scholarly journals Death over time: brief notes about death and dying in the West

2014 ◽  
Vol 31 (3) ◽  
pp. 437-449
Author(s):  
Rosangela Werlang ◽  
Jussara Maria Rosa Mendes
Keyword(s):  
Social Life ◽  
Death And Dying ◽  
Necessary Condition ◽  
The West ◽  
Daily Lives ◽  
The Past ◽  
The People ◽  
The Social ◽  
Over Time ◽  
Human Finitude

This literature review deals with death and the changes in its concept and meanings over time, aiming to relate this to the different social organizations and issues that involve individuality and human finitude. It intends to arouse the reflection about this theme respected by all of us, and related to our own contingency. In this sense, the article provides several perspectives through different authors' voices, seeking to understand how we arrived at this contemporary stage where death must be forgotten at any cost. It is a forbidden subject even inevitably being part of our daily lives, and its guardians must increasingly insure the non-participation and non-involvement of the people. Therefore, understanding the past stages of death, from its proximity to its banishment from the social life, is a necessary condition to analyzing our own end, and the end of our own individuality.

VI Images

2010 ◽  
Vol 40 ◽  
pp. 124-149
Author(s):  
Brian A. Sparkes
Keyword(s):  
Social Life ◽  
Visual Language ◽  
Public Performance ◽  
Human Form ◽  
Daily Lives ◽  
Funerary Monuments ◽  
The Past ◽  
The Social ◽  
The Look ◽  
Greek World

As we have seen in previous chapters, throughout the Greek world, in cities, cemeteries, and sanctuaries, images, usually of figures in human form, were omnipresent, shaped at full and small size in wood, stone, and bronze, painted on panels and walls, and chosen as decoration for metal and clay vessels, for textiles, for jewellery and gems, for bone and ivory objects, and so on. Such images were constantly before the eyes of the men and women as they went about their daily lives. They acted as a visual language that was parallel to the oral versions in talk, recitation, songs, and plays. It is unlikely that the general public gave much thought to the men who made the images and gradually changed the look of the statues seen in the street, the reliefs that adorned the temples in the sanctuaries, the funerary monuments in the cemeteries, or the painted objects handled at home and elsewhere. They would have scanned the images for their content – figures created in their imagination or stories conjured up from the past that they had heard in public performance or private conversation, as well as scenes that related to the social life of their own day.

scholarly journals THE EFFECT OF DAILY LIFE TRACES DUE TO CULTURAL CHANGE ON FIKRET MUALLA'S ART

2021 ◽  
Vol 10 (86) ◽  
Keyword(s):  
Cultural Change ◽  
Social Life ◽  
Cultural Difference ◽  
Daily Life ◽  
Relevant Literature ◽  
Human Beings ◽  
Daily Lives ◽  
The People ◽  
The Social ◽  
Short Time

Culture is the values that constitute the unity of life, thought and belief that a society creates in the historical and social development process. These values, which determine the lifestyle of a nation, people and society, have been passed down from generation to generation. The unique life models, art, morality, laws and order of the society determine the culture of that society and shape the daily lives of the people who make up the society. When the social structure and life of different nations are examined, it is noteworthy that the cultures differ significantly and diverge from each other. While human beings adapt to all kinds of changes with the instinct of survival, they consciously or unconsciously keep pace with their social life in order to continue their social life within the changing cultural structure. Fikret Mualla, a Turkish painter, was born in 1903, until his mid-thirties naturally lived and produced works by being influenced by Turkish culture and society. Although he went abroad for a short time many times during this period, he went to Paris in 1939 and lived there for twenty-six years. During this long period, his art, like himself, was influenced by the culture he lived in, and he reflected the daily life in Paris and artistic expression forms on his works. Cafes, circuses and streets in Paris have become the main subject of the artist's works. To analyze the effects of contemporary life in the context of cultural change through artists and works of art; It is aimed to contribute to the relevant literature by examining the changes brought by the French culture and life in Fikret Mualla's works. In addition, it is aimed to examine how the cultural difference affects the works of the artist in question in terms of subject and technique. Qualitative research methods and techniques were used in the study in which general scanning model was used. Keywords: Culture, Turkish Art, Fikret Mualla

scholarly journals TARI GUEL SEBAGAI IDENTITAS MASYARAKAT GAYO

JOGED ◽  
2021 ◽  
Vol 17 (1) ◽  
pp. 30-41
Author(s):  
Gustira Monita
Keyword(s):  
Social Life ◽  
Daily Life ◽  
Dynamic Interaction ◽  
Cultural Activities ◽  
The Past ◽  
The People ◽  
The Social ◽  
History Of

ABSTRAKTari Guel dipahami sebagai sebuah simbolis gerak yang memberikan interaksi dinamis pada penontonnya, yaitu tentang pembentukan makna dalam realitas kehidupan sehari-hari oleh-orang-orang Gayo. Dalam memahami bentuk keseluruhan ataupun makna yang terkandug di dalamnya Tari Guel lebih mengutamakan rasa. Tari Guel juga dipandang sebagai museum gerak tak benda yang menyimpan banyak sejarah masyarakat Gayo. Guel adalah identitas penting suku Gayo, menyimpan banyak simbol sejarah yang sudah sepatutnya dipecahkan dan diungkapkan. Agar suku Gayo dan keberadaannya tidak hilang terbawa arus modernisasi. Penelitian ini menggunakan pendekatan Antropologi, yang memandang seni sebagai bagian dari aktivitas budaya manusia. Pendekatan Antropologi digunakan untuk melihat konteks, yang akan membedah kehidupan sosial masyarakat dan adat istiadat Gayo, yang berkaitan dengan Tari Guel dan keberadaannya yang masih dijaga serta dilestarikan oleh masyarakat Gayo. Selain itu penelitian ini juga menggunakan pendekatan Koreografis. Pendekatan ini adalah sebagai teks yang digunakan untuk membedah bagaimana bentuk penyajian dan keseluruhan struktur yang terdapat pada Tari Guel.ABSTRACT Guel dance is understood as a symbolic movement that provides dynamic interaction to the audience, namely about the formation of meaning in the reality of daily life by the Gayo people. In understanding the overall form or meaning contained in it, Guel Dance prioritizes taste. The Guel dance is also seen as a museum of intangible objects that holds much of the history of the Gayo people. Guel is an important identity of the Gayo tribe, holding many historical symbols that should be solved and revealed. So that the Gayo tribe and its existence will not be lost in the current of modernization. This research uses the Anthropology approach, which views art as part of human cultural activities. Anthropology is defined as the science of humans, specifically about their origin, race, customs, beliefs in the past, society and culture. Anthropology used as a context, which will dissect the social life of the people and the customs of Gayo, relating to the Guel Dance and its existence which is still preserved and preserved by the Gayo people. Besides this research also uses a choreographic approach. This approach is a text used to dissect the form of presentation and overall structure contained in the Guel Dance.

scholarly journals Oedipus Sang Raja dan Bujang Munang: Mitos Peletak Dasar Larangan Incest dalam Masyarakat

2018 ◽  
Vol 13 (1) ◽  
pp. 36
Author(s):  
Laura Andri Retno Martini
Keyword(s):  
Social Life ◽  
Basic Structure ◽  
West Kalimantan ◽  
The Past ◽  
The People ◽  
The Social ◽  
History Of ◽  
The Rich ◽  
Almost All ◽  
Diverse Cultures

Folklore is a story of the past that characterizes every nation with its diverse cultures, including the rich culture and history of each nation. The folklore that tells incest is found all over the world. In almost all ethnic groups there is an incest first mythology. Versions are submitted vary, depending on the social life of the community. Bujang Munang and Oedipus are cultural myth stories that have the theme of the origin of the incest ban. Oedipus is a myth that developed in Greece while Bujang Munang is a myth that developed in Nanga Serawai Santang district of West Kalimantan. There is a linkage of the basic structure of the narrative in the story of Oedipus and Bujang Munang. Incest behavior is also not allowed to occur in the norms of life of Greek society and the people of West Kalimantan. There will be unfavorable consequences for incest and surrounding people if the rule is violated.

A study of 1970s Hakkâri handmade shoes: An ethnography

2020 ◽  
Vol 6 (3) ◽  
pp. 329-349 ◽  
Author(s):  
Hasan Buğrul
Keyword(s):  
Social Life ◽  
Local Community ◽  
Economic Power ◽  
Important Place ◽  
The Past ◽  
The People ◽  
The Social ◽  
Class And Status ◽  
The One ◽  
Made In

This study examines the types of shoes that were worn in the 1970s in Hakkâri – a city and province in Turkey close to the Turkish–Iraqi border – and its surroundings, linking them to social status, choice and taste, as well as economic power and the original cultural heritage of the local community. The findings detailed herein are based on samples taken from fieldwork conducted in 32 localities. Severe winter conditions have an important place among the factors that shape the social life of the local people of Hakkâri. In winter, they used to wear snowshoes called ‘leken’ to walk comfortably on snow of 2 m depth. Unlike various types of shoes worn today, there were three types of shoes worn in Hakkâri and its surroundings in the past in addition to snowshoes. The first is the one made of goat hair called ‘reşik’; the second is called ‘lastik’, which has a tyre sole and has knitted sides made of goat’s hair yarn; the third is a shoe called ‘kalik’, made from cattle skin. The characteristics of these have close relations with the material, colour and shape of shoes and the class and status of the people who wore them as well as with traditions and culture of the community. As well as exploring the material and other features of these shoes, similar examples, redesigned and made in other nearby provinces, are compared and discussed. This study is significant in that these traditional handicrafts are at risk of vanishing, as are other handicrafts in other parts of the world, due to the influence of technology and industrialization. By considering the traditional methods of shoe-making in Hakkâri and contextualizing this amongst the practices of other nearby provinces, this study aims to contribute to the promotion of the culture and art of the region and add to the limited literature in this field.

scholarly journals The Digital Local Wisdom History : Piil Pesenggiri As a Source of Learning of Historical Islamic Culture

2020 ◽  
pp. 120-125
Author(s):  
Deni Eko Setiawan ◽  
Hermanu Joebagio ◽  
Prof Susanto
Keyword(s):  
Social Life ◽  
Research Method ◽  
Islamic Culture ◽  
Digital Devices ◽  
The People ◽  
History Learning ◽  
The Social ◽  
Islamic Religion ◽  
History Of ◽  
Over Time

The purpose of this study is to explore the possibility of designing digital devices for history learning, with local wisdom content. In this study, the piil pesenggiri is a culture that belongs to the people of Lampung in Indonesia, over time it becomes a custom of the community, in daily life the social life of Lampung people always upholds the values contained in the Piil Pesenggiri. The meaning or value contained in the pesenggiri piil emphasizes the sense and attitude of tolerance between religions and between tribes. Based on history in the 16th century AD, the culture was born after the kingdom of Lampung, the people of Lampung, were conquered by the Islamic kingdom of Minangkabau. The spread of Islam affects the life of the people and the culture that exists, the majority of Lampung people adhere to the Islamic religion and even the meanings contained in the culture as well. To increase understanding of the local values of pesenggiri piil culture, it can be included in Islamic religious subjects, especially "the history of Islamic culture" so that it does not fade with the development of increasingly advanced times. The research method used is literature and archives or documents from the school where the research is.

CHARACTERIZATION OF RELIGIOUS STYLE AS A FUNCTIONAL STYLE IN LINGUISTICS

2020 ◽  
Vol 1 (3) ◽  
pp. 236-242
Author(s):  
Barnokhon Kushakova ◽  
Keyword(s):  
Social Life ◽  
Religious Language ◽  
Religious Texts ◽  
World Outlook ◽  
The People ◽  
The Social ◽  
Functional Features ◽  
The Creation

This article discusses the conditions, reasons and factors of characterization of religious style as a functional style in the field of linguistics. In addition, religious style and its main peculiarities, its importance in the social life, and the functional features of religious style are highlighted in the article. As a result of our investigation, the following results were obtained: a) the increase in the need for the creation and significance of religious language, particularly religious texts has been scientifically proved; b) the possibility of religious texts to represent the thoughts of the people, culture and world outlook has been verified; c) the specificity of religious language, religious texts has been revealed; d) the development of religious style as a functional style has been grounded.

Popularitas Tari Piring sebagai Identitas Budaya Minangkabau

Panggung ◽  
2013 ◽  
Vol 23 (3) ◽  
Author(s):  
Indrayuda
Keyword(s):  
Cultural Heritage ◽  
Life Style ◽  
Social Life ◽  
Attitudes And Behaviors ◽  
Cultural Life ◽  
The People ◽  
The Social ◽  
West Sumatra ◽  
And Behaviors ◽  
Origin Area

ABSTRACT This article aims to explain the existence of Tari Piring dance as a culture identity of Minang- kabau people, both the people who live in the origin area and outside the area. Tari Piring dance is a traditional cultural heritage of Minangkabau people which is used and preserved by Minangkabau people in their life so that it becomes culture identity of Minangkabau people. As the identity of Minangkabau people, Piring dance is able to express attitudes and behaviors as well as the charac- teristics of Minangkabau people. The dance can serve as a reflection of social and cultural life style of Minangkabau society. Through Tari Piring performance, the outsider can understand Minangkabau people and their culture. Tari Piring, therefore, is getting more adhere to the social life of Minang- kabau people in West Sumatra and in the regions overseas. In the spirit of togetherness, Minang- kabau society preserves the existence of Piring dance as the identity and cultural heritage up to the present time. Keywords: Piring Dance, Minangkabau culture  ABSTRAK Artikel ini bertujuan untuk menjelaskan keberadaan Tari Piring sebagai identitas bu- daya masyarakat Minangkabau, baik yang berada di daerah asal maupun di daerah peran- tauan. Tari Piring merupakan warisan budaya tradisional masyarakat Minangkabau yang digunakan dan dilestarikan oleh masyarakat Minangkabau dalam kehidupannya sehingga menjadi identitas budaya Minangkabau. Sebagai jati diri masyarakat Minangkabau, Tari Piring mampu mengungkapkan sikap dan prilaku serta karakteristik orang Minangkabau. Tari Piring dapat berperan sebagai cerminan dari corak kehidupan sosial budaya masyara- kat Minangkabau. Melalui pertunjukan Tari Piring, masyarakat luar dapat memahami orang Minangkabau dan budayanya. Oleh karena itu, sampai saat ini Tari Piring semakin melekat dengan kehidupan sosial masyarakat Minangkabau di Sumatera Barat maupun di daerah perantauan. Dengan semangat kebersamaan, masyarakat Minangkabau mampu mempertahankan keberadaan Tari Piring sebagai identitas dan warisan budayanya hingga masa kini. Kata kunci : Tari Piring, budaya Minangkabau

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