USTAZ YOUTUBE: USTAZ ABDUL SOMAD AND THE DYNAMICS OF CHANGING RELIGIOUS AUTHORITIES

Penamas ◽  
2020 ◽  
Vol 33 (2) ◽  
pp. 205
Author(s):  
Dony Arung Triantoro
Keyword(s):  
Personal Communication ◽  
Religious Authority ◽  
Media Change ◽  
The Aesthetic ◽  
Aesthetic Forms

This article examines the dynamics of changing religious authority, especially in Ustaz Abdul Somad, whose lectures are widely uploaded via Youtube. This study is important because Youtube does not only act as a medium for contemporary da'wah but also a means to build and strengthen traditional religious authority. The questions that will be answered in this article include: First, what were the discourses that initiated the emergence of ustaz Youtube in Indonesia? Second, what are the dynamics of changes in religious authority taking place on Youtube? Third, how does the Youtube media change and strengthen Ustaz Abdul Somad's religious authority? To answer these questions, researchers conducted online ethnographic work and personal communication with Ustaz Abdul Somad's audience. This article finds that three concepts influence the dynamics of changing Ustaz Abdul Somad's religious authority on Youtube, including the nature of Youtube technology itself, the role of Ustaz Abdul Somad's fans, and the aesthetic forms in Ustaz Abdul Somad's lectures.

Jazz als gelungene Performance – Ästhetische Normativität und Improvisation

2014 ◽  
Vol 59 (1) ◽  
pp. 105-140 ◽  
Author(s):  
Alessandro Bertinetto
Keyword(s):  
Successful Performance ◽  
The Aesthetic ◽  
The Right

Die Hauptfrage, die ich in diesem Aufsatz diskutieren will, ist die folgende: Welche sind die ästhetisch-normativen Voraussetzungen für das richtige Verständnis und die richtige Evaluation von Jazz? Meine These lautet: Die Jazzästhetik ist eine Ästhetik der gelungenen Performanz. Sie ist nicht eine Ästhetik der Unvollkommenheit. Ich werde meine Argumentation in die folgenden Abschnitte gliedern. Nach der Einleitung (I.) wird in Abschnitt II. die ›These der Unvollkommenheit‹ dargestellt und in III. werden anschließend einige Argumente dagegen diskutiert. In den Abschnitten IV. und V. werden die für die Jazzästhetik wichtige Frage nach dem »Fehler« und das entscheidende Thema der Normativität untersucht. Dazu werde ich geltend machen, dass die ›These der Unvollkommenheit‹ insbesondere deswegen unbefriedigend ist, weil sie die spezifische Normativität von Jazz als Improvisationskunst missversteht. In Abschnitt VI. wird schließlich erklärt, in welchem Sinne von einer Normativität der gelungenen Performanz die Rede sein kann und warum dies für unser Verständnis von Jazz bedeutend ist. Abschließend (VII.) wird diese Idee gegen mögliche Einwände verteidigt.<br><br>In this paper I aim at discussing the aesthetic-normative conditions for the right understanding and the right evaluation of jazz. My main point is this: The aesthetics of jazz is an aesthetics of the successful performance, rather than an aesthetics of imperfection. The paper will be structured as follows. SectionI introduces the topic. SectionII presents the ›imperfection thesis‹, while III discusses some arguments against it. Sections IV and V investigate two related questions: the first is about the role of the »mistake« in jazz; the second concerns the crucial topic of normativity. At this regard I will maintain that the ›imperfection thesis‹ does not work, especially because it misunderstands the specific normativity of jazz as improvisational art. Section VI is devoted to clarifying both in which sense the idea of a normativity of the successful performance is sound and why this idea is important for understanding jazz. Finally (VII) I defend this view against possible objections.

Idleness and Freedom in Michel de Montaigne’s “Essays”

2019 ◽  
Vol 29 (1) ◽  
pp. 189-202
Keyword(s):  
Intellectual History ◽  
Ancient Rome ◽  
Spiritual Quest ◽  
Guiding Principle ◽  
Sextus Empiricus ◽  
History Of ◽  
Self Knowledge ◽  
The Aesthetic ◽  
The Relationship

The article advances a hypothesis about the composition of Michel de Montaigne’s Essays. Specialists in the intellectual history of the Renaissance have long considered the relationship among Montaigne’s thematically heterogeneous thoughts, which unfold unpredictably and often seen to contradict each other. The waywardness of those reflections over the years was a way for Montaigne to construct a self-portrait. Spontaneity of thought is the essence of the person depicted and an experimental literary technique that was unprecedented in its time and has still not been surpassed. Montaigne often writes about freedom of reflection and regards it as an extremely important topic. There have been many attempts to interpret the haphazardness of the Essays as the guiding principle in their composition. According to one such interpretation, the spontaneous digressions and readiness to take up very different philosophical notions is a form of of varietas and distinguo, which Montaigne understood in the context of Renaissance philosophy. Another interpretation argues that the Essays employ the rhetorical techniques of Renaissance legal commentary. A third opinion regards the Essays as an example of sprezzatura, a calculated negligence that calls attention to the aesthetic character of Montaigne’s writing. The author of the article argues for a different interpretation that is based on the concept of idleness to which Montaigne assigned great significance. He had a keen appreciation of the role of otium in the culture of ancient Rome and regarded leisure as an inner spiritual quest for self-knowledge. According to Montaigne, idleness permits self-directedness, and it is an ideal form in which to practice the freedom of thought that brings about consistency in writing, living and reality, in all of which Montaigne finds one general property - complete inconstancy. Socratic self-knowledge, a skepticism derived from Pyrrho of Elis and Sextus Empiricus, and a rejection of the conventions of traditional rhetoric that was similar to Seneca’s critique of it were all brought to bear on the concept of idleness and made Montaigne’s intellectual and literary experimentation in the Essays possible.

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

La troisième dimension — De la fonction éthique et esthétique du décor dans le théâtre de machines français du XVIIe siècle

2020 ◽  
Vol 71 (1) ◽  
pp. 130-168
Author(s):  
Kirsten Dickhaut
Keyword(s):  
Seventeenth Century ◽  
Character Traits ◽  
Optical Illusion ◽  
Stage Design ◽  
The Third ◽  
Adequate Representation ◽  
Third Dimension ◽  
Xviie Siecle ◽  
The Aesthetic

AbstractThe machine theatre in France achieves its peak in the second half of the seventeenth century. It is the construction of machines that permits the adequate representation of the third dimension on stage. This optical illusion is created by flying characters, as heroes, gods, or demons moving horizontally and vertically. The enumeration indicates that only characters possessing either ethically exemplary character traits or incorporating sin are allowed to fly. Therefore, the third dimension indicates bienséance – or its opposite. According to this, the following thesis is deduced: The machine theatre illustrates via aesthetic concerns characterising its third dimension an ethic foundation. Ethic and aesthetics determine each other in the context of both, decorum and in theatre practice. In order to prove this thesis three steps are taken. First of all, the machine theatre’s relationship to imitation and creation is explored. Second, the stage design, representing the aesthetic benefits of the machines in service of the third dimension, are explained. Finally, the concrete example of Pierre Corneille’s Andromède is analysed by pointing out the role of Pegasus and Perseus.

The Role of Understanding on Architectural Beauty: Evidence From the Impact of Semantic Description on the Aesthetic Evaluation of Architecture

2021 ◽  
pp. 003329412110021
Author(s):  
Sizhe Liu ◽  
Wei Zhang ◽  
Xianyou He ◽  
Xiaoxiang Tang ◽  
Shuxian Lai ◽  
...  
Keyword(s):  
Aesthetic Experience ◽  
Supplementary Information ◽  
Aesthetic Evaluation ◽  
Abstract Description ◽  
Social Meanings ◽  
Different Types ◽  
Appearance Design ◽  
The Aesthetic ◽  
The Impact

There is evidence that greater aesthetic experience can be linked to artworks when their corresponding meanings can be successfully inferred and understood. Modern cultural-expo architecture can be considered a form of artistic creation and design, and the corresponding design philosophy may be derived from representational objects or abstract social meanings. The present study investigates whether cultural-expo architecture with an easy-to-understand architectural appearance design is perceived as more beautiful and how architectural photographs and different types of descriptions of architectural appearance designs interact and produce higher aesthetic evaluations. The results showed an obvious aesthetic preference for cultural-expo architecture with an easy-to-understand architectural appearance design (Experiment 1). Moreover, we found that the aesthetic rating score of architectural photographs accompanied by an abstract description was significantly higher than that of those accompanied by a representational description only under the difficult-to-understand design condition (Experiment 2). The results indicated that people preferred cultural-expo architecture with an easy-to-understand architectural appearance design due to a greater understanding of the design, providing further evidence that abstract descriptions can provide supplementary information and explanation to enhance the sense of beauty of abstract cultural-expo architecture.

Brief Analysis for the Aesthetic Form of Chinese Garden Art

2014 ◽  
Vol 584-586 ◽  
pp. 650-653 ◽  
Author(s):  
Bian Ling Zhang
Keyword(s):  
Development History ◽  
Artistic Conception ◽  
High Uniformity ◽  
Aesthetic Form ◽  
The World ◽  
The Aesthetic ◽  
Aesthetic Forms

Chinese garden art has developed gradually along with the neutralization--lasting appeal--artistic conception trend till to the peak, meanwhile, those aesthetic forms can be existed synchronously with historical advancement, logic arrangement in parallel and correspondence as well as abundance and deepening of the interior connotation and exterior extension, which represent the high uniformity of the development history and logics of Chinese garden art. Nowadays, the landscape garden development is required to probe its root, explore its cultural soul, so as to base itself upon the garden industry all over the world. Additionally, the function of traditional aesthetic form will show the powerful functions, declare publicly the deep influence of modernized landscape garden development.

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.

Post-Mass-Media and Participation

2021 ◽  
Keyword(s):  
Mass Media ◽  
Research Group ◽  
Felix Guattari ◽  
Necessary Condition ◽  
The Political ◽  
Democratic Participation ◽  
The Aesthetic ◽  
New Generation

Three decades after Félix Guattari introduced the concept of "post-mass-media" as a necessary condition of media participation, it is by no means self-evident that his reaction to events leading up to 1989 would still attract a new generation of scholars today. Yet, the concept continually reappears to address the role of technology in democratic participation and the relation between the aesthetic and the political. Originating in discussions of the DFG research group Media and Participation, this issu

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