scholarly journals Masculinity in Indonesian Popular Culture in the Early Era of the New Order Regime

2017 ◽  
Vol 11 (1) ◽  
pp. 47
Author(s):  
Ferry Fauzi Hermawan
Keyword(s):  
Popular Culture ◽  
Mass Culture ◽  
Male Dominance ◽  
New Historicism ◽  
New Order ◽  
The Social ◽  
The One ◽  
Sexual Object ◽  
In The Beginning ◽  
The Ideal

This study aimed to identify the forms of masculinity in the Indonesian popular culture in the beginning of New Order regime. This study was based on the two novels: Cross Mama and Kekasih-Kekasih Gelap, written by Motinggo Busye. The analysis used new historicism theory proposed by Stephen Greenblatt. The analysis also considered various cultural contexts emerged in 1970s. The results show three shared trends in the novels. The first trend shows that the masculinity tends to be represented by both men worshiping patriarchal values such as the myth of woman’s virginity and men perceiving woman as a sexual object. The second trend shows that masculinity is stereotyped based on masculinity, power, and male dominance. The third trend shows that masculinity relates to various products of mass culture at the time. This last trend shows that in that era,the ideal male figure is represented as the one who: (1) is sexually active with many women, (2) has a muscular body, (3) has a handsome look, and (4) has a financial capability. Besides the shared three trends, the result also shows that the texts in the novels do not only reflect the cultural situations in the 60’s and 70’s but also contribute in shaping the social values of the cultural situations.

scholarly journals Waarom Jesus-studies?

2000 ◽  
Vol 56 (1) ◽  
Author(s):  
P. A. Geyser
Keyword(s):  
The Other ◽  
Historical Jesus ◽  
New Historicism ◽  
Social Standing ◽  
The Social ◽  
Social Interests ◽  
The One ◽  
The Relationship ◽  
Historical Nature

Why Jesus studies? Present-day historical Jesus studies are the epistemological product of what has become known as the New Historicism. The aim of the article is to emphasize two aspects of the New Historicism as epistemological approach. The one aspect focuses on the profitability of this endeavour and the other on the historical nature of the New Historicism. As far as profitability is concerned, the social standing and identity of the researcher are emphasized. Among otherthings, the social interests of the researcher are taken into account. Concerning the historical nature of this kind of research, a distinction is drawn between the Jesus of history and the Jesus of faith. The aim of the article is to gain clarity on the relationship between the Jesus of history (pre-Easter) and the Jesus of faith (post-Easter). J D Crossan's exposition of the reasons for Jesus studies is followed. He distinguishes three reasons: historical, ethical and theological.

scholarly journals THE ADVANTAGES OF SOCIAL SOLIDARITY TO BE AN IDEAL LEADER ACCORDING TO IBNU KHALDUN

2021 ◽  
Vol 5 (1) ◽  
pp. 11
Author(s):  
Kasmuri Selamat ◽  
Irma Handayani ◽  
Akhyar Hanif
Keyword(s):  
Social Solidarity ◽  
Ibn Khaldun ◽  
The Social ◽  
The World ◽  
Freedom Of Thought ◽  
The One ◽  
The Ideal

The ideal leader is an expectation for every society in the world. Leadership is a relationship between the influence of the leader and the one being led. Leadership also functions to execute power to invite, influence, guide, mobilize and build other people to do something to achieve certain goals. To implement, Islam provides normative and philosophical bases on the principles of leadership. These principles include deliberation, fairness, gentleness, freedom of thought, synergy in building togetherness. The principles taught by Islam are in line with the thoughts of one of the Islamic philosophers, Ibn Khaldun. Furthermore, he emphasized that the social solidarity factor is crucial to become an ideal leader.

Persevering through Colonial Transition: Nazareth's Palestinian Residents after 1948

2016 ◽  
Vol 45 (2) ◽  
pp. 8-23
Author(s):  
Leena Dallasheh
Keyword(s):  
Cold War ◽  
Social Economic ◽  
National Minority ◽  
Leading Role ◽  
The Social ◽  
Ambivalent Relationship ◽  
The One ◽  
The Cold War ◽  
State Of Israel ◽  
The Ideal

Nazareth, the only Palestinian city to survive the 1948 war intact, became the social, economic, and political hub of Palestinian life in the postwar period. As such, it provides the ideal setting to study early Palestinian responses to the creation of Israel. This paper reexamines the ambivalent relationship between Nazareth's political leadership and the newly established State of Israel to argue that the Palestinian citizens of Israel were neither traitors and collaborators, on the one hand, nor passively quiescent, on the other. Rather, as a new national minority, Palestinians overcame myriad forms of control as they negotiated the structural obstacles placed before them by their new overlords. Local Communist politicians, in particular, took a leading role to advocate on behalf of Nazarenes beset by the day-to-day hardships of poverty, hunger, displacement, and unemployment. The Israeli authorities harped on the Communist threat in response, echoing the Cold War rhetoric of the time.

scholarly journals CHANGING THE NAMES OF THE BULGARIAN MUSLIMS – ONE MOVIE SUBJECT FROM THE 1990’S

2020 ◽  
pp. 127-132
Author(s):  
Nikolay PAPUCHIEV
Keyword(s):  
Young Female ◽  
Point Of View ◽  
Female Teacher ◽  
Social Mechanisms ◽  
The People ◽  
Communist Ideology ◽  
The Social ◽  
The One ◽  
In The Beginning ◽  
The Village

The article presents the results from the study of one of the first movie projects concerning changing the names of the Bulgarian Muslims after 1989. Gori, gori, ogunche (Burn, Burn Fire) (1994), scenario – Malina Tomova, director – Rumyana Petkova, shows the picture of the life in Mugla – a small village settled high in the Rodopi Mountain, Bulgaria. In four series, the team created the movie revealing from a number of aspects one of the most painful processes in the Bulgarian history – changing the Turkish or Arabic names of Bulgarian followers of the Islam religion. The narrator’s point of view is presented through the conflict (in the beginning) between the visions of the main character in the scenario – the young female teacher Marina, who comes in the village from one of the biggest Bulgarian cities – on the one hand, and the traditional life and the communist ideology – on the other. In the article, this conflict that transforms the vision of Marina and turns her prejudices into compassion and understanding, is the main entrance into the psychology of the names changing processes and the social mechanisms, used by the people to relieve the pain and trauma. The movie is analysed in the light of the new tendencies in the Bulgarian cinema during the 70-ies – when the scenario was written, and the new political circumstances in the so-called Time of transition – when the movie was created.

Men, Masculinities and Symbolic Violence in Recent Indonesian Cinema

2004 ◽  
Vol 35 (1) ◽  
pp. 113-131 ◽  
Author(s):  
Marshall Clark
Keyword(s):  
Popular Culture ◽  
Gender Inequality ◽  
Pierre Bourdieu ◽  
Symbolic Violence ◽  
New Order ◽  
Gender Regime ◽  
The Social ◽  
Men And Masculinities ◽  
Men And Masculinity

This article investigates images of men and masculinities in post-New Order Indonesian popular culture, focusing on a recent and path-breaking Indonesian film, Kuldesak. The theoretical sociology of Pierre Bourdieu is utilised to suggest that if Indonesian women are to be assisted in their efforts to resist the gender inequality of Indonesia's patriarchal gender regime, then the social gendering of men and masculinity must also be understood.

scholarly journals Commodification Practices in the Begawe Sasak’s Lombok Tradition

2021 ◽  
Vol 29 (1) ◽  
pp. 179-198
Author(s):  
Abdul Rahim ◽  
Halimatuzzahro
Keyword(s):  
Popular Culture ◽  
Mass Culture ◽  
Social Values ◽  
Participatory Approach ◽  
Community Based ◽  
Social Community ◽  
Modern Equipment ◽  
The Social ◽  
Mass Cultures

The begawe tradition, which has become the popular culture of Sasaknese, has begun shifted by the consumption of mass cultures, such as catering services, the use of tools or begawe needs, starting to be replaced by industrial products for rent or sale. The forms of commodification in the begawe tradition, especially in begibung (eating together) and betulung (helping each other), two things that become the ‘aura’ of begawe. This difference can be seen from the shifting values, from the principle of kinship to individualism; of various equipment that is transformed and then commercialized. The new ethnography in this case study becomes the basis for examining the commodification practice in the begawe tradition, which switches to catering services and traditional equipment and replaces by modern equipment. The author, who is part of the Sasak community, also takes a participatory approach in begawe events held by the community. This shows that the alienation of popular culture in society cannot be contained by massive mass culture, so that people, which were initially established with high social values, began to form individualist societies that competed to show their social status. The consumption of signs/symbols has formed a society trapped in a pseudo-need that is unwittingly oppressive. Awareness to be critical and filter the mass culture needs a sphere for negotiation to return the spirit of the social community based on kinship interaction.

scholarly journals 'The Awful Stuff': Colin McCahon, High Art, and the Common Culture 1947-2000

2021 ◽  
Author(s):  
◽  
Lara Strongman
Keyword(s):  
Popular Culture ◽  
National Identity ◽  
New Zealand ◽  
Everyday Life ◽  
Mass Culture ◽  
High Culture ◽  
Common Culture ◽  
The Social ◽  
The Common ◽  
The Impact

<p>This thesis analyses the conditions of artistic production at two pivotal moments in the reception of modernism in New Zealand: the emergence of a tradition of modernist painting in the work of Colin McCahon in the late 1940s, and the dispersal of that tradition under the impact of postmodernism and postcolonialism circa 1990 in the work of Michael Parekowhai and Ronnie van Hout, among others. Artists’ distinctive engagement with a broad compass of visual culture is considered alongside a critique of local high culture in relation to the culture of everyday life. The reception of this work is figured as emblematic of the historical contestation over the representation of the everyday; a struggle for visibility which reveals the social antagonisms of New Zealand culture.  The first part of the thesis considers the vituperative critical response to McCahon’s use of formal devices drawn from comic books and commercial design in the late 1940s, against the background of the establishment of the national high culture. It accounts for the response by exploring the social factors inherent in critical disdain for commercial art and mass culture, which drew on the trenchant opposition of British intellectuals, and suggests that in McCahon’s work popular culture is employed as a form of aesthetic primitivism with which to represent the barbarities of World War II, as well as to express the experience of everyday life in New Zealand to a broad public audience. It concludes that fundamental to the antagonism over his work was disagreement over what constituted local cultural authenticity.  The second part of the thesis considers problems of New Zealand high culture figured in antagonistic relation to the culture of everyday life that were advanced by New Zealand critics in the years after McCahon produced his popular-culture inflected paintings. The anti-Americanism of New Zealand culture is considered in relation to the rise of the ‘comics menace’ as a source of moral panic in the early 1950s. However, the interest of a new generation of New Zealand scholars in popular culture is observed in changing attitudes towards comic strips (and to American culture) in the 1980s. The same scholars also seek new terms for local critical address. A final chapter of this section explores the afterlife of McCahon’s work following his death in 1987, tracking the movement of the work out into the common culture and the high culture’s contestation of his modernist legacy.   The third part of the thesis opens with an account of aspects of art practice under emerging cultural conditions of postmodernism and postcolonialism in New Zealand in the 1990s, and explores the continued role of McCahon’s work in expressing and revising issues of national identity. Central here is ‘Choice!’ (1990), an exhibition of contemporary Māori art, which introduced Michael Parekowhai’s work and precipitated an ongoing discussion on the politics of identity in contemporary art. While Parekowhai located aspects of Māori identity in the traditions of high art and globalised mass culture, other artists interrogated national identity by similar means. The result was an expansion of the terms both of national identity and of the critical territories of the high culture. The thesis concludes by examining the critical furore that arose when Te Papa Tongarewa, New Zealand’s new national museum, opened with the exhibition of a painting by Colin McCahon beside a refrigerator of the same vintage. The debate, which ensued, was largely concerned with the desire of critics to separate the domain of art from the domain of everyday life.  This analysis demonstrates how contestation between the high culture and the common culture represents a recurring and generative dynamic in the history of New Zealand art—in which McCahon is a pivotal figure—during the second half of the twentieth century.</p>

scholarly journals Jews, Mobility, and Sex: Popular Entertainment between Budapest, Vienna, and New York around 1900

2020 ◽  
Vol 51 ◽  
pp. 220-242
Author(s):  
Susanne Korbel
Keyword(s):  
New York ◽  
Popular Culture ◽  
Mass Culture ◽  
Cultural Construction ◽  
The Other ◽  
Controversial Issues ◽  
Popular Entertainment ◽  
Mass Migration ◽  
The One

AbstractThis article investigates the coinciding of the mass migration from Europe to the Americas and the emergence of mass culture, two developments that shaped everyday life, popular entertainment, and Jewish and non-Jewish relations at the turn of the twentieth century. Jewish actors and actresses were among the most prominent performers who staged in Orpheums, Varietés, and vaudevilles on both sides of the Atlantic. In their performances they drew on the notion of a new quality of mobility that society was experiencing, utilizing it to negotiate issues such as of the cultural construction of identities and Jewishness, or to critically reexamine antisemitic and nationalistic attitudes. On the one hand, mobility enabled negotiations of controversial issues. On the other hand, mobility led to accusations against popular entertainment, both legitimate and erroneous—for example, that vaudevilles functioned as covers for clandestine prostitution. Therefore, the article examines the question of how mobility influenced popular culture. What were the controversial issues that mobility raised, and what accusations did these evoke? In what ways did actors and actresses in popular culture address gender and Jewishness? To answer these questions, the article analyzes the spaces of popular entertainment in Budapest, Vienna, and New York through close examinations of newspapers, manuscripts, playbills, and records of censorship.

scholarly journals Ideology and moral: relationship of norm and ideal in the light of synergetic philosophy of history

2020 ◽  
Vol 210 ◽  
pp. 16031
Author(s):  
Sergey Busov ◽  
Mariya Zobova ◽  
Alexey Rodukov
Keyword(s):  
Social Order ◽  
Philosophy Of History ◽  
Value Systems ◽  
New Order ◽  
Main Function ◽  
The Social ◽  
Moral Relationship ◽  
Relationship Of ◽  
Selection Of ◽  
The Ideal

The formation of notions about the mechanism of transition from the social order to the chaos and vice versa - from the chaos to a new order, represented by the synergetic philosophy of history, which is entirely based on the ideas of V.P. Branskiy, allows us to take a fresh look at the process of changing value systems in society. It is based on the process of changing ideals. The social ideal aims to overcome the contradictions of life. However, when its main function is implemented, some contradictions disappear, but others appear. The selection of viable ideals leads us only to a temporary softening of social contradictions: the implementation of new ideals deduces the society from the deadlock, but at the same time, it forms the conditions for new contradictions and new crisis in the new system of values. The study of the process of self-organization of ideals and values allowed the St. Petersburg school of social synergetics to discover the operation of law of correlation of the standards of behavioral stereotype to the standards of ethical ideal. The study of this law serves as a system-forming element in the study of the ideology of society, it allows us to understand why an adequate form of existence of such cultural universals as freedom, goodness, beauty, truth, besides the ideal, is also the norm - as value and the regulator of relations.

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