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This is a detailed, narrative–based history of Classical Malay Literature. It covers a wide range of Malay texts, including folk literature; the influence of the Indian epics and shadow theatre; Panji tales; the transition from Hindu to Muslim literary models; Muslim literature; framed tales; theological literature; historical literature; legal codes; and the dominant forms of poetry, the pantun and syair. The author describes the background to each of these particular literary periods. He engages in depth with specific texts, their various manuscripts, and their contents. In so doing, he draws attention to the historical complexity of tradisional Malay society, its worldviews, and its place within the wider framework of human experience. Dr. Liaw’s History of Classical Malay Literature will be of benefit to beginning students of Malay Literature and to established scholars alike. It can also be read with benefit by those with a wider interest in Comparative Literature and in Southeast Asian culture in general.
Scholarly works considering traditional Malay letters from a literary point of view are scarce. In this book, classical Malay literature of the 16th through the 19th centuries is viewed in the context of more than a millennium of medieval Malay letters. In the first part, based on a reconstruction of the literary self-awareness of the Malays, a model is offered of classical Malay literature as an integral, hierarchically arranged a ‘anthropomorphic’ system, the impetus for its formation being the Islamization of the Malay world. A study of the origin and evolution of all genres of Malay literature, as well as an analysis of some exemplary works with special reference to their poetics, provide the factual basis for the suggested model. The second part of the book treats of the aesthetics of classical Malay literature, first and foremost the central notion of the sphere of beauty, ‘the beautiful’ (indah). Its divine origin, internal properties-such as the diversity of manifestations, perfection, orderliness-capable of arousing love and thus producing a harmonizing effect on the human psyche, are considered, as well as the synthesis of Hindu-Javanese and Muslim components in Malay literature aesthetics. This is the first study that aims to present a coherent view of the entire body of classical Malay literature. In a novel and stimulating approach, the organizing principles of Malay literature are seen as a system in which the various genres are allotted their proper place.
In the field of Malay Studies, the traditional artist is among the most mysterious of beings, deeply buried under a tradition that was oral and anonymous. He is more enigmatic now, more than ever before, as he is further alienated from us, by the technological development, the different modes of literary communication, and not the least, by the disappearance of the rural environment that created the artist - all of these factors much influencing his mind. There is no doubt that much as he felt (rasa) the world, he also thought, fikir, about it, about its universe, the powers that governed his life, the community, its values, the arts and what made them please and so on.
The Music of Malaysia, first published in Malay in 1997 and followed by an English edition in 2004 is still the only history, appreciation and analysis of Malaysian music in its many and varied forms available in English. The book categorizes the types of music genres found in Malaysian society and provides an overview of the development of music in that country. Analyses of the music are illustrated with many examples transcribed from original field recordings. Genres discussed include theatrical and dance forms, percussion ensembles, vocal and instrumental music and classical music. It is an excellent introduction to and exploration of the country's vibrant musical culture. This new, fully revised and updated edition includes time lines, listening guides and downloadable resources of field recordings that are analysed and discussed in the text.
When the Mahabharata and Ramayana are performed in South and Southeast Asia, audiences may witness a variety of styles. A single performer may deliver a two-hour recitation, women may meet in informal singing groups, shaddow puppets may host an all-night play, or professional theaters may put on productions lasting thirty nights. Performances often celebrate ritual passages: births, deaths, marriages, and religious observances. The stories live and are transmitted through performance; their characters are well known and well loved. Yet written versions of the Mahabharata and Ramayana have existed in both South and Southeast Asia for hundreds of years. Rarely have these texts been intended for private reading. What is the relationship between written text and oral performance? What do performers and audiences mean when they identify something as “Ramayana” or “Mahabharata”? How do they conceive of texts? What are the boundaries of the texts? By analyzing specific performance traditions, Boundaries of the Text addresses questions of what happens to written texts when they are preformed and how performance traditions are affected when they interact with written texts. The dynamics of this interaction are of particular interest in South and Southeast Asia where oral performance and written traditions share a long, interwoven history. The contributors to Boundaries of the Text show the difficulty of maintaining sharp distinctions between oral and written patterns, as the traditions they consider defy a unidirectional movement from oral to written. The boundaries of epic traditions are in a state of flux, contracting or expanding as South and Southeast Asian societies respond to increasing access to modern education, print technology, and electronic media.
This book, Abdullah bin Abdul Kadir Munshi, is the most comprehensive, multi-disciplinary studies on Abdullah bin Abdul Kadir, widely known as Munshi Abdullah (1796-1854). He was a prominent literary figure and thinker in the Malay world in the 19th century and was also an early 'pioneer' of Singapore.The author, Professor Hadijah Rahmat, has spent more than 25 years studying Munshi Abdullah since her PhD studies in the School of Oriental and African Studies (SOAS), University of London, in 1992 to date. This book is covered in two volumes and is based on her research conducted using unexplored primary sources at several missionaries' archives at SOAS, London, Houghton Library, University Harvard, Library of Congress, Leiden University, KITVL, Holland, and the Perpustakaan Nasional Indonesia, Jakarta.The book consists of numerous academic papers presented at the regional and international seminars, and also published in international journals and as chapters of books. Besides academic papers, the excerpt of play titled Munsyi, sketches, poetry, and song, and interviews by the national media are also included.This book provides new insight into Abdullah's life, backgrounds, writings, his influences and legacies and the reactions and thought provoking views of the western and eastern scholars on Abdullah. The book is indeed the key reference for studies on Munshi Abdullah, Malay literature, and the history of Singapore, Malaysia, and colonialism in Southeast Asia.
Bali's shadow puppet theater, like others in Southeast Asia, is a complex tradition with many conventions that puzzle Western observers. Mary Zurbuchen demonstrates how the linguistic codes of this rich art form mediate between social groups, cultural influences, historical periods, and conceptual schemes. Originally published in 1987. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Gender Relations in an Indonesian Society offers a comprehensive ethnography of Bugis marriage through an exploration of gender identity and sexuality in this bilateral, highly competitive, hierarchical society. Nurul Ilmi Idrus considers the fundamental concept of siriq (honour; shame) in relation to gender socialization, courtship, sex within marriage, the regulation of sexuality between genders, the importance of kinship and status in marriage, and the dynamics of marriage, divorce, and reconciliation. This analysis considers the practical combination of Islamic tenets with local adat (custom; customary law) and the effect of contemporary Indonesia’s national ideology on cultural practices specific to Bugis society.