scholarly journals Rerahsa

JOGED ◽  
2017 ◽  
Vol 8 (1) ◽  
Author(s):  
Tri Anggoro
Keyword(s):  
Physical Disability ◽  
Next Generation ◽  
Self Reflection ◽  
The Public ◽  
The Third ◽  
Traditional Dance ◽  
The Disabled ◽  
The Way

Rerahsa merupakan sebuah karya tari kelompok yang ditarikan tujuh orang penari putra. Tari ini merupakan penuangan ide serta kreativitas dari rangsang kinestetik dan rangsang gagasan yaitu pengalaman empiris penata yang pernah berproses dengan tuna daksa sehingga menginspirasi penata untuk mengangkat tokoh pewayangan yaitu Gareng dengan dasar gerak yaitu gerak tidak wajar (cacat) dalam dasar tari tradisi Jawa gaya Yogyakarta. Fokus karya ini lebih kepada esensigerak cacat dan lebih memainkan ekspresi. Alasan penata mengambil tokoh Gareng karena Gareng ini merupakan salah satu simbol contoh kepemimpinan yang dapat memberikan contoh baik kepada generasi penerus saat ini, karena cacat fisik bukanlah hal yang memalukan, justru dapat memotivasi hidup untuk menjadi lebih baik. Menurut penata, dari masa ke masa seorang pemimpin sudah tidak lagi memiliki watak/sifat seperti tokoh Gareng, sehingga menjadi salah satu motivasi penata untuk menggarap karya Rerahsa ini.Pada karya ini terdiri dari 3 adegan. Pada introduksi penata membicarakan Gareng sebagai abdi/pamong. Pada adegan 1 lebih fokus kepada studi gerak gareng dengan berbagai karakter, sedangkan adegan 2 membicarakan 3 poin, yaitu Gareng yang lupa akan titahnya sebagai pamong, membicarakan ketika Gareng menjadi Raja, dan imajinasi Gareng terhadap wanita pujaannya yaitu Dewi Saradewati. Pada adegan 3, penata membicarakan sosok Gareng yang kembali ke perenungan dan berintrospeksi diri.Diharapkan dengan adanya karya cipta tari ini, masyarakat dan penonton dapat mengerti dan memahami bahwa janganlah memandang orang sebelah mata, jangan melihat dari segi fisik, namun lihatlah orang dari hatinya, sebagaimana yang digambarkan oleh sosok Gareng ini.  Rerahsa is a group dance work which danced by seven male dancer. This dance is the way of pouring ideas and creativity from kinesthetic stimuli and notion stimuli, namely the idea of empirical experience by the stylist who ever proceed with the disabled so as to inspire the stylist to lift the puppet characters named Gareng, as the basic of the unnatural motion (defects) in basic Javanese traditional dance, Yogyakarta’s style. The focus of this work is the essence of defects motion and plays more expressions. The stylist takes Gareng as one of the leadership symbols that can provide a good example to the next generation nowadays, to show that a physical disability is not a shameful thing; it can motivates our life to be better. According to the stylist, a leader nowadays has no longer Gareng characteristics, thus becoming one of the stylist motivations to work on this Rerahsa work.This work consists of three scenes. In the introduction, the stylist indicates Gareng as servants / officials. Scene one is focusing on the study of Gareng’s motion with various characters, while the second scene is talking about three points. The first one is when Gareng who forgot his position as officials, the second one is when Gareng became a king, and the last one is about Gareng imagination against his female idol, goddess Saradewati. In the third scene, the stylist discusses Gareng who returns to self-reflection and introspection.Hopefully by this dance artworks, the public and the audience can see and understand to do not judge the book from the cover, do not judge someone by the physical looking, but look at their heart, as is illustrated by the figure of Gareng. 

scholarly journals Rerahsa

JOGED ◽  
2017 ◽  
Vol 7 (1) ◽  
Author(s):  
Tri Anggoro
Keyword(s):  
Physical Disability ◽  
Next Generation ◽  
Self Reflection ◽  
The Public ◽  
The Third ◽  
Traditional Dance ◽  
The Disabled ◽  
The Way

Rerahsa merupakan sebuah karya tari kelompok yang ditarikan tujuh orang penari putra. Tari ini merupakan penuangan ide serta kreativitas dari rangsang kinestetik dan rangsang gagasan yaitu pengalaman empiris penata yang pernah berproses dengan tuna daksa sehingga menginspirasi penata untuk mengangkat tokoh pewayangan yaitu Gareng dengan dasar gerak yaitu gerak tidak wajar (cacat) dalam dasar tari tradisi Jawa gaya Yogyakarta. Fokus karya ini lebih kepada esensigerak cacat dan lebih memainkan ekspresi. Alasan penata mengambil tokoh Gareng karena Gareng ini merupakan salah satu simbol contoh kepemimpinan yang dapat memberikan contoh baik kepada generasi penerus saat ini, karena cacat fisik bukanlah hal yang memalukan, justru dapat memotivasi hidup untuk menjadi lebih baik. Menurut penata, dari masa ke masa seorang pemimpin sudah tidak lagi memiliki watak/sifat seperti tokoh Gareng, sehingga menjadi salah satu motivasi penata untuk menggarap karya Rerahsa ini.Pada karya ini terdiri dari 3 adegan. Pada introduksi penata membicarakan Gareng sebagai abdi/pamong. Pada adegan 1 lebih fokus kepada studi gerak gareng dengan berbagai karakter, sedangkan adegan 2 membicarakan 3 poin, yaitu Gareng yang lupa akan titahnya sebagai pamong, membicarakan ketika Gareng menjadi Raja, dan imajinasi Gareng terhadap wanita pujaannya yaitu Dewi Saradewati. Pada adegan 3, penata membicarakan sosok Gareng yang kembali ke perenungan dan berintrospeksi diri.Diharapkan dengan adanya karya cipta tari ini, masyarakat dan penonton dapat mengerti dan memahami bahwa janganlah memandang orang sebelah mata, jangan melihat dari segi fisik, namun lihatlah orang dari hatinya, sebagaimana yang digambarkan oleh sosok Gareng ini.  Rerahsa is a group dance work which danced by seven male dancer. This dance is the way of pouring ideas and creativity from kinesthetic stimuli and notion stimuli, namely the idea of empirical experience by the stylist who ever proceed with the disabled so as to inspire the stylist to lift the puppet characters named Gareng, as the basic of the unnatural motion (defects) in basic Javanese traditional dance, Yogyakarta’s style. The focus of this work is the essence of defects motion and plays more expressions. The stylist takes Gareng as one of the leadership symbols that can provide a good example to the next generation nowadays, to show that a physical disability is not a shameful thing; it can motivates our life to be better. According to the stylist, a leader nowadays has no longer Gareng characteristics, thus becoming one of the stylist motivations to work on this Rerahsa work.This work consists of three scenes. In the introduction, the stylist indicates Gareng as servants / officials. Scene one is focusing on the study of Gareng’s motion with various characters, while the second scene is talking about three points. The first one is when Gareng who forgot his position as officials, the second one is when Gareng became a king, and the last one is about Gareng imagination against his female idol, goddess Saradewati. In the third scene, the stylist discusses Gareng who returns to self-reflection and introspection.Hopefully by this dance artworks, the public and the audience can see and understand to do not judge the book from the cover, do not judge someone by the physical looking, but look at their heart, as is illustrated by the figure of Gareng. 

The Public Secret

2017 ◽  
Author(s):  
Robert Eaglestone
Keyword(s):  
Subjective Experience ◽  
Third Reich ◽  
The Public ◽  
The Third ◽  
The Past ◽  
The Holocaust ◽  
The Third Reich ◽  
The Way

The knowledge of the murder of the European Jews was a public secret in the Third Reich. What is a ‘public secret’? How does it shape or reshape a society? The answers to these questions are key to understanding the Holocaust and other genocides. However, the public secret is elusive because of its nature: when it is at its most powerful, it cannot be explicitly discussed; when it no longer holds such power, people deny their knowledge of it and complicity in its concealment. Both the ‘subjective experience’ of the public secret and its wider meaning are beyond the limits of the discipline of history and are better elucidated obliquely through a work of fiction: in this case Kazuo Ishiguro’s Never Let Me Go, a novel which reflects on the past in the way historians cannot. Significantly, the public secret and the consequences of complicity are important concepts for understanding the post-Holocaust world.

scholarly journals THEQVINQVATRVSOF JUNE, MARSYAS ANDLIBERTASIN THE LATE ROMAN REPUBLIC

2018 ◽  
Vol 68 (1) ◽  
pp. 143-159 ◽  
Author(s):  
Pedro López Barja De Quiroga
Keyword(s):  
Roman Republic ◽  
The Public ◽  
The Third ◽  
Republican Rome ◽  
Multiple Meanings ◽  
New Interpretation ◽  
Pass Through ◽  
The Way ◽  
Late Roman

Masked revelry, the quaffing of large amounts of wine and the sound of flutes … this cavalcade would pass through the streets of Rome every 13th June, even crossing the forum itself. As we will show later on, a connection can be established between this celebration (theQuinquatrus minusculae) and the statue of Marsyas, the acolyte of Dionysus, which stood in the forum and was associated with freedom, wine and charivari. In turn, this connection will open the way for a new interpretation of the multiple meanings of the feast and the satyr in the highly charged political atmosphere of Late Republican Rome. The main aim of this study will be to show, in the third part of this article, howpopularespoliticians tried to exploit the opportunities presented to them by religious festivities andludito draw more of the public into theircontionesor to obtain a favourable verdict in a political trial.

scholarly journals A tríade influenciadora dos espaços residuais: duas perspectivas

Revista Prumo ◽  
2020 ◽  
Vol 5 (8) ◽  
pp. 144-151
Author(s):  
Karina Martins de Souza
Keyword(s):  
Public Authorities ◽  
The Public ◽  
The Third ◽  
Residual Space ◽  
Relationship Of ◽  
The Relationship ◽  
The Way

This paper deals with the relationship between urban residual spaces and fragmentation urbanism, through the triad: functionality, visibility and technical density. Given that the functionality and the urban visibility present in the triad are inherent to the concept of residual space, the third item — technical density — can be considered as a booster of these spaces. This study also considers the possibility of functionality, visibility and technical density being applied by the public authorities, as actions that work the residual spaces and the fragmentation urbanism. This paper does not gleam to generate assertive responses to the relationship of the triad as something positive or negative for residual spaces. Instead, it intends to open the way for the discussion about this topic in the academic and professional spheres.

scholarly journals Applied Ethnomusicology and Empowerment Strategies: Views from across the Atlantic

2008 ◽  
Vol 44 (1) ◽  
pp. 85-99 ◽  
Author(s):  
Svanibor Pettan
Keyword(s):  
Public Sector ◽  
Ethnic Groups ◽  
Study Group ◽  
Academic Goals ◽  
The Public ◽  
The Third ◽  
Applied Ethnomusicology ◽  
Historical Developments ◽  
The Way

The article consists of three parts. The first part presents an outline of the historical developments of applied ethnomusicology in Europe and USA, from the public sector activities of comparative musicologists in the early 20th c. all the way to the announcement of the first conference of newly-established ICTM’s study group in Ljubljana in 2008. The second part is dedicated to the issues of definition and classification of approaches. The third part features five categories of subjects (minorities, diasporas, ethnic groups, immigrants, refugees) and based on selected examples from the territories of what was Yugoslavia presents ethnomusicological interventions that exceed the obvious academic goals of broadening and deepening of scholarly knowledge. 

scholarly journals CINIZMAS IR NIHILIZMAS

2012 ◽  
Vol 10 ◽  
pp. 22-31
Author(s):  
Mintautas Gutauskas
Keyword(s):  
Public Discourse ◽  
Reflective Thinking ◽  
Self Reflection ◽  
The Public ◽  
The Way

Straipsnyje cinizmas ir nihilizmas yra lyginami jų ontologinių nuostatų aspektu. Fiksuojama, kad cinizmas ir nihilizmas viešumoje dažnai yra sutapatinami dalykai. Pripažįstama, kad santykyje su morale ir vertybėmis jie yra panašūs, jiems abiem yra būdingas neigimas ir demaskavimas. Tačiau toliau įrodinėjama, kad ontologinių nuostatų aspektu jie skiriasi: cinizmo pagrindas yra ciniškasis realizmas, kuris steigiasi tiesos ir nuogos tiesos perspektyvoje, o nihilizmas yra toks mąstymas, kuris panaikina realizmo galimybę, iliuzijos ir tikrovės skirtumą. Taip pat abu yra lyginami refleksyvumo aspektu – nihilizmas parodomas kaip refleksyvus mąstymas, o cinizmas kaip „praktinis“ savęs nereflektuojantis požiūris. Galiausiai parodoma, kad tiek nihilizmo, tiek cinizmo „tiesa“ yra performatyvi, tik skirtingai steigiasi demaskavimo būdu.Pagrindiniai žodžiai: cinizmas, nihilizmas, realizmas, Nietzsche. CYNICISM AND NIHILISMMintautas Gutauskas SummaryThis article compares cynicism and nihilism, based on their ontological premises. One can notice that they are frequently considered as identical in the public discourse; indeed, they seem similar due to their relationship with morality and values; they both exercise negation and unmasking. However, it can be proven that they differ in terms of their ontological premises: while cynicism is based on the cynical realism, which is constituted in the perspective of the naked truth, nihilism is a form of thinking, which annihilates the possibility of realism itself and extinguishes the distinction between reality and illusion. Both of them are also compared from the aspect of reflexivity: nihilism is shown as a reflective thinking, while cynicism turns out to be a “practical” thinking without self-reflection. Finally, it is shown that although the truth of both nihilism and cynicism is enrooted in performativity, it is constituted differently by the way of unmasking.Keywords: cynicism, nihilism, realism, Nietzsche.

How can one make labour history interesting again?

2001 ◽  
Vol 9 (2) ◽  
pp. 201-212 ◽  
Author(s):  
JÜRGEN KOCKA
Keyword(s):  
Social History ◽  
19Th Century ◽  
Present Situation ◽  
Modern History ◽  
High Productivity ◽  
The Public ◽  
The Third ◽  
History Of ◽  
Labour History ◽  
The Way

First, this paper sketches the development of labour history as a historical subdiscipline up to the 1970s and 1980s when it became a booming field, an area of great excitement and high productivity. Why this should have been the case is an interesting question to ask in hindsight. Secondly, I discuss certain trends in the last 10–15 years that are related to a decline in this field, not in terms of sophistication, but certainly with regard to the field's popularity among historians, students and the public. Dealing with this rather dramatic change might tell us something about the way my discipline – modern history with a stress on social history – works, where it gets its vitality from, its conjunctures and fashions. Thirdly, I present some personal ideas about how one could, and perhaps should, deal with the present situation, its problems and its opportunities. I am presently working on the third volume of a history of labour in 19th century Germany – a project to which I have returned after many years. Some of the general problems I have encountered in this project will also be dealt with, indirectly, in this paper.

scholarly journals 'Digital Lifestyle': Idea and Creation of Public Statue in the 'Publikart' Project in Iskandar Puteri, Johor Baharu, Johor

2019 ◽  
Vol 4 (1) ◽  
pp. 3-12
Author(s):  
Aznan Omar ◽  
◽  
Junidsyazji Basharuddin ◽  
Keyword(s):  
Cultural Identity ◽  
Public Art ◽  
Joint Venture ◽  
Local Community ◽  
Construction Project ◽  
Public Spaces ◽  
Self Reflection ◽  
The Public ◽  
Studio Practice ◽  
The Way

'PublikART' is a public statue construction project carried out in Iskandar Puteri, Johor Baharu, Johor. This project was held in conjunction with Iskandar Malaysia's tenth anniversary. The objective of this project is to create an art space that is part of the way people experience the public spaces and express their Malaysian cultural identity, especially in Johor Baharu. This project involves the method of investigating the art of studio practice. It refers to Critical Self-Reflection approach and the collaboration between the statue artists and a group of project organisers such as Khazanah Nasional Berhad (KNB), UEM Land Berhad (UEML) and Creative Direction & Lead Consultant (labDNA). The main objective is that Publikart can help create better sites by making them unique and interesting. Public art indirectly involves the appreciation of the local community to attract interest and tell local stories about the place and become a joint venture to establish the spirit of brotherhood (ukhuwah) among new residents. Public Art also helps to liven up public spaces by becoming a foundation that can create spaces for interaction and social gatherings. The current phenomenon, namely the 'Digital Lifestyle', became the theme in the process of making this Public Statue.

scholarly journals ‘NARRATIVE ABOUT THE AUTHOR’ AND THE PROBLEM OF WRITERS’ SELF-IDENTIFICATION IN MODERN LITERARY PROCESS

2021 ◽  
Vol 13 (1) ◽  
pp. 109-118
Author(s):  
Elena A. Selyutina ◽  
Keyword(s):  
Second Order ◽  
Creative Work ◽  
Direct Speech ◽  
Self Reflection ◽  
The Public ◽  
Different Types ◽  
Literary Process ◽  
Contemporary Writers ◽  
Narrative Framework ◽  
The Way

The research is devoted to the analysis of the ‘narrative about the author’ in interviews with contemporary writers. Modern literary process is characterized by reconfiguration and reevaluation of the writerreader- text system. The author’s persona, their direct speech intended for different types of readership are coming to the fore. In interviews, a special ‘narrative about the author’ (self-identification as a writer) is formed. The author of the article comes to a conclusion that writers are faced with the necessity of public self-reflection, self-commenting, i. e. creation of a metatext – a second-order text about one's own creative work; they become self-interpreters, gaining the ability to influence the reader's perception vectors, while shifting from the sphere of the sacred to the sphere of consumption. Text as a communication act ceases to be alienated from the author (the author-text-reader relationship becomes horizontal), the reader perceives the work through the model of personality that the writer has presented to the public. It is necessary to study the author's narrative of self-representation as a system of voluntary or repressive conventions adopted by the author (narrative framework), restrictions imposed by the author on themselves, and ways of their representation, taking into account the problem of verification of this self-representation. The way the ‘narrative about the author’ is arranged is determined by many factors; the description of those can serve as an illustration of the dynamics of modern writers’ views on the essence of literary creativity and the mission of the writer in the time of literary centrality coming to collapse. The study of the ‘narrative about the author’ is relevant in the context of understanding the complexity of determining the main artistic trends of the present time. The research is based on the material of interviews with the writer E. Vodolazkin devoted to his novel Lavr.

scholarly journals The Culture of Philosophy Withering Away On the Basis of Hungarian Philosophical Experiences

2021 ◽  
Vol 3 (1) ◽  
pp. p27
Author(s):  
Sándor Karikó
Keyword(s):  
Intellectual Property ◽  
Critical Point ◽  
Public Awareness ◽  
Abstract Thinking ◽  
Human Being ◽  
The Public ◽  
The Third ◽  
Current State ◽  
Being There ◽  
The Way

Philosophy is for itself, in other words, it is an activity for itself by itself. It is one of the most precious intellectual treasures and pleasures of a human being. There are many symptoms which show that abstract thinking has lost its former glory, its glorious position in society. Unfortunately, the culture of philosophy has become a degraded intellectual phenomenon, and this short study analyses the reasons for its diminished value. It would like to stress there reasons: the first is: the practicable principle and interest as the age symptom. The second is: when the politics intervenes in the philosophy of the function (but we know that act of the way of thought is other as the movement of politics. The third is: the responsibility or irresponsibility of the philosophers. This study remarks some critical point of views in connection of there reasons. In conclusion, I claim that the current state of philosophy is the business of everybody; philosophy is a common intellectual property for all of us. In contrast to the public awareness, it is not an “aristocratic genre” but a “plebeian” one.

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