澳大利亚essay代写 主祷文分析

2020-02-29 19:49

佐伊·c·舍利安(Zoe C. Sherinian)对牧师詹姆斯·西奥菲勒斯·阿伏沃(Rev. James Theophilus Appavoo)的歌曲《Yesusaami Katruthantha Sebam》或《主祷文》(The Lord’s Prayer)的分析，让我觉得必须重新审视和审视这首歌。虽然我欣赏谢里尼安作为一个白人女性音乐学家的分析，但我感觉她的分析并没有为受压迫的主观性提供一个更完整的主体，而不是反抗不公正的范例，因此落入达利特话语中流行的一种二元性;可怜的仆人或永远愤怒的恶棍。基督徒达利特仍然是一个臣民，与上帝的仁慈保持着一种居高临下的关系。我的提议是一种主体间的实在，其中上帝和达利特主体处于一种超越以怜悯为中心的身份的话语姿态。基督徒达利特的身份，我发现在苦难，悲情和反抗的范围内是有问题的，因此必须走向达利特人格主权和自治的现实，这是通过诗歌作为一种写作模式来表达的。我认为写达利特的主观性和詹姆斯·科恩的灵歌和蓝调[9]在社会伦理上是相似的，他说"黑人并没有毫无疑问地采用白人对圣经语言的解释"相反，他们赋予圣经语言的含义，与他们努力确认自己是人、他们的身份和他们的自由是一致的。”(麦克法兰310)。民族音乐学家把音乐当作人类的表达和意义来研究，而不是把正义或解放当作目的。
澳大利亚essay代写 主祷文分析
The agency I found in Zoe C. Sherinian’s analysis of Rev. James Theophilus Appavoo’s song titled Yesusaami Katruthantha Sebam, or The Lord’s Prayer, I felt must be revisited and resituated. While I appreciate Sherinian’s analysis as a white woman musicologist, I sense her analysis does not offer the oppressed subjectivity a fuller agency outside the paradigm of resistance against injustice and thus falls for one of the dualities that circulate in Dalit discourse; the pathetic servant or the always-angry villain. The Christian Dalit remains a subject who is in a condescending relationship vis-à-vis God’s mercy. My proposal is an intersubjective reality, wherein God and the Dalit subject are in a posture of discourse that moves beyond identity centred around pathos. Christian Dalit Identity, I found problematic as framed within the realm of suffering, pathos and resistance, and thereby must move towards realities of sovereignty and autonomy of the Dalit personhood, which is expressed through song as a mode of writing. My notion of the songs as writing Dalit subjectivity is socio-ethically similar to James Cone’s The Spirituals and the Blues[9] where he states, “Black people did not unquestioningly adopt the white interpretation of scriptural language. Rather they invested scriptural language with the meaning that was consistent with their struggle to affirm themselves as people, their identity and their freedom.” (McFarland 310). Ethnomusicologists study music as human expression and meaning which does not treat justice or liberation as its end. 

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