scholarly journals A Lexical Analysis of Zechariah 6:1-8

2021 ◽  
Vol 4 (1) ◽  
pp. 1-21
Author(s):  
Philip Suciadi Chia ◽  
Juanda Juanda
Keyword(s):  
Structural Function ◽  
Lexical Analysis ◽  
Current Generation ◽  
The Third ◽  
The People ◽  
Show Evidence ◽  
Compositional Elements

Zechariah 1:1-6 summarizes a speech to the people that reports the failure of the previous generations to heed the message of the prophets who God has sent while successfully challenging the current generation to turn to YHWH. The eight visions of the second block (1:7-6:15) share common compositional elements, but they also show evidence of later reworking. The third block, Zechariah 7-8, constitutes a collection of short sayings dated approximately two years after temple construction began. Zechariah 6:1-8 could be divided into two sections. First is disclosure of the vision (6:1-4) and the last one is the disclosure and explanation of the vision (6:5-8). Particularly, in this first subparagraph, Zechariah seems to present his thoughts in chiasmus. This chiasmus has a structural function which often a chiastic couplet is used to both open and close a stanza or poem. Zechariah introduced his eighth vision with four verbs, which are thematic words.

scholarly journals A Lexical Analysis Of Zechariah 6:1-8

2021 ◽  
Vol 4 (1) ◽  
pp. 1-21
Author(s):  
Philip Suciadi Chia ◽  
Juanda Juanda
Keyword(s):  
Structural Function ◽  
Lexical Analysis ◽  
Current Generation ◽  
The Third ◽  
The People ◽  
Show Evidence ◽  
Compositional Elements

Zechariah 1:1-6 summarizes a speech to the people that reports the failure of the previous generations to heed the message of the prophets who God has sent while successfully challenging the current generation to turn to YHWH. The eight visions of the second block (1:7-6:15) share common compositional elements, but they also show evidence of later reworking. The third block, Zechariah 7-8, constitutes a collection of short sayings dated approximately two years after temple construction began. Zechariah 6:1-8 could be divided into two sections. First is disclosure of the vision (6:1-4) and the last one is the disclosure and explanation of the vision (6:5-8). Particularly, in this first subparagraph, Zechariah seems to present his thoughts in chiasmus. This chiasmus has a structural function which often a chiastic couplet is used to both open and close a stanza or poem. Zechariah introduced his eighth vision with four verbs, which are thematic words.

“Charge or Burden on the People”: The Origins and Meaning of the Third Paragraph of Section 53 of the Commonwealth Constitution

1996 ◽  
Vol 24 (1) ◽  
pp. 43-70
Author(s):  
Paul Schoff
Keyword(s):  
The Third ◽  
The People

“The Senate may not amend any proposed law so as to increase the proposed charge or burden on the people.”1 “I confess it came as a surprise to me to find that this House could make a law to shoot dogs, or poison them, or to do anything with them except increase the tax on them half-a-crown.”2

scholarly journals The molecular footprints of COVID-19

2020 ◽  
Vol 45 (3) ◽  
pp. 241-248
Author(s):  
Engin Yilmaz ◽  
Yakut Akyön ◽  
Muhittin Serdar
Keyword(s):  
Reaction Time ◽  
Changing Environment ◽  
The Third ◽  
The Past ◽  
The People ◽  
The World ◽  
The Future ◽  
Host Virus Interactions ◽  
Virus Interactions

AbstractCOVID-19 is the third spread of animal coronavirus over the past two decades, resulting in a major epidemic in humans after SARS and MERS. COVID-19 is responsible of the biggest biological earthquake in the world. In the global fight against COVID-19 some serious mistakes have been done like, the countries’ misguided attempts to protect their economies, lack of international co-operation. These mistakes that the people had done in previous deadly outbreaks. The result has been a greater economic devastation and the collapse of national and international trust for all. In this constantly changing environment, if we have a better understanding of the host-virus interactions than we can be more prepared to the future deadly outbreaks. When encountered with a disease which the causative is unknown, the reaction time and the precautions that should be taken matters a great deal. In this review we aimed to reveal the molecular footprints of COVID-19 scientifically and to get an understanding of the pandemia. This review might be a highlight to the possible outbreaks.

DRAMATURGI KESENIAN TRADISIONAL DALUPA PRODUKSI SANGGAR SENI DATOK RIMBA DI WOYLA ACEH BARAT

2021 ◽  
Vol 10 (1) ◽  
pp. 15
Author(s):  
Susandro Susandro ◽  
Rika Wirandi ◽  
Hatmi Negria Taruan
Keyword(s):  
New York ◽  
Creative Process ◽  
Creation Process ◽  
Folk Tale ◽  
The Third ◽  
The People ◽  
Third Stage ◽  
Three Stages ◽  
Banda Aceh

Dalupa art emerged from the creative process of the people of West Aceh which can be stretched into three stages. First, Dalupa was originally a folk tale or folklore that was narrated from generation to generation. Second, the Dalupa then manifests (a person wearing the costume of a Dalupa character) so that it can be witnessed in person. At this stage, the Dalupa character does not manifest itself in the form of theater or dance. Its presence is only intended to entertain or enliven an event, such as weddings, processions, campaigns and so on. Third, the Dalupa character is presented by considering the dramatic element; arrangement of a series of events that tell the beginning of the appearance to the end of the Dalupa story. This study aims to record and describe how the process of creating the Dalupa art, as mentioned in the third stage. The method used is qualitative with the dramaturgy approach. This study shows the results that the art of Dalupa presents a story about the origin of the appearance of Dalupa with the manifestation of organized events. On this basis, it can be concluded that Dalupa art can be categorized as dramatic or theater art.Keywords: dalupa, creation process, dramatic, dramaturgy.AbstrakKesenian Dalupa muncul dari proses kreatif masyarakat Aceh Barat yang dapat direntangkan menjadi tiga tahap. Pertama, Dalupa mulanya merupakan cerita rakyat atau folklor yang dinarasikan secara turun-temurun. Kedua, Dalupa kemudian mewujud (seseorang yang mengenakan kostum tokoh Dalupa) sehingga dapat disaksikan secara langsung. Pada tahap ini, tokoh Dalupa mewujud tidaklah dalam bentuk kesenian teater atau tari. Kehadirannya hanya bertujuan untuk menghibur atau meramaikan suatu acara, seperti pernikahan, arak-arakan, kampanye dan sebagainya. Ketiga, tokoh Dalupa dihadirkan dengan mempertimbangkan unsur dramatika; penataan rangkaian peristiwa yang menceritakan awal kemunculan hingga akhir kisah Dalupa. Penelitian ini bertujuan mencatat serta memaparkan bagaimana proses penciptaan kesenian Dalupa, sebagaimana disebut pada tahap ketiga. Metode yang dilaksanakan yaitu kualitatif dengan pendekatan dramaturgi. Penelitian ini menunjukkan hasil bahwa kesenian Dalupa menyajikan cerita tentang asal mula kemunculan Dalupa dengan perwujudan peristiwa-peristiwa yang tertata. Atas dasar tersebut, dapat dismpulkan bahwa kesenian Dalupa dapat dikategorikan sebagai seni dramatik atau teater.  Kata Kunci: dalupa, proses penciptaan, dramatika, dramaturgi. Authors: Susandro : Institut Seni Budaya Indonesia Aceh Rika Wirandi : Institut Seni Budaya Indonesia Aceh Hatmi Negria Taruan : Institut Seni Budaya Indonesia Aceh References:Barba, Eugenio. (2010). On Directing and Dramaturgy: Burning the House. New York: Routledge.Harymawan. (1993). Dramaturgi. Bandung: Rosdakarya.Herman, RN. (2016). Dalupa: Teater Tradisional Pantai Barat. Buletin Tuhoe edisi XVII. Banda Aceh: JKMA Aceh.Koster, G.L. (1998). Kacamata Hitam Pak Mahmud Wahid Atau Bagaimanakah Meneliti Puitika Sebuah Sastra Lisan?, dalam Pudentia MPSS (Ed.), Metodologi Kajian Tradisi Lisan. Jakarta: Yayasan Obor Indonesia dan Yayasan Asosiasi Tradisi Lisan.Moleong, Lexy J. (2005). Metodologi Penelitian Kualitatif, Ed. Revisi cetakan keduapuluhsatu. Bandung: Rosdakarya.Pramayoza, Dede. (2013). Dramaturgi Sandiwara: Potret Teater Populer Dalam Masyarakat Poskolonial. Yogyakarta: Penerbit Ombak.Soedarsono, R.M. (2001). Metodologi Penelitian Seni Pertunjukan dan Seni Rupa. Bandung: MSPI (Masyarakat Seni Pertunjukan Indonesia).SSDR. (2019). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.Stokes, Jane. (2007). How to do Media and Kultural Studies: Panduan Untuk Melaksanakan Penelitian dalam Kajian Media dan Budaya. Terj. Santi Indra Astuti. Yogyakarta: Bentang.Taruan, H.N. (2020). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.  Wirandi, R. (2020). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.

A View from Inside: Understanding Puerto Rico Cockfighting

2021 ◽  
pp. 1-37
Author(s):  
Úrsula A. Aragunde-Kohl ◽  
Yahaira Segarra-González ◽  
Liza M. Meléndez-Samó ◽  
Ivemarie Hernández-Rivera ◽  
Carolina Quiles-Peña
Keyword(s):  
United States ◽  
Puerto Rico ◽  
Local Government ◽  
Federal Government ◽  
Qualitative Data ◽  
The United States ◽  
Second Phase ◽  
Beliefs And Practices ◽  
The Third ◽  
The People

Abstract The purpose of this research was to better understand the beliefs and practices that the residents of Puerto Rico have regarding cockfighting, including their perception of the recently passed prohibition against nonhuman animal fighting on the island. It had an exploratory descriptive design consisting of three phases, where the qualitative data obtained from phase one would guide the process of identifying variables that could be measured. In the second phase, an instrument was developed, and in the third, it was administered. Most of the participants agreed with the prohibition of cockfighting in Puerto Rico and that it was necessary. The data showed that there is a disconnect between what the federal government of the United States legislated, what the local government and agencies that were supposed to enforce the prohibition did with the legislation, and what the people directly affected by the legislation received for education and guidance.

Nikias, Epimenides and the Question of Omissions in Thucydides

1989 ◽  
Vol 39 (1) ◽  
pp. 83-93 ◽  
Author(s):  
Gabriel Herman
Keyword(s):  
Peloponnesian War ◽  
Military Operations ◽  
The Third ◽  
The People ◽  
Starting Point ◽  
Full Swing

Our starting point is a somewhat obscure incident which has lately attracted some attention. The year is 429 B.C., and the place is Athens in the third year of the Peloponnesian war. The plague, which had broken out only a year before, was still claiming its victims. Yet military operations were in full swing, and the general Phormio operating in the Corinthian gulf against a Peloponnesian fleet was able to score an impressive victory. The Lacedaemonians were deeply dissatisfied. This was the first sea-fight they had been engaged in, and they found it hard to believe that their fleet was so much inferior to that of the Athenians. They dispatched three advisers to Knemos, the admiral in charge, instructing them to make better preparations for another sea-fight. Additional ships were solicited from the allies, and those already at hand were prepared for battle. It is at this point that the incident in question occurred. Not to prejudge the issue, I quote the text in full leaving the controversial phrases untranslated:4. And Phormio on his part sent messengers to Athens to give information of the enemy's preparations and to tell about the battle which they had won, urging them also to send to him speedily (δι⋯ τ⋯χους) as many ships as possible, since there was always a prospect that a battle might be fought any day.5. So they sent him twenty ships, but gave τῷ δ⋯ κυμ⋯ξοντι special orders to sail first to Crete. Nικ⋯ας γ⋯ρ Kρ⋯ς Γορτ⋯νιος πρ⋯ξενος ⋯ν persuaded them (αὺτο⋯ς) to sail against Cydonia, a hostile town, promising to bring it over to the Athenians; but he was really asking them to intervene to gratify the people of Polichne, who are neighbours of the Cydonians.6. So ⋯ μ⋯ν λαβὼν τ⋯ς να⋯ς. went to Crete, and helped the Polichnitans to ravage the lands of the Cydonians, and by reason of winds and stress of weather wasted not a little time.

scholarly journals The Borneo Islamic Heritage and The Significance of Idahan Jawi Manuscript

Al-Albab ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 55-68
Author(s):  
Suraya Sintang ◽  
Rosdiana Onga ◽  
Siti Aidah Hj Lukin ◽  
Asmady Idris
Keyword(s):  
Content Analysis ◽  
Natural Resources ◽  
East Coast ◽  
Native People ◽  
The Third ◽  
Brunei Darussalam ◽  
The People ◽  
Islamic Jurisprudence ◽  
The World ◽  
History Of

Borneo Island is the third largest island in the world, rich in natural resources, biodiversity and cultural diversity. The uniqueness of Borneo is that it is home to three countries; Malaysia, Indonesia and Brunei Darussalam, each with their own valuable cultural heritage. One of the unique aspects of the Borneo archipelago is the shared wealth of civilizations derived from the dissemination of Islam. Treasures known as the “Borneo Islamic Heritage" are not only valuable as cultural artefacts that need to be preserved, but they can also be elevated and commercialised as regional economic drivers. This paper discusses the Idahan manuscript written in Jawi script as one of the treasures of Islamic intellectual legacy in Borneo. The method of study is based on content analysis which depicts the descriptive history of the discovery of the Idahan Jawi manuscript. This manuscript not only serves as evidence of the early embrace of Islam in Sabah, but also as a reference to matters pertaining to religion and the laws of Islamic jurisprudence. This factor leads the Idahan community be considered as the first native people embracing Islam at the east coast of Sabah. The contribution of this study is to enhance understanding of the development of Islamic heritage in Borneo Island and to inculcate the spirit of solidarity among the people living in the region.

scholarly journals The Role of Imperial Women in the Monetary Distributions (Liberalitas) in Rome in the Light of Numismatic Sources

2019 ◽  
Vol 37 (1) ◽  
pp. 5-24
Author(s):  
Katarzyna Balbuza
Keyword(s):  
Social Policy ◽  
Considerable Importance ◽  
Third Century ◽  
Social Activities ◽  
Active Involvement ◽  
The Third ◽  
The People ◽  
Participation Of Women ◽  
The Feminine

Abstract Liberalitas was one of the most important forms of social activities of the Roman emperors. In quantitative terms, it is also one of the five most important imperial virtues. It appeared on coins as Liberalitas Augusti, which gave this virtue an additional, divine dimension. The first Empress to depict the idea of imperial generosity on the coins issued on her behalf was Julia Domna. In this respect, her liberalitas coins mark a breakthrough in the exposition of this imperial virtue. The well-known female liberalitas coin issues, or imperial issues with empresses’ portraits, date back to the third century and clearly articulate the liberalitas, both iconographically and literally, through the legend on the reverse of the coin. Other coins, issued on behalf of the emperors (mainly medallions), accentuate in some cases (Julia Mamaea, Salonina) the personal and active participation of women from the imperial house in congiarium-type activities. The issues discussed and analysed, which appeared on behalf of the emperors or the imperial women – with a clear emphasis on the role of women – undoubtedly demonstrate the feminine support for the emperor’s social policy towards the people of Rome, including the various social undertakings of incumbent emperors, to whom they were related. They prove their active involvement and support for the image of the princeps created by the emperors through the propaganda of virtues (such as liberalitas). The dynastic policy of the emperors, in which the empresses played a key role, was also of considerable importance.

scholarly journals The Production and Consumption of Cultural Villages in South Africa: A Decolonial Epistemic Perspective

2017 ◽  
Vol 43 (2) ◽  
pp. 51-63 ◽  
Author(s):  
Morgan Ndlovu
Keyword(s):  
South Africa ◽  
Third World ◽  
The Third ◽  
The People ◽  
Production And Consumption ◽  
Tourism Studies ◽  
Spatio Temporal ◽  
The Third World ◽  
Epistemic Perspective

While many of the peoples who exist in the ‘spatio-temporal’ construct known as the postcolonial world today are convinced that they have succeeded – through anticolonial and anti-imperial struggles – to defeat colonial domination, the majority of the people of the same part of the world have not yet reaped the freedoms which they aimed to achieve. The question that emerges out of the failure to realise the objectives of anti-colonial and anti-imperial struggles by the people of the Third World after a number of years of absence of juridical-administrative colonial and apartheid systems is to what extent did the people who sought to dethrone colonial domination understand the complexity of the colonial system? And to what end did the ability and/or inability to master the complexity of the colonial system affect the process of decolonization? Through the case study of the production and consumption of cultural villages in South Africa, this article deploys a de-colonial epistemic perspective to reveal, within the context of tourism studies, the complexity of the colonial system and why a truly decolonized postcolonial world has so far eluded the people of the developing world.

scholarly journals MAKNA SEPUNDU BAGI MASYARAKAT AGAMA HINDU KAHARINGAN DALAM UPACARA TIWAH DI DESA TUMBANG MANJUL KECAMATAN SERUYAN HULU KABUPATEN SERUYAN

2020 ◽  
Vol 1 (1) ◽  
pp. 15-20
Author(s):  
Norhalisa ◽  
Eddy Lion ◽  
Dotrimensi
Keyword(s):  
Descriptive Analysis ◽  
Religious Community ◽  
Inductive Method ◽  
Data Display ◽  
Analysis Techniques ◽  
The Third ◽  
The People ◽  
Collection Data ◽  
Attributes Of God ◽  
Symbolic Interactions

The issues discussed are the Meaning of Sapundu for Hindu Kaharingan Religion in the Tiwah Ceremony for the Community in Tumbang Manjul Village, Seruyan Hulu District, Seruyan District. Seruyan The object of this research is all the people involved in the research. The research method used is the Qualitative Inductive method. The instruments of this research include: observation sheet, interview to find out the meaning of Sapundu for Hindu Kaharingan Religion in Tiwah Ceremony for the Community in Tumbang Manjul Village, Seruyan Hulu District, Seruyan District. Data analysis techniques, the authors use descriptive analysis as follows: data collection, data reduction, presentation data or data display then drawing conclusions or data verification. The results of this study are the meaning of sapundu for the kaharingan religious community is a place to bind animal victims as an intermediary bodyguard for spirits that died to go to lewu tatau or heaven. Sapundu statue has a function that is as education, especially in Hindu education from Tattwa, Susila and the third ceremony. This is the basic framework of Hinduism. The value of Tattwa education can be seen from the attributes of God, Social can be assessed from human behavior during his lifetime described with the sapundu statue. The religious function in the Sapundu Statue for the Hindu Kaharingan community interprets sacred and sacred acts and symbols that are profane with symbolic interactions Adapun permasalahan yang dibahas yaitu Makna Sapundu Bagi Agama Hindu Kaharingan Dalam Upacara Tiwah Bagi Masyarakat Di Desa Tumbang Manjul Kecamatan Seruyan Hulu Kabupaten Seruyan.Penelitian ini bertujuan untuk mengetahui Makna Sapundu Bagi Agama Hindiu Kaharingan Dalam Upacara Tiwah Bagi Masyarakat Di Desa Tumbang Manjul Kecamatan Seruyan Hulu Kabupaten Seruyan Objek dalam penelitian ini adalah semua masyarakat yang terlibat dalam penelitian. Metode penelitian yang digunakan adalah metode Induktif Kualitatif. Instrumen penelitian ini meliputi : lembar observasi, wawancara untuk mengetahui Makna Sapundu Bagi Agama Hindu Kaharingan Dalam Upacara Tiwah Bagi Masyarakat Di Desa Tumbang Manjul Kecamatan Seruyan Hulu Kabupaten Seruyan.Teknik analisis  data, penulis menggunakan analisis deskriptif Sebagai Berikut: pengumpulan data, reduksi data, penyajian data atau display data kemudian penarikan kesimpulan atau verifikasi data. Hasil penelitian  ini adalah Makna sapundu bagi masyarakat agama kaharingan adalah tempat mengikat hewan korban sebagai perantara pengawal bagi roh yang meningal untuk menuju lewu tatau atau surga. Patung Sapundu mempunyai fungsi yaitu sebagai pendidikan, terutama dalam pendidikan Agama Hindu dari Tattwa, Susila dan Upacara ketiga hal ini merupakan kerangka dasar Agama Hindu.Nilai pendidikan Tattwa dapat dilihat dari sifat-sifat Tuhan, Sosial dapat dinilai dari tingkah laku manusia pada masa hidupnya digambarkan dengan patung sapundu.Fungsi religius dalam Patung Sapundu bagi masyarakat Hindu Kaharingan menginterpretasikan tindakan dan simbol-simbol yang bersifat sakral dan mensakralkan yang bersifat profan dengan interaksi simbolik

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