scholarly journals From Holy Fool to The Holy Christ: Menguak Makna Teologis Spiritualitas di Balik Lagu “Judas” oleh Lady Gaga

2021 ◽  
Vol 1 (2) ◽  
pp. 125
Author(s):  
Novice Umbu Kamoza Danggalimu
Keyword(s):  
Popular Culture ◽  
Video Clip ◽  
Analysis Method ◽  
Semiotic Analysis ◽  
Moral Value ◽  
The Public ◽  
The Bible ◽  
The People ◽  
Starting Point ◽  
Lady Gaga

AbstractThe emergence and development of Popular Culture tend to be misunderstood and disregard as a shallow culture. Due to its sensational and eccentric display, the product of Popular Culture is always considered wrong morality of what people believe as a high morality. The song, “Judas”, sung by Lady Gaga, is one of products of Popular Culture which now becomes controversy. The controversy, then, becomes wider because Gaga brings forward to show to the public Judas who in the Bible both Protestant and Catholic was the traitor and symbol of sins. The video clip of this song is also regarded as a harassment of Jesus in which full of expression of sex, violence, hedonism, and even vulgar. Now, the question is that is it true that the meaning of Judas shown by the lyrics is to blaspheme Christianity and to mislead people by using Judas as a shield? Then, what is truly the conception of sins in this song so that it becomes controversy? To find out the answer, in this paper, I will use semiotic analysis method. The method is to analyze to read the text from social perspective by using code or message (containing symbols and meaning) as the starting point, without ignoring the context and reader. Afterwards, the text of this song will be dialogued in Christi an theology, so it can be found like what the theological response to this song is. I also hope the result can show us that popular culture shown by popular music is not always shallow and vicious. However, there is ethical message and moral value which should be consideration or reflection of how the people undergo either their private live or their religion. AbstrakKemunculan dan perkembangan budaya populer di dunia cenderung disalahpahami, diabaikan bahkan dicemooh sebagai budaya yang dangkal dan murahan. Produk hiburan budaya populer sering kali disertai dengan penampilan yang sensasional dan eksentrik sehingga dianggap melenceng dari norma-norma atau moralitas hidup yang selama ini dijunjung tinggi nilainya. Lagu “Judas” yang dibawakan oleh Lady Gaga menjadi salah satu contoh produk budaya populer yang dianggap sensasional, eksentrik dan akhirnya menimbulkan kontroversi. Kontroversi tersebut semakin merebak karena Gaga menampilkan seorang tokoh Judas yang dalam Alkitab dan dalam ajaran agama baik Protestan maupun Katolik merupakan tokoh pengkhianat dan simbol dosa. Video klip dalam lagu Judas juga dinilai telah melecehkan Yesus bahkan saratdengan ungkapan seks, kekerasan dan hedonisme yang juga bebas dan vulgar. Pertanyaan yang kemudian muncul adalah apakah benar makna yang terkandung dalam lirik lagu Judas bertujuan untuk menghina agama Kristen dan bertujuan untuk menyesatkan manusia dengan menggunakan Judas sebagai tamengnya? Lalu apa sesungguhnya konsep dosa dalam lagu Judas yang sampai menimbul kontroversi di mata dunia? Untuk menemukan jawaban atas hal tersebut maka dalam tulisan ini penulis akan menggunakan metode analisis semiotika, yakni analisis yang berperan untuk membaca teks dari perspektif sosial dengan menggunakan kode dan pesan (yang mengadung simbol dan makna) sebagai titik berangkatnya, tanpa mengabaikan pengaruh konteks dan pembaca. Kemudian teks lagu Judas akan didialogkan dalam teologi Kristen sehingga dapat ditemukan seperti apa respon etis teologis atas kehadiran lagu Judas. Penulis berharap hasil yang ditemukan dapat menunjukkan bahwa budaya populer melalui musik pop ini tidak selalu menunjukkan kesesatan dan kedangkalan seperti yang dipahami kebanyakan orang, melainkan juga memuat pesan dan nilai-nilai moral etis yang seharusnya menjadi bahan perti mbangan atau refleksi manusia atas kehidupan pribadi dan agamanya.

scholarly journals Perceptions of Thermal Comfort Felt by People in the Kalijodo Green Open Space

2021 ◽  
Vol 11 (3) ◽  
pp. 380-386
Author(s):  
Daniel Putra Pardamean Mbarep ◽  
Hayati Sari Hasibuan ◽  
Setyo Sarwanto Moersidik
Keyword(s):  
Thermal Comfort ◽  
Open Space ◽  
Descriptive Analysis ◽  
Analysis Method ◽  
Open Spaces ◽  
The Public ◽  
Comfort Index ◽  
The People ◽  
Index Value ◽  
The Ideal

Kalijodo green open space has vegetated area 48 %. The ideal green open space, has vegetated area ​​80-90 % of total area. The results of the thermal comfort index in the Kalijodo green open space is 30.75. This condition makes the Kalijodo green open space in very uncomfortable status, and the thermal comfort index is categorized as comfortable is in 29 and below. This research was conducted to determine and analyze the perception of thermal comfort that  felt by the public in the green open space of Kalijodo. Descriptive analysis method is used to examine any information obtained from data processing from questionnaires filled out by 50 respondents. The results of this research on the perception of thermal comfort show that as many as 24 respondents felt very uncomfortable, 14 respondents felt comfortable, and 12 respondents felt uncomfortable when they were in the green open space of Kalijodo. These results indicate that the majority of people living in green open spaces are in line with the results of research on thermal comfort in the Kalijodo green open space which is in the very uncomfortable category. The condition of the Kalijodo green open space, which lacks vegetation, results in a very uncomfortable thermal comfort index value, so that the people there also feel the discomfort.

scholarly journals The Future is Curatorial!  Reconceptualising Curation Through  Material Culture

2021 ◽  
Author(s):  
◽  
Reuben Schrader
Keyword(s):  
Material Culture ◽  
Qualitative Methodology ◽  
Theory And Practice ◽  
Subjective Experiences ◽  
The Public ◽  
The People ◽  
Starting Point ◽  
Definition Of ◽  
Active Processes ◽  
Analytical Approaches

<p>Objects, though the material stuff of curating, occupy a peripheral role in curatorial theory and practice. Art and museum curating both promote relational and ideological positions that centre on certain people, excluding less prominent participants and objects alike. Although all these groups have been examined at length for their discursive qualities, their active processes are still mostly unclear. Developments in material culture theory suggest the need for re-evaluation of the relationship between objects, curators, and audiences, based on these processes. This dissertation is an attempt to construct a concept of curating that begins with objects, the circumstances in which they take part, and the effects they have on the people around them. This investigation into the operations of people and things approaches the subject with an interdisciplinary eye, drawing upon art history, media studies, material culture studies, sociology, anthropology, and other fields. They are linked by a strongly qualitative methodology, which incorporates the researcher's own subjective experiences with a conceptual framework derived from Deleuze and Guattari and Bruno Latour. The use of a rhizomatic perspective based on movement, emergence, and opportunity opens up a series of alternative methodological and analytical approaches. With these tools, four creative works are examined and discussed as singular objects and guides to further generalisation. The research suggests a degree of complexity and potential within objects that is rarely considered. Peoples' interactions with objects mean they share in that potential, opening up the static and structured roles previously addressed. A series of curatorial practices are derived from these findings, expanding the definition of 'curator' by allowing for the exercise of distinct curatorial functions beyond the institution. This dissertation serves as a starting point for a democratic reconceptualisation of curating, based on processes rather than end points, involving the public as curatorial agents.</p>

While the City Sleeps

2016 ◽  
Author(s):  
Lila Caimari
Keyword(s):  
Popular Culture ◽  
Public Opinion ◽  
Mass Media ◽  
Police Officer ◽  
Social Order ◽  
Buenos Aires ◽  
The Public ◽  
The People ◽  
The City ◽  
Deep Crisis

This chapter explores the public opinion strategies adopted by Buenos Aires police in the context of a deep crisis of consensus in the 1920s and 1930s regarding their right to use force. In so doing, it tackles a question transcending this case: how can police forces act as the guardians of a social order they themselves might perceive as unjust, and still earn the respect of those who suffer from its injustice? The answer lies within the process of the symbolic construction of an idealized police officer, one able to remain connected with those he claims to protect. In this case, the connection between the police and the people was woven using fiction, mass media, and other key elements of popular culture.

Die lateinische ›Versio vulgata‹ des griechischen Legendenromans von ›Barlaam und Josaphat‹

2020 ◽  
Vol 142 (3) ◽  
pp. 391-417
Author(s):  
Franz Josef Worstbrock
Keyword(s):  
Middle Ages ◽  
Latin Translation ◽  
The Bible ◽  
The People ◽  
Starting Point ◽  
The World ◽  
The Many ◽  
As If

AbstractThe ›Versio vulgata‹, probably written around 1170 in Paris (St. Denis), a thoroughly accurate Latin translation of its Greek model, the ›Historia of Barlaam and Joasaph‹, is the starting point for the legend of ›Barlaam and Josaphat‹, which was widely used in all literature in the Western Middle Ages. It itself had an unusually rapid and broad reception, in which, according to the testimony of more than 100 preserved manuscripts, especially the new monastic orders of the 12th century participated, led by the Cistercians. The narrative programme of the ›Historia‹ is the path of the king’s son Josaphat into an existence of radical religious renunciation of the world, the central act of the plot being his departure from power, from the country and its people into the eremitic wilderness. It takes place against the protest of the people, who do not want to let the beloved king go, and especially against the protest of Prince Barachias, whom Josaphat forces into his succession. Here the individual’s desire for salvation not only disputes the claim of the salvation of the many, but above all denies the forced successor the possibility of an equal path of salvation. Thus the ›Historia‹ is loaded with an insoluble aporia at its key point. The use of the Bible has a formative effect on the style of the ›Historia‹, not so much the frequent citation of marked exact Bible quotations as the even more frequent insertion of smaller or larger biblical excerpts into the narrator’s speech or that of one of his characters as if they were part of their own speech.

scholarly journals Makna Kesinambungan Kampanye Green Beauty oleh Kosmetik Garnier

Koneksi ◽  
2021 ◽  
Vol 5 (1) ◽  
pp. 209
Author(s):  
Neldy Maria Lesilolo ◽  
Rustono Farady Marta ◽  
Rewindinar Rewindinar
Keyword(s):  
Qualitative Approach ◽  
Analysis Method ◽  
Semiotic Analysis ◽  
The Public ◽  
Ferdinand De Saussure ◽  
Environmental Friendly ◽  
Responsible Attitude ◽  
The Subject ◽  
The One ◽  
Real Action

The Garnier green beauty campaign conveys a message to the public through advertising media. The message is conveyed to the public regarding environmental activities that have a sustainable meaning. The green beauty campaign through advertising media shows Garnier's environmental friendly actions. Cause consumer behavior that turns into a form of responsible attitude. The purpose of this study was to determine the meaning of the sustainability of the green beauty campaign through Garnier's cosmetic advertising media. Researchers used a qualitative approach with Ferdinand de Saussure's semiotic analysis method which was signifier and signified. Methods of data collection with the method of documentation. The object of research was through the green beauty campaign advertisement and the subject of Garnier. The one-minute green beauty campaign ad is divided into seven scenes. The results of this study found the meaning of sustainability, by taking real action to become green beauty. Being green beauty is explained through verbal and non-verbal signs. Marked by each scene of the Garnier green beauty campaign advertisement, the meaning of sustainability is found. The real action starts from the production process to processing Garnier cosmetic waste.Kampanye Garnier green beauty menyampaikan pesan kepada masyarakat melalui media iklan. Pesan yang disampaikan kepada khalayak mengenai kegiatan peduli lingkungan yang memiliki makna berkesinambungan. Kampanye green beauty melalui media iklan menunjukan aksi nyata Garnier yang ramah lingkungan. Menyebabkan perilaku konsumen yang berubah menjadi wujud sikap yang bertanggung jawab. Tujuan penelitian ini untuk mengetahui makna kesinambungan dari kampanye green beauty melalui media iklan kosmetik Garnier. Peneliti menggunakan pendekatan kualitatif dengan metode analisis semiotika Ferdinand de Saussure secara signifier dan signified. Metode pengumpulan data dengan metode dokumentasi. Objek penelitian melalui iklan kampanye green beauty dan subjek Garnier. Iklan kampanye green beauty yang berdurasi satu menit dibagi menjadi tujuh scene. Hasil Penelitian ini menemukan makna kesinambungan, dengan melakukan aksi nyata menjadi green beauty. Menjadi green beauty dijelaskan melalui tanda secara verbal dan non verbal. Ditandai melalui setiap scene iklan kampanye Garnier green beauty memiliki makna kesinambungan yang ditemukan. Aksi nyata dimulai dari proses produksi sampai pengolahan limbah kosmetik Garnier.

scholarly journals Celebrity ‘Ulama’: Contiguity Religion and Popular Culture

2019 ◽  
Vol 1 (2) ◽  
pp. 124-131
Author(s):  
Intan Kumalasari ◽  
Darliana Sormin ◽  
Muhammad Irsan Barus
Keyword(s):  
Popular Culture ◽  
Public Sphere ◽  
Freedom Of Expression ◽  
New Order ◽  
Religious Authority ◽  
The Public ◽  
For Profit ◽  
The People ◽  
The Government ◽  
The Public Sphere

Post-1998 is the spread of spiritualism discourse. The emergence of celebrity ‘ulama’ in Islamic expression of contemporary Indonesian treasury is one example of how popular culture with a set of ideologies taking advantage of the rise of Islam. Television became an agent of a culture to the people with his ability as a link between one culture with another culture. Televisions have unpacked the real with the imaginary. With television all things can be esthetizatied, the sacred and the profane into somersaults. Television media such strength finally gave birth to a new religious authority, called celebrities ‘ulama’. Factors caused by the emergence of celebrity ‘’ulama’ are sociological, which characterized by many people who prefer to watch the celebrity ‘ulama’ than watching Conventional Ulama. Then supported by sophisticated Tecnology Science, the stage, and commodification. This shows that Islam has been negotiating with the market and subsequently published widely in the public sphere as a form of freedom of expression in the new order in which the strength of the potential of Islam to be appreciated by the government. This can be described as a form of commodification of religion in the sense of religious values ​​commercialized for profit.

scholarly journals The Meaning of Gojek Advertising in the Pandemic Era Using Charless Sander Pierce Semiotics Analysis

2021 ◽  
Vol 3 (1) ◽  
pp. 324-335
Author(s):  
Afny Rachma Safitri ◽  
Alvina Tara Afifa ◽  
Achmad Chusaini Nasichul Amin ◽  
Nur Romdlon Maslahul Adi
Keyword(s):  
Competitive Strategy ◽  
Research Method ◽  
Qualitative Approach ◽  
Analysis Method ◽  
Semiotic Analysis ◽  
The Public ◽  
Social Messages ◽  
Safe Community ◽  
Descriptive Qualitative

The business competition faced by companies today is getting tighter, so it requires company management to be attentive in determining its competitive strategy. Advertising is tot only to promote a product, but also included a lot of social messages in it. Advertisements often use symbols or signs in describing their products. The messages in advertisements are in the form of text and visuals. This study aims to analyze the Sign, Object, Interpretant as well as the message and meaning in the Gojek advertisement version of “Pesan dari Rumah Buat Kita yang di Jalan”. The research method uses a descriptive qualitative approach; this study uses the semiotic analysis method of the Charles Sander Pierce model. The results of the study show that the Gojek advertisement version of "Pesan dari Rumah Buat Kita yang di Jalan" invites the public to become people who continue to comply with health and savety protocols during the Covid-19 Pandemic. This advertisement is also a branding for Gojek as a safe community travel partner and always adheres to the health protocol recommendations during the Covid-19 pandemic.

scholarly journals Analysis of The Concept and Attraction and The Development od Tge "Langen Mandra Wanara" Art from Yogyakarta

2021 ◽  
Vol 317 ◽  
pp. 01007
Author(s):  
Nofansyah ◽  
Redyanto Noor
Keyword(s):  
Basic Concept ◽  
Performing Arts ◽  
Production Cost ◽  
Descriptive Analysis ◽  
Economic Situation ◽  
Analysis Method ◽  
The Public ◽  
Secondary Sources ◽  
The People ◽  
Performing Art

Langen Mandra Wanara is a Javanese dance-drama genre that tells Ramayana story taking place in the Kepatihan complex. It has become a very popular performing art and has been widely studied by the people of Yogyakarta. This study aimed to discuss the concept, attractiveness and development of the "Langen Mandra Wanara" art. The study used a descriptive analysis method. In this research, the data was the art of Langen Mandra Wanara from Yogyakarta, which was obtained from various secondary sources, including previous research journals, internet sites, books and documentation. The results showed that Langen Mandra Wanara has a basic concept called the Joged Mataram philosophy in dancing. At the beginning of its development, the art performance was marked by the appearance of a large number of wanara (monkey) dancers. Unlike other arts, Langen Mandra Wanara basically aims to provide entertainment to the public for free. In its development, Langen Mandra Wanara's performance declined due to the influence of the Dutch colonial economic situation. Currently, Langen Mandra Wanara shows tend to be concise, performed much shorter, and involve fewer players. Thus, the production cost of court performing arts can be reduced much cheaper than before.

Hollywood and the Myth of Criminal Convergence. The Case of Sicario: Day of the Soldado

2021 ◽  
Vol 3 (1) ◽  
pp. 73-92
Author(s):  
Alice Massari
Keyword(s):  
Popular Culture ◽  
Law Enforcement ◽  
International Organizations ◽  
Semiotic Analysis ◽  
Migration Routes ◽  
The Public ◽  
Action Films ◽  
Cross Border ◽  
Drug Cartels

Abstract Narratives of drug cartels progressively assuming control of migration routes by smuggling and trafficking migrants and Islamic terrorists across borders is not only common in academic accounts and international organizations’ reports. It is also emerging in popular culture. This article sheds light on how the myth of criminal convergence can be created and conveyed to the public through crime-action films. I look at one of the most important places for mythmaking of any kind: Hollywood. Based on a visual social semiotic analysis of the film Sicario: Day of the Soldado, this article will show how the myth of convergence is conveyed throughout it, and what its implications are. It will argue that the rhetoric of criminal convergence fuels a simplistic account of the existence of a battle between good (law enforcement) and evil (criminals working on all sorts of interconnected cross-border crimes), thereby legitimizing every action in the fight against crime.

scholarly journals The Future is Curatorial!  Reconceptualising Curation Through  Material Culture

2021 ◽  
Author(s):  
◽  
Reuben Schrader
Keyword(s):  
Material Culture ◽  
Qualitative Methodology ◽  
Theory And Practice ◽  
Subjective Experiences ◽  
The Public ◽  
The People ◽  
Starting Point ◽  
Definition Of ◽  
Active Processes ◽  
Analytical Approaches

<p>Objects, though the material stuff of curating, occupy a peripheral role in curatorial theory and practice. Art and museum curating both promote relational and ideological positions that centre on certain people, excluding less prominent participants and objects alike. Although all these groups have been examined at length for their discursive qualities, their active processes are still mostly unclear. Developments in material culture theory suggest the need for re-evaluation of the relationship between objects, curators, and audiences, based on these processes. This dissertation is an attempt to construct a concept of curating that begins with objects, the circumstances in which they take part, and the effects they have on the people around them. This investigation into the operations of people and things approaches the subject with an interdisciplinary eye, drawing upon art history, media studies, material culture studies, sociology, anthropology, and other fields. They are linked by a strongly qualitative methodology, which incorporates the researcher's own subjective experiences with a conceptual framework derived from Deleuze and Guattari and Bruno Latour. The use of a rhizomatic perspective based on movement, emergence, and opportunity opens up a series of alternative methodological and analytical approaches. With these tools, four creative works are examined and discussed as singular objects and guides to further generalisation. The research suggests a degree of complexity and potential within objects that is rarely considered. Peoples' interactions with objects mean they share in that potential, opening up the static and structured roles previously addressed. A series of curatorial practices are derived from these findings, expanding the definition of 'curator' by allowing for the exercise of distinct curatorial functions beyond the institution. This dissertation serves as a starting point for a democratic reconceptualisation of curating, based on processes rather than end points, involving the public as curatorial agents.</p>

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