scholarly journals Pendidikan Kristiani sebagai Instrumen Penyadaran Pentingnya Pertumbuhan Spiritualitas dalam Konteks Budaya Populer

2016 ◽  
Vol 1 (2) ◽  
pp. 123
Author(s):  
Daniel Syafaat Siahaan
Keyword(s):  
Black Hole ◽  
Popular Culture ◽  
Christian Education ◽  
Spiritual Growth ◽  
Self Identity ◽  
Person Identity ◽  
Culture Concept

This article is written based on my observation and experience, who "sucked"� into populer culture. People inevitably will always "sucked"� into the black hole of culture. In popular culture, people are considered to be humans if only they satisfy their libido. So, popular culture can blurring self identity in the society, because communal similarity is preferred. Self identity formed from communal understanding of popular culture concept and force� someone to follow it. Therefore, the challenge of popular culture to spirituality is very obvious because it concerns a person identity. Spirituality always departs from the inside to the outside. While the phenomenon of popular culture, the meaning is controlled by the community and adapted into self. This article written to realizing the importance of spiritual growth in the context of popular culture, which can be done firstly through Christian Education.

Is Dr. Frankenstein Still Alive? From Twix to Apple: Commercializing Monstrosity

Pólemos ◽  
2018 ◽  
Vol 12 (1) ◽  
pp. 167-183
Author(s):  
Giulia Maria Olivato
Keyword(s):  
Popular Culture ◽  
Social Recognition ◽  
Human Society ◽  
Cultural Symbols ◽  
Self Identity

Abstract Contemporary popular culture uses mythical and cultural symbols like monsters as metaphors in order to analyse and shape society and its trends. A perfect example is Frankenstein’s creature, who is a modern monster able to embody human crisis, desires, and fears about self-identity, inclusiveness and social recognition. In particular, in the field of advertising, the use of monsters sets new boundaries between human society and monstrousness. Indeed, advertising acts as a modern Dr Frankenstein by manipulating and determining who the modern monsters are.

scholarly journals Pembentukan Identitas Diri Para Pelaku Cover Dance K-Pop di Jakarta

Koneksi ◽  
2020 ◽  
Vol 3 (2) ◽  
pp. 351
Author(s):  
Dwi Sabrina ◽  
Lusia Savitri Retno Utami
Keyword(s):  
Popular Culture ◽  
Data Collection ◽  
Identity Formation ◽  
Rapid Development ◽  
Family Experience ◽  
Self Identity ◽  
The World ◽  
Front Stage ◽  
Back Stage ◽  
Collection Methods

No doubt the development of popular culture is very fast in the world, especially the K-Pop industry. Due to rapid development of K-Pop and more fans, innovations have begun to emerge in showing the love of fans towards K-Pop. One of them is K-Pop cover dance activities. This study discusses "The Formation of the Identity of K-Pop Cover Dance Performers in Jakarta" and uses observation and interview data collection methods to find out more about how the formation of K-Pop cover actors' self-identity formation. The theory used is their dramatism on the front stage and also the backstage. In this study the authors can see that each individual communicates themselves in different ways and not all cover dance performers perform their front stage roles up to their backstage life. The formation of the identity of the cover dance actors can change to follow the environment where they are and with whom they communicate. However, not a few also feel that his life as a cover dance on stage imitates and becomes someone else's figure carried to their   daily from various aspects such as family, experience and also the community.Tidak dipungkiri perkembangan budaya populer sangat pesat di dunia terutama K-Pop. Akibat perkembangan K-Pop yang pesat dan penggemarnya yang semakin banyak, mulai bermunculan inovasi dalam menunjukkan kecintaan dari penggemar terhadap K-Pop. Salah satunya adalah kegiatan cover dance K-Pop. Penelitian ini membahas tentang “Pembentukan Identitas Diri Para Pelaku Cover Dance K-Pop di Jakarta” dengan menggunakan teori dramatisme mereka pada front stage dan juga back stage. Dalam penelitian ini penulis dapat melihat bahwa setiap individu mengkomunikasikan diri mereka dengan cara yang berbeda-beda dan tidak semua pelaku cover dance melakukan peran front stage mereka hingga ke kehidupan backstage mereka. Peneliti menggunakan metode pengumpulan data observasi dan wawancara untuk mengetahui lebih dalam mengenai bagaimana pembentukan identitas diri para pelaku cover dance K-Pop. Pembentukan identitas diri para pelaku cover dance dapat berubah mengikuti lingkungan dimana mereka berada dan dengan siapa mereka berkomunikasi. Namun, tidak sedikit juga yang merasa bahwa kehidupannya sebagai seorang cover dance di atas panggung yang meniru dan menjadi sosok orang lain terbawa hingga ke kehidupan sehari-hari mereka dari berbagai macam aspek seperti keluarga, pengalaman dan juga komunitas. 

Hawaiian Music and Oceanizing American Studies

2018 ◽  
Vol 52 (04) ◽  
pp. 1163-1172
Author(s):  
LEAH KURAGANO
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Identity Formation ◽  
Social Relations ◽  
American Studies ◽  
High Culture ◽  
The 1950S ◽  
Cultural Forms ◽  
Insight Into ◽  
Culture Concept

American studies has been dedicated to understanding cultural forms from its beginnings as a field. Music, as one such form, is especially centered in the field as a lens through which to seek the cultural “essence” of US America – as texts from which to glean insight into negotiations of intellectual thought, social relations, subaltern resistance, or identity formation, or as a form of labor that produces an exchangeable commodity. In particular, the featuring of folk, indigenous, and popular music directly responded to anxieties in the intellectual circles of the postwar era around America's purported lack of serious culture in comparison to Europe. According to John Gilkeson, American studies scholars in the 1950s and 1960s “vulgarized” the culture concept introduced by the Boasian school of anthropology, opening the door to serious consideration of popular culture as equal in value to high culture.1

scholarly journals PENANAMAN KONSEP IDENTITAS DIRI BERDASARKAN IMAN KRISTEN MELALUI PERANAN PENDIDIKAN KRISTEN

2022 ◽  
Vol 13 (1) ◽  
pp. 63-73
Author(s):  
Neri Astriana Koehuan ◽  
Dylmoon Hidayat ◽  
Chrissya Apitula
Keyword(s):  
Christian Education ◽  
Christian Schools ◽  
Christian Faith ◽  
Self Identity ◽  
The Family ◽  
The Times

Knowing identity in the Christian faith is essential to the life of each believer. Understanding the concept of self is closely related to how a person in his daily dealings with him, with others around him and also shows how he represents God. The result of not knowing or knowing yourself wrong can have a bad impact on yourself, others, the environment, as well as faith in God. Thus, the role of Christian education is highly demanded by both Christian education in the family, church and Christian schools to be able to work well together in order to achieve the inculcation of the concept of self-identity according to the Christian faith in children. It is not easy to realize the concept of self-identity in accordance with the Christian faith in the lives of children in an era that is so influenced by the current developments. Therefore, there is a need for awareness from the parties implementing Christian education to instill the principles and values of living according to the Christian faith as a provision for children in navigating their lives to face the challenges of the times.

The Aging, Transformative Self

2021 ◽  
pp. 381-400
Author(s):  
Jack Bauer
Keyword(s):  
Older Adults ◽  
Popular Culture ◽  
Research Evidence ◽  
Personal Narratives ◽  
Well Being ◽  
Future Generations ◽  
Popular Belief ◽  
Self Identity ◽  
Academic Psychology ◽  
Young Growth

The transformative self is not just for the young. This chapter focuses on the aging self and how the person who has a transformative self interprets growth throughout the adult years. The chapter starts by debunking the popular belief—in both popular culture and academic psychology, despite the research evidence—that growth is just for the young. Research shows that older adults hold at least as many growth-oriented concerns as decline-oriented concerns, both in their memories and in their goals. However, growth is not a Pollyanna concept; eudaimonic growth is not easy. The chapter shows what young growth versus mature growth sounds like in personal narratives. Young and mature growth are examined in terms of concerns for self-identity, relational intimacy, and generative concern for future generations—and then in relation to well-being and wisdom.

Autoethnography as a Poetics of Worlding and a Politics of Becoming: Claudia Rankine’s Citizen and Kathleen Stewart’s Ordinary Affects

2019 ◽  
Vol 20 (2) ◽  
pp. 182-191
Author(s):  
Jessica Johnson
Keyword(s):  
Popular Culture ◽  
Expert Witness ◽  
Political Life ◽  
The Political ◽  
First Person ◽  
Narrative Voice ◽  
Person Identity ◽  
The Difference

This article analyzes the anthropologist Kathleen Stewart’s Ordinary Affects and the poet Claudia Rankine’s Citizen: An American Lyric as autoethnographies of affective encounter in which the authors stylistically fracture their positionalities such that the embodied evidence of experience becomes visceral political potential. In Ordinary Affects, Stewart uses autoethnography to conjure the intensities of affect that manifest in everyday moments and spaces of encounter, detailing disparate scenes of immanent force to provide an antidote to academic studies that render power inert as they employ totalizing systems such as “neoliberalism” to analyze its effects. Using “she” to index the difference between her first-person identity as a writer and a body that imagines and senses the political-as-becoming, Stewart invites readers to participate in a poetics of worlding during which the author does not play expert witness. In the American lyric Citizen, Claudia Rankine also splits her narrative voice and uses both “I” and “you,” while evoking affective encounters of racialization that are forces of habit and routines of violence. Her poem includes not only personal anecdote or feeling but also events and texts of popular culture, enlisting her readers to take part in a poetics of worlding and a politics of becoming through which the author bears witness to “I” through “you.” In effect, Rankine and Stewart use autoethnography to resist portraying political life as bound by discursive logics of self and subjecthood.

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