scholarly journals Images of Women in Abhijnanashakuntalam as Role Model for Women Empowerment

Haimaprabha ◽  
2021 ◽  
Vol 20 ◽  
pp. 87-96
Author(s):  
Shyam Khanal
Keyword(s):  
Contemporary Art ◽  
Role Model ◽  
Social Issues ◽  
The Other ◽  
Female Character ◽  
Women Empowerment ◽  
Sanskrit Literature ◽  
Art And Literature ◽  
Great Poet ◽  
Images Of Women

This paper aims to oversee the forms and image of women in the play Abhijnanashakuntalam written by Kalidasa; a great poet in Sanskrit literature. It is found that most of his works represent two different aspects of woman, one in the form of the poetic and artistic depiction of woman and the other in the form of her status in the prevailing society. The women were able to inspire action and hero’s aspirations with her own nobility and deep human affection which is the typical image for female character and an endless source of inspiration for contemporary art and literature. Hence, the portrayal of women is with the outer and inner beauty in relation to social issues like religion, caste, marriage, sacrifice etc.

scholarly journals Feminist Criticism in Virginia Woolf’s To the Lighthouse and Ibrahim Ahmed’s Janî Gel

2021 ◽  
Vol 5 (4) ◽  
pp. 140-152
Author(s):  
Diyar Mohammed
Keyword(s):  
Women Characters ◽  
Feminist Criticism ◽  
Social Background ◽  
The Other ◽  
Female Character ◽  
Social Psychological ◽  
To The Lighthouse ◽  
English Society ◽  
The Many ◽  
Traditional Roles

This paper investigates the concepts of Feminism and Feminist Criticisms to identify their features in two novels; Virginia Woolf’s To the Lighthouse and Ibrahim Ahmed’s Janî Gel. The theoretical and historical backgrounds of Feminism and the other Feminist Criticisms are presented according to their importance. The paper then introduces the two novels by presenting their plot summary. This paper tries to answer how two prominent writers, one British and one Kurdish, discuss women issues. The author wants to investigate whether both writers’ cultural upbringing and social background affect the way they present women in their respective novels. Through quotations taken from the novels, one learns about the writers’ ideas regarding women’s issues; economic, social, psychological, and political. In conclusion, the present study argues that women’s experiences in English society and Kurdish society have many similarities; however, despite the many similarities, there lay differences regarding the attitudes of both writers towards women issues and representation. For instance, Wood presents an ideal female character to oppose women’s traditional roles in society in her novel. On the other hand, Ahmed paints vivid imagery of what women go through without solid women characters. Thus, this paper hopes to provide future students and researchers with helpful material on Feminism, Feminist Criticisms, and the analysis of both novels, especially the Kurdish one, since research is scarce on it.

scholarly journals Prophetic Leadership Mahasiswa

2020 ◽  
Vol 4 (2) ◽  
pp. 139-153
Author(s):  
Aliya Izzet ◽  
Tobroni Tobroni ◽  
Abdul Hari ◽  
Dina Mardiana
Keyword(s):  
Role Model ◽  
Case Study Research ◽  
The Other ◽  
Study Research ◽  
Strong Principle ◽  
National Leadership ◽  
Younger Generation ◽  
The University

The decline of national leadership integrity in recent years is something that we should underline and must be addressed. So that the younger generation does not follow a bad example from existing leaders. As a Muslim, we have an exemplary figure who is always a good role model in speaking, acting and holding a strong principle of life. He was the Prophet Muhammad who had great leadership and what we know as the term Prophetic Leadership.The aim of this study was to find out how the concept of prophetic leadership developed in P2KK and its implementation in forming student prophetic leadership at University of Muhammadiyah Malang. This research was conducted at the UPT. P2KK University of Muhammadiyah Malang in May to June 2019. The approach used is explorative case study research. From the results of the study it was found that there were several concepts of prophetic leadership developed in P2KK, including Aqidah (faith) that was strong, trustworthy and responsible, fair, firmness, noble character , deliberation and proactive. While the implementation is done through simulations, discussions and activities outside the other classes (outbound) which are indirectly able to form the prophetic leadership of the students of the University of Muhammadiyah Malang.

scholarly journals Power Relation In Memoirs Of Geisha And The Dancer

2014 ◽  
Vol 7 (2) ◽  
pp. 151
Author(s):  
Mundi Rahayu ◽  
Lia Emelda ◽  
Siti Aisyah
Keyword(s):  
Symbolic Capital ◽  
Power Relation ◽  
Economic Capital ◽  
The Other ◽  
Female Character ◽  
Other Hand ◽  
Close Interaction ◽  
And Performance

This article aims at comparing the ideas of power relation between themain female character and ―Mother‖ in Arthur Golden‘s Memoirs ofGeisha and Ahmad Tohari‘s The Dancer. These two novels share thesame main female character of traditional entertainers, as a Japanese geisha and a Javanese traditional dancer, respectively. As an entertainer in the traditional sphere, they are bounded with the other women and build close interaction as well as power relation with them who are called ―Mother‖ in the Geisha and ―ronggeng shaman‖ in The Dancer. Thepower relation between them are unique and dynamics. This is analyzed through Foucault‘s theory of power. The result of the analysis shows that the power relation is not stable, and the power practiced by each of them is influenced by the symbolic capital and economic capital they have. The negotiation and contestation come up between the actors in dailypractices as geisha and the mother, as the ―ronggeng‖ and the shaman. As the entertainers, the geisha and ―ronggeng‖ build and shape their body and performance to attract men. This geisha and ronggeng culture reproduce many other cultural product such as ―mizuage‖ in geisha, and ―bukak klambu‖ in ―ronggeng‖ both of which refer to the same thing, selling the woman‘s virginity to the highest bidder. In geisha it is used to benefit the Mother of Okiya and no rebellion of the geisha. On the other hand, Srintil does rebellious action in this ―bukak klambu‖ occasion. There seems to be different message from these two novels, The Dancer is much more questioning the norms covering the ―ronggeng‖ tradition while the Memoirs of Geisha tends to be accepting the geisha tradition as what it is.Keywords: Power Relation; Geisha ; Ronggeng ; Norms

scholarly journals Seen through his eyes: The representation of female characters in Béla Bartok's stage works

New Sound ◽  
2015 ◽  
pp. 39-54
Author(s):  
Mina Božanić
Keyword(s):  
Cultural Studies ◽  
Female Character ◽  
Gender Representation ◽  
Female Characters ◽  
Personal View ◽  
Specific Relationship ◽  
Images Of Women

The question of gender representation in Béla Bartok's (1881-1945) stage works is discussed through the prism of cultural studies, with reference to the intellectual, social and political atmosphere in which the composer shaped his ideas. In this sense, it is provocative to question how the stereotyped images of women influenced/merged with Bartok's personal view on women, or is it, maybe, possible that one intimate conception of female characters, reflected the composer's specific relationship toward women? The treatment of the female character will be shown through the analysis of the plot and key scenes in Bartok's stage work.

scholarly journals MANUSCRIPTS OF THE ISLAMIC LIBRARIES IN JERUSALEM

2021 ◽  
Vol 03 (07) ◽  
pp. 202-214
Author(s):  
Aziz AL-ASSA
Keyword(s):  
Scientific Paper ◽  
The Other ◽  
Dominant Language ◽  
Art And Literature ◽  
Private And Public ◽  
The City

This scientific paper aims at exploring Islamic manuscripts in the Jerusalem libraries. The researcher has reached to the conclusion that those manuscripts are distributed over seven libraries in the city , namely, those of Al-Aqsa mosque, Al-Khaldiya, Budairi, Uzbeki, Al-Quds university, Isaaf Nashashibi for culture, art and literature as well as the library of the Reviving Heritage and Islamic Research Foundation in Jerusalem (Mithaq). While three of these libraries are family-owned, the other four are public and belong to the charitable Waqf. These libraries currently contain seven thousand manuscripts of seventeen thousand ones priorly existed under the Ottoman rule. This paper seeks to probe reasons behind the disappearance of this large number of the manuscripts. However, the manuscripts existing in each library will be discussed in some detail and will be categorized by the century in which they were authored or transcribed, theme ( number of manuscripts tackling a certain theme and by language they are written in. It is worth mentioning that Arabic is the dominant language, albeit Turkish, Persian and Uzbek are also used. The paper concludes with some recommendations for the sake of preserving the remaining manuscripts via inciting both private and public relevant institutions to exert efforts in this regard.

Aarhus Town Hall and the ‘other’ environmental tradition

2014 ◽  
Vol 18 (3) ◽  
pp. 273-282
Author(s):  
Dean Hawkes
Keyword(s):  
The Other ◽  
Town Hall ◽  
Art And Literature ◽  
Art And Architecture

The first chapter of Nikolaus Pevsner's The Englishness of English Art is entitled ‘The Geography of Art’. In this he presents a reflection on the validity of geography as a means of interpreting art and architecture and in it he proposes that, ‘there is a whole string of facts from art and literature [that are] tentatively derived from climate’. The instrumental connection of architecture and climate is widely accepted in the literature of socalled ‘architectural science’. But the influence of geography and the specific conditions of climate may be shown to have a more fundamental influence on architecture than simple pragmatism.

Netta Barzilai as an Israeli Symbolic Goods

2020 ◽  
Vol 65 (2) ◽  
pp. 67-92
Author(s):  
Galia Katz
Keyword(s):  
Role Model ◽  
Pierre Bourdieu ◽  
Women Empowerment ◽  
The Public ◽  
Social Stereotypes ◽  
The World ◽  
Self Acceptance

"This paper discusses Pierre Bourdieu’s term symbolic goods (1930-2002) through an Israeli case study, Netta Barzilai. An Israeli performer and songwriter, winner of the Eurovision 2018 with the song “TOY” which became the anthem of the Me-Too movement. Netta as a symbolic good was packaged, marketed and distributed to the public, and the Netta phenomenon has spread throughout the world. Based on interviews with Netta, through listening to the songs and watching the clips that came after “TOY”, “Bassa Sababa” (2019), “Nana Banana” (2019) and “Ricki Lake” (2020), I examine how and if Netta continues to maintain her status as a symbolic good, as an example and role model for many, and whether she continues to convey her message - self-love and self-acceptance - through shattering cultural and social stereotypes. It seems that Netta’s next three songs introduced a powerful big size Netta but also a vengeful, vicious, narcissistic and lazy Netta. The fresh message she carried at the beginning was swallowed up in an ocean of shallow commercial images. A trend that led Netta’s fans to lose interest and Netta to reinvent herself in her latest song, “Cuckoo” (2020). Through sincerity, directness and cleanliness of her message, Netta like a bird in a cage seeks to break free from the evil loop in which she was imprisoned and not only love herself but also love others and let others love her. Keywords: symbolic goods; Netta Barzilai; Me-too movement; Pierre Bourdieu; Women empowerment "

Art Criticism in the Contracted Field1

2021 ◽  
Author(s):  
Matthew Bowman
Keyword(s):  
Contemporary Art ◽  
Knowledge Production ◽  
Art Criticism ◽  
The Other ◽  
Potential Contribution ◽  
Roundtable Discussion ◽  
Cultural Field ◽  
Intellectual Labor ◽  
Critical Discourses

Abstract Just over a decade-and-a-half ago, a roundtable discussion published in the pages of October worried that the periodic renewal of critical discourses had slowed to a standstill and that art criticism was faced with obsolescence. Such an obsolescence should be understood in a broadly Hegelian manner: the danger is not that art criticism would disappear from the cultural field, but that it will continue—although drained of its previous necessity. Such fears perhaps run the risk of exaggeration, yet this article shall suggest that there seems a sense in which the field of art criticism has contracted in recent years. Self-reflexivity in art and the popularization of “para-curatorial” approaches, for instance, often underpin the artwork discursively before the arrival of art criticism upon the scene. To be sure, such circumstances are viewable positively as interdisciplinary dialogical opportunities, but the negative flipside here is that art criticism’s potential contribution becomes increasingly minimized. From another angle, critics such as Isabelle Graw have contended that the economic-cultural regime of post-Fordism, with its attention on intellectual labor and knowledge production, might actually hold possibilities for the contemporary art critic—but even here, I argue, art criticism becomes contracted, albeit in the other meaning of the word.

Reflecții asupra conceptului de artă obiectivă în contextul artei contemporane

2020 ◽  
Vol 65 (1) ◽  
pp. 175-184
Author(s):  
Carmen Belean
Keyword(s):  
Contemporary Art ◽  
Arbitrary Element ◽  
Human Life ◽  
The Other ◽  
Future Generations ◽  
Literary Sources ◽  
Art Forms ◽  
Ancient Times ◽  
The Universe

"Reflections on the concept of objective art in the context of contemporary art. Objective art communicates about the human being and his/her place in the universe, about the cosmic laws and the role they play in human life and provide clues as to how man can relate to them. From literary sources attesting to the idea that art in its origin had the role of transmitting knowledge to future generations, we deduce that in ancient times all art forms could be read like a book, and those who knew how to read, fully understood the meaning of the knowledge that was incorporated in these art forms. Nevertheless, there are two forms of art, one very different from the other: objective art and subjective art. Everything that we call art today is subjective art. Objective art is the authentic work resulted from the deliberate, premeditated efforts of a conscious artist. In the act of his creation, the artist avoids or eliminates any subjective or arbitrary element and the impression that such a work evokes in others is always defined. Keywords: objective art, the art of antiquity, contemporary art "

Heide Circle

2018 ◽  
Author(s):  
Richard Haese
Keyword(s):  
Contemporary Art ◽  
Early Phase ◽  
Institutional Support ◽  
Second Phase ◽  
Avant Garde ◽  
Art Collectors ◽  
Art And Literature ◽  
Post War ◽  
New Generation

The group of avant-garde Australian artists and their supporters, now identified as the Heide Circle, evolved over three decades, from the pioneering modernism of the early 1930s through the post-war era of the mid-1960s. These Melbourne-based artists constituted the essential core of radical Australian modernism; the early phase including, most notably, Sidney Nolan, Albert Tucker, Arthur Boyd, John Perceval, and the Russian-born émigré Danila Vassilieff. The work of these pioneering artists demonstrated a highly original antipodean response to European expressionist, cubist, and surrealist movements, together with a new fascination with untutored and naïve art. The group shared personal and institutional support from the art collectors and patrons John and Sunday Reed, whose semi-rural home called ‘‘Heide‘‘ on the outskirts of Melbourne became the focus of the movement. In 1938, the Reeds spearheaded the establishment of the Contemporary Art Society (CAS) in order to promote the modernist movement in Australian art. Along with the young poet Max Harris, the Reeds also began publishing the key cultural journal Angry Penguins, which was dedicated to championing radical art and literature. These initiatives eventually collapsed in 1947. However, the revival of the CAS in 1953 initiated a second phase of the Heide circle, together with a new generation of artists.

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