scholarly journals Film Dokumenter Penenun Tapis Lampung Sebagai Media Identitas Kultural

2020 ◽  
Vol 3 (1) ◽  
pp. 389-432
Author(s):  
PG. Wisnu Wijaya
Keyword(s):  
Documentary Film ◽  
Brand Personality ◽  
Critical Space ◽  
Economic Aspects ◽  
Social Reconstruction ◽  
Cultural Processes ◽  
Direct Cinema ◽  
History Of ◽  
The Aesthetic

The Lampung Wastra, called the Tapis, is an intangible artifact that has exotic characteristics and uniqueness like fabrics in other parts of Indonesia. All typical fabrics in the archipelago become cultural icons in each region, especially the Tapis discussed in this paper are indeed in the 'critical' space. In fact, the number of Tapis weavers and the process of regeneration of weavers is not going well. In fact, the number of Tapis weavers and the process of regeneration of weavers is not going well. Weavers who understand the history of Tapis, the meaning of motifs, patterns, types as well as their functions remain one person in Lampung, the rest only have an understanding in the aesthetic area and do not understand the deeper layers of the Tapis, both the meaning, historical value, articulation of forms and motifs used in the Tapis . The design of this documentary film will be made by combining direct cinema and social reconstruction documentary, referring to the form of direct cinema which is the disclosure of a fact that occurs about this Tapis fabric. polemic that occurs in the development of Tapis cloth in terms of philosophical, function and economic aspects, which will provide a strong dramatization in this documentary. For this reason, efforts should be made to build the image of Tapis fabric as a distinctive identity of Lampung cloth, build brand personality through weavers who still preserve cultural processes in making Tapis fabrics. Along with that there must be an effort to re-inform the philosophical values contained in the process of making Tapis fabric.

Migration and Modernities

2019 ◽  
Keyword(s):  
Native Americans ◽  
Literary History ◽  
Historical Study ◽  
Racial Categories ◽  
Geographic Boundaries ◽  
The Us ◽  
Technological Developments ◽  
History Of ◽  
The Aesthetic ◽  
Eighteenth And Nineteenth Centuries

Migration and Modernities recovers a comparative literary history of migration by bringing together scholars from the US and Europe to explore the connections between migrant experiences and the uneven emergence of modernity. The collection initiates transnational, transcultural and interdisciplinary conversations about migration in the eighteenth and nineteenth centuries, demonstrating how mobility unsettles the geographic boundaries, temporal periodization, and racial categories we often use to organize literary and historical study. Migrants are by definition liminal, and many have existed historically in the spaces between nations, regions or ethnicities. In exploring these spaces, Migration and Modernities also investigates the origins of current debates about belonging, rights, and citizenship. Its chapters traverse the globe, revealing the experiences — real or imagined — of eighteenth- and nineteenth-century migrants, from dispossessed Native Americans to soldiers in South America, Turkish refugees to Scottish settlers. They explore the aesthetic and rhetorical frameworks used to represent migrant experiences during a time when imperial expansion and technological developments made the fortunes of some migrants and made exiles out of others. These frameworks continue to influence the narratives we tell ourselves about migration today and were crucial in producing a distinctively modern subjectivity in which mobility and rootlessness have become normative.

What's the Message of Architecture?

2014 ◽  
pp. 126-136
Author(s):  
Аndrey G. Velikanov
Keyword(s):  
Separate Entity ◽  
Aesthetic Value ◽  
Current State ◽  
Entire Complex ◽  
History Of ◽  
The Aesthetic

Considers the aspects of architecture as a language able to express the current state and to prophetically indicate the upcoming changes. The aesthetic value of a construction cannot be perceived just as a separate entity, but it can be cognized in the context and not only a visual one, in space. It is necessary to see the entire complex of the accompanying phenomena, all the flow of the unfolding metaphors and values. In the model in view the figure of the author-creator must be reconsidered as no longer conforming to today's reality. The development of the Stalinist Empire style, as well as its transformations, is considered as one of the specific phenomena in the history of well-known constructions

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.

Race, Religion, and Documentary Film

2018 ◽  
Author(s):  
Judith Weisenfeld
Keyword(s):  
Native Americans ◽  
Documentary Film ◽  
Religious Practices ◽  
Independent Films ◽  
History Of ◽  
Race And Religion

This chapter uses Ingagi and The Silent Enemy, both independent films released in 1930, to examine the intersections of race and religion in the context of American documentary film conventions. The filmmakers claimed documentary status for their films, despite the fact that both were largely scripted and contained staged representations. Many audience members and critics nevertheless took their representations of the religious practices of Africans and Native Americans to be truthful and invested in the films’ authenticity because their visual codes, narratives, and advertising confirmed accepted stereotypes about race, religion, and capacity for civilization. Examining these two films in the context of the broader history of documentary representations of race and religion—from travelogues, adventure, ethnographic, and expeditionary films through more recent productions—this chapter explores how the genre has helped to shape and communicate ideas about race and religion.

History of Dorsum Conservative Techniques in Rhinoplasty: The Evolution of a Revived Technique

2021 ◽  
Author(s):  
Diego Arancibia Tagle ◽  
Jose Carlos Neves ◽  
Alwyn D'Souza
Keyword(s):  
Lateral Cartilage ◽  
Classic Problem ◽  
Alternative Option ◽  
History Of ◽  
Upper Lateral Cartilage ◽  
The Aesthetic

AbstractThe correction and management of the nasal hump has been a classic problem in rhinoplasty since the beginning of the aesthetic purpose of this surgery. For many years, the resective technique described by Joseph has been the battle horse to solve this problem but it has several drawbacks if not done properly. In the late 19th and early 20th centuries, a new dorsal conservative technique was born and for several years was an alternative option to treat the same problem without damaging the keystone area while preserving the dorsal connection between the upper lateral cartilage and the septum. The aim of this article is to review the history and evolution of this technique, which has been reborn after several years, and how it has evolved since then.

scholarly journals Remix in the age of ubiquitous remix

2021 ◽  
pp. 135485652199445
Author(s):  
Abby S. Waysdorf
Keyword(s):  
Point Of View ◽  
Archival Material ◽  
History Of ◽  
Accepted Part ◽  
The Media ◽  
Contemporary Media ◽  
The Aesthetic ◽  
The Way

What is remix today? No longer a controversy, no longer a buzzword, remix is both everywhere and nowhere in contemporary media. This article examines this situation, looking at what remix now means when it is, for the most part, just an accepted part of the media landscape. I argue that remix should be looked at from an ethnographic point of view, focused on how and why remixes are used. To that end, this article identifies three ways of conceptualizing remix, based on intention rather than content: the aesthetic, communicative, and conceptual forms. It explores the history of (talking about) remix, looking at the tension between seeing remix as a form of art and remix as a mode of ‘talking back’ to the media, and how those tensions can be resolved in looking at the different ways remix originated. Finally, it addresses what ubiquitous remix might mean for the way we think about archival material, and the challenges this brings for archives themselves. In this way, this article updates the study of remix for a time when remix is everywhere.

scholarly journals ‘There Must Be a Poetry of Sound That None of Us Knows…’: Early British documentary film and the prefiguring of musique concrète

2017 ◽  
Vol 22 (2) ◽  
pp. 172-186
Author(s):  
Geoffrey Cox
Keyword(s):  
Case Studies ◽  
Electronic Music ◽  
Documentary Film ◽  
Post Office ◽  
Coal Face ◽  
Avant Garde ◽  
History Of ◽  
Relationship Of ◽  
The Relationship ◽  
Musique Concrete

Standard histories of electronic music tend to trace the lineage of musique concrète as lying mainly in the Futurists’ declarations of the 1910s, through Cage’s ‘emancipation’ of noise in the 1930s, to Schaeffer’s work and codifications of the late 1940s and early 1950s. This article challenges this narrative by drawing attention to the work of filmmakers in the 1930s that foreshadowed the sound experiments of Pierre Schaeffer and thus offers an alternative history of their background. The main focus of the article is on the innovations within documentary film and specifically the sonic explorations in early British documentary that prefigured musique concrète, an area ignored by electronic music studies. The theoretical and philosophical underpinnings of the documentary movement’s members, particularly their leader John Grierson, will be compared with those of Pierre Schaeffer, and the important influence of Russian avant-garde filmmaking on the British (and musique concrète) will be addressed. Case studies will focus on the groundbreaking soundtracks of two films made by the General Post Office Film Unit that feature both practical and theoretical correspondences to Schaeffer: 6.30 Collection (1934) and Coal Face (1935). Parallels between the nature and use of technologies and how this affected creative outputs will also be discussed, as will the relationship of the British documentary movement’s practice and ideas to post-Schaefferian ‘anecdotal music’ and the work of Luc Ferrari.

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.

COMPARATIVE LITERATURE: EAST AND WEST STUDIES

2021 ◽  
Vol 02 (09) ◽  
pp. 8-14
Author(s):  
Aziza Komilovna Akhmedova ◽  
Keyword(s):  
Comparative Literature ◽  
Professional Ethics ◽  
Research Work ◽  
Literary Studies ◽  
The Novel ◽  
World Science ◽  
History Of ◽  
The Aesthetic ◽  
Aesthetic Ideal ◽  
The Ideal

The article analyzes the results of the research on the representation of the aesthetic ideal through the image of the ideal hero in two national literatures. For research purposes, attention was paid to highlighting the category of the ideal hero as an expression of the author's aesthetic views. In Sinclair Lewis’s “Arrowsmith” and Pirimkul Kodirov's “The Three Roots”, the protagonists artistically reflect the authors' views on truth, virtue, and beauty. In these novels, professional ethics is described as a high noble value. The scientific novelty of the research work includes the following: in the evolution of western and eastern poetic thought, in the context of the novel genre, the skill, common and distinctive aspects of the creation of an ideal hero were revealed by synthesis of effective methods in world science with literary criteria in the history of eastern and western literary studies, in the example of Sinclair Lewis and Pirimkul Kodirov.

The Attraction of Literary Local Lore Material and Information from the Native Literature of Students in the Study of A.M. Gorky

2021 ◽  
pp. 137-141
Author(s):  
Zinaida Kh. Tedtoeva
Keyword(s):  
Russian Literature ◽  
Literary Work ◽  
Young Person ◽  
Native People ◽  
Culture History ◽  
Teacher Needs ◽  
Special Area ◽  
History Of ◽  
History Of Culture ◽  
The Aesthetic

The problem of perceiving fiction has aesthetic, sociological, historical and psychological aspects. In this regard, in the methodology of teaching Russian literature to the national audience, special attention is paid to the deep, faithful and subtle reproduction of the literary works of writers, the development of the reader’s talent. Fiction as a form of art is a special area of the aesthetic. In a truly fictional work, all its elements are subordinate to the expression of a certain content, expressive, figurative, therefore, the reader’s understanding of a literary work is not only aesthetic, but also evaluative in nature. There are three stages of students’ perception of the writer’s creation: 1) recreation and experience of images of the work, with the leading process of imagination; 2) understanding of the ideological content; V.G. Belinsky called this stage “true pleasure”; 3) the influence of fiction on the personality of the reader as a result of the perception of the work. Fiction affects the worldview, speech, moral behavior in society, aesthetic and artistic development, in general, the formation of a person’s personality. The teacher tries to ensure that students have the necessary knowledge, developed, recreational imagination, emotional sensitivity, a sense of the poetic word, observation, the ability to make comparisons, comparisons, generalizations, conclusions. Their perception of a work of art is a difficult process that directly depends on previous knowledge of literature, facts of the history of culture, history of society. The complexity of the spiritual world of a modern young person is due to the development of personality in the context of the rapid progress of society. All this poses a difficult task for methodological science - to diversify the means of analysis, its types and techniques, effective ways of influencing art on students. In the national audience, the main problem of studying Russian literature - the teacher needs to reveal Russian-national literary ties with specific examples, based on certain historical conditions, national specifics, use translations of the works of the Russian writer into the native language of students, literary local history material, highlight the attitude of cultural figures of the native people to the work of the Russian writer, to his personality.

Sign in / Sign up

Export Citation Format

Share Document