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Syncretic cultural multivocality and the Malaysian popular musical imagination
No full textThis article discusses modes of expression in selected contemporary Malaysian popular songs and music videos in English. The article argues that such audio-visual engagements can be best described as productions of syncretic cultural multivocality. First, the fusion of the multiple musical styles that inundated Malaysia\u27s novel popular music industry in the 1950s is traced. Next, the development of a creative pop multivocality in contemporary Malaysian "hip hops" is described. The article proceeds primarily by reading the Malaysian popular music scene as a cultural text and demonstrates that although the history of Malaysian popular music reflects pop cosmopolitanism, the cultural multivocality that characterises the Malaysian identity resonates as powerfully (if not more powerfully) at the core of the nation\u27s popular imagination. The article concludes that the skilful integration of various influences from global popular culture creates a musical palimpsest that is and will continue to be imprinted with a multitude of signifiers of syncretic cultural multivocality
Modern Asian ecclesiastical interconnections: Catholic Tamil Nadu and its diaspora in Malaysia
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Transnational Collaboration and Media Industry in South India: Case of the Malaysian—Indian Diaspora
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Essentialism and the diasporic native informant: Malaysia in Hsu Ming Teo’s love and vertigo
No full textHsu Ming Teo’s (2000) novel Love and Vertigo oscillates between three countries,
Singapore, Malaysia and Australia. Though Teo is seen to be affiliated with Malaysia,
and certainly appraised as articulating her ethnic history with clarity of creative and
artistic skill, the image of Malaysia that she shapes come to the fore as a remembered
reality, through the glimpses caught from the morsels of both memory and filial visits to
this estranged home/ancestral land. The most significant issue that resides at the heart of
such writings is the repudiation of the Chinese community by the Malays in Malaysia.
The images of Malaysia in the novel are fleeting, yet when they do appear they seem to
be the most macabre amongst the spectres of the past that haunt the main protagonist,
Grace. This article discusses the almost ghostly role that Malaysia plays in the novel and
argues that the cultural memory of the older country lies entombed with the ghost of the
1969 racial riots. It concludes that when writings by diasporic native informants such as
Teo and others around the globe are taken to be authentic renditions of ethnic heritage as
part of multicultural politics in the cosmopolitan, the implications of these are highly
serious as they are largely constructions of decidedly essentialist discourses of the older
country
Memory and the Diasporic Creative Imagination: Preeta Samarasan’s Evening is the Whole Day
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Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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