her acqui- sition of vision or her loss of blindness.
designyourlocket.com/components After the surgery, she in fact becomes more similar to a sweet innocent than a flaneuse. Not as autonomous as before, she becomes dependent on the medically authoritative Wah.
Nichole Smith. To determine the appropriate retention period for personal data, we consider the amount, nature, and sensitivity of the personal data, the potential risk of harm from unauthorised use or disclosure of your personal data, the purposes for which we process your personal data and whether we can achieve those purposes through other means, and the applicable legal requirements. This allows us to distinguish your browser from other browsers, to recognize your browser by its unique cookie ID and to store information about your preferences on a particular website. All that real-life Superman stuff. When we lose cases like this it is really demoralizing. I found myself amazed at her resilience and ability to see the best in people.
Mun also struggles with her new cornea, which is already a part of her. She is overwhelmed with ghost sightings, which are signs of the resentful ghosts haunting every corner of the seemingly complacent Hong Kong. When she cannot see, she is generally cheerful; when she can see, she is so horrified by what she sees that she becomes depressed. She does something evocative of Wait Until Dark Terence Young, , a thriller that capitalizes on the blind- ness of a victim played by Audrey Hepburn.
Darkness restores her au- tonomy, which feels safer than a relation with others whom she cannot trust. In other words, a blind woman can improvise, make decisions, and prove her own agency. Susan Hanson The surgery brings her an unexpected curse rather than the anticipated redemption. It turns out that her new cornea has been procured from Ling, a cursed girl who had committed suicide in rural Thailand, whose only connection to the global matrix seems to be the legal or illegal harvesting of her organs. To exor- cize the curse on her eyes, Mun flies with Wah to Thailand.
If Ling provides Mun surrogate eyes, Mun offers Ling surrogate corporeality in return. The more ethically challenging first encounter occurs not so much between Mun and Wah, as between Mun and Ling. At a moment recalling the Lacanian mirror phase, where the baby-in- training misrecognizes its own image, Mun first sees Ling when she scrutinizes her own photograph. Mun experiences both an ethical crisis how to relate herself to the other and an identity crisis how to recognize oneself.
The self Mun sees the other the unfamiliar woman later identified as Ling rather than herself; instead, she has to accept that the self and the other are one and the same. On the geopolitical map, the global city of Bangkok and the rising city of Dalien impose dangers from modernity explosions and a car accident, respec- tively , whereas the countryside, so out of sync with modernity, turns out to be therapeutic. Radical contingency catapults the re-blinded Mun back to a rela- tion with Wah in Hong Kong, where she cannot be a flaneuse-like blind person supported by the blind community as before, in multiple relations of trust with various community members, but has to play the role of a sweet innocent paired with Wah, in whom she now has to invest all her trust.
Whereas the blind girl in Happy Times finally chooses to be in- dependent from men, the blind heroine in The Eye ultimately accepts the status quo with a man, without bothering to think of her own agency.