Academic literature on the topic 'Ruth (Ruth Morgwen) Criticism and interpretation'

The mediating interference left by the translator of the Peshitta is an important source of information for the history of interpretation and for textual criticism. This study, based on terminology and methodology from the discipline of translation studies, is a comprehensive description of the translator’s tendencies in the book of Ruth. The study concludes with a discussion of potential textual variants preserved in the Peshitta and an overall characterization of the translation.

Narrative preaching is a preaching form that is rarely used, even for narrative texts. The listener is more familiar with the expository or thematic form of preaching. The author argues that narrative is not only interpreted as a narrative but also should be preached as a narrative sermon. This also applies to the book of Ruth. Therefore, this article will first explain the interpretation of narrative and apply it to the study of the book of Ruth. This article briefly describes four important things in narrative criticism: plot, investigating characters and settings (place and time of scene), and point of view. Second, this article will explain narrative preaching. Narrative sermons can be arranged in the first person or in the third person by paying attention to the plot, character analysis, setting (place and time of the scene), and point of view. Third, this article describes how to structure a narrative sermon from the book of Ruth, both in the first person and third person. Finally, the author concludes that the book of Ruth is a good example of applying narrative interpretation and preparing a narrative sermon. AbstrakBerkhotbah secara naratif merupakan bentuk berkhotbah yang jarang digunakan, bahkan untuk teks-teks narasi. Pendengar sudah terbiasa dengan bentuk khotbah ekspositoris ataupun tematis. Penulis berpendapat bahwa narasi tidak hanya ditafsirkan sebagai suatu narasi, tetapi juga sebaiknya dikhotbahkan secara naratif. Hal ini juga berlaku untuk kitab Rut. Oleh karena itu, artikel ini pertama-tama akan menjelaskan tentang penafsiran narasi dan mengaplikasikannya dalam penyelidikan kitab Rut. Artikel ini menguraikan secara singkat empat hal penting dalam analisa narasi, yaitu alur cerita (plot), penyelidikan karakter dan setting (tempat dan waktu adegan) dan sudut pandang. Keempat hal penting itu juga diaplikasikan dalam menganalisa narasi kitab Rut. Kedua, artikel ini akan menjelaskan tentang berkhotbah secara naratif. Khotbah naratif dapat disusun dalam bentuk orang orang pertama, maupun orang ketiga dengan memperhatikan alur cerita (plot), penyelidikan karakter dan setting (tempat dan waktu adegan) dan sudut pandang. Ketiga, artikel ini memaparkan bagaimana menyusun khotbah secara naratif dari kitab Rut, baik dalam bentuk orang pertama, maupun orang ketiga. Terakhir, penulis menyimpulkan bahwa kitab Rut merupakan contoh yang baik untuk menerapkan penafsiran narasi dan penyusunan khotbah secara naratif.

The popular historical narrative of the batik Sidoarjo needs to be reexamined based on historical methodology so that there is no historical bias based only on oral stories of the general public. Many studies are trapped in an inaccurate understanding of local historicity. As a result, these various studies have failed to fit batik Sidoarjo into its full context, instead it has become a kind of narrative standardization on its characteristics and history. This study aims to criticize the historical construction that has been popular in relation to the basic understanding of batik Sidoarjo and to explain the position of batik Sidoarjo in the cultural framework of its people. This article is the author's attempt to provide an analysis or explanation that is different from the historical narrative of batik Sidoarjo which is commonly used in various discussions. This research is classified as a qualitative research, using the historical method which consists of four stages, namely heuristics, source criticism, interpretation, and historiography. This research uses historical and sociological approaches to collect, select, and critically examine historical sources of Sidoarjo batik, resulting in historical facts. The results showed that the historicity of batik Sidoarjo refers to the batik activities in the areas of Kedungcangkring, Jetis, Sekardangan, Gajah Mada St. (Peranakans), and Tulangan, all of which have a direct relationship with both Peranakans nor indigenous. Batik Sidoarjo is not framed by traditional rituals, nor is it under the control and domination of the royal aristocracy. Its growth is based on the factor of the economic needs of the supporting community, which tends to be a trading commodity. The presence of other groups of people or nations such as Peranakan Chinese, Indo-European, Dutch, Arabic contributed to the birth of Sidoarjo batik. Keywords: batik, Sidoarjo, historical criticism.AbstrakNarasi sejarah batik Sidoarjo yang populer perlu dikaji ulang dengan didasari metodologi sejarah sehingga tidak terjadi bias sejarah yang hanya berdasar pada cerita lisan masyarakat umum. Banyak penelitian yang terjebak dalam pemahaman historisitas setempat yang kurang tepat. Akibatnya, berbagai kajian tersebut tidak berhasil mendudukkan batik Sidoarjo sesuai dengan konteksnya secara utuh, malah menjadi semacam standardisasi narasi pada karakteristik maupun sejarahnya. Penelitian ini bertujuan untuk mengkritisi konstruksi sejarah yang telah populer terkait pemahaman dasar tentang batik Sidoarjo serta menjelaskan kedudukan batik Sidoarjo dalam kerangka budaya masyarakatnya. Artikel ini merupakan upaya penulis untuk memberikan analisis atau paparan yang berbeda dari narasi sejarah batik Sidoarjo yang umum dilakukan pada berbagai pembahasan. Penelitian ini tergolong dalam penelitian kualitatif, dengan menggunakan metode sejarah yang terdiri atas empat tahap, yaitu heuristik, kritik sumber, interpretasi, dan historiografi. Penelitian ini menggunakan pendekatan historis dan sosiologis untuk mengumpulkan, menyeleksi, dan menguji secara kritis sumber-sumber sejarah batik Sidoarjo, sehingga menghasilkan fakta sejarah. Hasil penelitian memperlihatkan bahwa historisitas batik Sidoarjo merujuk pada aktivitas pembatikan yang ada di wilayah Kedungcangkring, Jetis, Sekardangan, Jl. Gajah Mada (China Peranakan), dan Tulangan yang kesemuanya saling terkait memiliki hubungan langsung baik itu pembatikan China peranakan maupun pribumi. Batik Sidoarjo tidak dikerangkai oleh ritual adat, juga tidak di bawah kendali dan dominasi aristokrasi kraton. Pertumbuhannya didasari faktor kebutuhan ekonomi masyarakat pendukungnya, sifatnya cenderung merupakan komoditas dagang. Hadirnya golongan masyarakat atau bangsa lain seperti China Peranakan, Indo-Eropa, Belanda, Arab turut berpengaruh melahirkan batik Sidoarjo.Kata Kunci: batik, Sidoarjo, kritik sejarah. Author:Asy Syams Elya Ahmad : Universitas Negeri Surabaya References:Abbas, Irwan. (2014). Memahami Metodologi Sejarah antara Teori dan Praktek. ETNOHISTORI: Jurnal Ilmiah Kebudayaan dan Kesejerahan, 1(1), 33–41.Abdurrahman, Dudung. (1999). Metode Penelitian Sejarah. Yogyakarta: Logos.Ahmad, Asy Syams Elya. (2013). Kajian Estetik Batik Sidoarjo. Tesis. Tidak Diterbitkan. Bandung: Program Studi Magister Desain, Institut Teknologi Bandung.Anas, Biranul, Hasanuddin, Ratna Panggabean, Yanyan Sunarya. (1997). Indonesia Indah-Buku ke 8; “Batik”. Jakarta: Yayasan Harapan Kita/BP 3 TMII.Anshori, Yusak & Kusrianto, Adi. (2011). Keeksotisan Batik Jawa Timur. 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Batik Pesisiran: Melacak Etos Dagang Santri pada Ragam Hias Batik. Bandung: Kiblat.Harris, Jennifer, Ed. (1993). 5000 Years of Textiles. London: The British Museum Press.Hitchcock, Michael. (1991). Indonesian Textiles. Periplus Editions (HK) Ltd.Heringa, Rens & Veldhuisen, H.C. (1996). Fabric of Enchantment; Batik from the North Coast of Java. Los Angeles: County Museum of Art.Heringa, Rens. (2010). "Upland Tribe, Coastal Village, and Inland Court: Revised Parameters for Batik Research" dalam Five Centuries of Indonesian Textiles. Ruth Barnes & Mary Hunt Kahlenberg (Ed). Munich: Prestel.Irwanto, Dedi & Sair, Alian. (2014) Metodologi dan Historiografi Sejarah. Yogyakarta: EJA PUBLISHER.Irwantono, Yusuf & Hidayatun M.I. (2019). Fasilitas Wisata Edukasi Batik Sidoarjo di Sidoarjo. Jurnal eDIMENSI ARSITEKTUR, 7(1), 1089–1096. Ishwara, Helen, L.R. Supriyapto Yahya, Xenia Moeis. (2011). Batik Pesisir Pusaka Indonesia; Koleksi Hartono Sumarsono. Jakarta: KPG.Kartodirdjo, Sartono (1993). Pendekatan Ilmu Sosial dalam Metodologi Sejarah. Jakarta: Gramedia.Khasanah, Uswatun. (2018, Juni 8). Batik Asli Sidoarjo.https://doi.org/ 10.31227/ osf.io/zdka8 (diakses tanggal 17 April 2021).Kuntowijoyo. (2013). Pengantar Ilmu Sejarah. Yogyakarta: Tiara Wacana.Listanto, Virgiawan. (2019). “Batik Sebagai Representasi Produk Indsutri Kreatif di Sidoarjo Reinvensi Pragmatis untuk Inovasi Industri Kreatif Berbasis Budaya Visual Nusantara." Prosiding Seminar Nasional Seni dan Desain 2019, 465–469. Surabaya: Universitas Negeri Surabaya.Majlis, Brigitte Khan. (2000). “Javanesse Batik: An Introduction” dalam Rudolf G. Smend, Batik from The Courts of Java and Sumatra. Singapore: Periplus.Masadmin, (2016, Oktober 3). Batik Jetis Sidoarjo. Badan Perpustakaan dan Kearsipan Provinsi Jawa Timur. https:// jawatimuran.disperpusip. jatimprov.go.id/2016/10/03/batik-jetis-sidoarjo/ (diakses tanggal 17 April 2021).Maxwell, Robyn. (2003). Textiles of Southeast Asia: tradition, trade and transformation. 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In the interpretation of the Bible, feminists are often trapped by the method of progressive subversive interpretation which considers the entire Bible to be written by a patriarchal culture which must of necessity be deconstructed. But through this paper, it is understood that in the Holy Bible it was not entirely written only for a pervading patriarchal culture, but indeed the Holy Bible, or at least a part of the book was written by women in their struggle for liberation. There is even a book that reverses patriarchal culture and turns it into a matriarchy, that the family is not "beth-av" (father's house), but the word family relates to the notion of a "mother's house" in the book of Ruth. There are of course numerous great women in the Holy Bible, inter-alia, Mary, the virgin mother of Jesus, Deborah, Ruth, Sarah, Priscilla, Rahab, Hannah, Esther and Miriam who was the archetype of the female prophetic tradition. The method used in this article is historical criticism and exegesis. It is through this method that the texts that are used as examples in this article are examined and there is indeed a feminist struggle for freedom. A feminist lens permits a look at text through the eyes of women and to analyze how women are depicted and presented when compared to men. There is a need to reinterprete patriarchal imagery and language usage about God, and we need to determine women's place in relation sacred texts that are studied and to liberate the fairer sex.

“As the old technologies become automatic and invisible, we find ourselves more concerned with fighting or embracing what’s new”—Dennis Baron, From Pencils to Pixels: The Stage of Literacy Technologies Popular music is firmly rooted within realist practice, or what has been called the "culture of authenticity" associated with modernism. As Lawrence Grossberg notes, the accelleration of the rate of change in modern life caused, in post-war youth culture, an identity crisis or "lived contradiction" that gave rock (particularly) and popular music (generally) a peculiar position in regard to notions of authenticity. Grossberg places rock's authenticity within the "difference" it maintains from other cultural forms, and notes that its difference "can be justified aesthetically or ideologically, or in terms of the social position of the audiences, or by the economics of its production, or through the measure of its popularity or the statement of its politics" (205-6). Popular music scholars have not adequately addressed issues of authenticity and individuality. Two of the most important questions to be asked are: How is authenticity communicated in popular music? What is the site of the interpretation of authenticity? It is important to ask about sound, technology, about the attempt to understand the ideal and the image, the natural and artificial. It is these that make clear the strongest connections between popular music and contemporary culture. Popular music is a particularly appropriate site for the study of authenticity as a cultural category, for several reasons. For one thing, other media do not follow us, as aural media do, into malls, elevators, cars, planes. Nor do they wait for us, as a tape player paused and ready to play. What is important is not that music is "everywhere" but, to borrow from Vivian Sobchack, that it creates a "here" that can be transported anywhere. In fact, we are able to walk around enveloped by a personal aural environment, thanks to a Sony Walkman.1 Also, it is more difficult to shut out the aural than the visual. Closing one's ears does not entirely shut out sound. There is, additionally, the sense that sound and music are interpreted from within, that is, that they resonate through and within the body, and as such engage with one's self in a fashion that coincides with Charles Taylor's claim that the "ideal of authenticity" is an inner-directed one. It must be noted that authenticity is not, however, communicated only via music, but via text and image. Grossberg noted the "primacy of sound" in rock music, and the important link between music, visual image, and authenticity: Visual style as conceived in rock culture is usually the stage for an outrageous and self-conscious inauthenticity... . It was here -- in its visual presentation -- that rock often most explicitly manifested both an ironic resistance to the dominant culture and its sympathies with the business of entertainment ... . The demand for live performance has always expressed the desire for the visual mark (and proof) of authenticity. (208) But that relationship can also be reversed: Music and sound serve in some instances to provide the aural mark and proof of authenticity. Consider, for instance, the "tear" in the voice that Jensen identifies in Hank Williams's singing, and in that of Patsy Cline. For the latter, voicing, in this sense, was particularly important, as it meant more than a singing style, it also involved matters of self-identity, as Jensen appropriately associates with the move of country music from "hometown" to "uptown" (101). Cline's move toward a more "uptown" style involved her visual image, too. At a significant turning point in her career, Faron Young noted, Cline "left that country girl look in those western outfits behind and opted for a slicker appearance in dresses and high fashion gowns" (Jensen 101). Popular music has forged a link with visual media, and in some sense music itself has become more visual (though not necessarily less aural) the more it has engaged with industrial processes in the entertainment industry. For example, engagement with music videos and film soundtracks has made music a part of the larger convergence of mass media forms. Alongside that convergence, the use of music in visual media has come to serve as adjunct to visual symbolisation. One only need observe the increasingly commercial uses to which music is put (as in advertising, film soundtracks and music videos) to note ways in which music serves image. In the literature from a variety of disciplines, including communication, art and music, it has been argued that music videos are the visualisation of music. But in many respects the opposite is true. Music videos are the auralisation of the visual. Music serves many of the same purposes as sound does generally in visual media. One can find a strong argument for the use of sound as supplement to visual media in Silverman's and Altman's work. For Silverman, sound in cinema has largely been overlooked (pun intended) in favor of the visual image, but sound is a more effective (and perhaps necessary) element for willful suspension of disbelief. One may see this as well in the development of Dolby Surround Sound, and in increased emphasis on sound engineering among video and computer game makers, as well as the development of sub-woofers and high-fidelity speakers as computer peripherals. Another way that sound has become more closely associated with the visual is through the ongoing evolution of marketing demands within the popular music industry that increasingly rely on visual media and force image to the front. Internet technologies, particularly the WorldWideWeb (WWW), are also evidence of a merging of the visual and aural (see Hayward). The development of low-cost desktop video equipment and WWW publishing, CD-i, CD-ROM, DVD, and other technologies, has meant that visual images continue to form part of the industrial routine of the music business. The decrease in cost of many of these technologies has also led to the adoption of such routines among individual musicians, small/independent labels, and producers seeking to mimic the resources of major labels (a practice that has become considerably easier via the Internet, as it is difficult to determine capital resources solely from a WWW site). Yet there is another facet to the evolution of the link between the aural and visual. Sound has become more visual by way of its representation during its production (a representation, and process, that has largely been ignored in popular music studies). That representation has to do with the digitisation of sound, and the subsequent transformation sound and music can undergo after being digitised and portrayed on a computer screen. Once digitised, sound can be made visual in any number of ways, through traditional methods like music notation, through representation as audio waveform, by way of MIDI notation, bit streams, or through representation as shapes and colors (as in recent software applications particularly for children, like Making Music by Morton Subotnick). The impetus for these representations comes from the desire for increased control over sound (see Jones, Rock Formation) and such control seems most easily accomplished by way of computers and their concomitant visual technologies (monitors, printers). To make computers useful tools for sound recording it is necessary to employ some form of visual representation for the aural, and the flexibility of modern computers allows for new modes of predominately visual representation. Each of these connections between the aural and visual is in turn related to technology, for as audio technology develops within the entertainment industry it makes sense for synergistic development to occur with visual media technologies. Yet popular music scholars routinely analyse aural and visual media in isolation from one another. The challenge for popular music studies and music philosophy posed by visual media technologies, that they must attend to spatiality and context (both visual and aural), has not been taken up. Until such time as it is, it will be difficult, if not impossible, to engage issues of authenticity, because they will remain rootless instead of situated within the experience of music as fully sensual (in some cases even synaesthetic). Most of the traditional judgments of authenticity among music critics and many popular music scholars involve space and time, the former in terms of the movement of music across cultures and the latter in terms of history. None rely on notions of the "situatedness" of the listener or musicmaker in a particular aural, visual and historical space. Part of the reason for the lack of such an understanding arises from the very means by which popular music is created. We have become accustomed to understanding music as manipulation of sound, and so far as most modern music production is concerned such manipulation occurs as much visually as aurally, by cutting, pasting and otherwise altering audio waveforms on a computer screen. Musicians no more record music than they record fingering; they engage in sound recording. And recording engineers and producers rely less and less on sound and more on sight to determine whether a recording conforms to the demands of digital reproduction.2 Sound, particularly when joined with the visual, becomes a means to build and manipulate the environment, virtual and non-virtual (see Jones, "Sound"). Sound & Music As we construct space through sound, both in terms of audio production (e.g., the use of reverberation devices in recording studios) and in terms of everyday life (e.g., perception of aural stimuli, whether by ear or vibration in the body, from points surrounding us), we centre it within experience. Sound combines the psychological and physiological. Audio engineer George Massenburg noted that in film theaters: You couldn't utilise the full 360-degree sound space for music because there was an "exit sign" phenomena [sic]. If you had a lot of audio going on in the back, people would have a natural inclination to turn around and stare at the back of the room. (Massenburg 79-80) However, he went on to say, beyond observations of such reactions to multichannel sound technology, "we don't know very much". Research in psychoacoustics being used to develop virtual audio systems relies on such reactions and on a notion of human hardwiring for stimulus response (see Jones, "Sense"). But a major stumbling block toward the development of those systems is that none are able to account for individual listeners' perceptions. It is therefore important to consider the individual along with the social dimension in discussions of sound and music. For instance, the term "sound" is deployed in popular music to signify several things, all of which have to do with music or musical performance, but none of which is music. So, for instance, musical groups or performers can have a "sound", but it is distinguishable from what notes they play. Entire music scenes can have "sounds", but the music within such scenes is clearly distinct and differentiated. For the study of popular music this is a significant but often overlooked dimension. As Grossberg argues, "the authenticity of rock was measured by its sound" (207). Visually, he says, popular music is suspect and often inauthentic (sometimes purposefully so), and it is grounded in the aural. Similarly in country music Jensen notes that the "Nashville Sound" continually evoked conflicting definitions among fans and musicians, but that: The music itself was the arena in and through which claims about the Nashville Sound's authenticity were played out. A certain sound (steel guitar, with fiddle) was deemed "hard" or "pure" country, in spite of its own commercial history. (84) One should, therefore, attend to the interpretive acts associated with sound and its meaning. But why has not popular music studies engaged in systematic analysis of sound at the level of the individual as well as the social? As John Shepherd put it, "little cultural theoretical work in music is concerned with music's sounds" ("Value" 174). Why should this be a cause for concern? First, because Shepherd claims that sound is not "meaningful" in the traditional sense. Second, because it leads us to re-examine the question long set to the side in popular music studies: What is music? The structural homology, the connection between meaning and social formation, is a foundation upon which the concept of authenticity in popular music stands. Yet the ability to label a particular piece of music "good" shifts from moment to moment, and place to place. Frith understates the problem when he writes that "it is difficult ... to say how musical texts mean or represent something, and it is difficult to isolate structures of musical creation or control" (56). Shepherd attempts to overcome this difficulty by emphasising that: Music is a social medium in sound. What [this] means ... is that the sounds of music provide constantly moving and complex matrices of sounds in which individuals may invest their own meanings ... [however] while the matrices of sounds which seemingly constitute an individual "piece" of music can accommodate a range of meanings, and thereby allow for negotiability of meaning, they cannot accommodate all possible meanings. (Shepherd, "Art") It must be acknowledged that authenticity is constructed, and that in itself is an argument against the most common way to think of authenticity. If authenticity implies something about the "pure" state of an object or symbol then surely such a state is connected to some "objective" rendering, one not possible according to Shepherd's claims. In some sense, then, authenticity is autonomous, its materialisation springs not from any necessary connection to sound, image, text, but from individual acts of interpretation, typically within what in literary criticism has come to be known as "interpretive communities". It is not hard to illustrate the point by generalising and observing that rock's notion of authenticity is captured in terms of songwriting, but that songwriters are typically identified with places (e.g. Tin Pan Alley, the Brill Building, Liverpool, etc.). In this way there is an obvious connection between authenticity and authorship (see Jones, "Popular Music Studies") and geography (as well in terms of musical "scenes", e.g. the "Philly Sound", the "Sun Sound", etc.). The important thing to note is the resultant connection between the symbolic and the physical worlds rooted (pun intended) in geography. As Redhead & Street put it: The idea of "roots" refers to a number of aspects of the musical process. There is the audience in which the musician's career is rooted ... . Another notion of roots refers to music. Here the idea is that the sounds and the style of the music should continue to resemble the source from which it sprang ... . The issue ... can be detected in the argument of those who raise doubts about the use of musical high-technology by African artists. A final version of roots applies to the artist's sociological origins. (180) It is important, consequently, to note that new technologies, particularly ones associated with the distribution of music, are of increasing importance in regulating the tension between alienation and progress mentioned earlier, as they are technologies not simply of musical production and consumption, but of geography. That the tension they mediate is most readily apparent in legal skirmishes during an unsettled era for copyright law (see Brown) should not distract scholars from understanding their cultural significance. These technologies are, on the one hand, "liberating" (see Hayward, Young, and Marsh) insofar as they permit greater geographical "reach" and thus greater marketing opportunities (see Fromartz), but on the other hand they permit less commercial control, insofar as they permit digitised music to freely circulate without restriction or compensation, to the chagrin of copyright enthusiasts. They also create opportunities for musical collaboration (see Hayward) between performers in different zones of time and space, on a scale unmatched since the development of multitracking enabled the layering of sound. Most importantly, these technologies open spaces for the construction of authenticity that have hitherto been unavailable, particularly across distances that have largely separated cultures and fan communities (see Paul). The technologies of Internetworking provide yet another way to make connections between authenticity, music and sound. Community and locality (as Redhead & Street, as well as others like Sara Cohen and Ruth Finnegan, note) are the elements used by audience and artist alike to understand the authenticity of a performer or performance. The lived experience of an artist, in a particular nexus of time and space, is to be somehow communicated via music and interpreted "properly" by an audience. But technologies of Internetworking permit the construction of alternative spaces, times and identities. In no small way that has also been the situation with the mediation of music via most recordings. They are constructed with a sense of space, consumed within particular spaces, at particular times, in individual, most often private, settings. What the network technologies have wrought is a networked audience for music that is linked globally but rooted in the local. To put it another way, the range of possibilities when it comes to interpretive communities has widened, but the experience of music has not significantly shifted, that is, the listener experiences music individually, and locally. Musical activity, whether it is defined as cultural or commercial practice, is neither flat nor autonomous. It is marked by ever-changing tastes (hence not flat) but within an interpretive structure (via "interpretive communities"). Musical activity must be understood within the nexus of the complex relations between technical, commercial and cultural processes. As Jensen put it in her analysis of Patsy Cline's career: Those who write about culture production can treat it as a mechanical process, a strategic construction of material within technical or institutional systems, logical, rational, and calculated. But Patsy Cline's recording career shows, among other things, how this commodity production view must be linked to an understanding of culture as meaning something -- as defining, connecting, expressing, mattering to those who participate with it. (101) To achieve that type of understanding will require that popular music scholars understand authenticity and music in a symbolic realm. Rather than conceiving of authenticity as a limited resource (that is, there is only so much that is "pure" that can go around), it is important to foreground its symbolic and ever-changing character. Put another way, authenticity is not used by musician or audience simply to label something as such, but rather to mean something about music that matters at that moment. Authenticity therefore does not somehow "slip away", nor does a "pure" authentic exist. Authenticity in this regard is, as Baudrillard explains concerning mechanical reproduction, "conceived according to (its) very reproducibility ... there are models from which all forms proceed according to modulated differences" (56). Popular music scholars must carefully assess the affective dimensions of fans, musicians, and also record company executives, recording producers, and so on, to be sensitive to the deeply rooted construction of authenticity and authentic experience throughout musical processes. Only then will there emerge an understanding of the structures of feeling that are central to the experience of music. Footnotes For analyses of the Walkman's role in social settings and popular music consumption see du Gay; Hosokawa; and Chen. It has been thus since the advent of disc recording, when engineers would watch a record's grooves through a microscope lens as it was being cut to ensure grooves would not cross over one into another. References Altman, Rick. "Television/Sound." Studies in Entertainment. Ed. Tania Modleski. Bloomington: Indiana UP, 1986. 39-54. Baudrillard, Jean. Symbolic Death and Exchange. London: Sage, 1993. Brown, Ronald. Intellectual Property and the National Information Infrastructure: The Report of the Working Group on Intellectual Property Rights. Washington, DC: U.S. Department of Commerce, 1995. Chen, Shing-Ling. "Electronic Narcissism: College Students' Experiences of Walkman Listening." Annual meeting of the International Communication Association. Washington, D.C. 1993. Du Gay, Paul, et al. Doing Cultural Studies. London: Sage, 1997. Frith, Simon. Sound Effects. New York: Pantheon, 1981. Fromartz, Steven. "Starts-ups Sell Garage Bands, Bowie on Web." Reuters newswire, 4 Dec. 1996. Grossberg, Lawrence. We Gotta Get Out of This Place. London: Routledge, 1992. Hayward, Philip. "Enterprise on the New Frontier." Convergence 1.2 (Winter 1995): 29-44. Hosokawa, Shuhei. "The Walkman Effect." Popular Music 4 (1984). Jensen, Joli. The Nashville Sound: Authenticity, Commercialisation and Country Music. Nashville, Vanderbilt UP, 1998. Jones, Steve. Rock Formation: Music, Technology and Mass Communication. Newbury Park, CA: Sage, 1992. ---. "Popular Music Studies and Critical Legal Studies" Stanford Humanities Review 3.2 (Fall 1993): 77-90. ---. "A Sense of Space: Virtual Reality, Authenticity and the Aural." Critical Studies in Mass Communication 10.3 (Sep. 1993), 238-52. ---. "Sound, Space & Digitisation." Media Information Australia 67 (Feb. 1993): 83-91. Marrsh, Brian. "Musicians Adopt Technology to Market Their Skills." Wall Street Journal 14 Oct. 1994: C2. Massenburg, George. "Recording the Future." EQ (Apr. 1997): 79-80. Paul, Frank. "R&B: Soul Music Fans Make Cyberspace Their Meeting Place." Reuters newswire, 11 July 1996. Redhead, Steve, and John Street. "Have I the Right? Legitimacy, Authenticity and Community in Folk's Politics." Popular Music 8.2 (1989). Shepherd, John. "Art, Culture and Interdisciplinarity." Davidson Dunston Research Lecture. Carleton University, Canada. 3 May 1992. ---. "Value and Power in Music." The Sound of Music: Meaning and Power in Culture. Eds. John Shepherd and Peter Wicke. Cambridge: Polity, 1993. Silverman, Kaja. The Acoustic Mirror. Bloomington: Indiana UP, 1988. Sobchack, Vivian. Screening Space. New York: Ungar, 1982. Young, Charles. "Aussie Artists Use Internet and Bootleg CDs to Protect Rights." Pro Sound News July 1995. Citation reference for this article MLA style: Steve Jones. "Seeing Sound, Hearing Image: 'Remixing' Authenticity in Popular Music Studies." M/C: A Journal of Media and Culture 2.4 (1999). [your date of access] <http://www.uq.edu.au/mc/9906/remix.php>. Chicago style: Steve Jones, "Seeing Sound, Hearing Image: 'Remixing' Authenticity in Popular Music Studies," M/C: A Journal of Media and Culture 2, no. 4 (1999), <http://www.uq.edu.au/mc/9906/remix.php> ([your date of access]). APA style: Steve Jones. (1999) Seeing Sound, Hearing Image: "Remixing" Authenticity in Popular Music Studies. M/C: A Journal of Media and Culture 2(4). <http://www.uq.edu.au/mc/9906/remix.php> ([your date of access]).

This thesis shows the condition of outsidedness in the fiction of two Indo-English authors: Ruth Prawer Jhabvala and Salman Rushdie. Ruth Prawer Jhabvala focuses on the intercultural encounter from the European perspective. Salman Rushdie writes from the expatriate's point of view. Astride the cultural frameworks of India and the West at once they examine the ironic similarities of prejudice and intolerance in both societies. These authors' novels are examined through concepts elaborated by the Russian literary theoretician, Mikhail Bakhtin, such as exotopy or outsidedness, heteroglossia, dialogism, etc. They confirm Bakhtin's contention that cultural confrontation is a potentially enriching source of literary and artistic creation. Jhabvala treats the intercultural encounter within the colonial and post-colonial frameworks and shows the fragile dialogue that does occur between her European characters and India. Rushdie on the other hand centres mainly on contemporary India although he does satirize certain aspects of colonial India. He uses a plethora of historical, literary, cultural and linguistic referents from both eastern and western traditions to subvert the hegemonic discourse of either and to celebrate cultural hybridity.

Thesis (DTh (Old and New Testament))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: It has been acknowledged in two recent studies that the translation of key biblical terms is an area that needs urgent attention. Many lexicons provide the meaning of a word by describing its etymology, hardly paying any attention to the socio-cultural contexts within which it is used. Thus, lexicons are often of limited value for Bible interpretation and translation. This dissertation argues that the meaning of a word can only be fully determined by taking into consideration the linguistic and socio-cultural contexts within which it functions. A basic assumption is that the biblical source text serves as a frame of reference for the semantic analysis of a particular word. The text provides an integrative semantic and pragmatic framework within which a biblical term must be investigated with reference to its wider socio-cultural setting. In the light of this framework, this study investigates the meaning of dsj in the book of Ruth from a Lomwe perspective. Although the word occurs only three times (Ruth 1:8, 2:20 and 3:10) with reference to Ruth, Boaz and Yahweh as subjects, respectively, the book is a “dsj story”, which represents the essence of the covenant between Yahweh and His people. The essence of this covenant is demonstrated by the main characters of the story, which unveil the theological depth that dsj brings to the understanding of this narrative. Since the aim of the study is to evaluate the suitability of the terms osivela, osivela combined with woororomeleya and ikharari in relation to others that are potentially available in Lomwe to convey the conceptual complexity denoted by dsj, a Cognitive Frames of Reference (CFR) approach was introduced for the translation. To bridge the cognitive gap between the socio-cultural worlds of the biblical audience and the target audience, the study used different dimensions of CFR namely the textual, socio-cultural, communicational and the organizational frames of reference. Using the book of Ruth as a starting point for the translation of the word dsj into Lomwe, it is argued that this approach offers a better understanding of the meaning of dsj in Ruth 1:8, 2:20 and 3:10. Since osivela waya woororomeleya does not do justice to the meaning of dsj in the three passages, the words ikharari (1:8 and 2:20) and oreera murima (3:10) have been proposed as exegetically and socio-culturally more appropriate alternatives.
AFRIKAANSE OPSOMMING: In twee onlangse studies is aangedui dat daar dringend aandag geskenk behoort te word aan die vertaling van sleutel bybelse terme. Baie woordeboeke verskaf die betekenis van woord deur die etimologie daarvan te beskryf, met beperkte fokus op die sosio-kulturele kontekse waarin dit gebruik word. Gevoglik is die waarde van woordeboeke beperk met betrekking tot bybelinterpretasie en -vertaling. Hierdie proefskrif argumenteer dat die betekenis van woord slegs volkome bepaal kan word deur die inagneming van die literêre en sosio-kulturele kontekste waarin dit funksioneer. Basiese aanname is dat die bybelse bronteks as verwysingsraamwerk dien vir die semantiese analise van bepaalde woord. Die teks verskaf geïntegreerde semantiese en pragmatiese raamwerk waarin bybelse term ondersoek moet word met verwysing na sy breër sosio-kulturele milieu. In die lig van hierdie raamwerk ondersoek hierdie studie dus die betekenis van dsj in die Boek van Rut vanuit Lomwe perspektief. Alhoewel die woord slegs driekeer voorkom (Rut 1:8, 2:20 en 3:10) met betrekking tot onderskeidelik Rut, Boaz en Jahwe as onderwerpe, is die boek “dsj storie” wat die essensie van die verbond tussen Jahwe en sy volk verbeeld. Die wese van dié verbond word gedemonstreer deur die storie se hoofkarakters wat die teologiese diepte van dsj tot beter verstaan van die narratief blootlê. Aangesien die studie evaluering van toepaslike terme osivela, osivela, gekombineer met woororomeleya, en ikharari, in verhouding tot andere wat moontlik in Lomwe beskikbaar is, om die konseptuele kompleksiteit weer te gee, ten doel het, is Kognitiewe Verwysingsraamwerk (KWR) benadering vir vertaling voorgestel. Ten einde die kognitiewe gaping tussen die sosiokulturele wêrelde van die bybelse gehoor en die teikengehoor te oorbrug, het hierdie studie verskillende dimensies van KWR, te wete die tekstuele, sosio-kulturele, kommunikatiewe en organisatoriese verwysingsraamwerke aangewend. Deur die Boek Rut as vertrekpunt te neem vir die vertaling van dsj in Lomwe, word geargumeenteer dat dié benadering beter verstaan van dsj se betekenis in Rut 1:8, 2:20, 3:10 tot gevolg het. Aangesien osivela waya woororomeleya nie reg laat geskied aan die betekenis van dsj in hierdie drie perikope nie, is die woorde ikharari (1:8 en 2:20) en oreera murima (3:10) as eksegeties en sosio-kultureel meer toepaslike alternatiewe voorgestel.

This study considers the origin and purpose of Ruth and concludes that it is best to read the narrative as a call for an inclusive attitude toward any person, Jew or Gentile, who desired to join the Judean community in the Restoration period. In chapter one, I review the difficulties that scholars face in ascertaining Ruth's place in Israel's history, and I outline approaches that they have used to try to establish its purpose and origin. I discuss major interpretive positions, which date the book either to the monarchic period, to the exilic period, or to the Restoration period, and I articulate the format of my own study. In chapter two, I consider how the author of Ruth uses characterization to highlight Ruth, a Gentile outsider, and to criticize the Bethlehemite community. Only Boaz accepts Ruth, which leads to his participation in the line of David. In chapter three, I discuss how the author also magnifies Ruth's character by comparing her with Israel's ancestors. In these ways, Ruth demonstrates that an outsider can embody the ideals of the Restoration community and that they can also be a benefit to the nation. In chapters four and five, I examine arguments for dating Ruth to particular periods in Israel's history. In chapter four, I consider efforts to date the language of Ruth as well as the legal practices that the story describes. I also discuss the narrative's supposed congruence with the concerns of various social settings in Israel's history. In chapter five, I draw on current research on refugee communities to see how the experiences of such people can help us understand the concerns of the Restoration community. In chapter six, I review my arguments for regarding Ruth as a call for inclusion in the Restoration period, and I consider how this conclusion should affect the field of Ruth studies as well as the wider field of Second Temple studies.

The purpose of this study is to show how Elizabeth Gaskell creates a sense of place and why place is important in her novels. Gaskell's life and works indicate an interest in place and an ability to recreate it, but, although most critics mention her descriptive powers, few examine how a sense of place is achieved. Indeed, setting as a tool of analysis has received critical attention only fairly recently. Here the term 'place' has been chosen because it embraces the social, physical, and personal aspects of setting as well as the objects with which spaces are furnished, and for the purpose of discussing its significance a model of the novel has been devised which shows the interrelationships of character, action, setting, language, and ideas, as well as the influence of context (Introduction). Gaskell creates a sense of place in many unobtrusive ways, but particularly important are point of view, windows as vantage points, the connection of place with memory, and similarities in perception between scenes in the novels and fashions in painting (Chapter One). An analysis of Ruth illustrates the interrelationship of character and place. Ruth's journey mirrors her spiritual development, and character is often revealed through response to environment or the displacement of emotions onto it, while place is also used to signify innocence and to emphasize the plea for understanding of the unmarried mother and her child (Chapter Two). Places in North and South represent important aspects of newly industrialized Britain, and are significant to the novel's vision of a coherent society; an examination of how apparently irreconcilable communities are shown to be mutually dependent underlines the importance of place to the novel's ideas (Chapter Three). Wives and Daughters has a complicated plot based on a number of parallel, interlocking stories each centred on a home in the neighbourhood of Hollingford. How event, story, and plot are connected to these places shows their relationship with action (Chapter Four). Thus is an appreciation of Gaskell's literary achievement enhanced, and place shown to be a significant element in her novels.

This study posits that a deconstructive socio-historical reading of Ruth will elicit aspects of ancient Israelite women’s agency which can then be used to inspire greater socio-economic agency amongst poor rural women today. While it is difficult to establish the date of Ruth with any precision, the study argues that the book was first written to legitimise David’s kingship and then used as a polemic against Ezra-Nehemiah’s intermarriage policies some 550 years later. Accordingly, it discusses the socio-economic conditions pertaining to both periods, namely the early monarchic and the early post-exilic periods. The study shows that Israel began as a loosely organized tribal confederation, which lacked a structured political system, in the pre-monarchic period, and that far-reaching changes ensued upon the institution of the monarchy. During the monarchic period, the political structure of the land was increasingly centralised around the king. Despite the political changes, and variances within the mode of production, the family remained the basic economic production unit throughout Israel’s history. Similarly, Israelite society remained patriarchal in nature, and women derived their identity and economic wellbeing from the men in their lives. Women did not have any economic rights per se; their rights, if any, were secured and safeguarded by the men to whom they belonged. Furthermore, land was the most important economic commodity but Israelite law deprived the majority of women of the opportunity to own land. These factors disenfranchised and impoverished women, particularly childless widows. Within this context, Naomi and Ruth devised strategies which subverted the oppressive patriarchal structures of their time and overcame their socio-economic distress. The principles underlying their actions may be used to encourage poor rural women to develop greater socio-economic agency today.
Thesis (M.Th.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.

In Congolese society, heterosexual marriage is a highly regarded institution that is viewed as contributing significantly to the true identities of women. In this study, I use Masenya’s terminologies, “idolization of marriage” and “marriage at all costs”, as springboards to re-read the story of Ruth in the Hebrew Bible in light of the experiences of Congolese women who tend to regard marriage as a norm. I have analysed and critiqued patriarchy as it has shaped the lives of biblical women (cf the Ruth character in the Hebrew Bible) as well as it continues to shape the lives of many Congolese women. Although in some sense, the Ruth character can be emulated in terms of her sense of independence, in terms of her commitment to seeking marriage at all costs though, Ruth, cannot be a helpful model to the lives of many poor Anamongo women who today trapped in poverty, continue to regard heterosexual marriage as the norm in their search for survival, security, and value.
Old Testament and Ancient Near Eastern Studies
M. Th. (Old Testament)