It’s the Conscience Collective, Stupid: Philosophical Aesthetics and the Sociology of Art

Keyword(s):  
Panggung ◽  
2014 ◽  
Vol 24 (1) ◽  
Author(s):  
Nur Sahid

ABSTRACTRevolutionary struggle in order to compete for the independence of Indonesia has been a source of inspiration Indonesian artists, including Bambang Soelarto who wrote drama Domba-domba Re- volusi (DDR). DDR studied drama is quite interesting because it tries to criticize the freedom fight- ers. This study aims to: first to know the theme and the problem plays DDR; second to determine the relationship of the socio - historical struggle in 1948 with the sociological elements of drama DDR themes and issues. This study uses sociological theory of art. The basic principles of the sociology of art is the fact that the creation of works of art influenced by the historical social conditions where the work was created. Research using content analysis of Krippendorf, the methods used to examine the symbolic phenomena with the aim to explore and express the observed phenomenon which is the content, meaning, and an essential element of the literary work. Based results of this research is that Bambang Soelarto as the author tries to capture di?erence between fighters during the struggle for the political aspirations for 1948 are expressed in a work of drama. Historical events inspired the creation of drama DDR. Soelarto want to respond to the political aspirations of the di?erence between historical figures and wanted to provide an assessment and outlook through DDR.Keywords: themes, drama, sociology of art, social historical ABSTRAKRevolusi perjuangan dalam rangka memperebutkan kemerdekaan Indonesia telah men- jadi sumber inspirasi para seniman Indonesia, termasuk Bambang Soelarto yang menulis drama Domba-domba Revolusi (DDR). Drama DDR cukup menarik diteliti karena mencoba mengkritisi para pejuang kemerdekaan. Penelitian ini bertujuan untuk: pertama, mengeta- hui tema dan permasalah drama DDR; kedua, mengetahui hubungan kondisi sosio-histo- ris perjuangan pada tahun 1948 dengan unsur-unsur sosiologis terimplisir pada unsur tema dan masalah drama DDR. Penelitian ini menggunakan teori sosiologi seni. Prinsip dasar dari sosiologi seni adalah adanya fakta bahwa penciptaan karya seni dipengaruhi oleh kon- disi sosial historis tempat karya itu diciptakan. Penelitian ini menggunakan metode con- tent analysis dari Krippendorf, yakni metode yang dipergunakan untuk meneliti fenome- na-fenomena simbolik dengan tujuan untuk menggali dan mengungkapkan fenomena yang teramati yang merupakan isi, makna, dan unsur esensial karya sastra. Berdasarkan hasil penelitian dapat diketahui bahwa Bambang Soelarto sebagai penulis mencoba un- tuk menangkap perbedaan antara pejuang aspirasi politik selama perjuangan tahun 1948 untuk diekspresikan dalam sebuah karya drama. Peristiwa sejarah mengilhami penciptaan drama DDR. Soelarto ingin menanggapi aspirasi politik perbedaan antara tokoh-tokoh se- jarah dan ingin memberikan penilaian dan pandangan pandangannnya melalui DDR.Kata kunci: tema, drama, sosiologi seni, sosial historis


1928 ◽  
Vol a20 (2) ◽  
pp. 105-130
Author(s):  
Victor V. Branford
Keyword(s):  

1973 ◽  
Vol 55 (1) ◽  
pp. 160
Author(s):  
S. Lane Faison Jr. ◽  
Cesar Grana

1971 ◽  
Vol 5 (4) ◽  
pp. 171
Author(s):  
Vytautas Kavolis ◽  
Hanna Deinhard
Keyword(s):  

Author(s):  
İnan Keser ◽  
Nimet Keser

For about a hundred and fifty years, it has been continuously expressed that art has been facing a deadly crisis and this crisis roots itself from the reality that there exists no concrete answer to the question of ‘what is art’. However related with the non-existence of consensus on what art is, it’s nothing more than a weak understanding to claim that it is impossible to talk about art. Thus, it can be acknowledged that the continuous repetition of the question of ‘what is art’ and non-existence of consensus on this subject is a clear proof of existence of a sharp struggle in art; and the state of non-consensus and historical continuity of the struggle can be acknowledged as the main source of dynamism of art. For this reason, in this study, it is acknowledged that non-existence of a concrete definition of art is a historical incident; and this controversial state about what art is and calling it the crisis of art itself was made the subject of a sociological analysis. In this analysis, it is concluded that; the actual crisis is not the crisis of art but that of aesthetics’; and that this crisis roots itself from the replacement of aesthetics regime (which dominated art for a very long time) with the non-aesthetic ‘artist regime’ in the beginning of 20th century and the nonfunctioning of aesthetics by this new regime. Keywords: art, sociology of art, aesthetics, art regime, artistic change.


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