Syncretic Forms Research Articles

Towards an Egyptian Theatre: Syncretic Aesthetics in the Works of Tawfiq al-Hakim and Yousuf Idris

Tawfiq al-Ḥakīm (1898-1987) and Yūsuf Idrīs (1927-1991) are two towering figures in Egyptian and Arabic theatre, not only for their poignant social commentary but also for their bold theoretical and theatrical innovations. Their contributions served to decolonize the Egyptian stage and paved the way for subsequent generations to reclaim an Egyptian identity. The objective of the current research paper is to investigate how the two playwrights syncretized elements from Western and Eastern theatrical traditions that created unique and impactful theatrical experiences which are neither Western nor indigenous but amalgamation of both. Moreover, the paper delves into the dramatic world of al-Ḥakīm and Idrīs, specifically al-Ḥakīm’s Agamemnon (as revisited and reworked in Qālibunā al-masraḥī [Our Theatrical Mold (1967) and Idrīs’s al-Farāfīr (1964). Through an examination of these plays, the analysis explores the playwrights' experimentation with dramatic form, which draws upon the rich tapestry of Egyptian folk culture, while simultaneously engaging with the universality of content found within the Western dramatic canon. The research paper is grounded in a multifaceted theoretical framework that integrates several theoretical concepts. Deploying Christopher Balme’s “syncretism,” along with Homi Bhabha’s “third space” and Erika Fischer-Lichte’s “interweaving” as analytical framework, this paper examines the transaction between indigenous and colonial theatrical productions that led to the emergence of new dramaturgies by al-Ḥakīm and Idrīs that bridge the precolonial, colonial, and postcolonial paradigms. The paper concludes that the playwrights’ incorporation of syncretic forms in their plays represents the recognition of multifaceted cultural heritage.

Manifestations of ancient beliefs in “The Book of Korkyt Ata”

The article specifically examines the ancient beliefs of the Oguz tribes and the mythical elements of the ancient Turkic peoples, reflected in the songs “The Book of Korkyt Ata”, and ancient plots born in connection with shamanic beliefs. In addition, the Book of Korkyt Ata tells about the worldview of the early time and the ideology of the late epoch, about the combination of shamanic consciousness and Islamic understanding, which manifests itself in a holistic and complex syncretic form. It is also said that in the motifs of the mythical melodies in the “The Book of Korkyt Ata” one can find individual samples that do not have similarities. The word about the good preservation of the beliefs of the Turkic peoples and mythical ideas about the creation of the world is touched upon. When writing the article, research papers were considered, which cited the analyses and conclusions of well known scientific thinkers. The object of the study is the fact that, although the book got into writing during the period of adoption of Islamic values, the old beliefs have not undergone much change. It is known that the heritage of Korkyt Ata is a valuable asset of culture, literature and history. In addition, some data about Korkyt are also not true, which still needs to be studied. The article says that this is one of the topics that does not lose its relevance.

Curses and Rituals as Antidotes: The Significance of Offerings in Dreadlocks Cutting Ritual for Santri

The deadlocks cutting ritual, known as ‘ruwatan rambut gimbal’ is one of the events in the Dieng Culture Festival which requires the presence of uborampe in its implementation. This study aims to reveal the symbolic significance of the uborampe which share a conceptual similarity with totems. This study uses a qualitative research with a semiotics analysis of Charles Sanders Peirce. The findings of this research indicate that: first, the uborempe presented in the ritual can be called a totem because it comes from animals and plants and symbolizes other sacred things. Second, the people of Dieng Banjarnegara are adherents of limited totemism or quasi totemism, because the totem in the dreadlock cutting ritual is not worshiped but contains an element of expected prayer. Third, forms of syncretism between Hindu, Javanese, and Islam appear in the use of prayer in Javanese and their meaning and offering of uborampe ritual. Fourth, the meaning of the totem in the treatment of the dreadlock cutting ritual in the perspective of Charles Sanders Peirce's Semiotics is categorised in three forms: symbols, icons, and cum icon symbols. The symbolic significance of one uborempe can be manifested in various meanings adjusted to the community that carries out the interpretation.

Религиозные практики чувашей: традиции и их трансформация (конец XX – начало XXI века)

The paper examines modern religious practices of two ethno-confessional groups of the Chuvash — Orthodox and unbaptized, shows the traditional forms of worship and their trans-formation at the turn of the century, determines the compliance of existing practices with the "norms" of the declared religious identity. The study showed that changes in religious prac-tices were manifested in the reduction in number of participants, in the reduction of rituals and the disappearance of a number of elements, in the festivization of the festive and ritual culture, the loss of the original meaning of religious rituals, but at the same time in the growth of activity of the Orthodox Chuvash in the formation of the sacred landscape of their villages and the performance of religious cult. For both groups, there is a discrepancy be-tween confessional identity
 and actual religious practices: among the Orthodox — in the form of Orthodox-pagan syncretism and dual faith, among the unbaptized — in the form of elements of Orthodox culture and participation in Orthodox rituals. They are caused by the instability of confessional "borders" due to religious conversion, and the transformation of ritual practices. The study is based on the author's field materials collected in Chuvash vil-lages in the Samara region, the Republics of Bashkortostan and Tatarstan, and the Chuvash Republic.

Case Study Of Mawe Tradition: The Theology Study Of Spirit Summoning Rituals In Buru Island, Maluku

Cultural traditions in Indonesia are very diverse, including the Mawe tradition on Buru Island, Maluku which is believed to be able to provide clues to uncover cases or problems that often occur. Uniquely, this tradition uses the spirits of deceased ancestors, which is a ritual led by traditional elders to provide clues that can explain a problem. This study uses a qualitative method with a case study approach and analysis of supporting Bible verses. As a result, from the theological studies conducted, it is known that rituals of seances have also been carried out in the biblical tradition, but it is clear that this tradition is contrary to the Bible. The Christian theological view is very clear that believers are not justified under any circumstances to perform seances because it is a form of syncretism.

Looking Back: Theological Reflections on the Intersection between Pentecostalism and Ubuntu within the African Section of the Apostolic Faith Mission of South Africa

Syncretism in the African section of South African Pentecostalism followed the emergence of the Ethiopian movement. The latter took the lead in promoting the syncretising of Christianity and African culture and practice (hereinafter referred to as Ubuntu). A similar syncretism emerged in the Christian Catholic Church in Zion in Wakkerstroom, the “black section of the Apostolic Faith Mission”, soon after the departure of Reverend Pieter Le Roux, who was appointed to lead the Apostolic Faith Mission in Johannesburg since John G. Lake was returning to the USA. This article intends to show that such syncretism did not occur in a vacuum. Rather, it was influenced by the interpretation of some portions of Scripture, the influence of John Alexander Dowie’s praxis and some dreams and visions of a leader of the Christian Catholic Church in Zion in Wakkerstroom. This form of syncretism later permeated subsequent sections of African Pentecostalism in the Apostolic Faith Mission, resulting in the emergence of two categories of African Pentecostalism in the church: namely, those who accept this phenomenon and those who abandon it. These past developments position the Apostolic Faith Mission as a prime example to use in analysing syncretism in Pentecostalism and how it could be addressed by taking cognisance of Ubuntu without committing syncretism. Hence, the following question arises: How can theological reflections on the past experiences of the black section of the Apostolic Faith Mission of South Africa contribute to promoting a biblical approach that takes cognisance of Ubuntu without committing syncretism? This article applies the Magadi research method conceptualised for practical theology to answer this question. It further demonstrates that it is possible to promote a biblical approach that embraces Ubuntu without committing syncretism.

Pelinggih Pajenengan as a Manifestation of Śiwa-Buddha Syncretism in the Pegulingan Temple Gianyar Bali

The teachings of Śiwa who dominate and are recognized as a majority and even animates most of the Hindu values in Bali do not forget to accommodate and harmonize themselves with other teachings, one of which is the Buddhist. From this, the existence of Buddhist teachings is still developing today. The reflection of the unification of the value of Śiwa-Buddha's teachings, one of which can be found at the Pura Pegulingan in Manukaya Village. The manifestation of the Śiwa-Buddha syncretism in the Pegulungan Temple is the Pajenengan Temple. Pajenengan's Pelinggih itself is a Pelinggih in the form of a Buddhist stupa which is worshiped jointly by Hindus and Buddhists who are the patrons of the temple. The influence of Buddhism in the Tampaksiring and Pejeng areas was inseparable from the policies of Masula Masuli in Bali in the śaka year 1100 (1178 AD). In particular, this study aims to analyze the Pelinggih Pajenengan as a form of Śiwa -Buddha syncretism at Pegulungan Temple. In particular, this study aims to analyze the Pelinggih Pajenengan as a form of Śiwa-Buddha syncretism at Pegulingan Temple. This research is qualitative research with a theological approach, while the data collection techniques used include observation, interviews, literature study, and document study. This research is qualitative research with a theological approach. The results of this study are very important because it shows the intense Pelinggih as a form of syncretism Śiwa-Buddha. Pelinggih Pajenengan was also called Padma Asta Dala in a Buddhist statue of gold with a standing attitude or Tribangga with the attitude of the waramudra hands. Thus, the existence of Pelinggih Pajenengan which contains the patterns of Śiwa and Buddha. The discovery of relief of stupa and lingga-yoni is proof that the unification of the two different teachings is very possible and as a unifying medium for Hindus and also Buddhism in the Pegulingan temple. In addition, the mantra addressed to Śiwa Raditya was also spoken by Śiwa-Buddha Raditya, this proves that the teachings of Śiwa-Buddha have been integrated in the Pegulingan temple.

Voicing a path to the afterlife: Rituals for the dead, transnational mobility and the changing soundspace of Islam among Mongolian Kazakhs

This article explores the role of sound and space in the negotiation of Muslim identity within rituals for the dead among the Kazakhs of Mongolia, a Turkic-speaking community that forms the majority population in the west of the country. Mobile pastoralists practising a syncretic form of Islam that integrates ancestor-spirit worship, Mongolian Kazakhs traditionally commemorated the dead at funeral and memorial feasts conducted in the portable nomadic yurt, and involving men’s recitation of the Qur’an and women’s performance of laments. The political and social transformations of the post-Soviet period, however, have wrought changes in the architectonics of the rituals. Increased transnational mobility in the wake of Kazakhstan’s independence has led to memorial feasts being held in venues ranging from mud-brick houses in western Mongolia to urban apartments, restaurants or mosques in Kazakhstan. The emergence of revivalist trends in Islam has prompted debates around the legitimacy and correct performance of female lamentation. Based on ethnography in Mongolia and Kazakhstan, the article examines how changes in the spatial and sonic configuration of the rituals reflect and shape evolving concepts of religiosity and gendered relations among the transnational community of Mongolian Kazakhs. The author introduces the concept of ‘soundspace’ to underscore the significance of spatiality, embodiment and emplacement in the production of sonic religious expression and experience.

The Creation of Tradition and the Alteration of Social Structure by the Mystic Baul Fakir Lalon Shah

This paper investigates how the Bengali poet Fakir Lalon Shah established a separate tradition of his songs and ideas. This research is also relevant to how Lalon's heritage of songs and philosophy has appeared to have formed, innovated, and altered over time. The songs of Lalon, their continued performance, how the songs get performed, and the attitudes of Lalon's devotees and the singers of his songs have all contributed to the development of a specific type of tradition. "a set of practices, normally governed by overtly or tacitly accepted rules and of a ritual or symbolic nature, which seek to inculcate certain values and norms of behaviour by repetition," (Hobsbawm 1983) is how Hobsbawm describes tradition. Fakir Lalon Shah was a notable philosopher, poet, and musician born in Bengal and flourished during the 19th century in what is now Bangladesh. He was known as Fakir Lalon Shah. The Baul tradition, a syncretic form of devotional music that integrates aspects of Sufi Islam, Hinduism, Buddhism, and indigenous folk beliefs, was started by him. He is known as the originator of the Baul tradition. Lalon Shah founded the Baul tradition and broke radically with his era's prevalent cultural and religious standards when he established it. He was not a follower of traditional organized religions because he considered them limiting and dogmatic. Instead, he emphasized individual spirituality and the quest for the truth inside.

From Proscenium to Public: Explorations of Body and Space in Sircar’s Third Theatre

The name of Badal Sircar, the Bengali playwright, actor and theatre activist, holds a very prestigious position in the history of modern Indian theatre. Both in the field of the Indian mainstream proscenium theatre and in that of the Alternative/Street theatre, he has made significant contribution to the Indian drama. In the post-independence period, when Indian theatre world was caught in the debate of “modern” and “Indian”, he established a brand-new genre of theatre called “Third Theatre”. Third Theatre provided a potent resolution to the inherent dichotomy in modern Indian drama by skillfully reconciling indigenous theatrical tools and techniques with the Western proscenium tradition of a text-based, plot-driven idea of theatre. Sircar’s style is thus a hybrid of folk theatre and proscenium theatre. This was a creative attempt to create an alternate media to effectively spread the playwright's views among the populace. With all these innovative ideas, philosophies and techniques, Sircar’s primary purpose was to bridge the gap between the drama and the audience, between the rural and the urban, between the form and the content etc., and to attain to the ideals of liveness and direct communication in theatrical experience. This effort aids him in breaking sharply with the modern Bengali theatre, which is fixated on the manner of presentation used in the English Victorian drama, and elevating it to a hitherto unattainable level of artistry. The present paper seeks to explore how Badal Sircar experimented with the body of the actor and with the performance space in order to create a syncretic form of theatre accessible equally to the rural and urban.

Sister Deborah by Scholastique Mukasonga

Reviewed by: Sister Deborah by Scholastique Mukasonga Edward Ousselin SCHOLASTIQUE MUKASONGA Sister Deborah Paris. Gallimard. 2022. 160 pages. BORN IN RWANDA in 1956, Scholastique Mukasonga moved to Burundi in 1973 (already because of anti-Tutsi persecution) before eventually settling in France in 1992. Many members of her extended family were killed during the 1994 Rwandan genocide. She published her first book, Inyenzi ou les cafards (Eng. Cockroaches, 2016), in 2006. Since then, much of her written work, including Notre-Dame du Nil (2012), has revolved around late twentieth-century Rwandan history and its multiple tragedies. In 2016 she started exploring new fictional ground with Cœur tambour. Her latest novel continues that trend by introducing African American (and Protestant) missionaries into Rwanda during the 1930s, when it was still a Belgian (and Catholic) colony. More than just another missionary sent to colonial Africa by a Western country, the title character, who is linked by her name to one of the few female prophets in the Bible, quickly takes on the attributes of both a spiritual healer and a messianic messenger. While the charismatic Sister Deborah is ostensibly subordinate to the leader of this unusual group of missionaries, the Reverend Marcus, she tends to overshadow him among the mostly female local converts, to whom she announces the imminent arrival of an unexpected savior, a Black woman destined to establish in Rwanda a blessed, prosperous realm ruled by women. An updated and rather ironic version of this imported messianic message is provided in the novel's epigram—"I met God; she's Black"—which serves as a nod to today's Black Lives Matter movement. Sister Deborah's narrative voice is framed by that of Ikirezi, a sickly village girl who seems to find healing, inspiration, and divine guidance through her contact with the Black prophet from America. Much later, after the African American missionaries have been expelled from Rwanda by the Belgian military, Ikirezi will roughly follow Sister Deborah's trajectory but in [End Page 63] the opposite direction, by moving to the United States and becoming a professor, known as Miss Jewels, at Howard University. As for the erstwhile female prophet once revered (or feared) as Sister Deborah, she will eventually end up as a traditional faith healer, under the name of Mama Nganga, in one of the slums of Nairobi, Kenya. Years later, the news of her fiery end reaches Miss Jewels and leads to the conclusion to this brief novel. At one level, Mukasonga's latest novel is merely the fictional account of a cargo cult's brief flowering and bloody demise. As such, it reflects the surprising forms of syncretism that resulted from the enforced propagation of Christianity during the colonial era and the necessarily more discreet resistance of African religious traditions. At another level, Sister Deborah is an allegorical retelling of the broader encounters and exchanges between rural Africans and (somewhat) idealistic African Americans, in spite of the misgivings and stereotypes held by each group. Edward Ousselin Western Washington University Copyright © 2023 World Literature Today and the Board of Regents of the University of Oklahoma

Erzhenzhuan: A Reflection of Shamanistic Culture in the Folk Art of Northeast China

The article deals with the actual problems of the inheritance of the ethnic traditions of shamanic culture in the modern song and storytelling dance art of the genre of comedy miniatures Erzhenzhuan of northeast China, which have preserved elements of the culture of shamanism in traditional art. In China, the term shaman first appeared in the historiography of the Southern Song Dynasty (南宋) over 800 years ago. Shamanism in a broad sense is a multicultural tradition, and at the same time integrates various ethnic cultures, including folk beliefs, traditional medicine, etc. Erzhenzhuan (二人转) is a folk song and storytelling dance art, when performers sing, tell and dance at the same time. In this case, the dance of the sorcerer in shamanism developed into a unique form of Erzhenzhuan folk art as a secularization of religious classics. Later, the sorcerer’s dance became the Balaman dance (巴拉莽式舞), the Balaman dance became the Yangge (秧歌), the Yangge became the Erzhenzhuan. The article traces the history of the development of the Erzhenzhuan style as a folk art with strong local characteristics. Erzhenzhuan was first recognized by the national literary and artistic circles of China in the fifties of the 20th century. The first Erzhenzhuan program was presented by the northeastern delegation of the People’s Republic of China. Very interesting are the original ways of performing songs, storytelling and dancing, such as Danchutou (单出头) and Lachansi (拉场戏). The transformation of the shamanic attire into the modern costume of Erzhenzhuan performers is interesting. The following describes the musical accompaniment of sacred prayers preserved from shamanic sacrificial songs. At present, Erzhenzhuan is not only flourishing in the northeast of China, but also popular with the entire Chinese people. Erzhenzhuan is now becoming more famous in the rest of China because many Erzhenzhuan performers appear on television and star in TV series. In the process of research, it is supposed to determine that in Erzhenzhuan there is an influence of the culture of shamanism on the costumes of performers, song, storytelling and dance art in a conceptually fused syncretic form.

Origins of Illusionism Art in Syncretic Forms of Culture

The purpose of the article is to investigate the origins of illusionism art in syncretic forms of culture. The research methodology consists in the application of analytical, semiotic, and hermeneutic methods in the study of illusionism as a phenomenon of folk creativity that serves as a means of communication, accumulating a layer of sociocultural experience of the society. The scientific novelty of the study lies in the fact that for the first time the phenomenon of illusionism art is analysed in the cultural plane. In our research the illusionism art consists of works belonging to various genres that arise in a certain environment and perform ritual-magical, ceremonial, and entertainment functions, representing a cross-section of concrete-historical mass consciousness and culture. Conclusions. The illusionism art, which comprise illusion and manipulation, is a separate cultural phenomenon that incorporates a number of religious beliefs, folklore traditions, and samples of artistic creativity, forming as a process of social interaction. Illusionism combines the results of the evolution of knowledge and methods of their representation with the elements of general communication that form a symbiosis of cognitive and entertaining cultural content. As a means of intercultural communication based on a verbal and non-verbal component, illusionism has shown the ability to form social and cultural dialogue, which affected the general dynamics of cultural processes in the development of society. Key words: illusionism art, syncretism, ritual-magical forms of culture, rite, myth, communication, culture, folklore, religion.

EXPRESSION OF SYNCRETISM IN NOUN/ADJECTIVE WORDS IN UZBEK LANGUAGE

The article discusses the origin of noun/adjective syncretic forms in the Uzbek language and its use in modern Uzbek. In particular, the lexical-semantic distinction of noun/adjective lexemes, the formal similarity of the adjective lexeme to the noun lexeme, but the aspects of being able to express a syncretic meaning different from the content. will be revealed.

Cultural Response of The Aboge Islamic Group to The Puritanism Movement

The puritanism movement began in the 19th century, but a response to this event only emerged in the early 20th century, with the emergence of various puritan organizations. Since then, the spread of puritanism has reached rural areas, where the people are so strong in maintaining the Kejawen tradition. The Aboge Islamic Society is one of the Islamic groups that are still very strong with Javanese-Islamic nuances. Aboge's calculations in determining religious holidays and certain traditional celebrations are one of the social assets owned. This study aims to analyze in a cultural context, what are the strategies of the Aboge people in maintaining their identity when facing the penetration of the Puritan Islamic movement. This research is a type of qualitative research by not rule out quantitative data. This study uses ethnographic methods. The ethnographic method tries to describe the real conditions that exist in the field using participatory observation methods combined with interviews and even quantitative surveys, while on the other hand ethnography as a product tries to carry out cultural analysis only "behind the desk" as an observer. The results of the study show that the cultural response given by the Aboge community to the puritanism movement is an attempt to maintain the identity and existence of the Aboge group. Several responses were made, 1) the emergence of the Nyandi Islamic and Nyantri Islamic groups within the Aboge group as a form of change shown as a consequence of the times, besides that this was also the influence of the existence of the puritanism movement. 2) the use of the Aboge calendar. Calculations using the Aboge calendar to determine religious holidays are a characteristic of the Aboge community and this is used as social capital to maintain their existence in society. 3) Javanese petungan. The form of syncretism that is still held by the Aboge people which later gave birth to the Javanese petungan system based on weton includes determining when to build a house, when to travel or other matters. 4) the use of Jiping and Turki methods in the Islamic religious teaching system. Jiping or Koran Ears made the Aboge group not study texts, they only listened to the studies delivered by the Aboge elders. Likewise, Turki or tutur kaki also have the same concept, although in its development the Nyantri Islamic group has started using texts in studying religion

More or Less Unnatural: Semantic Similarity Shapes the Learnability and Cross-Linguistic Distribution of Unnatural Syncretism in Morphological Paradigms.

Morphological systems often reuse the same forms in different functions, creating what is known as syncretism. While syncretism varies greatly, certain cross-linguistic tendencies are apparent. Patterns where all syncretic forms share a morphological feature value (e.g., first person, or plural number) are most common cross-linguistically, and this preference is mirrored in results from learning experiments. While this suggests a general bias towards natural (featurally homogeneous) over unnatural (featurally heterogeneous) patterns, little is yet known about gradients in learnability and distributions of different kinds of unnatural patterns. In this paper we assess apparent cross-linguistic asymmetries between different types of unnatural patterns in person-number verbal agreement paradigms and test their learnability in an artificial language learning experiment. We find that the cross-linguistic recurrence of unnatural patterns of syncretism in person-number paradigms is proportional to the amount of shared feature values (i.e., semantic similarity) amongst the syncretic forms. Our experimental results further suggest that the learnability of syncretic patterns also mirrors the paradigm's degree of feature-value similarity. We propose that this gradient in learnability reflects a general bias towards similarity-based structure in morphological learning, which previous literature has shown to play a crucial role in word learning as well as in category and concept learning more generally. Rather than a dichotomous natural/unnatural distinction, our results thus support a more nuanced view of (un)naturalness in morphological paradigms and suggest that a preference for similarity-based structure during language learning might shape the worldwide transmission and typological distribution of patterns of syncretism.

The structural underpinnings of multifunctionality and syncretism in non-finite forms in Irish

Abstract The paper proposes a constructionist analysis of two highly syncretic non-finite forms in Irish, traditionally referred to as the verbal noun (VN) and the verbal adjective (VA). The VN can fulfil the function of the infinitive, the ‘present participle’ in the periphrastic progressive, the argument supporting (AS) nominal and the R(eferential)-nominal. The VA can function as the passive participle in periphrastic passives/resultatives, the ‘passive’ adjective, the active participle (showing further syncretism with the genitive of VN) and the ‘active’ adjective. The basic idea is that the two syncretic forms receive a unified analysis (i.e. same structure). The VN is viewed as a kind of “elsewhere” realization of [vP[Root]] in all contexts except for [Tfin [VoiceP [vP [Root]]]]. VA spell-out is implemented when the morphosyntactic bundle carries no features that positively define the input as verbal or nominal. The height of affix attachment is indicative of the type of participle involved. Verbal passive/perfective participles and corresponding adjectives embed the external argument introducing projection (VoiceP), whereas active verbal participles and adjectives lack it. The extensive multifunctionality and syncretism in Irish seem to be closely linked to the lack of the AspP layer in the structure of non-finite verbs, nominals and adjectives as well as the lack of overt transitivizing morphology.

The structural underpinnings of multifunctionality and syncretism in non-finite forms in Irish

Abstract The paper proposes a constructionist analysis of two highly syncretic non-finite forms in Irish, traditionally referred to as the verbal noun (VN) and the verbal adjective (VA). The VN can fulfil the function of the infinitive, the ‘present participle’ in the periphrastic progressive, the argument supporting (AS) nominal and the R(eferential)-nominal. The VA can function as the passive participle in periphrastic passives/resultatives, the ‘passive’ adjective, the active participle (showing further syncretism with the genitive of VN) and the ‘active’ adjective. The basic idea is that the two syncretic forms receive a unified analysis (i.e. same structure). The VN is viewed as a kind of “elsewhere” realization of [vP[Root]] in all contexts except for [Tfin [VoiceP [vP [Root]]]]. VA spell-out is implemented when the morphosyntactic bundle carries no features that positively define the input as verbal or nominal. The height of affix attachment is indicative of the type of participle involved. Verbal passive/perfective participles and corresponding adjectives embed the external argument introducing projection (VoiceP), whereas active verbal participles and adjectives lack it. The extensive multifunctionality and syncretism in Irish seem to be closely linked to the lack of the AspP layer in the structure of non-finite verbs, nominals and adjectives as well as the lack of overt transitivizing morphology.

Tridharma Religion in Indonesia: Reading Hikmah Tridharma and Tjahaja Tri-Dharma Magazines during the 1970s-1980s

In religious conversations, syncretism is often perceived negatively even though it is actually a healthy process. One form of syncretism that emerged in Indonesia is the religion of Tridharma which consists of Buddhism, Confucianism, and Daoism. This paper discusses syncretism in the religion of Tridharma in Indonesia. Using a historical approach during the 1970s, this paper is a literature study of two magazines affiliated with the religion of Tridharma, namely the Hikmah Tridharma magazine and the Tjahaja Tri-Dharma magazine. This paper rethinks the concept of syncretism as a dirty word, or at least negative form, to one of neutrality. Considering religion as dynamic, syncretism in the religion of Tridharma or Sam Kauw has been a historical process since the Ming dynasty in Mainland China. The Hikmah Tridharma magazine and the Tjahaja Tri-Dharma magazine during the 1970s illustrate how syncretism in the body of Tridharma religion occurs not only between Buddism, Confucianism, and Daoism but also with Hinduism and group of theosophy. As one element of the dynamics of religious belief, the politics of recognition is important. In Indonesia, the state gave a different attitude to Chinese religions or all things Chinese-affiliated in general during the New Order era, and the era of transition to reform, Gus Dur. This then triggered contestation between Chinese religions themselves in Indonesia, especially between the religion of Tridharma and Confucianism.

Keberadaan Hukum Adat Jawa Dalam Perkawinan Modern

Javanese traditional marriage is a form of syncretism of the influence of Hindu and Islamic customs. In Javanese tradition, offerings, calculations, taboos, and myths are still deeply rooted. Marriage according to the Javanese traditional community is a sincere love relationship between a young man and a woman which basically occurs because of frequent encounters between the two parties, namely a woman and a man. The Javanese proverb says "tresno jalaran soko kulino" which means that love grows because you get used to it. The rapid flow of globalization certainly affects people's lifestyles, including customary law communities. With the modernization process caused by the current of globalization, of course, it will also have an impact on the way of life of indigenous peoples, good culturalization will produce positive manifestations for these indigenous peoples. In the implementation of Javanese traditional marriages there are several stages, the first is the stage of the proposal. This stage is an activity carried out by a man who will propose to a woman, if in the mirror historically the stages of applying have the meaning of proposing because in ancient times between men and women who were about to get married sometimes they still did not know each other so the parents of those who were looking for them mate by asking someone whether or not their daughter has a potential husband.