Theory of Cultural Marginality

Author(s):  
Heeseung Choi
Keyword(s):  
Author(s):  
D.C. Duling

Analysis of 22 references to scribes in the Gospel of Matthew shows that a few of them are positive comments and that  the author himself was a scribe.   What type of scribe was he and how can we clarify his social context? By means of the models of Lenski and Kautsky, by recent research about scribes, literacy, and power, and by new marginality theory, this article extensively refines Saldarini’s hypothesis that the scribes were “retainers”. The thesis is that in “Matthew’s” Christ-believing group, his scribal profession and literacy meant power and socio-religious status. Yet, his voluntary association with Christ believers (“ideological marginality”), many of whom could not participate in social roles expected of them (“structural marginality”), led to his living between two historical traditions, languages, political  loyalties, moral codes, social rankings, and ideological-religious sympathies (“cultural marginality”). The Matthean author’s cultural marginality will help to clarify certain well-known literary tensions in the Gospel of Matthew.  


Author(s):  
Ehud Halperin

Despite the diversity of Haḍimbā’s character, in recent decades the goddess has become primarily identified with the demoness Hiḍimbā, a renowned figure from the Mahabharata. Drawing on diverse types of materials, this chapter analyzes this identification in light of the different processes indicated by the term Sanskritization, which is also closely explored. Whereas the origins of Haḍimbā’s epic associations remain uncertain, it becomes clear that their current foregrounding is the result of yet another set of encounters and interactions with local, regional, and extraregional forces and ideas. Haḍimbā again emerges here as a complex persona, who serves as a conceptual arena for her devotees to reflect on their self-perception and sense of belonging and to recast their own cultural marginality in a new, inclusive, and rather flattering light. The chapter concludes by showing how the process of Haḍimbā’s Mahabharatization projects outward in ever-growing circles.


1934 ◽  
Vol 39 (4) ◽  
pp. 493-500 ◽  
Author(s):  
Evelyn Buchan Crook

1951 ◽  
Vol 2 (4) ◽  
pp. 328 ◽  
Author(s):  
Ralph Pieris
Keyword(s):  

Popular Music ◽  
2007 ◽  
Vol 27 (1) ◽  
pp. 15-34 ◽  
Author(s):  
DAVID NOVAK

AbstractThis article describes a specific history of technological mediation in the circulation of popular music by examining local practices of listening to recordings in Japanese kissaten (often shortened to kissa and meaning, loosely, ‘coffeehouse’). In postwar music kissaten, Japanese listeners were socialised to recordings of foreign music through new modes of hyper-attentive listening. While jazz kissa (though famous as crucibles for radical pro-democracy politics and the explosion of modern urban cool in post-war Japanese cities) encouraged local listeners to develop musical appreciation through the stylistic classification of distant recorded sources, later experimental music kissa helped forge unique local performance scenes by disturbing received modes of generic classification in favour of ‘Noise’. I recount the emergence of a genre called ‘Noise’ in the story of a 1970s Kyoto ‘free’ kissa Drugstore, whose countercultural clientele came to represent ‘Noise’ as a new musical style in its transnational circulation during the 1990s. This ethnographic history presents the music kissa as a complicated translocal site that articulates the cultural marginality of Japanese popular music reception in an uneven global production; but which also helps to develop virtuosic experimental practices of listening through which imported recordings are recontextualised, renamed and recreated.


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