The Intermedial Theatron: A Paradigm Shift in Education and Performance in the Public Sphere?

2021 ◽  
Vol 1 (2) ◽  
pp. 74-102
Author(s):  
Ach Zayyadi ◽  
Alvina Amatillah ◽  
Dwiki Oktafiana Wirendri

This article aims to figure out Indonesian commentators perspectives on the position of women in the domestic and public sphere. This research comes from the question; Has the patriarchal identity that existed in Indonesia influenced Indonesian commentators perspectives in interpreting the Koran?  And what is Indonesian commentators perspective on women’s leadership in the public sphere? With the literary method and critical analysis of their works, tafsīr al-Misbah, Tafsīr al-Azhar, and Tafsīr Marāh} Labīd, this research resulted in the following findings and conclusions. First, in essence, the three Indonesian commentators did not give permission to women to become leaders in the household, even they have different reasons. Nawāwī al-Bantānī considers men to be leaders for their wives, because men has the potential to educate them, has intellectual and physical strength. Hamka gave consideration to Indonesian traditions and culture. Meanwhile, Quraish Shihab argues that a man is the leader over his wife because of the psychological and character considerations of men who are more assertive. Second, regarding women’s leadership in the public sphere, Quraish Shihab and Hamka allow women to become leaders for men as long as they have sufficient criteria. Meanwhile al-Nawāwī did not provide a clear explanation of the status of women’s leadership in the public sphere. The findings in this study also confirm that, in addressing the problem of women, the Indonesian commentators has a paradigm shift from time to time, this is due to sociological factors and conditions surrounding the interpreter.


2019 ◽  
pp. 101-116 ◽  
Author(s):  
Suhas Palshikar

This chapter discusses the paradigm shift in Indian politics beyond the realm of electoral hegemony. The historical mandate of 2014 was the watershed moment which has resulted in the restructuring of the party system and the emergence of a new ideological framework in the public sphere. The BJP succeeded in breaching linguistic, cultural and state barriers by creating an All India Imagination, this marks the dawn of the second dominant party system since the Indian National Congress in 1989. This vision of New India with Modi as the central force spells trouble for the state parties. The potent combination of development, Hindutva and nationalism shapes this new hegemony. Paradoxically, only an electoral upset can bring the BJP’s march to hegemony to a halt.


2012 ◽  
Vol 37 (3) ◽  
pp. 236-248 ◽  
Author(s):  
SRUTI BALA

This article explores the notion of participation in contemporary theatre and performance on two levels, namely how participation is shaped within performance, and how performance participates in the public sphere. Using recent examples from Sudan, Russia and Lebanon/Netherlands, I investigate how the political premises underlying the call for participation are reimagined aesthetically, and, conversely, how artistic strategies of shaping audience participation render visible the failures and possibilities of people's participation in the public sphere. The connection between these two dimensions of participation is made by engaging the concepts of ‘representation’, ‘collectivity’ and ‘theatricality’, which I call ‘vectors of participation’. I discuss how the artistic representation of an idea is complementary to political representation, how the demand for collective participation in the public sphere transforms into collective creation in the artistic sphere, and how theatricality in spectatorship is linked to the political call to bear witness.


2012 ◽  
Vol 37 (2) ◽  
pp. 101-103
Author(s):  
ELAINE ASTON

Aesthetics. Politics. The Public Sphere. These emerge as connective headlines in this edition of TRI. Taken as a whole, the articles provoke key critical questions about the choice of aesthetics in relation to the potentiality of theatre's transformative capacities, and also about how the possibilities (and limitations) of the transformational power that theatre is commonly deemed to be capable of are conditioned by the kind of role theatre and performance have or are permitted to have in the public sphere.


2014 ◽  
Vol 7 (1) ◽  
pp. 64-77
Author(s):  
Doris Wolf

This paper examines two young adult novels, Run Like Jäger (2008) and Summer of Fire (2009), by Canadian writer Karen Bass, which centre on the experiences of so-called ordinary German teenagers in World War II. Although guilt and perpetration are themes addressed in these books, their focus is primarily on the ways in which Germans suffered at the hands of the Allied forces. These books thus participate in the increasingly widespread but still controversial subject of the suffering of the perpetrators. Bringing work in childhood studies to bear on contemporary representations of German wartime suffering in the public sphere, I explore how Bass's novels, through the liminal figure of the adolescent, participate in a culture of self-victimisation that downplays guilt rather than more ethically contextualises suffering within guilt. These historical narratives are framed by contemporary narratives which centre on troubled teen protagonists who need the stories of the past for their own individualisation in the present. In their evacuation of crucial historical contexts, both Run Like Jäger and Summer of Fire support optimistic and gendered narratives of individualism that ultimately refuse complicated understandings of adolescent agency in the past or present.


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