Pub Date : 2019-08-26DOI: 10.1163/26659077-02202004
Oak Joo Yap
This paper examines the musical Orientalism and representation of Oriental Others in Haydn’s seraglio opera, L’incontro improvviso. In seraglio opera, one of the Turkish-themed musical genres of “Turcomania” that swept Europe in the eighteenth century, Oriental Others were defined by their supposed negative human traits such as slyness, crudeness or irrationality. Alla turca topos in L’incontro, as in other seraglio operas, are extensively used to accentuate the inferiority of Others, their customs or religions. The representation of Others demonstrates little ethical complexity, exhibiting a stark dichotomy between morally upright Westerners and unsophisticated Others with dubious morals. I argue that despite presenting no European characters dueling with Others and thus foregoing such a narrative format as “East meets West on stage,” Haydn’s L’incontro is, nonetheless, more diminishing in its portrayal of Others than in most seraglio operas: even the male protagonist is among the degraded Others who are usually subplot characters from a low social echelon. No “rescuer,” the protagonist in L’incontro is rendered as an incompetent figure. Ali’s unmanly stature is further highlighted by the active, counter-stereotypical Oriental heroine, Rezia, who is presented as a foil to emphasize the inadequacy of Ali. The ultimate male Other, the Sultan, suffers equally from a weak stage presence despite fulfilling his role as a conveyer of Enlightenment ideals in a typical lieto fine of Turkish opera.
{"title":"The Representation of Oriental Others in Haydn’s L’incontro improvviso","authors":"Oak Joo Yap","doi":"10.1163/26659077-02202004","DOIUrl":"https://doi.org/10.1163/26659077-02202004","url":null,"abstract":"This paper examines the musical Orientalism and representation of Oriental Others in Haydn’s seraglio opera, L’incontro improvviso. In seraglio opera, one of the Turkish-themed musical genres of “Turcomania” that swept Europe in the eighteenth century, Oriental Others were defined by their supposed negative human traits such as slyness, crudeness or irrationality. Alla turca topos in L’incontro, as in other seraglio operas, are extensively used to accentuate the inferiority of Others, their customs or religions. The representation of Others demonstrates little ethical complexity, exhibiting a stark dichotomy between morally upright Westerners and unsophisticated Others with dubious morals. I argue that despite presenting no European characters dueling with Others and thus foregoing such a narrative format as “East meets West on stage,” Haydn’s L’incontro is, nonetheless, more diminishing in its portrayal of Others than in most seraglio operas: even the male protagonist is among the degraded Others who are usually subplot characters from a low social echelon. No “rescuer,” the protagonist in L’incontro is rendered as an incompetent figure. Ali’s unmanly stature is further highlighted by the active, counter-stereotypical Oriental heroine, Rezia, who is presented as a foil to emphasize the inadequacy of Ali. The ultimate male Other, the Sultan, suffers equally from a weak stage presence despite fulfilling his role as a conveyer of Enlightenment ideals in a typical lieto fine of Turkish opera.\u0000","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124848776","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 : 2019-08-26DOI: 10.1163/26659077-02202007
Joey Andrew Lucido Santos
{"title":"Multilingualism online, written by Lee, C., (2017)","authors":"Joey Andrew Lucido Santos","doi":"10.1163/26659077-02202007","DOIUrl":"https://doi.org/10.1163/26659077-02202007","url":null,"abstract":"","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133000901","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 : 2019-08-26DOI: 10.1163/26659077-02202005
Permtip Buaphet
This research on the images of Thai women in a magazine for older adults aims to analyze the structure and components of interview columns and examines the linguistic strategies used to present images of Thai women within the context of a magazine for older adults by associating textual analysis with visual methodology. The data collection in this research was grounded on O-lunla magazine, a magazine targeting people in their 60s and older. Twenty-two interview columns from ten magazine issues from January 2017 to October 2017 were included. The study discloses how this magazine for older adults defines the meaning of ageing and the role of the magazine in passing particular notions about desirable ageing and images of older women in Thai society through the use of linguistic strategies, as well as emphasizing the concepts of desirable ageing for women. The results with regard to the content reveal that the meanings of ageing and the images of Thai women in their older age in this magazine for older adults are formed in a positive way. That is to say, older women are depicted as archetypes of a pleasant life in terms of happiness, work and health.
{"title":"Images of Thai Women in Magazines for Older Adults","authors":"Permtip Buaphet","doi":"10.1163/26659077-02202005","DOIUrl":"https://doi.org/10.1163/26659077-02202005","url":null,"abstract":"This research on the images of Thai women in a magazine for older adults aims to analyze the structure and components of interview columns and examines the linguistic strategies used to present images of Thai women within the context of a magazine for older adults by associating textual analysis with visual methodology. The data collection in this research was grounded on O-lunla magazine, a magazine targeting people in their 60s and older. Twenty-two interview columns from ten magazine issues from January 2017 to October 2017 were included. The study discloses how this magazine for older adults defines the meaning of ageing and the role of the magazine in passing particular notions about desirable ageing and images of older women in Thai society through the use of linguistic strategies, as well as emphasizing the concepts of desirable ageing for women. The results with regard to the content reveal that the meanings of ageing and the images of Thai women in their older age in this magazine for older adults are formed in a positive way. That is to say, older women are depicted as archetypes of a pleasant life in terms of happiness, work and health.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115747534","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 : 2019-08-26DOI: 10.1163/26659077-02202003
Nuntana Wongthai
This paper reveals the concepts of taste in the Patani Malay ethnic group. Forty-five Patani Malays living in Pattani province, Yala province, and Narathiwat province participated in this study. The analysis uses the framework of componential analysis in ethnosemantics. The results show that there are ten basic taste terms in the Patani Malay dialect: /masɛ/ ‘sour’, /maseŋ/ ‘salty’, /manih/ ‘sweet’, /paheɁ/ ‘bitter’, /lɨcah/ ‘a little bit spicy and causing tongue pain’, /lɨta/ ‘unpleasant taste, sticking on the tongue and causing tongue numbness’, /khɨlaɁ/ ‘astringent’, /pɨdah/ ‘spicy’, /lɨmɔɁ/ ‘nutty’ and / tawa/ ‘bland’. All of them are distinguished by eight dimensions: taste buds, tongue side, tongue tip, acidity, tongue body, pain, tongue numbness, and nuttiness. Besides using each taste term individually to describe tastes of food, Patani Malays also use them repeatedly, combine each taste term together, and combine them with modifiers. From these ten basic taste terms, there are two taste terms that concern pain in the mouth and on the tongue. These are /lɨcah/ ‘a little bit spicy and causing tongue pain’ and /pɨdah/ ‘spicy’. This reflects the preference for spicy flavours in the Patani Malay ethnic group. It may be due to the influence of using spices and chili in cooking adopted from foreign countries since ancient times. It may also be due to the geographical characteristics of Pattani, Yala, and Narathiwat provinces, which are located along the coast. People, therefore, prefer eating spicy food to keep their body warm and prevent illness.
{"title":"Taste Terms in the Patani Malay Ethnic Group","authors":"Nuntana Wongthai","doi":"10.1163/26659077-02202003","DOIUrl":"https://doi.org/10.1163/26659077-02202003","url":null,"abstract":"This paper reveals the concepts of taste in the Patani Malay ethnic group. Forty-five Patani Malays living in Pattani province, Yala province, and Narathiwat province participated in this study. The analysis uses the framework of componential analysis in ethnosemantics. The results show that there are ten basic taste terms in the Patani Malay dialect: /masɛ/ ‘sour’, /maseŋ/ ‘salty’, /manih/ ‘sweet’, /paheɁ/ ‘bitter’, /lɨcah/ ‘a little bit spicy and causing tongue pain’, /lɨta/ ‘unpleasant taste, sticking on the tongue and causing tongue numbness’, /khɨlaɁ/ ‘astringent’, /pɨdah/ ‘spicy’, /lɨmɔɁ/ ‘nutty’ and / tawa/ ‘bland’. All of them are distinguished by eight dimensions: taste buds, tongue side, tongue tip, acidity, tongue body, pain, tongue numbness, and nuttiness. Besides using each taste term individually to describe tastes of food, Patani Malays also use them repeatedly, combine each taste term together, and combine them with modifiers.\u0000From these ten basic taste terms, there are two taste terms that concern pain in the mouth and on the tongue. These are /lɨcah/ ‘a little bit spicy and causing tongue pain’ and /pɨdah/ ‘spicy’. This reflects the preference for spicy flavours in the Patani Malay ethnic group. It may be due to the influence of using spices and chili in cooking adopted from foreign countries since ancient times. It may also be due to the geographical characteristics of Pattani, Yala, and Narathiwat provinces, which are located along the coast. People, therefore, prefer eating spicy food to keep their body warm and prevent illness.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116235632","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 : 2019-08-26DOI: 10.1163/26659077-02202001
Ampai Buranaprapuk
Nietzsche influenced Strauss throughout the composer’s mature career, from Also sprach Zarathustra, Op. 30 (1896), which shares the same name as the treatise by Nietzsche, to Eine Alpensinfonie, Op. 64 (1911–15), which initially bore the title Der Antichrist, after Nietzsche’s 1888 essay. Nietzsche, through Zarathustra, stresses the idea of the Übermensch, which proposes that the human occupies the stratum between the primal and the super-human. The Übermensch is not, however, the zenith for a man. The goal for man is rather his journey toward self-overcoming, his struggle within himself. In Ein Heldenleben (A Hero’s Life, 1898), Strauss incorporates Nietzschean concepts without any direct references to Nietzsche. The designation of a man as a hero, the battle as an obstacle with which one struggles, the alternation between peace and war and the cycle of recurrence in this tone poem all reflect Nietzsche’s ideas. This research considers the tone poem from a hermeneutical perspective and argues that Strauss’s hero in Ein Heldenleben embodies qualities encompassing the true Nietzschean hero.
{"title":"A Hero’s Life and Nietzschean Struggle in Richard Strauss’s Ein Heldenleben","authors":"Ampai Buranaprapuk","doi":"10.1163/26659077-02202001","DOIUrl":"https://doi.org/10.1163/26659077-02202001","url":null,"abstract":"Nietzsche influenced Strauss throughout the composer’s mature career, from Also sprach Zarathustra, Op. 30 (1896), which shares the same name as the treatise by Nietzsche, to Eine Alpensinfonie, Op. 64 (1911–15), which initially bore the title Der Antichrist, after Nietzsche’s 1888 essay. Nietzsche, through Zarathustra, stresses the idea of the Übermensch, which proposes that the human occupies the stratum between the primal and the super-human. The Übermensch is not, however, the zenith for a man. The goal for man is rather his journey toward self-overcoming, his struggle within himself. In Ein Heldenleben (A Hero’s Life, 1898), Strauss incorporates Nietzschean concepts without any direct references to Nietzsche. The designation of a man as a hero, the battle as an obstacle with which one struggles, the alternation between peace and war and the cycle of recurrence in this tone poem all reflect Nietzsche’s ideas. This research considers the tone poem from a hermeneutical perspective and argues that Strauss’s hero in Ein Heldenleben embodies qualities encompassing the true Nietzschean hero.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122953732","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 : 2019-07-29DOI: 10.1163/26659077-02202002
Intira Charuchinda
Trickster tales can be found in the folklore of various preliterate people. Nasrdin Avanti is a series of humorous trickster tales from the Uyghur people. In this series, the protagonist Nasrdin Avanti confronts a variety of problems or difficulties, but is able to overcome or solve them. This paper explores Nasrdin Avanti’s problem-solving strategies as found in the book, The Frog Rider: Folk Tales from China, which contains 29 of his stories. Moreover, this paper discusses the functions of these folktales in their cultural and social contexts. It finds that the trickster hero uses eight strategies, the most frequent of which is talking nonsense (six stories), while the others include: feigning ignorance (four stories), satirizing (four stories), using the same reasons as the antagonists (four stories), playing on words (three stories), staying one jump ahead (three stories), taking advantage of the situation (three stories), and flattering (two stories). These problem-solving strategies can cause antagonists to lose face, stop people from bothering the trickster hero or prevent them from taking advantage of him, provide other people with new perspectives, and make them happy. In addition, the folktales of Nasrdin Avanti fulfil different social and emotional functions. Paradoxically, they provide amusement and allow people to escape from the harsh realities in their everyday lives, while at the same time, helping to retain social values and inculcate moral lessons.
{"title":"Problem-Solving in the Trickster Tales of Nasrdin Avanti: Folktales from the Uyghur People","authors":"Intira Charuchinda","doi":"10.1163/26659077-02202002","DOIUrl":"https://doi.org/10.1163/26659077-02202002","url":null,"abstract":"Trickster tales can be found in the folklore of various preliterate people. Nasrdin Avanti is a series of humorous trickster tales from the Uyghur people. In this series, the protagonist Nasrdin Avanti confronts a variety of problems or difficulties, but is able to overcome or solve them. This paper explores Nasrdin Avanti’s problem-solving strategies as found in the book, The Frog Rider: Folk Tales from China, which contains 29 of his stories. Moreover, this paper discusses the functions of these folktales in their cultural and social contexts. It finds that the trickster hero uses eight strategies, the most frequent of which is talking nonsense (six stories), while the others include: feigning ignorance (four stories), satirizing (four stories), using the same reasons as the antagonists (four stories), playing on words (three stories), staying one jump ahead (three stories), taking advantage of the situation (three stories), and flattering (two stories). These problem-solving strategies can cause antagonists to lose face, stop people from bothering the trickster hero or prevent them from taking advantage of him, provide other people with new perspectives, and make them happy. In addition, the folktales of Nasrdin Avanti fulfil different social and emotional functions. Paradoxically, they provide amusement and allow people to escape from the harsh realities in their everyday lives, while at the same time, helping to retain social values and inculcate moral lessons.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130020160","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 : 2019-07-29DOI: 10.1163/26659077-02202006
Prasirt Runra, Sukanya Sujachaya
The objective of the study was to analyze the transmission and application of Rahu symbolism in contemporary Thai society. Data was collected from both documents and a field study in central and eastern Thailand. It was found that in traditional Thai art, the Rahu symbol is portrayed as his face swallowing the sun or the moon. This kind of Rahu symbol is found in Buddhist temples. Such appearances of the Rahu symbol are related to the belief that Rahu has a protective function. Interestingly, the sculpture of Rahu’s body rather than only his face has become popular in contemporary Thai society. Nowadays, Rahu sculptures tend to be located in specific places. A ritual of worshipping Rahu is often created with offerings of food generally of black color. In addition, the Rahu symbol is now created in several other forms such as posters, magic cloths and amulets. Such newly created art forms of Rahu are due to modern interpretations and meanings of the Rahu symbol in contemporary Thai society. These newly-developed meanings of the Rahu symbol are interesting since they can be applied to deal with people’s problems in the socio-cultural and political context of contemporary Thai society.
{"title":"Tradition and Creativity of the Rahu Symbol in Buddhist Temples: Case Study of Paintings, Sculptures and Amulets in Central and East of Thailand","authors":"Prasirt Runra, Sukanya Sujachaya","doi":"10.1163/26659077-02202006","DOIUrl":"https://doi.org/10.1163/26659077-02202006","url":null,"abstract":"The objective of the study was to analyze the transmission and application of Rahu symbolism in contemporary Thai society. Data was collected from both documents and a field study in central and eastern Thailand. It was found that in traditional Thai art, the Rahu symbol is portrayed as his face swallowing the sun or the moon. This kind of Rahu symbol is found in Buddhist temples. Such appearances of the Rahu symbol are related to the belief that Rahu has a protective function. Interestingly, the sculpture of Rahu’s body rather than only his face has become popular in contemporary Thai society. Nowadays, Rahu sculptures tend to be located in specific places. A ritual of worshipping Rahu is often created with offerings of food generally of black color. In addition, the Rahu symbol is now created in several other forms such as posters, magic cloths and amulets. Such newly created art forms of Rahu are due to modern interpretations and meanings of the Rahu symbol in contemporary Thai society. These newly-developed meanings of the Rahu symbol are interesting since they can be applied to deal with people’s problems in the socio-cultural and political context of contemporary Thai society.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116117430","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 : 2019-07-15DOI: 10.1163/26659077-02201004
R. Tyers
Many of Murakami’s novels demonstrate his appropriation of the terminology, imagery and metaphor that are found in hardboiled detective fiction. The question of Haruki Murakami’s use of the tropes from hardboiled detective stories has been discussed by scholars such as Hantke (2007), Stretcher (2002) and Suter (2008), who argue that the writer uses these features as a way to organize his narratives and to pay homage to one of his literary heroes, Raymond Chandler. However, these arguments have not adequately addressed the fact that many of Murakami’s novels fit into the definition of the metaphysical detective story, which is “a text that parodies or subverts traditional detective-story conventions” (Merivale & Sweeney 1999:2). Using this definition as a guiding principle, this paper addresses the issue of the metaphysical detective features apparent in Murakami’s third novel, A Wild Sheep Chase, and, more specifically, looks at his use of the non-solution and labyrinth as narrative devices. The main argument, then, is that Murakami’s A Wild Sheep Chase fits in with the metaphysical detective novel and uses the familiar tropes of the labyrinth and the non-solution to highlight our impossible search for meaning.
{"title":"The Labyrinth and the Non-Solution: Murakami’s A Wild Sheep Chase and the Metaphysical Detective","authors":"R. Tyers","doi":"10.1163/26659077-02201004","DOIUrl":"https://doi.org/10.1163/26659077-02201004","url":null,"abstract":"Many of Murakami’s novels demonstrate his appropriation of the terminology, imagery and metaphor that are found in hardboiled detective fiction. The question of Haruki Murakami’s use of the tropes from hardboiled detective stories has been discussed by scholars such as Hantke (2007), Stretcher (2002) and Suter (2008), who argue that the writer uses these features as a way to organize his narratives and to pay homage to one of his literary heroes, Raymond Chandler. However, these arguments have not adequately addressed the fact that many of Murakami’s novels fit into the definition of the metaphysical detective story, which is “a text that parodies or subverts traditional detective-story conventions” (Merivale & Sweeney 1999:2). Using this definition as a guiding principle, this paper addresses the issue of the metaphysical detective features apparent in Murakami’s third novel, A Wild Sheep Chase, and, more specifically, looks at his use of the non-solution and labyrinth as narrative devices. The main argument, then, is that Murakami’s A Wild Sheep Chase fits in with the metaphysical detective novel and uses the familiar tropes of the labyrinth and the non-solution to highlight our impossible search for meaning.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125714489","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 : 2019-07-15DOI: 10.1163/26659077-02201003
Porranee Singpliam
The reality of global capitalism and development ideology has made Thailand uncertain. In the 1980s, Thailand’s reduced political activity accelerated the export-oriented economy. The move in policy from political control to development ideology for the pursuit of economic advancement can be argued to have presented a collective threat to the people. The economic disparity prevalent in Thai society shows that people at the community level must face hazardous and insecure treatment from the more dominant party. In this paper, I have conducted an in-depth analysis of the film Khru Somsri (1986) which is a “social mirror” of Thai society amid this economic growth. I argue that statist development ideology, which is interchangeable with modernity, engenders two things. They are, firstly, the discourse on participation pertaining to class and gender and, secondly, the empowerment discourse, particularly of women. This paper shows that people at the local level must struggle in order to prolong their survival in the slum community. Furthermore, how the discourse of participation is being maneuvered is manifold. Participation, as seen in this film, is hierarchical and gendered. The latter aspect of gender relations amid the accelerated market economy ultimately challenges the propriety of how Thai women embody their femininity. This paper re-examines the enmeshed affiliations between the development discourse and disintegrated participation with special attention to gender relations where women’s participation in the development discourse unveils them as ardent, impassioned actors and empowered women.
{"title":"Women’s Disintegrated Participation: Hierarchy and Gender Relations Re-Examined in Khru Somsri","authors":"Porranee Singpliam","doi":"10.1163/26659077-02201003","DOIUrl":"https://doi.org/10.1163/26659077-02201003","url":null,"abstract":"The reality of global capitalism and development ideology has made Thailand uncertain. In the 1980s, Thailand’s reduced political activity accelerated the export-oriented economy. The move in policy from political control to development ideology for the pursuit of economic advancement can be argued to have presented a collective threat to the people. The economic disparity prevalent in Thai society shows that people at the community level must face hazardous and insecure treatment from the more dominant party. In this paper, I have conducted an in-depth analysis of the film Khru Somsri (1986) which is a “social mirror” of Thai society amid this economic growth. I argue that statist development ideology, which is interchangeable with modernity, engenders two things. They are, firstly, the discourse on participation pertaining to class and gender and, secondly, the empowerment discourse, particularly of women. This paper shows that people at the local level must struggle in order to prolong their survival in the slum community. Furthermore, how the discourse of participation is being maneuvered is manifold. Participation, as seen in this film, is hierarchical and gendered. The latter aspect of gender relations amid the accelerated market economy ultimately challenges the propriety of how Thai women embody their femininity. This paper re-examines the enmeshed affiliations between the development discourse and disintegrated participation with special attention to gender relations where women’s participation in the development discourse unveils them as ardent, impassioned actors and empowered women.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127251809","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 : 2019-01-31DOI: 10.1163/26659077-02201001
A. Raksamani
The objective of this study is to examine the purpose and meaning of portrayals of Muslims in the Thai traditional art and architecture of temples and palaces. The focus is on the Siamese concepts of Muslims and the features of Muslims that Siamese people in the past intended to communicate to Siamese society. The study deals with the concept and design of painting found in Thai traditional mural paintings. The findings reveal that the portrayals of Muslims in the mural paintings represent the symbolic meanings which can be traced according 4 chronicle stages as follows: 1. The otherness of Muslims from afar in the late Ayutthaya. 2. The trace of Islamic civilization in the end of Ayutthaya, the Thonburi and the Reigns of King Rama i-ii. 3. The multicultural guests in the Reigns of King Rama iii-iv. 4. Unity under the royal patronage in the Reigns of King Rama v-vi. The benefit of the research can be applied to enhance the good relationship and understanding among different cultures in Thai society.
{"title":"The Siamese Concept of Muslims through Mural Paintings","authors":"A. Raksamani","doi":"10.1163/26659077-02201001","DOIUrl":"https://doi.org/10.1163/26659077-02201001","url":null,"abstract":"The objective of this study is to examine the purpose and meaning of portrayals of Muslims in the Thai traditional art and architecture of temples and palaces. The focus is on the Siamese concepts of Muslims and the features of Muslims that Siamese people in the past intended to communicate to Siamese society. The study deals with the concept and design of painting found in Thai traditional mural paintings. The findings reveal that the portrayals of Muslims in the mural paintings represent the symbolic meanings which can be traced according 4 chronicle stages as follows:\u0000\u00001.\u0000The otherness of Muslims from afar in the late Ayutthaya.\u0000\u0000\u00002.\u0000The trace of Islamic civilization in the end of Ayutthaya, the Thonburi and the Reigns of King Rama i-ii.\u0000\u0000\u00003.\u0000\u0000The multicultural guests in the Reigns of King Rama iii-iv.\u0000\u0000\u0000\u00004.\u0000Unity under the royal patronage in the Reigns of King Rama v-vi.\u0000\u0000\u0000\u0000The benefit of the research can be applied to enhance the good relationship and understanding among different cultures in Thai society.","PeriodicalId":443443,"journal":{"name":"MANUSYA: Journal of Humanities","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123840084","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}
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