Kathryn Talalay
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780195113938
- eISBN:
- 9780199853816
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195113938.003.0014
- Subject:
- History, Cultural History
After her 13th birthday, all the fourteen scrapbooks faithfully kept by her parents were shown to Philippa making her to be aware that she was treated like a puppet, a manipulated human being. Her ...
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After her 13th birthday, all the fourteen scrapbooks faithfully kept by her parents were shown to Philippa making her to be aware that she was treated like a puppet, a manipulated human being. Her parents collected not only clippings and letters but also page after page of notes, clinical and philosophical, tracing her development. The books revealed the story of a brave genetic and behavioural experiment, designed to create an extraordinary child. Some of it was of course known to Philippa, since many reports and reviews were being published about her. All this made her realize to what extent her existence had been manipulated. Her musical career also acquired a different meaning, before she used to enjoy every time she could play for others, but after reading the scrapbooks, she felt a heavy responsibility with each performance. Philippa was also haunted during her sleep, having a recurrent nightmare about committing suicide.Less
After her 13th birthday, all the fourteen scrapbooks faithfully kept by her parents were shown to Philippa making her to be aware that she was treated like a puppet, a manipulated human being. Her parents collected not only clippings and letters but also page after page of notes, clinical and philosophical, tracing her development. The books revealed the story of a brave genetic and behavioural experiment, designed to create an extraordinary child. Some of it was of course known to Philippa, since many reports and reviews were being published about her. All this made her realize to what extent her existence had been manipulated. Her musical career also acquired a different meaning, before she used to enjoy every time she could play for others, but after reading the scrapbooks, she felt a heavy responsibility with each performance. Philippa was also haunted during her sleep, having a recurrent nightmare about committing suicide.
Jeffrey G. Snodgrass
- Published in print:
- 2006
- Published Online:
- September 2006
- ISBN:
- 9780195304343
- eISBN:
- 9780199785063
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195304349.003.0004
- Subject:
- Religion, Hinduism
This chapter presents Bhat ballads featuring linguistically talented bards who dominate and control their lords and benefactors. Bhat praise of kings and patrons in their practice as well as in their ...
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This chapter presents Bhat ballads featuring linguistically talented bards who dominate and control their lords and benefactors. Bhat praise of kings and patrons in their practice as well as in their myths and epics is less an acknowledgment of Rajput (former feudal landlords of Rajasthan) or Kshatriya (Warrior) supremacy — be it based on generous patronage, martial sacrifice, or some other virtue — and more a Bhat tactic for establishing their own importance as cunning bards who themselves defend and protect their patron-lords. In shifting the focus from patrons to the insights of the author’s bardic informants and the power of linguistic representation, this chapter hopes to draw more explicit attention to the imaginative dimensions of caste hierarchies and the arbitrariness of social centers and peripheries, It also argues that Bhat poetics parallel many of the insights of contemporary postmodern and poststructuralist theories. This chapter ends by exploring the manner Bhats use stories and puppet dramas placing themselves in close relationship to kings and nobles to help them appropriate the roles and statuses associated with royal bards, which in turn enables them to better exploit the modern tourist industry.Less
This chapter presents Bhat ballads featuring linguistically talented bards who dominate and control their lords and benefactors. Bhat praise of kings and patrons in their practice as well as in their myths and epics is less an acknowledgment of Rajput (former feudal landlords of Rajasthan) or Kshatriya (Warrior) supremacy — be it based on generous patronage, martial sacrifice, or some other virtue — and more a Bhat tactic for establishing their own importance as cunning bards who themselves defend and protect their patron-lords. In shifting the focus from patrons to the insights of the author’s bardic informants and the power of linguistic representation, this chapter hopes to draw more explicit attention to the imaginative dimensions of caste hierarchies and the arbitrariness of social centers and peripheries, It also argues that Bhat poetics parallel many of the insights of contemporary postmodern and poststructuralist theories. This chapter ends by exploring the manner Bhats use stories and puppet dramas placing themselves in close relationship to kings and nobles to help them appropriate the roles and statuses associated with royal bards, which in turn enables them to better exploit the modern tourist industry.
Philip Lambert
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780195390070
- eISBN:
- 9780199863570
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195390070.003.0004
- Subject:
- Music, Theory, Analysis, Composition, Popular
This chapter examines the third show of the Bock–Harnick partnership, Tenderloin (1960), and other smaller projects the pair undertook during the early 1960s. Tenderloin featured essentially the same ...
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This chapter examines the third show of the Bock–Harnick partnership, Tenderloin (1960), and other smaller projects the pair undertook during the early 1960s. Tenderloin featured essentially the same creative team as their second show but did not match its success. Reviews were mixed, despite a score filled with colorful songs and skillful evocations of New York City in the 1890s. Their other projects during this time included a musical puppet show on Broadway, The Man in the Moon (1963), featuring Bil Baird’s marionettes.Less
This chapter examines the third show of the Bock–Harnick partnership, Tenderloin (1960), and other smaller projects the pair undertook during the early 1960s. Tenderloin featured essentially the same creative team as their second show but did not match its success. Reviews were mixed, despite a score filled with colorful songs and skillful evocations of New York City in the 1890s. Their other projects during this time included a musical puppet show on Broadway, The Man in the Moon (1963), featuring Bil Baird’s marionettes.
Mandakranta Bose
- Published in print:
- 2004
- Published Online:
- April 2005
- ISBN:
- 9780195168327
- eISBN:
- 9780199835362
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195168321.003.0012
- Subject:
- Religion, Hinduism
This chapter delves into the historical and evolutionary process of the movement of the Rāmāyana story in Indonesia and its religious and political implications. It argues that cross-cultural traffic ...
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This chapter delves into the historical and evolutionary process of the movement of the Rāmāyana story in Indonesia and its religious and political implications. It argues that cross-cultural traffic between Hindu-Javanese social and religious practices, on the one hand, and those of the Muslim immigrants who arrived in the 18th century, on the other, have resulted in a synthesis in which Javanese shadow puppeteers not only find audiences for Hindu myths across religious boundaries but also adapt Mahābhārata puppets to tell Rāmāyana stories. The process subverts the linearity of the Rāmāyana and builds a discourse in which the puppets serve as material objects that encode ideas of character, ethics, behavior, and morals.Less
This chapter delves into the historical and evolutionary process of the movement of the Rāmāyana story in Indonesia and its religious and political implications. It argues that cross-cultural traffic between Hindu-Javanese social and religious practices, on the one hand, and those of the Muslim immigrants who arrived in the 18th century, on the other, have resulted in a synthesis in which Javanese shadow puppeteers not only find audiences for Hindu myths across religious boundaries but also adapt Mahābhārata puppets to tell Rāmāyana stories. The process subverts the linearity of the Rāmāyana and builds a discourse in which the puppets serve as material objects that encode ideas of character, ethics, behavior, and morals.
Joshua Wilburn
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199666164
- eISBN:
- 9780191751936
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199666164.003.0002
- Subject:
- Philosophy, Ancient Philosophy
This paper challenges the commonly held view that Plato acknowledges and accepts the possibility of akrasia in the Laws. It offers a new interpretation of the image of the divine puppet in Book 1 - ...
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This paper challenges the commonly held view that Plato acknowledges and accepts the possibility of akrasia in the Laws. It offers a new interpretation of the image of the divine puppet in Book 1 - the passage often read as an account of akratic action -- and shows that it is not intended as an illustration of akrasia at all. Rather, it provides the moral psychological background for the text by illustrating a broader notion of self-rule as a virtuous condition of the soul (and lack of self-rule as a vicious condition). The paper examines key discussions in the Laws in order to show how Plato makes use of this broader notion of self-rule throughout the dialogue, and argues that nothing Plato says in the Laws commits him to the possibility of akrasia. One significant consequence of this interpretation of the puppet passage is that it avoids the need to posit developmentalism in Plato's late views about the embodied human soul, as some recent commentators have done: the moral psychology of the Laws, on this reading, is not incompatible with the Republic's tripartite theory of the soul.Less
This paper challenges the commonly held view that Plato acknowledges and accepts the possibility of akrasia in the Laws. It offers a new interpretation of the image of the divine puppet in Book 1 - the passage often read as an account of akratic action -- and shows that it is not intended as an illustration of akrasia at all. Rather, it provides the moral psychological background for the text by illustrating a broader notion of self-rule as a virtuous condition of the soul (and lack of self-rule as a vicious condition). The paper examines key discussions in the Laws in order to show how Plato makes use of this broader notion of self-rule throughout the dialogue, and argues that nothing Plato says in the Laws commits him to the possibility of akrasia. One significant consequence of this interpretation of the puppet passage is that it avoids the need to posit developmentalism in Plato's late views about the embodied human soul, as some recent commentators have done: the moral psychology of the Laws, on this reading, is not incompatible with the Republic's tripartite theory of the soul.
- Published in print:
- 2012
- Published Online:
- November 2016
- ISBN:
- 9780824835620
- eISBN:
- 9780824871413
- Item type:
- book
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824835620.001.0001
- Subject:
- Society and Culture, Asian Studies
The plays presented here were first performed between 1769 and 1832, a time when the Japanese puppet theatre known as Bunraku was beginning to lose its pre-eminence to Kabuki. During this period, ...
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The plays presented here were first performed between 1769 and 1832, a time when the Japanese puppet theatre known as Bunraku was beginning to lose its pre-eminence to Kabuki. During this period, several important puppet plays were created that went on to become standards in both the Bunraku and Kabuki repertoires; three of which are in this book. Only a handful of complete and uncut plays are produced in Bunraku or Kabuki nowadays; included here is one. Two among the four plays in this book are examples of the much more common practice of staging a single popular act or scene from a much longer drama that itself is seldom, if ever, performed in its entirety today. Kabuki, while better known outside Japan, has been a great beneficiary of the puppet theatre, borrowing perhaps as much as half of its body of work from Bunraku dramas. Bunraku, in turn, has raided the Kabuki repertoire but to a far more modest degree. The final play in this book is an instance of this uncommon reverse borrowing. Moreover, it is an example of another way in which some plays have come to be presented: a coherent subplot of a longer work that gained an independent theatrical existence while its parent drama has since disappeared from the stage. Newly translated and illustrated for the general reader and the specialist, the plays in this book are accompanied by introductions, notes on stage action, and discussions of the various changes that Bunraku underwent.Less
The plays presented here were first performed between 1769 and 1832, a time when the Japanese puppet theatre known as Bunraku was beginning to lose its pre-eminence to Kabuki. During this period, several important puppet plays were created that went on to become standards in both the Bunraku and Kabuki repertoires; three of which are in this book. Only a handful of complete and uncut plays are produced in Bunraku or Kabuki nowadays; included here is one. Two among the four plays in this book are examples of the much more common practice of staging a single popular act or scene from a much longer drama that itself is seldom, if ever, performed in its entirety today. Kabuki, while better known outside Japan, has been a great beneficiary of the puppet theatre, borrowing perhaps as much as half of its body of work from Bunraku dramas. Bunraku, in turn, has raided the Kabuki repertoire but to a far more modest degree. The final play in this book is an instance of this uncommon reverse borrowing. Moreover, it is an example of another way in which some plays have come to be presented: a coherent subplot of a longer work that gained an independent theatrical existence while its parent drama has since disappeared from the stage. Newly translated and illustrated for the general reader and the specialist, the plays in this book are accompanied by introductions, notes on stage action, and discussions of the various changes that Bunraku underwent.
Keith Leslie Johnson
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780252041471
- eISBN:
- 9780252050077
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252041471.001.0001
- Subject:
- Film, Television and Radio, Film
This synoptic study of Czech filmmaker Jan Švankmajer (b. 1934) presents his career in terms of a Surrealist outlook informed by an idiosyncratic animism. More than any other recent filmmaker, ...
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This synoptic study of Czech filmmaker Jan Švankmajer (b. 1934) presents his career in terms of a Surrealist outlook informed by an idiosyncratic animism. More than any other recent filmmaker, Švankmajer provides access to a “flat ontology”—a vision of the world with a single, uncanny order of being, where all things are, as it were, at once animated and inert, puppet-like. The screen of animist cinema is not therefore an abstract “field” in which human actors disport themselves against a backdrop of neutral, unresponsive objects, but more akin to an alchemist’s lab, where the proper incantation and ritual unlocks the potential for life hidden in all things. Švankmajer draws on the language and imagery of the occult so as to liberate the mind, less from rationality itself as from a certain straitened conception of it, decoupled from intuition and the creative imagination. The occult provides “technologies” for accessing these (e.g., Tarot, magic squares, alternative alphabets, symbol systems, etc.) and leaping thereby over the palings of stale, orthodox thought. This book examines Švankmajer’s animist cinema as it emerges in five conceptual “habitats”: that of the object; that of the animal; that of the creature (located between object and animal); that of the polis; and that of the ecosphere as a whole.Less
This synoptic study of Czech filmmaker Jan Švankmajer (b. 1934) presents his career in terms of a Surrealist outlook informed by an idiosyncratic animism. More than any other recent filmmaker, Švankmajer provides access to a “flat ontology”—a vision of the world with a single, uncanny order of being, where all things are, as it were, at once animated and inert, puppet-like. The screen of animist cinema is not therefore an abstract “field” in which human actors disport themselves against a backdrop of neutral, unresponsive objects, but more akin to an alchemist’s lab, where the proper incantation and ritual unlocks the potential for life hidden in all things. Švankmajer draws on the language and imagery of the occult so as to liberate the mind, less from rationality itself as from a certain straitened conception of it, decoupled from intuition and the creative imagination. The occult provides “technologies” for accessing these (e.g., Tarot, magic squares, alternative alphabets, symbol systems, etc.) and leaping thereby over the palings of stale, orthodox thought. This book examines Švankmajer’s animist cinema as it emerges in five conceptual “habitats”: that of the object; that of the animal; that of the creature (located between object and animal); that of the polis; and that of the ecosphere as a whole.
Kathryn Talalay
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780195113938
- eISBN:
- 9780199853816
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195113938.003.0010
- Subject:
- History, Cultural History
Philippa's reputation as a gifted child grew more and more as she grew up. During the fall of 1937, Philippa was invited by Mother Stevens, director of the prestigious Pius X School of Liturgical ...
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Philippa's reputation as a gifted child grew more and more as she grew up. During the fall of 1937, Philippa was invited by Mother Stevens, director of the prestigious Pius X School of Liturgical Music at the College of the Sacred Heart, to play for her. During the same year, Philippa won the top prize from the New York Philharmonic's Young People's Society Concert Series at Carnegie Hall. For eight consecutive years, she was placed on the National Piano Teachers Guild Honor Roll. Philippa also began to travel and perform for many people. Philippa's days continued to be carefully regimented and choreographed.Less
Philippa's reputation as a gifted child grew more and more as she grew up. During the fall of 1937, Philippa was invited by Mother Stevens, director of the prestigious Pius X School of Liturgical Music at the College of the Sacred Heart, to play for her. During the same year, Philippa won the top prize from the New York Philharmonic's Young People's Society Concert Series at Carnegie Hall. For eight consecutive years, she was placed on the National Piano Teachers Guild Honor Roll. Philippa also began to travel and perform for many people. Philippa's days continued to be carefully regimented and choreographed.
Cindy Dell Clark
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780195376593
- eISBN:
- 9780199865437
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195376593.003.0006
- Subject:
- Psychology, Developmental Psychology, Clinical Child Psychology / School Psychology
Visual methods are well suited for inquiry seeking children’s views. Visual methods provide for communications attuned to even preliterate children, in turn empowering children to show what matters ...
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Visual methods are well suited for inquiry seeking children’s views. Visual methods provide for communications attuned to even preliterate children, in turn empowering children to show what matters to them and accompanying feelings. Drawing or other art allow boys and girls a chance to frame and display what they see in their mind’s eye. A dynamic, rather than fixed, approach to interpreting art is advised. Visual cues and props are also assets in child-centered research, such as models, puppets, replicas of settings and other tacit forms of showing and telling. In the metaphor sort technique (MST), children sort pictures as being analogous with a topic, revealing rich insights into children’s feelings and assumptions from the metaphors. Photoelicitation invites children to take snapshots of experiences; these photos are used as the basis for an interview in which they explain the photo. Photoelicitation has had broad application for studies across cultures and age groups.Less
Visual methods are well suited for inquiry seeking children’s views. Visual methods provide for communications attuned to even preliterate children, in turn empowering children to show what matters to them and accompanying feelings. Drawing or other art allow boys and girls a chance to frame and display what they see in their mind’s eye. A dynamic, rather than fixed, approach to interpreting art is advised. Visual cues and props are also assets in child-centered research, such as models, puppets, replicas of settings and other tacit forms of showing and telling. In the metaphor sort technique (MST), children sort pictures as being analogous with a topic, revealing rich insights into children’s feelings and assumptions from the metaphors. Photoelicitation invites children to take snapshots of experiences; these photos are used as the basis for an interview in which they explain the photo. Photoelicitation has had broad application for studies across cultures and age groups.
- Published in print:
- 2013
- Published Online:
- November 2015
- ISBN:
- 9780231146586
- eISBN:
- 9780231518338
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231146586.001.0001
- Subject:
- Religion, Buddhism
This book presents eight seminal works from the seventeenth-century Japanese sekkyō and ko-jōruri puppet theaters, many translated into English for the first time. Both poignant and disturbing, they ...
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This book presents eight seminal works from the seventeenth-century Japanese sekkyō and ko-jōruri puppet theaters, many translated into English for the first time. Both poignant and disturbing, they range from stories of cruelty and brutality to tales of love, charity, and outstanding filial devotion, representing the best of early Edo-period literary and performance traditions and acting as important precursors to the Bunraku and Kabuki styles of theater. As works of Buddhist fiction, these texts relate the histories and miracles of particular buddhas, bodhisattvas, and local deities. Many of their protagonists are cultural icons, recognizable through their representation in later works of Japanese drama, fiction, and film. The collection includes such sekkyō “sermon-ballad” classics as Sanshō Dayū, Karukaya, and Oguri, as well as the “old jōruri” plays Goō-no-hime and Amida's Riven Breast. The book provides a critical introduction to these vibrant performance genres, emphasizing the role of seventeenth-century publishing in their spread. It also details six major sekkyō chanters and their playbooks, filling a crucial scholarly gap in early Edo-period theater. More than fifty reproductions of mostly seventeenth-century woodblock illustrations offer rich, visual foundations for the critical introduction and translated tales.Less
This book presents eight seminal works from the seventeenth-century Japanese sekkyō and ko-jōruri puppet theaters, many translated into English for the first time. Both poignant and disturbing, they range from stories of cruelty and brutality to tales of love, charity, and outstanding filial devotion, representing the best of early Edo-period literary and performance traditions and acting as important precursors to the Bunraku and Kabuki styles of theater. As works of Buddhist fiction, these texts relate the histories and miracles of particular buddhas, bodhisattvas, and local deities. Many of their protagonists are cultural icons, recognizable through their representation in later works of Japanese drama, fiction, and film. The collection includes such sekkyō “sermon-ballad” classics as Sanshō Dayū, Karukaya, and Oguri, as well as the “old jōruri” plays Goō-no-hime and Amida's Riven Breast. The book provides a critical introduction to these vibrant performance genres, emphasizing the role of seventeenth-century publishing in their spread. It also details six major sekkyō chanters and their playbooks, filling a crucial scholarly gap in early Edo-period theater. More than fifty reproductions of mostly seventeenth-century woodblock illustrations offer rich, visual foundations for the critical introduction and translated tales.
Melissa M. Lee
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781501748363
- eISBN:
- 9781501748387
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501748363.003.0006
- Subject:
- Political Science, International Relations and Politics
This chapter examines a different logic guiding the strategy of subversion: tie-down. This strategy is evident in Thailand’s subversion of Vietnamese-occupied Cambodia in the 1980s. The case traces ...
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This chapter examines a different logic guiding the strategy of subversion: tie-down. This strategy is evident in Thailand’s subversion of Vietnamese-occupied Cambodia in the 1980s. The case traces how Thai fears of Vietnamese aggression after the Vietnamese occupation of Cambodia influenced Bangkok to support the Khmer Rouge to sow chaos inside Cambodia. An interesting and important feature of the Cambodia case is the “tabula rasa”-like state of the country after the Vietnamese imposed a puppet regime in Phnom Penh. That is, although the Vietnamese defeated Cambodia’s former leaders, upon victory neither Vietnam nor its new puppet regime exercised any meaningful degree of state authority. Nor was there any state to govern due to the Khmer Rouge’s devastation of the country. This blank-slate-like feature mitigates concerns about reverse causality and the influence of initial levels of within-country variation in state authority, and therefore allows the chapter to draw more valid inferences about the effect of Thai subversion on Vietnamese efforts to consolidate state authority in Cambodia. As with the previous chapter, this in-depth case study provides a look at the effects of subversion on state authority in a more micro way.Less
This chapter examines a different logic guiding the strategy of subversion: tie-down. This strategy is evident in Thailand’s subversion of Vietnamese-occupied Cambodia in the 1980s. The case traces how Thai fears of Vietnamese aggression after the Vietnamese occupation of Cambodia influenced Bangkok to support the Khmer Rouge to sow chaos inside Cambodia. An interesting and important feature of the Cambodia case is the “tabula rasa”-like state of the country after the Vietnamese imposed a puppet regime in Phnom Penh. That is, although the Vietnamese defeated Cambodia’s former leaders, upon victory neither Vietnam nor its new puppet regime exercised any meaningful degree of state authority. Nor was there any state to govern due to the Khmer Rouge’s devastation of the country. This blank-slate-like feature mitigates concerns about reverse causality and the influence of initial levels of within-country variation in state authority, and therefore allows the chapter to draw more valid inferences about the effect of Thai subversion on Vietnamese efforts to consolidate state authority in Cambodia. As with the previous chapter, this in-depth case study provides a look at the effects of subversion on state authority in a more micro way.
Matthew Isaac Cohen
- Published in print:
- 2016
- Published Online:
- November 2016
- ISBN:
- 9780824855567
- eISBN:
- 9780824868710
- Item type:
- book
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824855567.001.0001
- Subject:
- Society and Culture, Asian Studies
Indonesia, with its mix of ethnic cultures, developed sense of national modernity, and cosmopolitan ethos, provides an important lens for investigating creative dialectics of tradition and modernity ...
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Indonesia, with its mix of ethnic cultures, developed sense of national modernity, and cosmopolitan ethos, provides an important lens for investigating creative dialectics of tradition and modernity in the performing arts in globalized Asia. This book examines changes in the practice and conceptualization of drama, dance, music, puppetry, and pageantry under colonialism, exploring the mutual imbrication of traditional and modern arts from circa 1812 until independence in 1945, with special focus on the Japanese occupation. While the arts in Indonesia were always sites for intercultural exchange, this aspect became more pronounced in colonial modernity, with debate on the value of tradition and desire for novelty and innovation. Rather than being an ancillary reflection of socio-political change, performing arts are taken as a primary mode for experiencing and conceiving modernity. Cohen unfurls stories of collective creativity in the modernization of culture; the disembedding and remooring of traditions; the emergence of new art forms and modern attitudes to art; and the hybridizing of old and new, foreign and local. The book thus offers new historical perspective on well-known arts such as gamelan, wayang kulit, and the classical dances of Bali, and introduces a panoply of arts practiced today and in the past.Less
Indonesia, with its mix of ethnic cultures, developed sense of national modernity, and cosmopolitan ethos, provides an important lens for investigating creative dialectics of tradition and modernity in the performing arts in globalized Asia. This book examines changes in the practice and conceptualization of drama, dance, music, puppetry, and pageantry under colonialism, exploring the mutual imbrication of traditional and modern arts from circa 1812 until independence in 1945, with special focus on the Japanese occupation. While the arts in Indonesia were always sites for intercultural exchange, this aspect became more pronounced in colonial modernity, with debate on the value of tradition and desire for novelty and innovation. Rather than being an ancillary reflection of socio-political change, performing arts are taken as a primary mode for experiencing and conceiving modernity. Cohen unfurls stories of collective creativity in the modernization of culture; the disembedding and remooring of traditions; the emergence of new art forms and modern attitudes to art; and the hybridizing of old and new, foreign and local. The book thus offers new historical perspective on well-known arts such as gamelan, wayang kulit, and the classical dances of Bali, and introduces a panoply of arts practiced today and in the past.
David Harnish and Anne Rasmussen (eds)
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780195385410
- eISBN:
- 9780199896974
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195385410.001.0001
- Subject:
- Music, Ethnomusicology, World Music, History, Western
Indonesia is celebrated for its courtly arts, its beautiful beaches, its tourist attractions, and its artisan marketplace. Yet long overdue is a look at Indonesian Islam as the source of and ...
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Indonesia is celebrated for its courtly arts, its beautiful beaches, its tourist attractions, and its artisan marketplace. Yet long overdue is a look at Indonesian Islam as the source of and inspiration for the arts throughout the history if its people, and in the dynamic popular performances of today. From the rhythmic grooves of dang dut, the archipelago's tenacious pop music, to the oft-quoted image of the wayang shadow puppet-theater, this book investigates the expression of the Muslim religion through a diversity of art forms in this region. And from Quranic recitation by teenaged girls and women in Jakarta to the provincial patronage of Sufi arts and Muslim ritual as regional performance, this book further addresses the ways in which Islam-inspired performance has been co-opted and appropriated for the expression of national culture. The chapters explore the region's various micro-cultures of music, dance, religious ritual, government patronage, social censorship, tourism, development, and gender roles and relations. This pastiche speaks on personal, political, global, and local levels to the most important question of identity and ideology in Indonesia today: Islam.Less
Indonesia is celebrated for its courtly arts, its beautiful beaches, its tourist attractions, and its artisan marketplace. Yet long overdue is a look at Indonesian Islam as the source of and inspiration for the arts throughout the history if its people, and in the dynamic popular performances of today. From the rhythmic grooves of dang dut, the archipelago's tenacious pop music, to the oft-quoted image of the wayang shadow puppet-theater, this book investigates the expression of the Muslim religion through a diversity of art forms in this region. And from Quranic recitation by teenaged girls and women in Jakarta to the provincial patronage of Sufi arts and Muslim ritual as regional performance, this book further addresses the ways in which Islam-inspired performance has been co-opted and appropriated for the expression of national culture. The chapters explore the region's various micro-cultures of music, dance, religious ritual, government patronage, social censorship, tourism, development, and gender roles and relations. This pastiche speaks on personal, political, global, and local levels to the most important question of identity and ideology in Indonesia today: Islam.
John Finnis
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780199580095
- eISBN:
- 9780191729416
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199580095.003.0018
- Subject:
- Law, Philosophy of Law
This chapter presents a 1992 university sermon on the grace of humility, expounding Germain Grisez's fresh understanding of that virtue as the particular gift enabling one to orient oneself and one's ...
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This chapter presents a 1992 university sermon on the grace of humility, expounding Germain Grisez's fresh understanding of that virtue as the particular gift enabling one to orient oneself and one's actions in harmony with an awareness that every good thing one has and does and achieves is a sheer gift. This account is developed by comparison with Plato's understanding of divine causality and human action, by reflection on the relation of human action to the divinely given heavenly kingdom. Plato's image of the divine puppet-master must be corrected, and can be, in light of the revelation of the world's real history as the building up of the Kingdom.Less
This chapter presents a 1992 university sermon on the grace of humility, expounding Germain Grisez's fresh understanding of that virtue as the particular gift enabling one to orient oneself and one's actions in harmony with an awareness that every good thing one has and does and achieves is a sheer gift. This account is developed by comparison with Plato's understanding of divine causality and human action, by reflection on the relation of human action to the divinely given heavenly kingdom. Plato's image of the divine puppet-master must be corrected, and can be, in light of the revelation of the world's real history as the building up of the Kingdom.
Stanleigh H. Jones
- Published in print:
- 2012
- Published Online:
- November 2016
- ISBN:
- 9780824835620
- eISBN:
- 9780824871413
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824835620.003.0005
- Subject:
- Society and Culture, Asian Studies
This introductory chapter begins with an overview of the Japanese puppet plays presented in this volume. The plays were created during the period when Kabuki became increasingly a serious competitor ...
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This introductory chapter begins with an overview of the Japanese puppet plays presented in this volume. The plays were created during the period when Kabuki became increasingly a serious competitor to the popularity of Japan's puppet theatre, known today as Bunraku. They span the sixty-odd years of 1769 to 1832, and all are works that have been sufficiently appreciated by audiences that since their first performances they have continued to appear regularly on the puppet and, in their adapted forms, the Kabuki stages. The group of plays are all classified in the genre known as jidaimono, works set in the past and based on historical (or semihistorical) characters or incidents, a feature that reflects the predominance of that genre in the period covered. The remainder of the chapter describes the form of the puppet stage and the text sources for the translations.Less
This introductory chapter begins with an overview of the Japanese puppet plays presented in this volume. The plays were created during the period when Kabuki became increasingly a serious competitor to the popularity of Japan's puppet theatre, known today as Bunraku. They span the sixty-odd years of 1769 to 1832, and all are works that have been sufficiently appreciated by audiences that since their first performances they have continued to appear regularly on the puppet and, in their adapted forms, the Kabuki stages. The group of plays are all classified in the genre known as jidaimono, works set in the past and based on historical (or semihistorical) characters or incidents, a feature that reflects the predominance of that genre in the period covered. The remainder of the chapter describes the form of the puppet stage and the text sources for the translations.
Lisa DeTora
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781474456012
- eISBN:
- 9781474490672
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474456012.003.0014
- Subject:
- Film, Television and Radio, Film
In this chapter Lisa DeTora analyses the first season of Dave Holstein’s Showtime series, Kidding (2018–2020), for which Michel Gondry served as an executive producer and directed eight episodes. The ...
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In this chapter Lisa DeTora analyses the first season of Dave Holstein’s Showtime series, Kidding (2018–2020), for which Michel Gondry served as an executive producer and directed eight episodes. The series stars Jim Carrey, who had previously starred in Michel Gondry’s acclaimed film Eternal Sunshine of the Spotless Mind (2004). In Kidding, Carrey plays Jeff Piccirillo, aka Mr. Pickles, the host of a successful children’s puppet television show, which he has developed with his father, who produces the show, and his sister, who designs the puppets. DeTora argues that the series returns Gondry to his perennial themes of the instability of identity and the difficulty of separating real life from imagination. Jeff articulates his thoughts and processes his emotions through the gleefully surreal puppet show and even imagines people in his life as puppets. His world is thrown into disarray when his father threatens to replace him because he is consistently trying to smuggle adult themes into the show, thus causing Jeff to question the relationship between his own identity and that of Mr. Pickles. The chapter analyzes the first season of the show and its exploration of identity crisis, acknowledging its links with Gondry’s wider body of work.Less
In this chapter Lisa DeTora analyses the first season of Dave Holstein’s Showtime series, Kidding (2018–2020), for which Michel Gondry served as an executive producer and directed eight episodes. The series stars Jim Carrey, who had previously starred in Michel Gondry’s acclaimed film Eternal Sunshine of the Spotless Mind (2004). In Kidding, Carrey plays Jeff Piccirillo, aka Mr. Pickles, the host of a successful children’s puppet television show, which he has developed with his father, who produces the show, and his sister, who designs the puppets. DeTora argues that the series returns Gondry to his perennial themes of the instability of identity and the difficulty of separating real life from imagination. Jeff articulates his thoughts and processes his emotions through the gleefully surreal puppet show and even imagines people in his life as puppets. His world is thrown into disarray when his father threatens to replace him because he is consistently trying to smuggle adult themes into the show, thus causing Jeff to question the relationship between his own identity and that of Mr. Pickles. The chapter analyzes the first season of the show and its exploration of identity crisis, acknowledging its links with Gondry’s wider body of work.
Carol Laderman
- Published in print:
- 1991
- Published Online:
- May 2012
- ISBN:
- 9780520069169
- eISBN:
- 9780520913707
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520069169.003.0006
- Subject:
- Anthropology, Asian Cultural Anthropology
This chapter presents a transcript of a séance, taped during its performance and translated by the author, the primary aim of which was to relieve the suffering caused by frustration of a puppet ...
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This chapter presents a transcript of a séance, taped during its performance and translated by the author, the primary aim of which was to relieve the suffering caused by frustration of a puppet master's creative impulses (Inner Winds).Less
This chapter presents a transcript of a séance, taped during its performance and translated by the author, the primary aim of which was to relieve the suffering caused by frustration of a puppet master's creative impulses (Inner Winds).
Olga Taxidou
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9781474415569
- eISBN:
- 9781399501842
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474415569.003.0002
- Subject:
- Literature, Early and Medieval Literature
This chapter focuses on Duncan’s and Craig’s experiments in movement and manifestos for The Dance and The Theatre of the Future, and the ways they engage notions of Hellenism, especially in its ...
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This chapter focuses on Duncan’s and Craig’s experiments in movement and manifestos for The Dance and The Theatre of the Future, and the ways they engage notions of Hellenism, especially in its utopian aspects. It reads their projects in tandem (the dancer and the marionette), underlining the emphasis on the performer and introducing the concept of embodied ekphrasis. Both Duncan and Craig’s experiments were not based on readings of Greek plays, and gestured towards a form of Hellenism echoed in the modernist concept of total theatre. Theorising and expressing performance through the double figures of the puppet and the dancer is given a classical genealogy through the introduction of Plato’s ideas on the subject, also quoted by Craig, again stressing the ways these modernist debates rehearse the ancient quarrel about the political and aesthetic efficacy of performance.Less
This chapter focuses on Duncan’s and Craig’s experiments in movement and manifestos for The Dance and The Theatre of the Future, and the ways they engage notions of Hellenism, especially in its utopian aspects. It reads their projects in tandem (the dancer and the marionette), underlining the emphasis on the performer and introducing the concept of embodied ekphrasis. Both Duncan and Craig’s experiments were not based on readings of Greek plays, and gestured towards a form of Hellenism echoed in the modernist concept of total theatre. Theorising and expressing performance through the double figures of the puppet and the dancer is given a classical genealogy through the introduction of Plato’s ideas on the subject, also quoted by Craig, again stressing the ways these modernist debates rehearse the ancient quarrel about the political and aesthetic efficacy of performance.
Julie Park
- Published in print:
- 2009
- Published Online:
- June 2013
- ISBN:
- 9780804756969
- eISBN:
- 9780804773348
- Item type:
- book
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804756969.001.0001
- Subject:
- Literature, 18th-century Literature
Objects we traditionally regard as “mere” imitations of the human—dolls, automata, puppets—proliferated in eighteenth-century England's rapidly expanding market culture. During the same period, there ...
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Objects we traditionally regard as “mere” imitations of the human—dolls, automata, puppets—proliferated in eighteenth-century England's rapidly expanding market culture. During the same period, there arose a literary genre called “the novel” that turned the experience of life into a narrated object of psychological plausibility. The author of this book makes an intervention in histories of the rise of the novel by arguing that the material objects abounding in eighteenth-century England's consumer markets worked in conjunction with the novel, itself a commodity fetish, as vital tools for fashioning the modern self. As it constructs a history for the psychology of objects, the book revises a story that others have viewed as originating later: in an age of Enlightenment, things have the power to move, affect people's lives, and most of all, enable a fictional genre of selfhood. It demonstrates just how much the modern psyche—and its thrilling projections of “artificial life”—derive from the formation of the early novel, and the reciprocal activity between made things and invented identities that underlie it.Less
Objects we traditionally regard as “mere” imitations of the human—dolls, automata, puppets—proliferated in eighteenth-century England's rapidly expanding market culture. During the same period, there arose a literary genre called “the novel” that turned the experience of life into a narrated object of psychological plausibility. The author of this book makes an intervention in histories of the rise of the novel by arguing that the material objects abounding in eighteenth-century England's consumer markets worked in conjunction with the novel, itself a commodity fetish, as vital tools for fashioning the modern self. As it constructs a history for the psychology of objects, the book revises a story that others have viewed as originating later: in an age of Enlightenment, things have the power to move, affect people's lives, and most of all, enable a fictional genre of selfhood. It demonstrates just how much the modern psyche—and its thrilling projections of “artificial life”—derive from the formation of the early novel, and the reciprocal activity between made things and invented identities that underlie it.
Parks M. Coble
- Published in print:
- 2003
- Published Online:
- March 2012
- ISBN:
- 9780520232686
- eISBN:
- 9780520928299
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520232686.003.0005
- Subject:
- History, Asian History
This chapter focuses on Japan's creation of puppet governments in China. These regimes differed from purely colonial administrations, such as those in Taiwan and Korea, in that they were nominally ...
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This chapter focuses on Japan's creation of puppet governments in China. These regimes differed from purely colonial administrations, such as those in Taiwan and Korea, in that they were nominally independent entities. They were created on the belief that such governments could assist in controlling conquered territory by gaining the support or at least acquiescence of the population. However, the Japanese structures were marred by several major flaws, and their impotence both gutted their claims to be legitimate, autonomous governments and impeded the efforts of the Japanese to get individuals of prestige to join their cause.Less
This chapter focuses on Japan's creation of puppet governments in China. These regimes differed from purely colonial administrations, such as those in Taiwan and Korea, in that they were nominally independent entities. They were created on the belief that such governments could assist in controlling conquered territory by gaining the support or at least acquiescence of the population. However, the Japanese structures were marred by several major flaws, and their impotence both gutted their claims to be legitimate, autonomous governments and impeded the efforts of the Japanese to get individuals of prestige to join their cause.
