Adab as the Art to Make the Right Choice between Local Tradition and Euromania: a Comparative Analysis of Khalīl al-Khūrī’s Way, idhan lastu bi-Ifranjī! (1859) and Aḥmed Mid­ḥat’s Felāṭūn Beğ ile Rāḳım Efendī (1875), or: On the Threshold of Nationalising Middle Eastern Culture

2019 ◽  
pp. 311-346
Keyword(s):  
Comparative Analysis ◽  
Middle Eastern ◽  
Eastern Culture ◽  
Local Tradition ◽  
The Right ◽  
Middle Eastern Culture

scholarly journals Representasi Kearifan Lokal Budaya Timur Tengah dalam Film “Aladdin (2019)” Produksi Walt Disney Pictures

Koneksi ◽  
2020 ◽  
Vol 4 (1) ◽  
pp. 7
Author(s):  
Nada Salsabila ◽  
Diah Ayu Candraningrum
Keyword(s):  
Middle East ◽  
Middle Eastern ◽  
Musical Instrument ◽  
Semiotic Analysis ◽  
Cultural Symbols ◽  
Eastern Culture ◽  
Walt Disney ◽  
The People ◽  
The Right ◽  
The City

This research examines the representation of Middle Eastern culture local wisdom contained in the film "Aladdin 2019" produced by Walt Disney Pictures. This study aims to examine the cultural symbols of the Middle East. The research method used in this study is a qualitative method with Charles Sanders Peirce's semiotic analysis which divides the sign into three elements namely sign, object and interpretant. Semiotics is the science that discusses or examines the meaning of a sign. The results showed that Middle Eastern cultural symbols in the film "Aladdin 2019" were displayed through 10 scenes selected in the film. Cultural symbols of the Middle East are shown through the habits of the people kissing the right and left cheeks every time they meet relatives, riding camels to travel, livelihoods of people who trade, princess clothes Jasmine and Sultan, building architecture made of bricks and domes as decoration and art that displays traditional Middle Eastern musical instrument namely Gambus. Some interesting facts in the film one of which is the making of the city "Agrabah" as a shooting setting which is a fictitious city in England and property made of authentic jewelry.  Penelitian ini mengkaji mengenai representasi kearifan lokal budaya Timur Tengah yang terdapat dalam Film “Aladdin 2019” Produksi Walt Disney Pictures. Penelitian ini bertujuan untuk mengkaji simbol-simbol budaya Timur Tengah. Metode penelitian yang digunakan dalam penelitian ini adalah metode kualitatif dengan analisis semiotika Charles Sanders Peirce yang membagi tanda menjadi tiga elemen yaitu tanda, objek dan interpretan. Semiotika adalah ilmu yang membahas atau mengkaji mengenai pemaknaan dari sebuah tanda. Hasil penelitian menunjukkan bahwa simbol-simbol budaya Timur Tengah dalam Film “Aladdin 2019” ditampilkan melalui 10 scene yang dipilih dalam film tersebut. Simbol-simbol Budaya Timur Tengah ditunjukkan melalui kebiasaan masyarakat cium pipi kanan dan kiri setiap bertemu kerabat, menunggangi unta untuk bepergian, mata pencaharian masyarakat yang berdagang, pakaian putri Jasmine dan Sultan, arsitektur bangunan berasal dari batu bata dan kubah sebagai hiasan serta kesenian yang menampilkan alat musik tradisional Timur Tengah yaitu Gambus. Beberapa fakta menarik dalam film tersebut salah satunya adalah pembuatan kota “Agrabah” sebagai latar syuting yang merupakan kota fiktif di Inggris dan properti yang terbuat dari perhiasan asli.

scholarly journals Pemikiran Abdurrahman Wahid tentang Pribumisasi Islam

2015 ◽  
Vol 3 (1) ◽  
pp. 39
Author(s):  
Ainul Fitriah
Keyword(s):  
Middle Eastern ◽  
Eastern Culture ◽  
The Core ◽  
Cultural Roots ◽  
Emergence Of Resistance ◽  
Local Cultures ◽  
Middle Eastern Culture

<p>This article explores the thought of “indigenization of Islam” of Abdurrahman Wahid’s. Indigenization of Islam is how the normative teachings of Islam as derived from God and it can be accommodated into the culture derived from human without losing its identity, respectively. As to Abdurrahmad Wahid or Gus Dur, Arabism (or process identifies with the Middle Eastern culture) would deprive us of his own cultural roots. More than that, Arabism is not suitable. Indigenization is not an effort to avoid the emergence of resistance of the power of local cultures, but instead that culture is not lost. The core of indigenization of Islam (Islamic natives) is not a necessity to avoid pillarization between religion and culture, because such polarization is not inevitable.</p>

scholarly journals Kismet: Hollywood, Orientalism and the Design Language of Padraic Colum’s Mogu of the Desert

2020 ◽  
pp. 175-192
Author(s):  
Elaine Sisson
Keyword(s):  
Popular Culture ◽  
Subject Matter ◽  
Middle Eastern ◽  
The Body ◽  
Early Years ◽  
Orson Welles ◽  
Eastern Culture ◽  
Design Language ◽  
Contemporary Film ◽  
Middle Eastern Culture

Abstract The lure of the exotic ‘other’ was implicit from the early years of the Gate’s repertoire. In 1931 the Gate produced Padraic Colum’s Mogu of the Desert, designed by Micheál mac Liammóir and featuring a young Orson Welles. Exploring Mogu uncovers a broader engagement with ‘exotic’ or oriental narratives at the Gate generally. The history and subject matter of Mogu contextualizes mac Liammóir’s fascination with oriental and Middle-Eastern culture within contemporary film. Archival photos illustrate how production stills copied the iconographic styling of film publicity using ‘film-star’ portraiture to promote the Gate. Orientalist narratives require the display of the body through the eroticization of costume – legitimizing the costumed body as a to-be-looked-at space. The Gate’s fascination with oriental settings enables the visibility of ‘transgressive’ sexualities as well as understanding the tastes and appeal of popular culture.

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