THE EXPRESSION FORM OF ARTISTIC LANGUAGE IN OIL PAINTING CREATION

The expression of artistic language is one of the most important conditions in the creation of oil paintings. Good works are not limited to subject matter, technique and composition, but more importantly, the artist's conversion of artistic language in his works. Only through the art logic summed up through practice and the unique art language system established by ourselves can we create excellent works of art. Today, with rapid changes, oil paintings are not only presented in museums and art galleries, but also gradually appear in people's lives. The unique charm of oil paintings is deeply loved by people. In today's multicultural society, fast-paced and diverse cultural life has also promoted the further development of oil painting language. In this paper, the comprehensive display of artistic language in oil painting creation and the in-depth exploration of the potential power of expression forms are used for research, hoping to provide some reference for oil painting career and artistic creation language expression.

Humour as an information-influencing resource in mass media

The purpose of this paper is to show how humour is involved in creating effective media communication. The research method is a stylistic analysis of the media text through establishing the manifestations of humour in its compositional components – paratext, metatext, and intratext. The paper reveals the manifestations of two types of irony – ridicule and banter – in these text components. It is established that banter is a means to demonstrate the event distantly, to reduce unnecessary pathos in the speech of top public officials, and to emphasize public contradictions indirectly. Language markers of banter are most often found in the metatext. In such forms of irony, veiled references and hints are expressed which require an additional cognitive effort to understand. The feelings that motivate irony are hidden behind a mask, and are the opposite of the implied ones expressed in the text: for example, indignation is hidden behind surprise and bewilderment. Banter is typical of business mass media, where every event is transmitted distantly. Ridicule is characteristic of sociopolitical mass media. It is expressed in the conflict charge of the media text – the desire to discredit the object of speech, and often acts as a means of transmitting alienation, demonstrating categorical opposition of one’s position to another’s. Ridicule is created by the saturation of negative-evaluative means, most often manifested in the expression of anger and indignation, which determine ridicule. The text markers of tonality, evaluation and degree of indirect expression form the basis of reading the modality character – i.e. badinage.

The Application Strategy of Chinese and Western Traditional Painting Color to Student Education

Chromatology in the field of design status is increasingly prominent, through the training of painting chromatology to improve the students’ design color expression, creativity to meet the needs of modern development, has become the focus of the discussion. In teaching, chromatology should not only stay in a single surface color, but also be combined with the Chinese and Western cultural painting colors. The structure and concept of color in Chinese and Western art should be systematically studied, and specialized subjects should be adopted to continue the study of subjective color training, so as to try to express one’s feelings to the objective world through painting color and create the expression form of traditional painting color in contemporary Chinese and Western art. Combined with the professional training of design ketone, the subjective color and high pressure color aesthetic taste will be gradually formed, and the cultural connotation of design will be enhanced.

Post-Orientalist Comments by Contemporary Women Photographers

Today, Iran, Morocco, Tunisia, etc. women photographers have made the orientalist visual expression form the focal point of their art: the orientalist painting tradition as a result of the painter Delacroix's trip to Morocco in 1832, the imagination world and the painting tradition shaped by the economy-politics of the period, from the male-dominated point of view, the harem, the chamber, etc. It is based on fantasies based on the female body in oriental spaces. Although this painting movement maintained its effectiveness between 1832-1914, it is taken as a reference by photographers in today's postmodern art environment. In today's photography art, Shirin Neshat, Lalla Essaydi, Shadi Ghadirian, Majida Khattari, Meriem Bouderbala, who have Eastern and Western cultures and mostly live in Western countries, visualize the position of women in their countries with an interdisciplinary interpretation in their photographic visions that they shape with a post-orientalist attitude.

BENTUK, MAKNA, DAN FUNGSI GAYA BAHASA SEBAGAI CERMINAN KEARIFAN LOKAL BAHASA KAILI

AbstrakKearifan lokal merupakan kecerdasan manusia yang dimiliki oleh kelompok etnik tertentu yang diperoleh melalui pengalaman masyarakat. Namun setakat ini, kearifan lokal tersebut seakan tenggelam tergerus oleh pengaruh budaya asing. Dengan mengungkapkan kearifan lokal pada ungkapan gaya bahasa dalam bahasa Kaili, penelitian ini bertujuan mendeskripsikan bentuk, fungsi, dan makna kearifan lokal dalam ungkapan gaya bahasa dalam bahasa Kaili. Metode yang digunakan dalam penelitian ini adalah metode penyediaan data, analisis data, dan penyajian hasil analisis. Hasil analisis menunjukkan bahwa kearifan lokal dalam bentuk ungkapan gaya bahasa dalam bahasa Kaili yang dapat dijadikan sebagai keraifan lokal masyarakat Kaili adalah gaya bahasa berdasarkan makna seperti eufemisme, persamaan atau simile, metafora, personifikasi, eponim dan ironi. Fungsi dan makna dalam ungkapan gaya bahasa Kaili masih tetap relavan untuk dijadikan sebagai bentuk kearifan lokal oleh masyarakat etnik Kaili. Adapun fungsi gaya bahasa tersebut sebagai alat pengendali dan pengawas norma sosial, alat komunikasi, alat pengendali masyarakat, alat pendidikan anak, serta sarana pemeliharaan dan pemerkuat kerukunan antarummat beragama dan antaretnik. Makna ungkapan tersebut dijadiakan sebagai media kearifan lokal oleh orang tua, pemuka agama, tokoh masyarakat dalam menyampaikan nasihat, larangan, dan ajaran agama.AbstractLocal culture was human intelligence which was owned by ethnicity community which was gotten through society experiences but now, the local culture as if downing by effect of foreign culture. By using local culture in language style expression in kalinese language, this research purposed to describe form, meaning and function of local culture in expression of language style in kalinese language. The method which was used in this research was data provision of data, data analysis, and presentation of analysis result. The analysis result showed that local culture in language expression form in kailinese language which could be made as local culture of kailinese was language style based on its meaning, such as eufemisme, similarity or smile, metaphor, personification, eponym, and irony. Function and meaning in expression of kailinese language style still relevant to be made as form of local culture by kailinese ethnicity society. As for its function of language style as tool of controller and supervisor of social norm, tool of communication, tool of society controller, tool of child education, maintenance facilities and strengthen of harmony between religious society and between interethnic. That meaning was made as media of local culture by parents, religious leader, public figure in giving advice, forbidden and religious teaching.

Munda Folktales of Jharkhand

The present study aims at discourse analysis of Mundari Folktales of Jharkhand using sociocultural features. Discourse Analysis acts as an umbrella term for a rapidly growing field of research covering a wide range of different theoretical approaches and analytical emphases. It is assumed that different constructions of the world are represented in a number of ways. To understand different constructions, one needs to understand the factors that drive and shape the behavior of the people as individuals and collectively. The sociocultural discourse analysis focuses on the use of language as a social mode of thinking. The work of sociocultural theory is to explain how individual mental functioning is related to cultural, institutional, and historical context. This method will not only analyze words, sentences, expression, form and meaning but also analyze all kinds of social and cultural factors related to discourse. The intention behind the study is contribution to the repertoire of knowledge on Mundari folktales as an area which has remained unexplored over years. Despite being one of the major tribes of Jharkhand, these indigenous lives have not been a part of scholarly research yet. The tales are collected by different people and they are translated also but discourse study of the tales has not been dealt yet. Through the study of the tales one can learn their customs, culture, rituals, social activities and way of living. The emphases will be on analyzing people, their culture and society through the language used in the text.

William Echard. Psychedelic Popular Music: A History Through Musical Topic Theory. Indiana University Press, 2017, 306 pp.

El concepto de tópico musical fue acuñado por Leonard Ratner en la década de los 80’ en su libro Classic Music: Expression, Form, and Style. Esta primera aproximación sugirió un cambio notable que se observaría luego en la semiología de la música, en concreto, en el estudio de las prácticas musicales del clasicismo y romanticismo –un ejemplo claro de esto es el The Oxford Handbook of Topic Theory, editado por Danuta Mirka y publicado en 2014 por la editorial Oxford University Press...

METAFORA SINESTESIA DALAM BAHASA JAWA (JAVANESE SYNESTHESIA METAPHOR)

Metafora sinestesia adalah metafora berupa ungkapan yang bersangkutan dengan suatu indra yang dipakai sebagai objek atau konsep tertentu, yaitu pertukaran alat indra penanggap. Dapat diartikan juga bahwa metafora sinestesia adalah perubahan makna akibat perbedaan pertukaran tanggapan antara dua indra yang berlainan. Metafora sinestesia dalam bahasa Jawa, misalnya, Omongane pancen atos. ‘Berbicaranya memang keras’. Dapat dibandingkan dengan Watune atos. ‘Batunya keras’. Kata atos ‘keras’ yang harus ditanggap dengan alat indra perasa kulit, tetapi ditanggap oleh alat indra penglihatan mata Swarane sindhene cemplang ‘Suara pesindennya hambar’ bandingkan dengan Jangane cemplang kurang uyah ‘Sayurnya hambar kurang garam’. Ngendikane alus sopan.’Berbicaranya halus dan sopan’,dapat dibandingkan dengan Kulite alus kaya sutra, ‘Kulitnya halus seperti kain sutera’. Metafora sinestesia memiliki fungsi dan jenis. Metafora sinestesia berfungsi untuk penghalusan makna (eufemisme) dan fungsi pengasaran/mengasarkan makna (disfemia). Metafora sinestesia dalam bahasa Jawa memiliki beberapa jenis antara lain, (1) indra penciuman hidung, (2) indra pendengaran telinga, (3) indra penglihatan mata, (4) indra peraba kulit, dan (5) indra perasa lidah.  ABSTRAK Synesthesia metaphor is a metaphor expression form, which is concerned with a sense that is used as an object or a particular concept, namely the exchange of responder senses.The synesthesia metaphor also refers to meaning change because of response differences between two different senses. Javanese synesthesia metaphor, for example omongane pancen atos ‘his speech was hard’. It can be compared to watune Atos ‘the rock is hard. The atos ‘hard’ word should be responded with ear as listening sense, but it is responded with by the eyesight sense. Swarane sindhene cemplang ‘the pesinden’s voice is bland’ can be compare with jangane less cemplang kurang uyah ‘The soup is bald because of less salt’. Alus Ngendikane sopan ‘his speech is smooth and polite ‘ can be compared to Alus Kulite kaya sutra ‘her skin is smooth as silk ‘. Synesthesia metaphor has functions for smoothening meaning (euphemism) and coarsening meaning (disfemia). Types of Javanese synesthesia metaphor are (1) nose as smell sense, (2) ear as hearing sense, (3) eye as sight sense, (4) skin as touch sense, and (5) tongue as taste sense.Â

Creativity is for poets and pop singers, isn’t it? Academic perspectives on creativity in doctoral writing

This paper investigates how eight academic research supervisors working in a Faculty of Arts at a research-intensive Australian university understand the notion of creativity in doctoral writing; both in relation to what it is and where it is found. This question was investigated qualitatively through interviews focusing on reader reception to three, short doctoral texts. A framework of indexicality and orientation ( Lillis, 2008 ) was then used to move beyond the text-level and focus on the contextual influences surrounding the writing as it was exposed to its critical readership. The findings reflect varying levels of awareness and receptivity to the presence of creativity in written doctoral work. The paper also explores the perceived location of creativity in these texts for academic readers; namely, whether it resides in the ideas (i.e., the creative thought/content) or whether it was more textually-based (i.e., the creative expression/form of the idea).