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2021 ◽  
Vol 8 (1) ◽  
pp. 22-33
Author(s):  
Imelda Oliva Wissang ◽  
Imelda Oliva Wissang ◽  
Rikardus Pande ◽  
Arsiya Wanaeloh ◽  
Tobias Nggaruaka

This article aims to describe the exploration of NTT's culture in the novels by Gerson Poyk as one of the national writers, Angkatan `66. This NTT-born author writes novel literary works by raising cultural traditions as a characteristic, the identity of the NTT people, cultural traditions with the values ​​contained in them that are lived and preserved, although some have begun to disappear by the influence of modern culture. The uniqueness of Gerson Poyk is that he is able to raise the cultural background of NTT with its vast territory into his novels with a straightforward, expressive, and high aesthetic style of expression. Not only limited to cultural traditions but tourism development, agricultural cultivation, commercial crops, livestock, fisheries, handicrafts. Through a number of his novels, Gerson Poyk explores the culture that exists in the life of the people of NTT which can be used as a character of Indonesian culture. This research uses the theoretical basis of sociology of literature with the emphasis that the novel is actually a form of socio-historical embodiment, where novels can witness paintings of social and social reality. history, into a genre that is close to social phenomena. Using qualitative research methods in literature studies can describe, understand, and explain the exploration of NTT culture in the novel by Gerson Poyk. Exploration of NTT culture as a character of Indonesian culture in Gerson Poyk's novel, 1) exploring the cultural elements of the knowledge system towards the love of the NTT people to study, 2) exploring the cultural elements of the kinship and kinship system of the love of the NTT people to maintain relationships, 3) exploring the cultural elements of the system. livelihoods towards the love of the people of NTT doing work, 4) exploring the cultural elements of the religious system towards the love of the people of NTT in carrying out religious traditions, and 5) exploring elements of art culture towards the love of the people of NTT in the arts and culture.


Animation ◽  
2021 ◽  
Vol 16 (1-2) ◽  
pp. 36-50
Author(s):  
Linn Lönroth

This article explores the place of minor characters in Disney’s animated features. More specifically, it proposes that Disney’s minor characters mark an aesthetic rupture by breaking with the mode of hyperrealism that has come to be associated with the studio’s feature-length films. Drawing on character theory within literary studies and on research into animated film performance, the article suggests that the inherent ‘flatness’ of Disney’s minor characters and the ‘figurativeness’ of their performance styles contrasts with the characterizations and aesthetic style of the leading figures. The tendency of Disney’s minor characters to stretch and squash in an exaggerated fashion is also reminiscent of the flexible, plasmatic style of the studio’s early cartoons. In addition to exploring the aesthetic peculiarity of minor characters, this article also suggests that these figures play an important role in fleshing out the depicted fictional worlds of Disney’s movies. By drawing attention to alternative viewpoints and storylines, as well as to the broader narrative universe, minor characters add detail, nuance and complexity to the animated films in which they appear. Ultimately, this article proposes that these characters make the fairy-tale-like worlds of Disney animation more expansive and believable as fictional spaces.


2021 ◽  
Vol 2 (1) ◽  
pp. 37-56
Author(s):  
Idwar 99
Keyword(s):  

Artikel ini ingin menjawab pertanyaan, bagaimana trending video lagu Aisyah Istri Rasulullah di saluran Youtube Indonesia dalam perspektif posmodernisme? Apakah perubahan lirik lagu tersebut merupakan bentuk kepekaan budaya? Seperti apa nilai estetika dari lirik dan nada lagu yang diubah tersebut? Mengapa kemudian muncul perdebatan di saat lagu tersebut menjadi trending? Penelitian ini menggunakan perspektif posmodernisme dari Gill Branston dan Roy Stafford (2003: 387-403). Dalam perspektif posmodernisme terdapat tiga bingkai teori, yaitu a form of cultural sensibility (bentuk kepekaan budaya), an aesthetic style (gaya estetika), dan debates (perdebatan). Branston dan Stafford menjelaskan bahwa posmodernisme adalah kata yang ditemui dalam banyak diskusi media kontemporer, dan saluran Youtube adalah bagian dari media kontemporer tersebut. Lagu Aisyah Istri Rasulullah mengalami proses transformasi nilai dan estetika dari lagu pop duniawi ke lagu pop religi atau pop Islami. Transformasi tersebut berhasil menuai prestasi sebagai lagu dengan trending video terbanyak, dengan tiga belas video trending, dengan empat video di urutan teratas. Fenomena ini menarik untuk dikaji karena baru pertama kali terjadi di saluran Youtube Indonesia.


2021 ◽  
pp. 175069802110243
Author(s):  
Susanne Buckley-Zistel

Memorials have become increasingly relevant in societies seeking to come to terms with the past of mass violence and there is a growing body of academic scholarship that scrutinises the politics of memory in divided societies. This article takes a different approach to the politics of memorials: it does not focus on what is remembered, that is, to what a memorial testifies, but how memory at a memorial (supposedly) takes place through the aesthetic strategies put to work. It contributes to emerging literature which explores aspects of performativity and the politics of affect. The objective is, however, to take it one step further by not only shifting attention to studying the engagement with, experience and performance at these sites but also to the politics of the aesthetics choice that promote this engagement. To do so, it differentiates between three aesthetic styles of memorials: imposing, counter and affirmative memorials that were all developed at a particular time in order to pursue particular political and social objectives. The current phenomenon, affirmative memorials, holds that there is a duty to remember and is firmly embedded in efforts to build peace, advance liberal norms and contribute to transitional justice. Pursuing this strategy is however at odds with the aesthetic style of these affirmative memorials that is derived from counter memorials and celebrates plurality and openness rather than wanting to affirm one message.


2021 ◽  
Vol 13 (1) ◽  
pp. 3-21
Author(s):  
Priscila Alvarez-Cueva ◽  
Paula Guerra

Rosalía gained worldwide fame with the release of El Mal Querer in 2018, carving a niche for herself in mainstream music with her distinctive aesthetic style and the incorporation of flamenco rhythms in her music. Our study aims to analyse four of her most important songs to highlight how she created her artistic place by incorporating collective cultural memories and translating them into a late modern scenario while at the same time commodifying the working-class standard of choni women in Spain. Our main findings suggest that (1) Rosalía’s work appropriates certain cultural and collective memories and translates them into a fashionable and desirable late modern lifestyle that combines a flamenco sound with other rhythms that could lead to the sustenance of this music genre in the new generations; (2) Rosalía establishes her youth style and femininity by incorporating a set of consumer practices that are also guided by elements of the postfeminist sensibility; and (3) there are four main actions that helped Rosalía to establish the choni-chic style. With this combination, we argue that Rosalía brings to the present a hybridized flamenco for contemporary generations while also rescuing cultural and patrimonial elements that are relevant within the construction of identities.


Author(s):  
James Morton

Chapter 9 addresses a group of nomocanons produced in the Salento peninsula between the twelfth and fourteenth centuries. These manuscripts stand out from the others in the book, as they were not produced for monasteries, bishops, or lay judges, but for the secular clergy and parish priests of the Salento. The chapter explores their distinctive aesthetic style and material characteristics, which are highly consistent across the group but noticeably different from those of other Italo-Greek nomocanons. It also discusses their textual content, pointing out that the manuscripts contain lengthy appendices consisting of texts that would have been of particular interest to Salentine Greek clergy of the late Middle Ages, covering subjects like clerical marriage and Lenten fasting. These were all topics on which the Greek church diverged from the Latin, and it seems that the texts were included as a way to defend the Greeks’ distinctive religious practices. The chapter also highlights a fascinating marginal abbreviation that occurs in multiple Salentine nomocanons, ‘Against the Latins’, which was used by scribes and readers to highlight canons that were felt to be especially useful in this effort.


Author(s):  
Aya Kamperis

In Virtual Orientalism, Jane Naomi Iwamura extends Edward Said's theory through an analysis of the US post-war visual culture to trace the genealogy of the icon of the East she calls the ‘Oriental Monk'. The aim of the chapter is to explore the appropriation of the notion of Zen, particularly its application and exploitation as an aesthetic ‘style', and the mechanisms behind such phenomena. The chapter extends Iwamura's thesis to elaborate on the function of the Virtual Monk to question the development of its ontology in the contemporary world of neoliberalism and social media to introduce the concept of VO/ID, which has been deployed by capitalist corporations to market Zen as a lifestyle product/service. It offers an insight into the process of identification within the framework of orientalism, that is, the way in which the Self and the Other come into being, and offer Gen as a possible solution to the VO/ID expansion.


Author(s):  
Alice Massari

AbstractSince its inception, humanitarian communication has consistently represented beneficiaries as referent objects of a threat, as threatened. Images of victims, whether in the traditional representation of a sea of humanity’ (Malkki 1996) or in the more recent aesthetic style of the individual portrait, have consistently constituted the large bulk of humanitarian NGOs’ visual production. This chapter focuses on the representation of Syrian refugees as ‘threatened’ to show how this depiction of refugees is just another form of securitization, whereby Syrians are depicted as infantilized and passive victims in need of external intervention. In order to do so, it is worthwhile digressing to understand how remarkable have been the structural changes that humanitarianism has undergone over the last quarter century and how new relief assistance’ modalities, while seeking to putting individuals and their rights center stage have also primarily represented them in terms of victimhood.


2020 ◽  
Vol 25 (2) ◽  
pp. 93-113
Author(s):  
Tiina Rosenberg

The 2020 Eurovision Song Contest (ESC) was cancelled due to the COVID-19 pandemic. However, the ESC is still shining after more than half a century and even now seems relevant for its audiences. In the ESC, queer interaction and togetherness are based on a combination of kitsch and camp, an aesthetic style and sensibility that aficionados regard as appealing because of its ironic, overthe-top challenging of the norms of ‘good behavior’ and ‘good taste.’ Nonetheless, it may seem strange that the ESC, a post-war European peace utopia and mainstream music event, is identified to such a degree as queer today, and the question remains whether the ESC can be of interest to dykes and feminists. This essay, therefore, revisits the notions of kitsch and camp as queer communication strategies. It closes with a reflection on the contest’s arbitrary notions of Europe, its troubled geopolitics, and its radically extroverted playing with taste taboos as pleasurable entertainment.


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