Makna Desain Undangan Pernikahan Kelas Menengah Atas

Apsari Wiba Pamela

doi:10.9744/nirmana.20.2.80-85

Makna Desain Undangan Pernikahan Kelas Menengah Atas

Nirmana ◽

10.9744/nirmana.20.2.80-85 ◽

2022 ◽

Vol 20 (2) ◽

pp. 80-85

Author(s):

Apsari Wiba Pamela

Keyword(s):

Roland Barthes

Dalam merancang sebuah pesta pernikahan, pengantin dari kalangan kelas menengah atas akan mengutamakan sebuah kepuasan untuk mewujudkan dream wedding. Salah satu wujud dalam membuat pesta pernikahan dapat diamati melalui fenomena kreasi yang diterapkan dalam merancang tampilan visual undangan pernikahan. Desain undangan pernikahan berfungsi lebih dari sekedar penyampaian informasi acara pernikahan melainkan sebagai bentuk untuk mengekspresikan rasa bahagia sehingga tampilan visual menjadi hal yang dianggap penting pada proses perancangan. Dalam setiap elemen desain undangan pernikahan diyakini memiliki simbol mengenai status ekonomi, hierarki dalam kehidupan sosial serta kepercayaan yang berhubungan dengan kebudayaan dan juga keagamaan. Penelitian ini mengitepretasikan sebuah makna denotatif, konotatif dan mitos dibalik desain undangan pernikahan kelas menengah atas dengan metode kualitatif menggunakan teori semiotika Roland Barthes. Penelitian ini menggunakan sampel desain undangan pernikahan yang merupakan sebuah studio desain yang merepresentasikan undangan pernikahan kalangan menengah atas. Pada penelitian ini ditemukan desain yang bergaya elegan dan modern dari undangan pernikahan kelas menengah atas yang menunjukan simbol status sosial yang bersifat duniawi namun juga menunjukan simbol kepercayaan yang bersifat agama dan budaya.

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Formative Influences

10.3366/edinburgh/9781474422888.003.0006 ◽

2018 ◽

Author(s):

Hilary Radner ◽

Alistair Fox

Keyword(s):

Michel Foucault ◽

Roland Barthes ◽

Film Analysis ◽

The 1960S ◽

Christian Metz ◽

The Way

In this section of the interview, Bellour describes how he began to engage in film analysis in the 1960s, beginning with a sequence from Alfred Hitchcock’s The Birds, with the aim of establishing the way it worked as a “text.” He proceeds to describe his personal encounters with major figures like Roland Barthes, Claude Lévi-Strauss, Michel Foucault, and his friendship with Christian Metz, suggesting how his interchanges with them helped to shape his own thinking, and how it diverged from theirs.

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Roland Barthes in Harmony: the writing of Utopia

Paragraph ◽

10.3366/para.1988.0008 ◽

1988 ◽

Vol 11 (2) ◽

pp. 127-142 ◽

Cited By ~ 1

Author(s):

Diana Knight

Keyword(s):

Roland Barthes

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Notes on Loving a Mourner (with Roland Barthes and Others)

Paragraph ◽

10.3366/para.2017.0226 ◽

2017 ◽

Vol 40 (2) ◽

pp. 211-227

Author(s):

Matt Phillips

Keyword(s):

Sigmund Freud ◽

Ethics Of Care ◽

Roland Barthes ◽

Melanie Klein ◽

Personal Observation ◽

Late Work ◽

Point Of Departure

This essay examines the place of love in grief, staging a relation between a mourner and her lover. Taking as its point of departure Freud's observation that mourning leads to a ‘loss of the capacity to love’, it considers the effects bereavement might have on the bereaved's relations with those that love them, and the possibilities, pitfalls and ethics of care in such a context. This is explored largely through a reading of Roland Barthes's late work (both as a writer of grief and a theorist of love), as well as ideas drawn from Sigmund Freud, Melanie Klein, Sara Ahmed, Hamlet and personal observation. Love and care are thought through alongside notions of ‘tact’, ‘benevolence’ and ‘parrying against reduction’ in late Barthes.

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ANALISIS VISUAL PADA SAMPUL DEPAN MAJALAH DESAIN GRAFIS “CONCEPT” EDISI ULTAH PERDANA (Sebuah Kajian Semiotika)

DeKaVe ◽

10.24821/dkv.v1i2.156 ◽

2013 ◽

Vol 1 (2) ◽

Author(s):

Prayanto WH

Keyword(s):

Graphic Design ◽

Roland Barthes ◽

Specific Design ◽

Design Work ◽

Design Elements ◽

Semiotic Approach ◽

Short Time ◽

Content Information ◽

Magazine Cover

Magazine is one of the forms of mass media that has fungsikomunikasi to convey information to mass audiences. The cover is an important element because it is through cover / cover one can guess the contents of the magazine, as well as further interested to know further information contained therein. On a magazine cover consists of drawings and writings are arranged in such a way that looks interesting and has meaning Press publications, especially magazines, today's not enough just to rely on the quality of news or manuscript, although verbal aspect is very important. It must be recognized that the visual aspects (design) as the cover / envelope has crucial role to capture the prospective reader. For the cover of a magazine is a window that shows the content information, can be either a text or photographs, illustrations, and design elements. The function of a magazine cover is to attract, dazzle prospective readers, by way influence the thoughts flow in a short time. So it's no wonder much current the magazine publisher who made the cover of such a way as to attract the attention of prospective readers. Thus the task of designers to magazine cover to create designs that attract the attention of the reader becomes increasingly severe. This study tries to analyze a visual on the front cover Magazine Graphic Design 'Concept' birthday inaugural edition by using the Roland Barthes' semiotic approach. As Roland Barthes (1984), any simple "design work (magazine cover)" continue to play in management of the sign. So that will generate a message (image) specific. Design cover, usually contains the elements of the sign in the form of objects, context of the environment, people or other beings who provide meaning to objects, and text (of writing) that reinforce the meaning.Keyword: cover, magazine Concept, semiotics

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Penelusuran Makna Motif Batik Depok melalui Konsep Denotasi dan Konotasi Roland Barthes

Jurnal Desain ◽

10.30998/jurnaldesain.v4i01.757 ◽

2016 ◽

Vol 4 (01) ◽

pp. 45

Author(s):

Puri Kurniasih ◽

Nurulfatmi Amzy ◽

Umi Kholisya

Keyword(s):

Roland Barthes

Artikel ini bertujuan untuk memberikan informasi mengenai latar belakang, ragam, hingga makna motif batik depok. Menelusuri latar belakang dan ragam motif batik depok secara kuantitatif menggunakan metode survei dan wawancara. Menelusuri makna secara kualitatif berdasarkan semiotika Roland Barthes tentang konsep denotasi dan konotasi. Secara kuantitatif, ternyata persentase yang tidak tahu tentang motif batik depok lebih banyak ketimbang yang tahu. Secara kualitatif, makna motif batik depok bukan hanya bermuatan estetis, namun juga ideologis. Sebuah motif batik, bukan hanya sekadar representasi dari kekhasan suatu daerah, melainkan bisa menjadi ajang pencitraan daerah yang bersangkutan. Sayangnya, pencitraan tersebut hanya sebatas wilayah balai kota. Jangankan mengetahui ideologi yang diselundupkan dalam motif batik, bahkan masih banyak warga yang tidak tahu mengenai eksistensi motif batik depok. Artikel ini berangkat dari persoalan desain motif batik depok dan sampai pada makna yang terkandung dalam penanda visual tersebut. Kata Kunci: motif batik depok, denotasi, konotasi, semiotika.

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Wiseman, Mary Bittner. The Ecstasies of Roland Barthes. London & New York: Routledge, 1990Wiseman, Mary Bittner. The Ecstasies of Roland Barthes. London & New York: Routledge, 1990. Pp. 204.

Canadian Modern Language Review/ La Revue canadienne des langues vivantes ◽

10.3138/cmlr.47.3.551 ◽

1991 ◽

Vol 47 (3) ◽

pp. 551-552

Author(s):

François Paré

Keyword(s):

New York ◽

Roland Barthes

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Roland Barthes’ writing and Haikus

Comparative Japanese Studies ◽

10.31634/cjs.2020.49.263 ◽

2020 ◽

Vol 49 ◽

pp. 263-284

Author(s):

So-Hyun Bark ◽

Keyword(s):

Roland Barthes

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Fait divers et histoire au XIXe siècle

Annales Histoire Sciences Sociales ◽

10.3406/ahess.1983.410967 ◽

1983 ◽

Vol 38 (4) ◽

pp. 911-919 ◽

Cited By ~ 3

Author(s):

Michelle Perrot

Keyword(s):

Roland Barthes ◽

Xixe Siecle ◽

Xixe Siècle

Deux expositions sont venues, cet hiver, consacrer le fait divers comme catégorie d'existence et d'histoire. L'une, organisée à la SEITA, par Jean-Pierre Seguin, inventeur du genre, était circonscrite aux Canards illustrés du XIXe siècle, dont elle développait la thématique par de très nombreux exemples. L'autre, plus ambitieuse, celle du musée des Arts et Traditions populaires, dont le catalogue a été rédigé notamment par Alain Monestier, entendait dégager les caractères structuraux de ce que Roland Barthes appelait les « inclassables de l'information »”, en mettant l'accent moins sur leur contenu que sur leurs invariants narratifs.Cette présentation a l'avantage de faire apparaître, d'un matériau à première vue hétéroclite, des lignes dé force qui suggèrent la permanence d'un imaginaire collectif. Elle a l'inconvénient d'amalgamer les détails signifiants dans le magma d'une immobilité présupposée au départ. Or ce qui intéresse l'historien, c'est moins le constat de l'évidence des peurs sociales, que leurs modulations dans le temps et les changements de leurs modes d'expressiorj.

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