scholarly journals OKONKWO TO ODILI: READING CHINUA ACHEBE’S HEROES POSTCOLONIALLY

2021 ◽  
pp. 1-10
Keyword(s):  
African Society ◽  
The Third ◽  
Theoretical Approaches ◽  
The People ◽  
Things Fall Apart

The paper examines the situations and actions of Chinua Achebe’s four heroes, who stand as the epitomes of struggle in their society: Okonkwo, Ezeulu, Obi, and Odili from the first four novels of the author— Things Fall Apart (1958), Arrow of God (1964), No Longer at Ease (1960), and A Man of the People (1966). These heroes foreground the struggles of their clan people that are brought by the colonizer and the Nigerian ‘corrupt’ rulers in postcolonial time. This paper aims at applying six postcolonial theoretical approaches: Otherness, Ambivalence, Mimicry, Hybridity, Decolonization and Neocolonialism to analyse the time and tasks of the four heroes comparatively. Through the lens of ‘Otherness’, this study throws light on Okonkwo, who becomes an ‘Other’ in his clan because of colonial interventions. The paper examines Ezeulu’s role as an ambivalent protagonist along with his tragic ending. This study analyses critically the Mimicry and Hybridity exhibited by the third hero, Obi. Moreover, this paper shows the action of Odili as a decolonized intellectual who struggles against corruption in postcolonial African society. This study endeavours to explore how Achebe represents the perspectives of colonized people as well as the people of the neocolonial age by portraying the story of the four heroes.

“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.

Using Critical Praxis to Understand and Teach Teamwork

2008 ◽  
Vol 71 (4) ◽  
pp. 421-438 ◽  
Author(s):  
David R. Seibold ◽  
Paul Kang
Keyword(s):  
Classroom Context ◽  
Four Dimensions ◽  
The Third ◽  
Theoretical Approaches ◽  
Practice Of Teaching

The authors pursue three aims in this article. The first is to underscore critical praxis as an especially valuable approach to understanding and enabling teamwork. The second is to offer four dimensions of teamwork—vision, roles, processes, and relationships— as salient areas to interrogate using critical praxis. The third aim is to consider the implications and methods for teaching teamwork in the classroom context. In the process of doing so, the authors highlight limitations of prevailing theoretical approaches and note changes in their own practice of teaching and facilitating teamwork that have occurred through a commitment to critical praxis.

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 Female Assertion as an Antidote to Male Dominance: Mother Archetypes in Achebe’s Novels—Things Fall Apart, No Longer at Ease, and A Man of the People

2019 ◽  
Vol 1 (1) ◽  
pp. 13-19
Author(s):  
Jeremiah Mutuku Muneeni
Keyword(s):  
Women Characters ◽  
Male Dominance ◽  
Unit Of Analysis ◽  
Representation Of Women ◽  
Gender Balance ◽  
The People ◽  
Archetypal Criticism ◽  
The Subject ◽  
Things Fall Apart ◽  
Intense Debate

There has been an intense debate with regards to Chinua Achebe’s (mis)representation of women in his creative works, especially his first four novels. Some scholars have argued that Achebe is a patriarchal writer who has relegated women to the periphery. Nevertheless, a few have read subtle nuances of gender balance in his works. This paper is a continuation of this debate. Specifically, it argues that Achebe has created Mother Archetypes in his novels and if the same is not recognized, he will continue to be demonized as a gender insensitive writer. The unit of analysis is three of the five Achebe’s novels namely: Things Fall Apart, No Longer at Ease, and A Man of the People. The paper interrogates the aforementioned novels within the framework of archetypal criticism, with the aim of unearthing and examining Mother Archetypes inherent in them. The paper identifies religion, education, and justice as the spheres of life in which Achebe has created, empowered and elevated Mother Archetypes to be at par with their male counterparts. However, owing to the breadth of the subject, the paper dwells on education. The paper concludes that creation of empowered Mother Archetypes in Achebe’s novels is a symbolic relay in which women characters hand in the symbolic empowerment baton to the next woman in the next novel until the last one where the creation of a woman major character, Beatrice, wins the race against male dominance.

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 From the Individual's Fault to the Construct of Power (Development and Changes of Crime Theories)

2014 ◽  
Vol 27 ◽  
pp. 96-107
Author(s):  
Mohamad Seddigh Mohamadi ◽  
Hasan Babaee ◽  
Mohamad Khaledian
Keyword(s):  
Social Factors ◽  
Focal Point ◽  
Power Development ◽  
Theoretical Approaches ◽  
Critical Theories ◽  
Language And Power ◽  
The People ◽  
The Social ◽  
Biological Aspects

The present paper aims to explain crime by investigating various theoretical approaches and to show that from the classic era to the recent postmodern theories, a slow but steady cycle of discourse concerning crime has been occurring. In the classic times, the criminal is assumed to be a sane person with sound will who commits crime with an individualistic choice and due to incorrect decisions; In the positivism approach, the theorists' concern is directed at recognizing criminals and clarifying more fundamental biological aspects and psychological performance and they seek to explain the phenomenon of crime by dividing the people of the society into normal and abnormal people; In the modern theories the social factors causing the appearance of crime are at the focal point while critical theories greatly emphasize on the role of the society in the criminal phenomenon and its definition, finally postmodern theories consider crime totally as constructed by mindset, language and power and question its existential reality.

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