scholarly journals Women Aesthetics in Pundi Bank Advertisement from Cultural Studies Perspective

2018 ◽  
Vol 33 (3) ◽  
pp. 324
Author(s):  
Anak Agung Gde Bagus Udayana
Keyword(s):  
Cultural Studies ◽  
Visual Communication ◽  
Social Reality ◽  
Contemporary Society ◽  
Female Image ◽  
The Aesthetic ◽  
Asymmetrical Balance ◽  
Interpretation Method

Women aesthetics that are visualized in the billboard advertisement of Pundi Bank is a strategic activity to persuade consumer or society. This is intended to see the picture of female aesthetics and its significance in contemporary society through the billboard advertisement of Pundi Bank by identifying the signs contained. The method that is used in this study is semiotics. Semiotics is essentially a qualitative interpretative (interpretation) method that focuses on sign and text as a study object as well as on how researchers interpret and understand the code (decoding) of the sign and the text. This study gives the aesthetic female image presented in the ad message it appears to be of the election of the visual communication element, It’s like photographic illustration, text, and color. The elements are arranged in such a harmony with the use of asymmetrical balance, making it look more attractive with a protrusion on the photographic illustration. The meaning that is delivered by Pundi Bank from this advertisement is a reflection of women’s lifestyle reality in contemporary society. Furthermore, this advertisement is formed by many icons in which it can be interpreted as a symbol of contemporary woman. Besides that, Pundi Bank advertisement also has a construction of social reality which can be seen as denotative and connotative meaning.Estetika perempuan yang divisuliasasikan dalam iklan billboard bank Pundi merupakan kegiatan yang strategis untuk mampu mempersuasif masyarakat konsumen. Tujuannya agar gambaran tentang estetika perempuan dan makna perempuan dalam masyarakat kontemporer yang ditampilkan oleh bank Pundi melalui iklan billboardnya dengan cara mengidenfikasi tanda-tanda yang terdapat dalam iklan tersebut. Penelitian ini menggunakan metode semiotika. Metode semiotika pada dasarnya bersifat kualitatif interpretatif (interpretation), yaitu sebuah metode yang memfokuskan pada tanda dan teks sebagai objek kajiannya, serta bagaimana peneliti menafsirkan dan memahami kode (decoding) dibalik tanda dan teks tersebut. Hasil penelitian ini memberikan gambaran estetika perempuan dihadirkan dalam pesan iklan itu tampak dari pemilihan unsur-unsur komunikasi visualnya, seperti ilustrasi fotografi, teks, dan warnanya. Unsur-unsur tersebut ditata sedemikian rupa secara harmonis dengan menggunakan keseimbangan asimetris, menjadikannya nampak lebih menarik dengan penonjolan pada ilustrasi fotografinya. Makna yang diciptkan iklan bank Pundi merupakan cerminan realita gaya hidup perempuan pada masyarakat kontemporer. Iklan bank Pundi juga banyak terbentuk oleh ikon-ikon yang dapat dimaknai sebagai simbul perempuan kekinian. Iklan bank Pundi juga memiliki konstruksi realitas sosial yang dapat dimaknai sebagai makna Denotatif dan Konotatif.

Fracturismul în câmpul literar românesc

Transilvania ◽  
2021 ◽  
pp. 1-18
Author(s):  
Mihnea Bâlici
Keyword(s):  
Social Reality ◽  
Literary Field ◽  
Cultural Expression ◽  
Literary Expression ◽  
History Of ◽  
A Priority ◽  
The Aesthetic ◽  
Revolutionary History ◽  
Contemporary Author

Fracturism proved to be the “spearhead” of the 2000 generation. The first and by far the most radical literary group formed after 1989, this promotion became the cultural expression of a difficult context in the post-revolutionary history of Romania. The aim of this study is to analyze the origin, the function and the effects of the Fracturist ideas proposed by Marius Ianuș and Dumitru Crudu in 1998. Most literary interpretations failed to capture the specificity of this promotion. This is due to the fact that the aesthetic program was never a priority for the Fracturists. It can be emphasized that Fracturism appeared in a specific set of historical, political, social, institutional and cultural circumstances. The present analysis aims to clarify the complex links between the difficult post-communist transition, the crisis of the Romanian literary field and the ostentatious literary expression of the new authors. In this regard, a certain performative dimension of fracturism can be theorized: the poets and prose writers of the new millennium will militate against a distressing social reality by changing the very role of the contemporary author.

A comparative Study of Chinese Traditional Folk Paper-cut Art Desigh and Modern Graphic Design Based on Visual Communication

2021 ◽  
Vol 7 (5) ◽  
pp. 1028-1035
Author(s):  
Jiaxia Cheng
Keyword(s):  
Graphic Design ◽  
Visual Communication ◽  
Folk Art ◽  
Visual Communication Design ◽  
Design Concepts ◽  
Chinese Nation ◽  
The Rich ◽  
The Times ◽  
The Aesthetic ◽  
National Style

Paper-cut, as a traditional folk art, has become a treasure of Chinese folk art in its long history of development. Paper-cut gives people artistic enjoyment visually with its unique creative techniques, full composition and vivid and interesting patterns. Methods: Traditional folk paper-cut art records the folk customs of the Chinese nation and embodies the temperament and national style of the Chinese nation. Its unique way of thinking and expression provide unique creative ideas and rich visual art resources for modern graphic design. Chinese folk paper-cut is an organic combination of decoration and practicality. Results: It can not only show the rich and colorful folk life, but also meet the aesthetic needs of a variety of situations. How to combine rich traditional culture and art with graphic design concepts and the spirit of the times to design works with national style, so as to better integrate folk paper-cut art with graphic design, is the pursuit of graphic designers. Conclusion: Based on visual communication design, this paper discusses the comparison and integration between traditional Chinese folk paper-cut art design and modern graphic design.

Dance, Politics & Co-Immunity

2015 ◽  
Vol 47 (3) ◽  
pp. 106-109 ◽  
Author(s):  
Jens Richard Giersdorf
Keyword(s):  
Cultural Studies ◽  
Judith Butler ◽  
The Political ◽  
Dance Studies ◽  
Community Dance ◽  
Theatre Studies ◽  
And Performance ◽  
The Aesthetic ◽  
Relationship Of ◽  
The Relationship

Dance, Politics & Co-Immunity developed out of a symposium organized by the Master in Choreography and Performance at the Justus-Liebig-University Giessen, Germany, which was held with a joint symposium Thinking—Resisting—Reading the Political organized by the Graduate Center for the Study of Culture at the same university in 2010. Whereas the cultural studies symposium asked, “What specific perspectives and methodological consequences arise for the study of culture that are informed by recent deliberations on the relationship of the political and the aesthetic?” (2010), the dance symposium invited participants and contributors to the anthology “to think about the multiple connections between politics, community, dance, and globalization from the perspective of Dance and Theatre Studies, History, Philosophy, and Sociology” (13). As indicated by the title of the cultural studies symposium and some of the key speakers, including Jacques Rancière, Chantal Mouffe, and Judith Butler, the term political is not used as broadly as it might be used in U.S.-based dance studies discourse. Rather, the political is predominantly investigated by both symposia for its resistive potential and from a liberal or post-Marxist stance.

Poetry at Stake: Blaise Cendrars, Cultural Studies, and the Future of Poetry in the Literature Classroom

PMLA ◽  
1997 ◽  
Vol 112 (1) ◽  
pp. 40-55 ◽  
Author(s):  
Carrie Noland
Keyword(s):  
Cultural Studies ◽  
Textual Analysis ◽  
Symbolic Capital ◽  
Cultural Construction ◽  
Blaise Cendrars ◽  
Close Textual Analysis ◽  
The Aesthetic ◽  
Poetic Texts ◽  
Institutional Boundaries ◽  
Institutional Construction

Cultural studies has tended to neglect poetic texts, but poetry is in fact well suited to provoke classroom debates concerning the cultural construction of the aesthetic object, as Blaise Cendrars's Dix-neuf poèmes élastiques (Nineteen Elastic Poems) confirms. Bakhtin's notion of the heteroglossic helps to demonstrate that Cendrars's poems are also “rejoinders” in a dialogue with their institutional other: advertising. But Cendrars does not merely claim advertising as poetic material; he identifies poetry as a form of advertisement. Cendrars suggests that the symbolic capital of poetry cannot exist unless the poem brings attention to itself by means of a practice that it posits, paradoxically, as its other. However, the fact that poetry is constructed by advertising its difference does not make poetry equivalent to advertising. Cultural studies reveals the institutional construction of poetry, but only close textual analysis can highlight the semiotic distinctions between poetry and advertising that institutional boundaries engender.

scholarly journals ESBOÇO CRÍTICO DA PRODUÇÃO ARTÍSTICA COMO REALIDADE SOCIAL: CONVERGÊNCIAS E DIVERGÊNCIAS ENTRE PIERRE BOURDIEU E GILLES LIPOVETSKY E JEAN SERROY

2018 ◽  
Vol 7 (2) ◽  
pp. 52
Author(s):  
Antônio Micael Pontes da Silva ◽  
Elcimar Simão Martins ◽  
Antônio Ailton de Sousa Lima
Keyword(s):  
Pierre Bourdieu ◽  
Social Reality ◽  
Modern Society ◽  
Review Of Literature ◽  
Artistic Production ◽  
Goods Market ◽  
The Aesthetic ◽  
Poetic Value ◽  
Consumption Strategies ◽  
And Diffusion

Este artigo é um convite crítico e reflexivo sobre a produção artística como realidade social a partir das obras de Pierre Bourdieu em A Economia das Trocas Simbólicas (2005) e Gilles Lipovetsky e Jean Serroy em A Estetização do Mundo (2015). A metodologia apresentada é de revisão de literatura pautada numa análise hermenêutica problematizadora das obras citadas, destacamos em Bourdieu: a) o campo das instâncias de consagração e difusão da arte e b) o mercado de bens simbólicos como sistema de produção, consumo e mercantilização da arte. E em Lipovetsky e Serroy: a compreensão da arte sobre a lógica de uma economia mercantil que é um processo de artealização capitalista da economia e de estetização da vida cotidiana, resultando num capitalismo transestético. Concluímos que as transformações acerca da estrutura do campo de produção artística como realidade social estão inteiramente ligadas aos interesses do mercado, sempre adotando novas estratégias de consumo sobre quem/como deve consumir e produzir; e de definições sobre o que é arte perante as dinâmicas capitalísticas da sociedade moderna. Todo o valor estético e poético da arte é dilacerado e transfigurado em produto que deve tão somente seduzir e vender gostos, desejos, emoções, sensações e sonhos. CRITICAL OUTLINE OF ARTISTIC PRODUCTION AS A SOCIAL REALITY: CONVERGENCES AND DIVERGENCES BETWEEN PIERRE BOURDIEU AND GILLES LIPOVETSKY AND JEAN SERROY ABSTRACT This article is a critical and reflexive invitation on artistic production as a social reality from the works of Pierre Bourdieu in The Economics of Symbolic Exchanges (2005) and Gilles Lipovetsky and Jean Serroy in The Estetization of the World (2015). The methodology presented is a review of literature based on a problematic hermeneutical analysis of the works cited, we highlight in Bourdieu: a) the field of the consecration and diffusion of art and b) the symbolic goods market as a system of production, consumption and commodification of art. And in Lipovetsky and Serroy: the understanding of art on the logic of a mercantile economy, which is a process of capitalist artalization of economy and aestheticization of everyday life, resulting in a transaesthetic capitalism. We conclude that the transformations about the structure of the field of artistic production as a social reality are entirely linked to the interests of the market, always adopting new consumption strategies on who / how to consume and produce; and of definitions about what is art before the capitalistic dynamics of modern society. All the aesthetic and poetic value of art is torn and transfigured into a product that must only seduce and sell tastes, desires, emotions, sensations and dreams.

scholarly journals Cognitive and Ethical Bases of Discourse and Discourse Analysis

2020 ◽  
pp. 23-25
Author(s):  
Anna Mikhailovna Oleshkova
Keyword(s):  
Discourse Analysis ◽  
Cultural Studies ◽  
Everyday Life ◽  
Political Theory ◽  
Social Relationships ◽  
Social Action ◽  
Social Reality ◽  
Social Constructionist ◽  
Complex Method ◽  
Mental Phenomenon

The definitions of discourse are varied, bearing both philosophical and philological features. Discourse is a means to establish social relationships as well as their result. Discourse analysis (including its varie-ties) presents new empirical opportunities for schol-ars, who are seeking understanding of social reality. Discourse analysis is a complex method that has a potential to be applied to various studies: sociology, political theory, philosophy, linguistics, cultural studies, history, etc. The capacity of discourse to constitute everyday life gives us an opportunity to interpret social reality, our experiences and mean-ings that are created within it. In social-constructionist epistemology the major role is given to these two perspectives: cognitive (where dis-course is viewed as a mental phenomenon, repre-sented in texts) and ethical (where discourse is viewed as a condition for social action). These are the aspects of understanding of discourse and the methods for its examination.

scholarly journals Estetisasi Jilbab Syar’i Jama’ah Salafi: Studi Kasus di Pondok Pesantren Imam Muslim Kota Kediri

2019 ◽  
Vol 3 (1) ◽  
pp. 65
Author(s):  
Prima Ayu Rizqi Mahanani ◽  
Irwan Abdullah ◽  
Ratna Noviani
Keyword(s):  
Research Method ◽  
Social Reality ◽  
Boarding School ◽  
Qualitative Approach ◽  
Point Of View ◽  
The Social ◽  
The Aesthetic ◽  
Depth Interviews ◽  
Participatory Observation

<p>Industry of fashion that get into the life of Salafi members makes shar'i hijab become aesthetics. Approximately 30% of Salafi women in Imam Muslim Islamic Boarding School Kediri have worn hijab shar’i as their preference. This article describes the aesthetic practices of shar’i hijab and the factors behind it. This study applies a qualitative approach using a case study as a research method in which it observes the social reality of shar’i hijab aesthetic practices among Salafi women at Imam Muslim Islamic Boarding School. The research analyzes the case and situation that occurred and also attempts to understand the informants’ point of view. Through literature studies, participatory observation, and in-depth interviews, the study found that the informants have been wearing two different shar’i hijab; dark colors and bright colors. The informants also combine their "gamis" in terms of its pattern consisting of ornaments and accents in different colors. The informants also prefer to wear a unique and funny, in order to make them look flexible, younger and up to date.</p>

scholarly journals A visual-acoustic duet of painting and music in medieval aesthetics

2021 ◽  
Vol 266 ◽  
pp. 05006
Author(s):  
D.V. Gladkova ◽  
D.Yu. Dorofeyev
Keyword(s):  
Cultural Studies ◽  
Middle Ages ◽  
Art History ◽  
Western Europe ◽  
Visual Anthropology ◽  
Symbolic Forms ◽  
Cultural Foundations ◽  
Interdisciplinary Nature ◽  
The Aesthetic ◽  
Relationship Of

The purpose of this work is to study the visual and acoustic relationship of painting and music in the Middle Ages. When writing the article the authors focused on modern sources and used such important for the socio-humanitarian sciences methods of research as comparative, phenomenological, semiotic, art history, cultural studies and visual anthropology, which determined the interdisciplinary nature of the study, which focuses of the aesthetic specificity of the perception of the phenomenal image. The significance of the study lies in the fact that the results obtained allow to better understand the cultural foundations of the non-verbal way of perception, the peculiarities of medieval culture and aesthetics of Western Europe and its semiotic and symbolic forms, primarily in the perspective of the interaction of painting and music in the sacred and everyday spaces of the existence of medieval man.

scholarly journals Eternal Middle Ages: Time Models in Modern Mass Culture

2015 ◽  
pp. 38-43
Author(s):  
A. I. Pozharov
Keyword(s):  
Cultural Studies ◽  
Middle Ages ◽  
Mass Culture ◽  
Contemporary Society ◽  
Cultural Artifacts ◽  
Modern Mass ◽  
The Middle Ages

Eternal Middle Ages: Time Models in Modern Mass Culture (by Aleksey Pozharov). Nowadays in the works of mass culture, a remarkable interest in the Middle Ages is noticed. According to many cultural studies, it is not so much the historical Middle Ages reflected in the cultural artifacts as it is the contemporary society set in medieval surroundings. What images and ideas does the modern mass culture deliver? In order to deal with this issue, it’s necessary to consider one of the fundamental concerns of civilization: which model of time is relevant to the contemporary cultural artifacts.

scholarly journals Mitos Kecantikan (Ketegangan Citra Perempuan di Bawah Budaya Televisi)

2019 ◽  
Vol 3 (1) ◽  
pp. 13
Author(s):  
Mardian Sulistyati
Keyword(s):  
Identity Management ◽  
Management Theory ◽  
Cultural Conflict ◽  
Open Spaces ◽  
Television Industry ◽  
Self Identity ◽  
Image Construction ◽  
Female Image ◽  
The Aesthetic

<p><em>The competition of the television industry in Indonesia creates open spaces for the image of women with the aesthetic standards they create.  Television now is no longer just a medium of entertainment but as an ideal female image construction. Beautiful rules are no longer focused on women-only programs but have penetrated the entertainment, religious, reportage, politics, sports, economy, and crime segments. This research is to answer the problem of women's image presented on television, the influence and response are generated; also, the strategies in managing their identity. Applicatively, this research applies the Identity Management Theory pioneered by William R. Cupach and Tadasu Todd Imahori. This theory is used to dismantle the process of identity formed, maintained, and changed in a relationship. This study found several keywords that formulated the concept of managing women's self-identity. These keywords are: force dead/stiff, cornered/alienated; dilemma; and unstable for the context of cultural conflict, and approach; adjustments; and rejuvenation for the completion phase.</em></p>

Sign in / Sign up

Export Citation Format

Share Document