Ghostly Desires: Queer Sexuality and Vernacular Buddhism in Contemporary Thai Cinema
(Duke UP 2016)
Examines post-1997 Thai cinema and video art in which vernacular Buddhist tenets, stories, and images combine with sexual politics. Provides insights into contemporary Thailand while opening up new possibilities for thinking about queer personhood and femininity.
Teardrops of Time: Buddhist Aesthetics in the Poetry of Angkarn Kallayanapong
Arnika Fuhrmann investigates how Thai poet Angkarn Kallayanapong (1926–2012) adapts Buddhist understandings of time to create a modern Asian aesthetic imaginary.
Read essays and chapters at: https://cornell.academia.edu/ArnikaFuhrmann
Teardrops of Time: Buddhist Aesthetics in the Poetry of Angkarn Kallayanapong, State University of New York Press, 2020. Read an excerpt.
Ghostly Desires: Queer Sexuality and Vernacular Buddhism in Contemporary Thai Cinema, Durham and London: Duke University Press, 2016.
Read the introduction: www.scribd.com/doc/314480509/Ghostly-Desires-by-Arnika-Fuhrmann
JOURNAL ARTICLES (Peer-reviewed)
“Ab-normal Beauty: Horror, Homoeroticism, and Agency in Southeast and East Asian Films of Possession,” special issue on “Emotions and Ethical Life: Asian Perspectives,” Diogenes, Suwanna Satha-anand and Wasana Wongsurawat, eds. (forthcoming in English; Chinese).
“The Story of Permanent Displacement: Buddhist-Muslim Intimacies and Visions of Ethnic Coexistence in a Thai Queer-Feminist Filmic Archive,” Camera Obscura: Feminism, Culture, and Media Studies, 101, 34.2 (September 2019): 162–193.
“Ab-normal Beauty: Terreur, homoéroticisme et agency dans les films d’horreur d’Asie de l’est et sud-est,” special issue, “Emotions and Ethical Life: Asian Perspectives,” Diogène, Guest Editors: Suwanna Satha-anand and Wasana Wongsurawat (2016): 184–203.
“Making Contact: Contingency, Fantasy, and the Performance of Impossible Intimacies in the Video Art of Araya Rasdjarmrearnsook,” positions: asia critique, 21.4, (Fall 2013): 769–799.
“Nang Nak--Ghost Wife: Desire, Embodiment, and Buddhist Melancholia in a Contemporary Thai Ghost Film,” Discourse: Journal for Theoretical Studies in Media and Culture, “Translation and Embodiment in National and Transnational Asian Film Media,” Guest Editor: Bliss Cua Lim, 31.3 (Fall 2009): 220–247.
“The Dream of a Contemporary Ayuthaya: Angkhan Kalayanaphong’s Poetics of Dissent, Aesthetic Nationalism, and Thai Literary Modernity,” Oriens Extremus 48 (2009): 271–290.
JOURNAL SPECIAL ISSUE
Editor with Chutima Prakatwutisarn, “Haunting and Globalization,” Aksornsat: Journal of Letters, bilingual special issue, 45.1, January–June 2013. (288 pages)
“Syndromes and a Century: Contemporary Queer Thai Cinema,” in The Oxford Handbook of Queer Cinema, eds. Ronald Gregg and Amy Villarejo (2021): 675–697.
“This Area is [NOT] Under Quarantine: Rethinking Southeast Asia Through Studies of the Cinema,” ed. Cheng Jia Yun, Cheong Kah Kit, Guo-Liang Tan, and Selene Yap. State of Motion 2020: Rushes of Time, Asian Film Archive, Singapore, 2020: 172–180.
“This Area is [NOT] Under Quarantine: Rethinking Southeast / Asia Through Studies of the Cinema,” in Area Studies at the Crossroads. Knowledge Production after the Mobility Turn, Anna-Katharina Hornidge and Katja Mielke, eds., New York: Palgrave Macmillan, 2017: 251–268.
Araya Rasdjarmrearnsook “The Class II,” “The Class III” (“Bot Rien Thi Song”; “Bot Rien Thi Sam”) Art and Words (Sinlapa Kap Thoi Khwam), Bangkok: Matichon, 2006: 45–51.
Appendix, Teardrops of Time: Buddhist Aesthetics in the Poetry of Angkarn Kallayanapong, State University of New York Press, 2020 (approximately 15,000 words of translation of poetry and poetic prose).