The last three decades have witnessed an increasing interest in the studies of thought presentation in stream-of-consciousness narratives among linguists
Sexual abuse affects over 120 million children globally (UNICEF, 2018). There has been a total of 48, 338 cases of rape of minors in India, with an increase of 336% from 2,113 in 2001 to 7,112 in 2011 (Gohain, 2013). In the US, almost half of female victims (46.7%) had been raped by an acquaintance (Breiding, 2014), with assaults (55%) occurring at or near the victim's house (Planty & Langton, 2013). Each time a rape victim dies, there is public outcry with both press and writers' calling for action but this has not helped the cause. Largely because "rape is not just forcible intercourse; rape means to inhabit and destroy everything" (Sebold, Lucky, 2002). This research analyses headlines and quotations on sexual crimes from mainstream online news from 2018 to 2019 from India and Malaysia. Using Austin's Speech act theory, the study compares the voices of rape victims and witnesses and argues for a reason and social responsibility. The findings revealed significant differences in discourse patterns, language use, and witness response. In providing a worm's eye view, Indian press in appearing to speak louder for victims, create greater sensationalism compared to Malaysian press which often focuses on the culprit and process of law and quickly silences the matter. Given media sensationalism and agenda setting of both nations, there is the need for greater scrutiny on how media provides a voice to victims and helps raise awareness and social responsibility when reporting sexual crimes.
This study is about the creation of the XekorY composition (by Laura Pranti Tutom), that aims to visualize the traditional Iban invocation ritual of Timang Tuah (Goodluck chant). This exploratory study recounts from the first person perspective, the process in bringing to life creativity from three different levels: interpretation, imagination and transformation, before a live audience at Sultan Idris Education University on 24 th of May, 2019. This paper narrates through music and visual artistry, the journey and experience of the lemambang (bards) on a mission to deliver the Timang Tuah. For interpretation, the content is summarized from a chanting text and conceptualized through the composer's inspirational framework, ideas and imagination. The imagination has been transformed into a musical performance created through a combination of 4D (luck based numbers) and XY coordinates, followed by a series of pitch. The data include field data collected from questionnaires, semi structured interviews and participant observation involving bards, community leaders, ritual specialists, and students from the Music program from UPSI and UNIMAS. The findings suggest that most students (88%) who participated as music players and audience of the Timang XekorY performance could understand and appreciate the creative effort and were willing to watch the "real" Timang Tuah performance, while members of the public who had limited musical knowledge benefited from the Program Book of the Timang XekorY distributed before the performance.
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