Hagar and Epistemic Injustice: An Intercultural and Post-colonial Analysis of Genesis 16

Having one's voice heard and being known by one's name are foundational aspects of respect and human dignity. Likewise, being able to contribute to shared understanding is at the core of epistemic justice. This intercultural and post-colonial inquiry of Gen 16 considers the Egyptian Hagar-known by her foreign Semitic name meaning "Fleeing One"-as an example of epistemic injustice. Integrating Miranda Fricker 's work on epistemic injustice, this study espouses the justice of hearing and seeing the marginalised and oppressed, as exemplified by Yhwh. As the Egyptian woman's voice- once ignored-gives testimony within the text to a fuller understanding of God, so also listening to/seeing other contemporary African scholars' voices/writings opens one's ears/eyes to fuller understandings of God today. These voices include the seminal work of David Tuesday Adamo, a vanguard in African biblical hermeneutics, in whose honour this examination is written.

Pandangan Masyarakat tentang Keulamaan Perempuan

This research started from the differences in the people's views in Sagaranten District, Sukabumi Regency related to female clerics. It stems from the idea that it is appropriate for the ulama to be addressed to men with religious knowledge because the ulama are heirs to the prophets while the prophets are men. In addition, women are a place for slander so they have strict limits when working in society. The author uses descriptive qualitative methods with data collection techniques through observation, in-depth interviews, and documentation. The results of this study indicate that the people of Sagaranten District, Sukabumi Regency have both traditional and modern patterns of thought. The conventional view sees that a woman who has religious knowledge cannot carry out religious activities in a community with a mixed congregation of men and women. It is based on women being slander so that a woman's voice is considered aurat (which must be hidden). Second, the modern view views that women who have religious knowledge can be involved in society. There are no restrictions as long as they are able and have the opportunity.

Suara Sang Subaltern: Sebuah Narasi Autobiografi Perempuan Tanpa Nama dalam Hakim-hakim 19

This paper offers a postcolonial feminist reading of Levi’s concubine narration recorded in the Book of Judges 19 that focuses on the subaltern voice from Gayatri Spivak's thinking. It defines the subaltern as oppressed people who cannot speak on their own to represent themselves. This study was conducted by autobiographical criticism. Through auto-biographical narratives, the story is re-told through the nameless woman's point of view as the subaltern and it will reveal the narrative of her unspeakable suffering. The nameless woman's voice was claimed to be the voice that was cast but refused silence, and now it produces an autobiographical narrative that echoes the voices of subalterns silenced in the present context.Abstrak. Tulisan ini menawarkan sebuah pembacaan feminis pascakolonial terhadap narasi gundik seorang Lewi yang tercatat dalam Hakim-hakim 19 yang berfokus pada suara subaltern dari pemikiran Gayatri Spivak. Subaltern dalam tulisan ini diartikan sebagai orang-orang tertindas yang tidak dapat bersuara untuk merepresentasikan dirinya. Metode yang digunakan adalah kritik autobiografi. Melalui narasi autobiografi, kisah ini dituturkan kembali melalui sudut pandang sang perempuan tanpa nama sebagai subaltern dan menyingkapkan narasi penderitaannya yang tak terkatakan di dalam teks. Suara perempuan tanpa nama diklaim sebagai suara yang dibekap tetapi menolak diam dan kini menghasilkan sebuah narasi autobiografis yang menggemakan suara-suara subaltern yang disenyapkan dalam konteks masa kini.

What’s that blinking line in Word called again?

The entire monologue is a transcription of the inner train of thought narrated by a woman’s voice in medias res while watching and listening to three minutes of the film Koyaanisqatsi. We don’t see the actress; we only hear her. The only thing we see is a three-minute excerpt from the film, which the actress can play on her phone or computer, recording the screen and the sound with her phone (live) at the same time (instead of recording herself, the actress records the screen with sound). The interpretation should be very brisk, hurried, internalised, contemplative yet neurotic, almost hysterical and, above all, colloquial – i.e. spoken in the lowest possible register.

Attraversando il Sahel: Elena Dak in cammino con i nomadi

The essay intends to examine the most recent reportage written by travel writer Elena Dak, published by Corbaccio in 2016, dedicated to Peulh Wodaabe nomads, better known as Bororo. The experience of nomadism, firmly rejecting a ‘touristic’ idea of visit, is experienced and narrated by a woman’s voice as an exception that can facilitate the contact with the customs and traditions of a migrant culture, featured by ritual traditions, social practices and dances of extraordinary significance.