scholarly journals Citraan pada Kumpulan Puisi Bertema Musim Gugur Karya Goethe

2021 ◽  
Vol 6 (2) ◽  
pp. 107
Author(s):  
Prahoro Yudo Purwono
Keyword(s):  
Visual Imagery ◽  
Research Method ◽  
Clear Picture ◽  
Natural Phenomenon ◽  
Visual Images ◽  
Auditory Imagery ◽  
Literary Works ◽  
Motion Imagery ◽  
Romantic Era ◽  
Motion Images

<p><strong>Imagery plays an important role in literary works, and poetry is no exception. In Goethe's poetry, the romantic era which tries to describe the beauty of nature as the main object is very strong. One of the natural beauties that are trying to be described and famous is autumn in Germany. This natural phenomenon is trying to be described through imagery, so readers need to understand the imagery in poetry to get a clear picture and understand the intent or message in the poem. This study aims to describe the meaning related to imagery and the types of imagery contained in Goethe's poems. The research method used is qualitative with the theory of Pradopo. The results showed that in the process of understanding the images or images contained in poetry, an understanding of the meaning contained in the poem as a whole was needed to get a clear picture. Meanwhile, based on the results of the analysis, found 4 types of imagery in Goethe's autumn-themed poetry, namely visual imagery, auditory imagery, tactile imagery, and motion imagery. The number of each image is 8 visual images, 2 auditory images, 2 tactile images, and 3 motion images.</strong></p><p><strong><strong><em>Keywords</em></strong>–</strong><em>Goethe, Imagery, Poetry</em><em>, Herbsgedichte</em></p>

scholarly journals Auditory and Visual Mental Imagery in Musicians and Nonmusicians

2020 ◽  
Author(s):  
Francesca Talamini ◽  
Julia Vigl ◽  
Elizabeth Doerr ◽  
Massimo Grassi ◽  
Barbara Carretti
Keyword(s):  
Mental Imagery ◽  
Cognitive Abilities ◽  
Visual Imagery ◽  
Musical Training ◽  
Control Measures ◽  
Self Report ◽  
Visual Images ◽  
Auditory Imagery ◽  
Visual Mental Imagery ◽  
Formally Trained

The present research investigated auditory and visual mental imagery and how this ability differs in people with and without musical training. In a first part, the characteristics of a new auditory imagery self-report questionnaire (the Vividness of Auditory Imagery Questionnaire, VAIQ) were reported. The questionnaire was composed of 16 items assessing mental vividness of auditory everyday sounds and it was administered to 147 participants, demonstrating good psychometric properties. In a second part, self-reported vividness of auditory and visual images was assessed in people with and without music expertise. Thirty-six formally trained musicians, 33 self-taught musicians, and 33 nonmusicians completed the questionnaires. The newly built questionnaire VAIQ and the Vividness of Visual Imagery Questionnaire (VVIQ, Marks, 1973) were administered. Music aptitude and general cognitive abilities were also assessed in all participants as control measures. We observed that both groups of musicians self-reported greater vividness of mental imagery for auditory nonmusical sounds than nonmusicians, but not for visual images. The study confirmed that music expertise is linked to enhanced self-reported auditory mental imagery for everyday sounds, illustrating that such advantage is selective for auditory imagery; no difference concerning visual imagery between the groups of musicians and nonmusicians emerged.

CITRAAN DALAM KUMPULAN SAJAK ORGASMAYA KARYA HASAN ASPAHANI

2017 ◽  
Vol 7 (2) ◽  
pp. 177
Author(s):  
Yeni Maulina
Keyword(s):  
Visual Imagery ◽  
Qualitative Method ◽  
Social Conflict ◽  
Daily Life ◽  
Auditory Imagery ◽  
Natural Phenomena ◽  
Motion Imagery ◽  
Research Findings ◽  
Descriptive Qualitative

Imagery is an important element in a poem. An idea that is originally abstract can be conceived and expressed through imagery. Imagery is generated through expression of words so that readers can easily imagine it. This study aims to determine types of imagery contained in the Orgasmaya anthology of Hasan Aspahani’s work. The method used in this research is the descriptive qualitative method. The research findings reveal that of the 74 poems that were analyzed, there are 74 data fragments of the poems containing imagery. There are 11 fragments of the poems containing visual imagery, 22 fragments containing auditory imagery, 4 fragments containing olfactory imagery, 5 fragments containing feeling imagery, 7 fragments containing palpation imagery, and 25 fragments containing motion imagery. Based on the analysis of imagery on the Orgasmaya poem anthology of Hasan Aspahani’s work, the most appeared imagery in the poems is motion imagery. It is due to the fact that the poets are able to visualize motions to readers which described through the proper choices of diction to see the beauty and natural phenomena, daily life, and social conflict as the building of imagery in his poems. Abstrak Citraan merupakan sebuah unsur yang penting dalam sebuah sajak. Melalui citraan, sebuah ide yang semula abstrak dapat dibayangkan dan diekspresikan. Citraan merupakan gambaran yang dibangkitkan lewat sebuah kata sehingga pembaca dengan mudah dapat mengimajinasikannya. Penelitian ini bertujuan untuk mengetahui jenis citraan apa saja yang terdapat pada kumpulan sajak Orgasmaya karya Hasan Aspahani. Metode yang digunakan dalam penelitian ini adalah metode deskriptif kualitatif. Hasil penelitian menunjukan bahwa dari 74 sajak yang dianalisis terdapat 74 data penggalan sajak yang mengandung citraan. Terdapat 11 penggalan sajak yang mengandung citraan penglihatan, 22 penggalan sajak yang mengandung citraan pendengaran, 4 penggalan sajak yang mengandung citraan penciuman, 5 penggalan sajak yang mengandung citraan rasaan, 7 penggalan sajak yang mengandung citraan rabaan, dan 25 penggalan sajak yang mengandung citraan gerak. Berdasarkan analisis citraan kumpulan sajak tersebut terlihat yang paling banyak muncul adalah citraan gerak. Hal ini disebabkan oleh penyair yang mampu memanfaatkan pembaca agar dapat membayangkan gerakan yang digambarkan oleh penyair melalui diksi yang tepat untuk melihat keindahan dan fenomena alam, kehidupan sehari-hari, serta konflik sosial sebagai bangunan citra dalam sajak-sajaknya.

“Imageless” Spatial and Temporal Rules Can Be Tested and Refined by Constructing Vivid Visual and Auditory Images

2012 ◽  
Vol 32 (2) ◽  
pp. 115-150 ◽  
Author(s):  
Robert G. Kunzendorf ◽  
Scott S. Lyman ◽  
Brenda Sousa ◽  
Emily Hilly
Keyword(s):  
Problem Solving ◽  
Visual Imagery ◽  
Historical Context ◽  
Visual Images ◽  
Auditory Imagery ◽  
Study Research ◽  
Research Participants ◽  
Specific Support

In this computerized study, research participants completed both Marks' (1973) Vividness of Visual Imagery Questionnaire and Kunzendorf's (1979) Vividness of Auditory Imagery Questionnaire and, immediately thereafter, completed either a visuo-spatial rule-development exercise or an audio-temporal rule-development exercise. During the visuo-spatial exercise, participants were administered 20 four-alternative quizzes regarding the schematic rules of 3-point perspective (3PP) and, between quizzes, were instructed to figure out the rules by constructing visual images that serve to test their developing schema. During the audio-temporal exercise, participants were administered 24 two-alternative quizzes regarding artificial grammatical rules and, between quizzes, were instructed to figure out the rules by generating auditory images that serve to test their developing grammar. Across 83 participants in the visuo-spatial rule-development exercise, greater development of 3PP rules correlated significantly with greater vividness of visual imagery, but not auditory imagery. Conversely, across 94 participants in the audio-temporal rule-development exercise, greater development of grammatical rules correlated significantly with greater vividness of auditory imagery, but not visual imagery. In the historical context of null correlations between image vividness and problem-solving success, the current correlational findings provide modality-specific support for Kunzendorf and Reynold's (2004-2005) and Kunzendorf and Buker's (2008-2009) thesis that the vivid imager's construction of sensory images from imageless rules facilitates the testing and refinement of newly hypothesized rules, but does not facilitate the application of previously developed rules to new problems.

scholarly journals KAJIAN STILISTIKA DALAM NOVEL SANG PEMIMPI KARYA ANDREA HIRATA (THE STUDY OF STYLISTICS IN SANG PEMIMPI NOVEL WRITTEN BY ANDREA HIRATA)

2018 ◽  
Vol 8 (1) ◽  
pp. 92
Author(s):  
Susiana Herliati
Keyword(s):  
Juvenile Delinquency ◽  
Visual Imagery ◽  
Figurative Language ◽  
Auditory Imagery ◽  
The Novel ◽  
Motion Imagery ◽  
The World ◽  
Figure Of Speech ◽  
Object Of Study ◽  
Descriptive Method

AbstractThe Study of Stylistics in Sang Pemimpi Novel Written by Andrea Hirata. The study of stylists in thenovel of Sang Pemimpi of Andrea Hirata presents an excellent story about young business to achievedreams but still adheres to traditions and religions with all the “juvenile delinquency of the world”, aswell as the hard work of achieving dreams that have been declared. How is the use of figurative languagein the novel Sang Pemimpi by Andrea Hirata which includes: (1) figurative speeches for comparison,(2) figurative speeches for conflicts, (3) figurative speeches for relationships, (4) figurative speeches forrepetition and how the imagery contained in the novel Sang Pemimpi Andrea Hirata which includes: (1)visual imagery, (2) auditory imagery, (3) kinesthetic imagery, (4) motion imagery, (5) olfactory imagery,(6) gustatory imagery, (7) experiences related to nature 8) the souls related to the senses. This research usesdescriptive method. The reason for using this method because based on its characteristics, this methodis oriented to the effort of obtaining information about certain phenomena systematically, factually andaccurately based on the facts obtained from the object of study. Descriptive method is a problem-solvingprocedure that is done by describing or describing the state of the object of research based on existingfacts. Thus, the results of the above research have two topics that have not been achieved because theresults are not there as in figurative language or style of language as in the case of contradictions that iseksimoron or style of language that use the word opposite the word is not found, as well as on the imageryof the novel The Dreamer also did not find the results of the data, while the other data has a number ofdifferent according to the results found in the novel text of the leader of Andrea Hirata’s work.Key words: stylistics, figure of speech, imageryAbstrakKajian Stilistika dalam Novel Sang Pemimpi Karya Andrea Hirata. Kajian stilistika dalam novel SangPemimpi Karya Andrea Hirata memaparkan cerita yang sangat baik tentang usaha muda untuk meraihmimpi tetapi tetap menaati tradisi dan agama dengan segala “kenakalan dunia remaja”, sekaligus kerjakeras meraih mimpi yang telah dicanangkan. Bagaimanakah penggunaan bahasa figuratif dalam novelSang Pemimpi karya Andrea Hirata yang meliputi: (1) majas perbandingan, (2) majas pertentangan, (3)majas pertautan, (4) majas perulangan dan Bagaimanakah citraan (imagery) yang terdapat dalam novelSang Pemimpi karya Andrea Hirata yang meliputi: (1) citraan penglihatan, (2) citraan pendengaran,(3) citraan rabaan, (4) citraan gerak, (5) citraan penciuman, (6) Pencecapan, (7) Pengalaman berkaitandengan alam, dan (8) jiwa berkaitan dengan indera. Penelitian ini menggunakan metode deskriptif.Adapun alasan menggunakan metode ini karena berdasarkan karakteristiknya, metode ini berorientasi93pada upaya pemerolehan informasi tentang fenomena-fenomena tertentu secara sistematis, faktual,dan akurat berdasarkan fakta yang didapat dari objek kajian. Metode deskriptif merupakan prosedurpemecahan masalah yang dilakukan dengan menggambarkan atau mendeskripsikan keadaan objekpenelitian berdasarkan fakta-fakta yang ada. Dengan demikian, hasil penelitian di atas tersebut adadua topik yang belum dicapai karena hasilnya tidak ada seperti pada bahasa figuratif atau gaya bahasaseperti pada majas pertentangan yaitu aksimoron atau gaya bahasa yang mempergunakan kata yangberlawanan kata tidak ditemukan, begitu pula pada pencitraan pencecapan pada novel Sang Pemimpijuga tidak ditemukan hasil data tersebut, sedangkan data yang lainnya memiliki jumlah yang berbedabedasesuai dengan hasil yang ditemukan pada teks novel Sang Pemimpin karya Andrea Hirata tersebut.Kata-kata kunci: stilistika, majas, citraan

CITRAAN DALAM KUMPULAN SAJAK ORGASMAYA KARYA HASAN ASPAHANI

2017 ◽  
Vol 7 (2) ◽  
pp. 177
Author(s):  
Yeni Maulina
Keyword(s):  
Visual Imagery ◽  
Qualitative Method ◽  
Social Conflict ◽  
Daily Life ◽  
Auditory Imagery ◽  
Natural Phenomena ◽  
Motion Imagery ◽  
Research Findings ◽  
Descriptive Qualitative

Imagery is an important element in a poem. An idea that is originally abstract can be conceived and expressed through imagery. Imagery is generated through expression of words so that readers can easily imagine it. This study aims to determine types of imagery contained in the Orgasmaya anthology of Hasan Aspahani’s work. The method used in this research is the descriptive qualitative method. The research findings reveal that of the 74 poems that were analyzed, there are 74 data fragments of the poems containing imagery. There are 11 fragments of the poems containing visual imagery, 22 fragments containing auditory imagery, 4 fragments containing olfactory imagery, 5 fragments containing feeling imagery, 7 fragments containing palpation imagery, and 25 fragments containing motion imagery. Based on the analysis of imagery on the Orgasmaya poem anthology of Hasan Aspahani’s work, the most appeared imagery in the poems is motion imagery. It is due to the fact that the poets are able to visualize motions to readers which described through the proper choices of diction to see the beauty and natural phenomena, daily life, and social conflict as the building of imagery in his poems.AbstrakCitraan merupakan sebuah unsur yang penting dalam sebuah sajak. Melalui citraan, sebuah ide yang semula abstrak dapat dibayangkan dan diekspresikan. Citraan merupakan gambaran yang dibangkitkan lewat sebuah kata sehingga pembaca dengan mudah dapat mengimajinasikannya. Penelitian ini bertujuan untuk mengetahui jenis citraan apa saja yang terdapat pada kumpulan sajak Orgasmaya karya Hasan Aspahani. Metode yang digunakan dalam penelitian ini adalah metode deskriptif kualitatif. Hasil penelitian menunjukan bahwa dari 74 sajak yang dianalisis terdapat 74 data penggalan sajak yang mengandung citraan. Terdapat 11 penggalan sajak yang mengandung citraan penglihatan, 22 penggalan sajak yang mengandung citraan pendengaran, 4 penggalan sajak yang mengandung citraan penciuman, 5 penggalan sajak yang mengandung citraan rasaan, 7 penggalan sajak yang mengandung citraan rabaan, dan 25 penggalan sajak yang mengandung citraan gerak. Berdasarkan analisis citraan kumpulan sajak tersebut terlihat yang paling banyak muncul adalah citraan gerak. Hal ini disebabkan oleh penyair yang mampu memanfaatkan pembaca agar dapat membayangkan gerakan yang digambarkan oleh penyair melalui diksi yang tepat untuk melihat keindahan dan fenomena alam, kehidupan sehari-hari, serta konflik sosial sebagai bangunan citra dalam sajak-sajaknya.

Self-Report Imagery Questionnaire Scores and Subtypes of Social-Desirable Responding

2008 ◽  
Vol 29 (4) ◽  
pp. 181-188 ◽  
Author(s):  
John Allbutt ◽  
Jonathan Ling ◽  
Thomas M. Heffernan ◽  
Mohammed Shafiullah
Keyword(s):  
Visual Imagery ◽  
Correlational Analysis ◽  
Self Report ◽  
Auditory Imagery ◽  
Auditory Modality ◽  
Visual Thinking ◽  
Thinking Style ◽  
Social Desirable Responding

Allbutt, Ling, and Shafiullah (2006) and Allbutt, Shafiullah, and Ling (2006) found that scores on self-report measures of visual imagery experience correlate primarily with the egoistic form of social-desirable responding. Here, three studies are reported which investigated whether this pattern of findings generalized to the ratings of imagery vividness in the auditory modality, a new version of the Vividness of Visual Imagery Questionnaire ( Marks, 1995 ), and reports of visual thinking style. The measure of social-desirable responding used was the Balanced Inventory of Desirable Responding (BIDR; Paulhus, 2002 ). Correlational analysis replicated the pattern seen in our earlier work and of the correlations with the egoistic bias, the correlation with vividness of visual imagery was largest and significant, the correlation with visual thinking style next largest and approached significance, and the correlation with vividness of auditory imagery was the smallest and not significant. The size of these correlations mirrored the extent to which the three aspects of imagery were valued by participants.

scholarly journals Ways of Seeing Christ the Judge: The Iconography of Christ III and its Visual Context

Neophilologus ◽  
2021 ◽  
Author(s):  
Natalie Jones
Keyword(s):  
Detailed Analysis ◽  
Visual Imagery ◽  
Careful Analysis ◽  
Visual Images ◽  
Detailed Knowledge ◽  
Visual Context ◽  
Notable Feature ◽  
The World ◽  
Dual Perspective ◽  
The Mind

AbstractThis article examines the iconographic programme of the Last Judgement scene depicted in Christ III. A notable feature of the poem’s detailed visual programme is the way in which it provides the audience with a single, panoramic vision that encompasses the divergent perspectives of the blessed and the damned. It is on account of this dual perspective that the poem, through its precise use of language and imagery, presents the audience with a bifocal vision of Christ as King of Kings and Judge of the World, in keeping with the words of Revelation 19:16. A detailed analysis of the poem’s imagery, however, suggests that its portrait of Christ as Judge is not only informed by scripture and exegetical sources, but is also indebted to contemporary visual imagery, particularly the depiction of Christ as Majestas Domini, or Christ in Majesty. As a result, and by approaching the poem’s imagery from an iconological perspective, it is argued that the poet of Christ III had a detailed knowledge of contemporary Christological motifs. Furthermore, a careful analysis of the language used to describe the Judgement scene, and particularly the depiction of Christ as Judge, suggests that the poet intentionally seeks to evoke a range of specific visual images in the mind of his audience in order to amplify the poem’s instructive and penitential aims.

scholarly journals ANALISIS STILISTIKA NOVEL DARI HARI KE HARI KARYA MAHBUB DJUNAIDI DAN RELEVANSINYA SEBAGAI MATERI AJAR BAHASA INDONESIA DI SEKOLAH MENENGAH ATAS

2019 ◽  
Vol 6 (2) ◽  
pp. 140
Author(s):  
Nur Cahyono ◽  
Andayani Andayani ◽  
Yant Mujiyanto
Keyword(s):  
High School ◽  
Visual Imagery ◽  
Teaching Material ◽  
Analysis Method ◽  
Motion Imagery ◽  
Content Analysis Method ◽  
Qualitative Descriptive ◽  
Literature Class ◽  
Concrete Words ◽  
Bahasa Indonesia

<em>The aims of this research are to describe diction (word choise, figure of a speech, imagery of Dari Hari Ke Hari’s novel by Mahbub Djunaidi, and the relevance of the results of studies as Bahasa Indonesia teaching material for the Senior High School. This study is a qualitative descriptive with content analysis method. The result showed that. First, the use of diction (choice words) includes concrete words, connotative words, word greetings or self-names, vulgar words, words of absorption, regional vocabulary, and words with natural reality. Second, the use of language style (Figure of a speech) includes simile, metaphor, personification, depersonification, allegory, antithesis, pleonasme, periprasis, anticipation, epanortosis, satire, paradox, climax, anti-climax, allusion, atonomation, eroteris, asyndeton, polisedenton, epizeukis, anaphora, and epystrofa. Third, the use of imagery includes visual imagery, motion imagery, olfactory imagery, tactical imagery, and auditory images. Fourth, Dari Hari Ke Hari’s novel can be used as a teaching material in high school literature class XII curriculum of 2013, ie at base competence understand the structure and rules of novel text.</em>

scholarly journals Deconstruction of Binary Opposition in Kritikus Adinan Story by Budi Darma

2018 ◽  
Vol 2 (1) ◽  
pp. 1
Author(s):  
Iswadi Bahardur
Keyword(s):  
Data Analysis ◽  
Research Method ◽  
Descriptive Analysis ◽  
Theoretical Perspective ◽  
Literary Texts ◽  
Binary Opposition ◽  
Literary Works ◽  
Data Source ◽  
The Subject

<p><span lang="EN-US">Writing this article backed by mult</span><span>i</span><span lang="EN-US"> interpretation problems raised by a text, especially literary texts. Mult</span><span>i</span><span lang="EN-US"> interpretation is inseparable from the consciousness and unconscious of the subject of the author, as well as the process of reconstruction by the reader. Based on this article this article aims to describe the results of deconstructing binary opposition readings on the story of <em>Kritikus Adinan</em> by Budi Darma. The data source used is the story of <em>Kritikus Adinan.</em> The research method used is descriptive analysis with the theoretical perspective of deconstruction of Jaques Derrida. Based on the findings and data analysis, the results show the following. <em>First</em>, the deconstruction readings of the <em>Kritikus Adinan</em> can not be separated from the word-scoring process as Jaques Derrida puts it in deconstruction theory. <em>Secondly</em>, the reconstruction of Kritkus Adinan’s story leads to unfamiliarity but leads the reader to discover the marginalized texts.<em> Third</em>, based on the results of deconstruction reading in the story of <em>Kritikus Adinan</em>, there is a binary opposition that has been denied and broken by the author by presenting a reversal of fact.  Suggestions that can be recommended are many other literary works that are worthy and important to be reviewed by other researchers to uncover the phenomenon of reversing the facts by the author.</span></p>

scholarly journals Hegemony and Protectionism in Bologna’s Meat Trade:The Role of Visual Imagery in Reputation Management

2020 ◽  
pp. 1-27
Author(s):  
PAUL FREATHY ◽  
IRIS THOMAS
Keyword(s):  
Public Opinion ◽  
Sixteenth Century ◽  
Economic Reform ◽  
Visual Imagery ◽  
Reputation Management ◽  
Visual Images ◽  
Image Management ◽  
Sources Of Information ◽  
Visual Propaganda

During the Renaissance, visual images were legitimate and authoritative sources of information that influenced behavior and directed public opinion. Against a background of political and religious unrest and growing pressure for economic reform, it is maintained that Annibale Carracci’s painting of The Butchers Shop (ca. 1580–1583) sought to legitimize the professionalism of Bologna’s butchery trades, reinforce the reputation of the guild system, and remind audiences of the dangers of papal interference in commercial endeavor. By implicitly advocating the value of institutional hegemony and trade protectionism, The Butchers Shop represents a form of late sixteenth-century visual propaganda and image management.

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