Pub Date : 2021-06-14DOI: 10.1163/26659077-02401011
Pittayawat Pittayaporn
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Pub Date : 2021-06-14DOI: 10.1163/26659077-02401003
Kevalin Kaewruean
Extant criticism of crime and mystery fiction has indicated how protagonists have freedom of choice in dealing with difficult situations in different forms of risky or challenging settings. In this article, previous criticism is evaluated in terms of its reflection of an essential element of the human condition: the Self’s free will to construct the existential and spatial meanings of its phenomenological existence in relation to the Other. The article further indicates that protagonists tend to disregard their freedom and responsibility for their actions, especially when they make existential choices in traumatic or critical situations. Additionally, the dominance of others and variously suppressive spatial contexts can inhibit the protagonists from acknowledging their free will to act responsibly in order to reach their authentic existence. This article integrates Jean Paul Sartre’s concept of the human condition and the corresponding interpretative framework of spatial concepts from different thinkers, such as Edward Relph, Arnold van Gennep, Victor W. Turner and Mikhail M. Bakhtin, who emphasize the significance of places in the meaning-construction of the Self’s identity and its existence in relation to the Other. Through the integration of these theoretical frameworks, the portrayal of protagonists in contemporary crime and mystery novels is examined in order to illustrate individuals’ senses of freedom and responsibility for their own actions in existential and spatial contexts.
{"title":"Understanding the Human Condition through the Depiction of Protagonists in Crime and Mystery Novels","authors":"Kevalin Kaewruean","doi":"10.1163/26659077-02401003","DOIUrl":"https://doi.org/10.1163/26659077-02401003","url":null,"abstract":"\u0000Extant criticism of crime and mystery fiction has indicated how protagonists have freedom of choice in dealing with difficult situations in different forms of risky or challenging settings. In this article, previous criticism is evaluated in terms of its reflection of an essential element of the human condition: the Self’s free will to construct the existential and spatial meanings of its phenomenological existence in relation to the Other. The article further indicates that protagonists tend to disregard their freedom and responsibility for their actions, especially when they make existential choices in traumatic or critical situations. Additionally, the dominance of others and variously suppressive spatial contexts can inhibit the protagonists from acknowledging their free will to act responsibly in order to reach their authentic existence. This article integrates Jean Paul Sartre’s concept of the human condition and the corresponding interpretative framework of spatial concepts from different thinkers, such as Edward Relph, Arnold van Gennep, Victor W. Turner and Mikhail M. Bakhtin, who emphasize the significance of places in the meaning-construction of the Self’s identity and its existence in relation to the Other. Through the integration of these theoretical frameworks, the portrayal of protagonists in contemporary crime and mystery novels is examined in order to illustrate individuals’ senses of freedom and responsibility for their own actions in existential and spatial contexts.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"403 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134098417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-31DOI: 10.1163/26659077-02401006
Sean Ford
Literary works give expression to universal themes through settings, subjects, and techniques that are culturally tied. This article reviews generic conventions involving point of view, protagonist, conflict, rising action, climax, falling action, and resolution that typify Western short stories in order to examine how varying patterns can illuminate cultural contrasts between Thailand and the West. Widely known stories by Katherine Mansfield and Amy Tan serve to exemplify the conventional Western pattern and its versatility and to provide a basis for discovering alternative patterns that characterize numerous contemporary Thai short stories. An analysis of stories by S.E.A. Write award winners Phaitoon Thanya, Anchan, and Ussiri Thammachot through the comparative lens of Western conventions reveals how divergent narrative techniques involving point of view and plot elucidate and corroborate divergent expressions regarding the nature of identity. Narrative patterns in these Thai short stories help produce diffusions of identity that reflect a collectivist ethos and an acceptance of uncertainty and impermanence, while adherence to the Western formula reinforces a core belief in the permanence and persistence of the individual ego over time.
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Pub Date : 2021-03-31DOI: 10.1163/26659077-02401010
Sinnapa Sarasas
This article examines the process of combining three distinct traditional music cultures in Pattani, Thailand, into one piece of music. The author was the music director of the “Hoamroang Sam Prasan” (Overture: Harmony of the Three). Since the three musical traditions – Nora, Rong Ngeng and Digir Hulu, and Chinese drums ensemble – are similar yet different, the work was both easy and difficult. As someone with long experience in intercultural music, I developed a distinct way to do collaborative work. I seek to ensure musicians contribute their best to the piece, establish bonds of trust to co-operate, so they are willing to share in different ideas and training. The project drew the best from traditional musicians so they could develop new work on their own terms with their own musical abilities in a mode I call “conservative contemporary music.” Both artists and audiences could better appreciate the vitality of different musical traditions and their lively interactions more fully.
本文考察了泰国北大谷三种截然不同的传统音乐文化融合成一段音乐的过程。作者是《Hoamroang Sam Prasan》(序曲)的音乐总监。由于三种音乐传统——诺拉、戎耕和迪吉尔葫芦，以及中国的鼓乐合奏——既相似又不同，这项工作既容易又困难。作为一个长期从事跨文化音乐工作的人，我开发了一种独特的合作方式。我力求确保音乐家们在作品中尽最大努力，建立信任的合作关系，这样他们就愿意分享不同的想法和训练。这个项目从传统音乐家那里汲取了最好的东西，这样他们就可以用自己的音乐能力在一种我称之为“保守的当代音乐”的模式下，按照自己的方式创作新作品。艺术家和观众都可以更好地欣赏不同音乐传统的活力和他们之间的生动互动。
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Pub Date : 2021-03-31DOI: 10.1163/26659077-02401004
Nicola Prin
This study explores Thai bilingual speakers’ code-switching in a formal work setting. Although code-switching may appear to be random, there is an underlying choice which speakers decide upon when switching between languages: Language proficiency, the initial speaker’s language choice, the setting, and role relationships all contribute to these choices. This study investigates the factors contributing to code-switch decisions by participants within their specific work environment. The main findings show that adopting one language over the other depends on two main factors: first, the initial sequence of the interaction; second, the role relationship that the participants wish to maintain. This study has drawn upon the conversational approach and Auer’s sequential analysis to collect and interpret data from ethno-graphic observations, questionnaires, and semi-structured interviews.
{"title":"A Case Study of Code-Switching among Thai Waiters in a Cambridge, UK Restaurant","authors":"Nicola Prin","doi":"10.1163/26659077-02401004","DOIUrl":"https://doi.org/10.1163/26659077-02401004","url":null,"abstract":"\u0000This study explores Thai bilingual speakers’ code-switching in a formal work setting. Although code-switching may appear to be random, there is an underlying choice which speakers decide upon when switching between languages: Language proficiency, the initial speaker’s language choice, the setting, and role relationships all contribute to these choices. This study investigates the factors contributing to code-switch decisions by participants within their specific work environment. The main findings show that adopting one language over the other depends on two main factors: first, the initial sequence of the interaction; second, the role relationship that the participants wish to maintain. This study has drawn upon the conversational approach and Auer’s sequential analysis to collect and interpret data from ethno-graphic observations, questionnaires, and semi-structured interviews.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115373529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-23DOI: 10.1163/26659077-02303011
Pachaya Akkapram
This article discusses the diverse impacts of the Sinsai Roo Jai Ton research project based at Khon Kaen University from 2016 to 2019. Designed as a puppet performance by university students working with local artists in northeastern Thailand (Isan), the project inspired many other groups interested in making puppet performances by collaborating with local artists in Isan communities. Beyond collaborative performances, the project developed new interests in students who participated in the project and helped develop new types of teaching and learning, of research, and creating contemporary performances from artistic materials in local Isan communities such as narratives, stories, folk singing and playing music, murals, folk-dance, traditions and rituals, by using modern drama/theatre concepts and techniques as tools to find creative methods to present a new contemporary performance, to communicate new voices, ideas and aesthetics to audiences and to shape new modes of Isan identity.
本文讨论了2016年至2019年孔敬大学Sinsai Roo Jai Ton研究项目的各种影响。该项目是由泰国东北部(Isan)的大学生与当地艺术家合作设计的木偶表演，通过与Isan社区的当地艺术家合作，启发了许多其他对木偶表演感兴趣的团体。除了合作表演，该项目还培养了参与项目的学生的新兴趣，并帮助开发了新的教学和研究类型，并利用当地伊桑社区的艺术材料创作当代表演，如叙事、故事、民间歌唱和演奏音乐、壁画、民间舞蹈、传统和仪式。通过使用现代戏剧/戏剧概念和技术作为工具，寻找创造性的方法来呈现新的当代表演，向观众传达新的声音，思想和美学，并塑造新的Isan身份模式。
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Pub Date : 2020-12-23DOI: 10.1163/26659077-02303008
L. Ross
This article examines recent grassroots strategies for preserving traditional performing arts along southern Thailand’s Andaman Sea Coast, focusing on rong ngeng, an idiomatic form of social dance and music, widely popular there in the post-World War Two years. Between 1935 and 1960 a small, mixed cohort of rural performing artists created networks of communities, scattered on Thai-Andaman, with a distinctive regional culture based in the shared repertoire of songs and dances they adapted, created an innovative lyrical style called phleng tanyong (Tanyong song), and a star system that turned village performers into local celebrities (Ross 2017, 68). More than a mere vibrant, short-lived micro-tradition which declined in the wake of a growing, hegemonic pan-Thai performing arts culture, however, rong ngeng has, since the 2000s, experienced a revival. The new incarnation was tied to economics, nostalgia, and a reawakening of local identity. Using a broadly cultural ecology approach which draws on more than a decade of fieldwork in the Thailand-Malaysia border region, oral accounts of rong ngeng performers, past and present, and comparisons with performance practices across the regions, this paper argues that efforts toward revival and sustainability have seen their greatest success among communities that possess several characteristics, including strong historical and genealogical links to erstwhile cultural practices, participatory forms of entertainment, and the ability among its members to articulate the relevance of performing arts to the society-at-large.
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Pub Date : 2020-12-23DOI: 10.1163/26659077-02303004
Dangkamon Na-pombejra
This article analyzes on a new directorial approach to Venice Vanija (เวนิสวาณิช), a Thai version of William Shakespeare’s The Merchant of Venice (written 1596–99) and translated by King Rama vi (r. 1910–1925). It aimed to create a new space and new rules that would encourage Thai audiences to embrace new perspectives by watching the performance. The production was directed by the author in 2018 in the Department of Dramatic Arts in the Faculty of Arts at Chulalongkorn University. The directing approach focused on the play’s famous line “all that glitters is not gold;” (Act ii, scene vii, line 65), and stressed how struggles between majorities and “the Other” are connected to identity conflicts that contrast with tensions with other people and conflicts within the whole community. The above focus was elaborated by using alienation effects, including a grotesque modern fairytale-like look, a nearly all-female cast, a distinctive traverse stage and set design, effeminate costumes for male characters portrayed by actresses, and mixed acting techniques. The director achieved his goals by concentrating on the message and the main conflicts in the play, transforming “aliens into the allies” through using good surprises and friendly attacks, and respecting every party.
{"title":"Confronting Otherness through Theatre: On Directing The Merchant of Venice for Thai Audiences","authors":"Dangkamon Na-pombejra","doi":"10.1163/26659077-02303004","DOIUrl":"https://doi.org/10.1163/26659077-02303004","url":null,"abstract":"\u0000This article analyzes on a new directorial approach to Venice Vanija (เวนิสวาณิช), a Thai version of William Shakespeare’s The Merchant of Venice (written 1596–99) and translated by King Rama vi (r. 1910–1925). It aimed to create a new space and new rules that would encourage Thai audiences to embrace new perspectives by watching the performance. The production was directed by the author in 2018 in the Department of Dramatic Arts in the Faculty of Arts at Chulalongkorn University.\u0000The directing approach focused on the play’s famous line “all that glitters is not gold;” (Act ii, scene vii, line 65), and stressed how struggles between majorities and “the Other” are connected to identity conflicts that contrast with tensions with other people and conflicts within the whole community.\u0000The above focus was elaborated by using alienation effects, including a grotesque modern fairytale-like look, a nearly all-female cast, a distinctive traverse stage and set design, effeminate costumes for male characters portrayed by actresses, and mixed acting techniques.\u0000The director achieved his goals by concentrating on the message and the main conflicts in the play, transforming “aliens into the allies” through using good surprises and friendly attacks, and respecting every party.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122475951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-30DOI: 10.1163/26659077-02303005
Phakamas Jirajarupat, Nataporn Rattanachaiwong
Leh Laweng (The Wiles of Laweng) was a new dance-drama the authors created in 2019 in a post-traditional style of “Lakhon Phanthang” or hybrid dance theatre form. Working in our faculty’s theatre, the authors developed an original woman-centerd plot from the well-known Thai epic poem The Story of Phra Aphai Mani by Sunthorn Phu. Our new four-act script focused on the key, but neglected, figure Laweng – a Western-styled warrior queen – and reworked traditional modes of presentation to better convey a new sensibility for today’s audiences. While performed by traditional performers, cast for their abilities in traditional dancing and their knowledge, without regard to their gender, their acting also incorporated some modern theatrical techniques. The new style of this hybrid Thai dance play sought to convey a new message to contemporary audiences, while retaining key aspects of the Thai traditional form and taking on a more contemporary look. The process of reinventing Lakhon Phanthang into a post-traditional performance allowed artists, academics, and students to enrich their knowledge and through this new hybrid play for today’s audiences.
《Leh Laweng》(The Wiles of Laweng)是作者于2019年以后传统风格的“Lakhon Phanthang”或混合舞蹈戏剧形式创作的新舞剧。在我们学院的剧院工作时，作者根据著名的泰国史诗《Phra Aphai Mani的故事》(Sunthorn Phu)创作了一个以女性为中心的原创情节。我们的新四幕剧本关注的是被忽视的关键人物罗云——一个西式的武士女王——并重新设计了传统的呈现模式，以更好地向当今的观众传达一种新的情感。虽然由传统表演者表演，因为他们在传统舞蹈方面的能力和知识，而不考虑他们的性别，他们的表演也融入了一些现代戏剧技巧。这种混合泰国舞蹈的新风格试图向当代观众传达新的信息，同时保留泰国传统形式的关键方面，并采取更现代的外观。将拉空潘当重新塑造为一种后传统表演的过程，使艺术家、学者和学生能够丰富他们的知识，并通过这种新的混合表演为今天的观众提供服务。
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Pub Date : 2020-11-30DOI: 10.1163/26659077-02303010
Lowell Skar
This article builds a framework for considering the place of contemporary performance groups in 21st century Bangkok. It grounds performance groups in ensembles of performance practices developed by groups as part of their unique performance cultures. The varied ensembles of performance practice of three such groups – the Pichet Klunchun Dance Company, the 8X8 Theatre Group, and the B-Floor Artist Collective – are embodied in these groups’ distinctive interactive performance styles and tied to the different creative spaces where they work. The groups’ artistic practices and their working spaces are produced within larger ecologies of performance spanning the urban landscape of 21st century Bangkok. The article suggests this framework as a richer way to study performance cultures in Thailand. Relating the performance landscape of Bangkok’s contemporary theatre scene to the embodied artistic practices of different groups shows how their unique performance cultures help to enliven the city’s distinctive cultural ecology of performance.
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