scholarly journals Posisi dan Pencapaian Wisran Hadi dalam Arena Sastra Indonesia

2021 ◽  
Vol 19 (2) ◽  
pp. 137
Author(s):  
Lastry Monika
Keyword(s):  
Social Reality ◽  
Symbolic Capital ◽  
Artistic Practice ◽  
Community Group

Wisran Hadi is known as a man of letters and an expert in culture who has produced works in various genres. During his career, the works he produced not only received a number of awards, but also caused controversy from his own community group in the Minangkabau. In this regard, this research tries to examine the position and achievements of Wisran Hadi in the arena of Indonesian literature. The discussion includes the efforts made by the author to achieve a position, to operate in the literary arena, and to maintain his position. Based on Pierre Bourdieu's theory of genetic structuralism, the results of the analysis show the following. First, the position of the literary arena occupied by Wisran Hadi is dominantly on the principle of an autonomous hierarchy, so that it tends to contradict the laws that apply in the arena of power The structure of the literary arena is a limited production arena. Second, the achievement of positions based on habitus, artistic practice, the acquisition and exchange of symbolic capital, the acquisition of awards, and the survival of the Bumi Teater group. Third, practices and strategies in maintaining position are by producing works in various genres, prioritizing exploration of words and languages, and elaborating classic works such as kaba, tambo, and history. In addition, the work is positioned based on various elements such as habitus, the structure of the arena occupied, the position in the arena, to the situation and conditions of social reality that are the source and target of the work.

scholarly journals Umjetnost u službi generiranja viška vrijednosti – o umjetničkom djelu kao (specifičnom) obliku kapitala

2019 ◽  
pp. 144-158
Author(s):  
Igor Loinjak
Keyword(s):  
Field Theory ◽  
Symbolic Capital ◽  
Scientific Field ◽  
Artistic Practice ◽  
Surplus Value ◽  
Human Labour ◽  
Different Types ◽  
Productive Labour ◽  
1960S And 1970S ◽  
The Right

According to one of Marx’s classifications, human labour can be divided into productive and unproductive: productive labour produces and accumulates surplus value, while unproductive does not. In his analysis of the field theory, Pierre Bourdieu implied that, by its very existence, a work of art possesses value that generates the accumulation of capital on the market. In this sense, an artistic artefact is considered to be the result of productive labour. Bourdieu writes that, in the intellectual (artistic, scientific) field, priority is given to the symbolic capital, which can be converted into the economic one at any time. Although it is derived from Marx’s theses, Bourdieu’s concept of capital is not consistently based on the Marxist idea of the exploitation of surplus value. However, the French sociologist admits that all capital is essentially based on the economic one, because all other types of capital can be converted into the economic one, which brings Bourdieu’s theory back into the framework of Marxist economism. Fields are arenas in which participants clash over different types of capital, but they are also spaces of struggle for legitimacy and the right to monopolise. On the basis of insights into the relationships of gallerists, curators and critics with the work of artists belonging to the new artistic practice in Croatia in the late 1960s and 1970s, this article will examine the extent to which Marx’s theses on productive and unproductive labour correlate to Bourdieu’s concept of the artistic field and its capital, and how artistic products of the new artistic practice can justify their existence as products of productive labour.

Social representations of human rights violations: Further evidence

2001 ◽  
Vol 60 (2) ◽  
pp. 89-98 ◽  
Author(s):  
Alain Clémence ◽  
Thierry Devos ◽  
Willem Doise
Keyword(s):  
Cluster Analysis ◽  
Human Rights ◽  
Costa Rica ◽  
Young People ◽  
Social Representations ◽  
Social Reality ◽  
Questionnaire Study ◽  
Human Rights Violations ◽  
High Tolerance ◽  
Individual Actions

Social representations of human rights violations were investigated in a questionnaire study conducted in five countries (Costa Rica, France, Italy, Romania, and Switzerland) (N = 1239 young people). We were able to show that respondents organize their understanding of human rights violations in similar ways across nations. At the same time, systematic variations characterized opinions about human rights violations, and the structure of these variations was similar across national contexts. Differences in definitions of human rights violations were identified by a cluster analysis. A broader definition was related to critical attitudes toward governmental and institutional abuses of power, whereas a more restricted definition was rooted in a fatalistic conception of social reality, approval of social regulations, and greater tolerance for institutional infringements of privacy. An atypical definition was anchored either in a strong rejection of social regulations or in a strong condemnation of immoral individual actions linked with a high tolerance for governmental interference. These findings support the idea that contrasting definitions of human rights coexist and that these definitions are underpinned by a set of beliefs regarding the relationships between individuals and institutions.

Portuguese Sardines - from the ritual to the brand

2017 ◽  
Vol 5 (2) ◽  
pp. 109-120
Author(s):  
Cecília Avelino Barbosa
Keyword(s):  
Social Construction ◽  
Place Branding ◽  
Symbolic Capital ◽  
City Council ◽  
Point Of View ◽  
City Branding ◽  
The Past ◽  
Behavioral Expression ◽  
The City ◽  
City Identity

Place branding is a network of associations in the consumer’s mind, based on the visual, verbal, and behavioral expression of a place. Food can be an important tool to summarize it as it is part of the culture of a city and its symbolic capital. Food is imaginary, a ritual and a social construction. This paper aims to explore a ritual that has turned into one of the brands of Lisbon in the past few years. The fresh sardines barbecued out of doors, during Saint Anthony’s festival, has become a symbol that can be found on t-shirts, magnets and all kinds of souvenirs. Over the year, tourists can buy sardine shaped objects in very cheap stores to luxurious shops. There is even a whole boutique dedicated to the fish: “The Fantastic World of Portuguese Sardines” and an annual competition promoted by the city council to choose the five most emblematic designs of sardines. In order to analyze the Sardine phenomenon from a city branding point of view, the objective of this paper is to comprehend what associations are made by foreigners when they are outside of Lisbon. As a methodological procedure five design sardines, were used of last year to questioning to which city they relate them in interviews carried in Madrid, Lyon, Rome and London. Upon completion of the analysis, the results of the city branding strategy adopted by the city council to promote the sardines as the official symbol of Lisbon is seen as a Folkmarketing action. The effects are positive, but still quite local. On the other hand, significant participation of the Lisbon´s dwellers in the Sardine Contest was observed, which seems to be a good way to promote the city identity and pride in their best ambassador: the citizens.

Screen Presence

2016 ◽  
Author(s):  
Stephen Monteiro
Keyword(s):  
Contemporary Art ◽  
Social Contexts ◽  
Popular Media ◽  
Andy Warhol ◽  
Film Culture ◽  
Artistic Practice ◽  
Popular Film ◽  
Robert Rauschenberg ◽  
Mona Hatoum ◽  
Source Materials

Cinema plays a major role in contemporary art, yet the deeper influence of its diverse historical forms on artistic practice has received little attention. Working from a media and cultural studies perspective, Screen Presence explores the intersections of film, popular media, and art since the 1950s through the examples of four pivotal figures – Andy Warhol, Robert Rauschenberg, Mona Hatoum and Douglas Gordon. While their film-related works may appear primarily as challenges to conventional cinema, these artists draw on overlooked forms of popular film culture that have been commonplace, and even dominant, in specific social contexts. Through analysis of a range of examples and source materials, Stephen Monteiro demonstrates the dependence of contemporary artists on cinema’s shifting applications and interpretations, offering a fresh understanding of the enduring impact of everyday media on how we make and view art.

Screening Statues

2017 ◽  
Author(s):  
Steven Jacobs ◽  
Susan Felleman ◽  
Vito Adriaensens ◽  
Lisa Colpaert
Keyword(s):  
Contemporary Art ◽  
Three Dimensional ◽  
Interdisciplinary Approach ◽  
Film History ◽  
Two Dimensional ◽  
Artistic Practice ◽  
Experimental Art ◽  
Broad Scope ◽  
Art Practices ◽  
Extensive Reference

Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.

‘A disoriented vision of … fact’: Brian Friel, Francis Bacon, and Faith Healer

2020 ◽  
Vol 50 (2) ◽  
pp. 319-336
Author(s):  
Zosia Kuczyńska
Keyword(s):  
Creative Process ◽  
Francis Bacon ◽  
Major Influence ◽  
Artistic Practice ◽  
Archival Research ◽  
Faith Healer ◽  
Brian Friel ◽  
History Of ◽  
Composition Process

The Brian Friel Papers at the NLI reveal a long and relatively unexplored history of major and minor influences on Friel's plays. As the archive attests, these influences manifest themselves in ways that range from the superficial to the deeply structural. In this article, I draw on original archival research into the composition process of Friel's genre-defining play Faith Healer (1979) to bring to light a model of influence that operates at the level of artistic practice. Specifically, I examine the extent to which Friel's officially unacknowledged encounter with a book of interviews with painter Francis Bacon influenced the play in terms of character, language, and form. I suggest that Bacon's creative process – incorporating his ideas on the role of the artist, the workings of chance, and the extent to which art does violence to fact – may have had a major influence on both the play's development and on Friel's development as an artist.

Sign in / Sign up

Export Citation Format

Share Document