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Budiarti, Endah. "Lakon Mintaraga ke Sang Indrakila Resi Kajian Alih Wahana (The Play of Mintaraga to Sang Indrakila Resi: Study of a Change from One Type of Art to Another)." Wayang Nusantara: Journal of Puppetry 4, no. 1 (March 31, 2020): 22–39. http://dx.doi.org/10.24821/wayang.v4i1.4749.
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AbstractThe Play of Mintaraga to Sang Indrakila Resi: Study of a Change from One Type of Art to Another. This study aimed to trace the art transformation of the Mintaraga play to Sang Indrakila Resi. In other words, tracing the art transformation from play to written play. Sapardi Djoko Damono’s theory of art transformation is used as a framework for thinking in this study. Sapardi Djoko Damono’s theory states that art transformation is the change and transfer of “something” from one type of art to another. This study used descriptive qualitative method. The data collection and processing methods used in this study were note-taking, listening, sorting, and orthographic matching techniques. The method used in the data analysis stage was the literary method (library methods). The result of this study was a formula for transfer of art from play to written play. AbstrakTulisan ini bertujuan melacak alih wahana lakon Mintaraga ke Sang Indrakila Resi. Dengan kata lain melacak alih wahana dari lakon pertunjukan ke lakon tulis. Teori alih wahana Sapardi Djoko Damono dipakai sebagai kerangka berpikir dalam penelitian ini. Teori Sapardi Djoko Damono mengatakan bahwa alih wahana adalah pengubahan dan pemindahan “sesuatu” dari satu jenis wahana ke jenis wahana lain. Temuan yang dihasilkan ialah formula alih wahana dari lakon pertunjukan ke lakon tulis.
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Suci Amalia, Sri Indah, and Afifah Asriati. "MANAJEMEN SANGGAR SENI LAKON GERAK MINANG DI NAGARI BARINGIN KABUPATEN TANAH DATAR." Jurnal Sendratasik 10, no. 2 (March 30, 2021): 10. http://dx.doi.org/10.24036/jsu.v1i1.112011.
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The Management of Lakon Gerak Minang Art Studio in Baringin Village, Tanah Datar Regency. A Bachelor Thesis. Sendratasik Department. FBS. Universitas Negeri Padang. This research aims to describe and explain the management system of Lakon Gerak Minang Art Studio in Baringin Village, Tanah Datar Regency. This research belongs to a qualitative research using descriptive method. The main instrument in this study was the researcher itself and was assisted by supporting instruments such as writing tools and cameras. The data types used in this study were primary and secondary data. The data were collected through literature studies, observations, data analysis, and data collection. The results show that Lakon Gerak Minang art studio has a management consisting of managing, planning programs, and dividing various activities, tasks and responsibilities. Organizational processes are interconnected with each other. If one process is not executed properly, the other processes will not well. Therefore, every process must be done properly so that the studio management system can run well. Thus, it makes Lakon Gerak Minang art studio able to compete with other studios in Tanah Data Regency. The management system run by Lakon Gerak Minang art studio belongs to the line organization (a form of organization where the delegation of authority is directly vertical and entirely given from the leader to the subordinates). The advantage of this line organization is that all decisions can be resolved directly because in a certain situation the leader becomes one of the main targets in solving problems. The weakness of this organization is the problems cannot be resolved quickly due to the fact that the leader is not there. Thus, the management of this organization is to solve problems which exist in the studio.The head of the studio becomes the first person to complete and resolve the problems.
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Berard, Christopher Michael. "King Arthur and the Canons of Laon." Arthuriana 26, no. 3 (2016): 91–119. http://dx.doi.org/10.1353/art.2016.0039.
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Rosa, Gea, Arti Wulandari, and Oscar Samaratungga. "LAKON PUNAKAWAN DALAM KARYA FOTOGRAFI SENI." spectā: Journal of Photography, Arts, and Media 3, no. 2 (October 7, 2019): 90–97. http://dx.doi.org/10.24821/specta.v3i2.2790.
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Abstrak Penciptan karya seni ini bermula dari keprihatinan terhadap pementasan wayang yang sudah mulai ditinggalkan di era milenial ini, sangat disayangkan apaila pementasan tersebut hilang begitu saja. Padahal kesenian ini sangat banyak memberikan pelajaran yang dapat membentuk karakter generasi muda menjadi lebih baik. Sebagai seorang yang lahir dan besar di Jawa, berkewajiban untuk turut andil dalam melestarikan kesenian peninggalan nenek moyang ini. Penciptaan karya seni ini mengambil tokoh Punakawan yang beranggotakan Semar, Gareng, Petruk dan Bagong. Tokoh-tokoh wayang tersebut diambil karena perannya dalam dunia pewayangan sangat besar. Penciptaan karya seni ini memvisualkan cuplikan lakon Punakawan ke dalam karya fotografi seni. Selain itu, ingin menyampaikan pesan moral yang terdapa dalam lakon Punakawan di karya fotografi seni. Karya visual ini mengandung elemen-elemen pendukung sesuai dengan topik yang diangkat. Elemen-elemen tersebut digabungkan dengan teknik montase yang diproses menggunakan digital imaging dan dicetak di media kertas foto. Dengan demikian, visual yang dihadirkan sesuai dengan harapan dan pesan yang akan disampaikan bisa tersampaikan dengan baik. Kata kunci : lakon, Punakawan, fotografi seni Abstract Punakawan Play in Fine Art Photography. The creation of this art work originated from the concern about puppet showa that already abandoned in this millenial era. It is unfortunate if the show just disappear. Exen trough this art provides a lot of knowledge that can estabilish young generation character to be better. As a person born and raised in Java, emerged a sense of having an obligation to take part in perserving traditional arts. The creation of this art work takes in the figure of a slownman who consist of Semar, Gareng, Petruk and Bagong. The Puppet caracter is taken, because of the role in the world of puppetry is very large. The creation of this artwork visualizes snoppet of the clown. Storie into photographic artwork. Moreover, want to convey a moral message contained in the storie of clowns into photography artwork. The creation contain elemens that supporting as compatible as the topic raised. The elements combaineed with montage technique that proceeded using digital imaging and printed on photo paper, so the visual that served consistent to the hope. Also the message delivered,conveyed well. Keywords: Punakawan, play, fine art photography
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Laanemets, Mari. "Flight into Tomorrow: Rethinking Artistic Practice in Estonia During the 1970s (Leonhard Lapin)." ARTMargins 2, no. 2 (June 2013): 137–62. http://dx.doi.org/10.1162/artm_a_00050.
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This article observes how the new understanding of art which was introduced at the end of the 1960s by pop art influenced groups was pursued and radicalised in the second half of the 1970s, in a period generally referred to as the weakening of the avant-garde. It focuses on the texts by Leonhard Lapin, promoting art as a means of creating a new living environment. Taking Lapin's text as a framework, the author analyses the intervention in the official exhibition of monumental art in 1976.
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Anderson, Myrdene, and Claire Vilgard. "Peurs et humour dans l'imaginaire lapon." Journal of the Royal Anthropological Institute 1, no. 2 (June 1995): 457. http://dx.doi.org/10.2307/3034753.
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L’Héritier, Maxime, and Vincent Le Quellec. "Laon (Aisne). Cathédrale de Laon." Archéologie médiévale, no. 47 (December 20, 2017): 275. http://dx.doi.org/10.4000/archeomed.7101.
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Mashuri, Mashuri. "Desakralisasi Wayang Purwa Lakon Ruwat." ATAVISME 10, no. 2 (December 31, 2007): 27–38. http://dx.doi.org/10.24257/atavisme.v10i2.238.27-38.
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In the culture of Java, the wayang purwa (shadow play with leather puppets often dramatizing theme from Hindu epics) is important, central and sacral. Finally, many Javanese identify themselves to the characters in the wayang. The main factor is because the wayang is considered as the oldest of culture product, and also it can glorify the grandeur and the sacrality. The wayang sacrality can be found in ruwat act. The act in old treasure is ini some serat and suluk, consides that the act is not only a common story. But, the sacrality value that is glorified in Javanese culture, either in the wayang show or ruwatan, almost can not be found the presentation in Durga Umayi text, worked by YB Mangunwijaya. The are so many texts that have the• tendency to dig up the sacrality of wayang. This propane process has occurred not only to the characters of wayang that are considered as sacral's and guide's eyes only, but also in the essence of the plot and the value of the story. The Durga Umayi text seems that is presented to be comparable with the wayang disourse that has been built and established. In the text consists of desacralization ruwat act with some strategies, like blurring of binary opposition, reversal, and some other deconstruction strategy.
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Triyogo, YB Rahno. "Menghidupkan Kesenian Ketoprak di Desa Sanggrahan Kecamatan Kranggan Kabupaten Temanggung Jawa Tengah." Abdi Seni 10, no. 2 (April 28, 2020): 74–82. http://dx.doi.org/10.33153/abdiseni.v10i2.3038.
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AbstractJudul artikel PPM Tematik ini adalah Menghidupkan Kesenian Ketoprak Di Desa Sanggrahan, Kecamatan Kranggan, Kabupaten Temanggung, Jawa Tengah yang memusatkan perhatiannya pada usaha menghidupkan kembali kesenian ketoprak yang pernah ada sebelumnya. Berpijak pada judul artikel di atas dengan mudah dapat ditangkap bahwa yang menjadi tujuan penulisan artikel ini adalah mendiskripsikan usaha-usaha untuk menghidupkan kembali kesenian ketoprak yang pernah ada dan kini dalam keadaan mati suri. Adapun langkah yang ditempuh adalah mengadakan pelatihan untuk para pemain dan pengrawit, serta pembinaan dalam bidang cara-cara berorganisasi. Pelatihan dilakukan dengan mempertimbangkan kualitas dan kuantitas pemain maupun pengrawit, naskah lakon, pelatih, dan waktu atau jaduwal latihan. Adapun materi latihan meliputi membaca naskah lakon, dialog (penguasaan vokabuler bahasa Jawa dan unggah-ungguh), bloking, actions, perang kombat, perang masal, dan make-up. Latihan dilakukan secara maraton, dan menghasilkan sebuah pertunjukan ketoprak dengan durasi waktu 2 jam dengan lakon Manunggal. Lakon disusun oleh Ki Legowo Cipto Karsono, Agus Joko Susilo, dan Rekryandrie Prabaningmas. Sesuai dengan keinginan masyarakat pendukungnya bahwa hasil latihan dipentaskan dalam acara perpisahan mahasiswa KKN dengan warga desa Sanggrahan yang diselenggarakan pada tanggal 27 Agustus 2018.Kata kunci: eksistensi, ketoprak, Sanggrahan Temanggung. AbstractThe title of this Thematic dedication to community article is Reviving Ketoprak Art in Sanggrahan, Kranggan, Temanggung, Central Java, which focuses its attention on reviving ketoprak art that had existed before. Based on the title of the article above it can be easily captured that the purpose of writing this article is to describe efforts to revive the art of ketoprak that once existed. The steps taken are conducting training for players and players, as well as coaching in the field of ways to organize. The training is carried out by considering the quality and quantity of players as well as players, script manuscripts, coaches, and time or time of training. The training material includes reading script, dialogue (mastering Javanese vocabulary and uploading), blocking, actions, kombat war, mass warfare, and make-up. The training was conducted in a marathon, and resulted in a ketoprak show with a duration of 2 hours with the Manunggal play. The play was composed by Ki Legowo Cipto Karsono, Agus Joko Susilo, and Rekryandrie Prabaningmas. In accordance with the wishes of the supporting community that the results of the exercise were staged in the farewell program of Community Service Program (KKN) students and residents of Sanggrahan which was held on August 27, 2018.Keywords: existence, ketoprak, Sanggrahan Temanggung.
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Nuraini, Fajar Indah, Dwi Santoso, Novi Sri Rahmi, and Rosa Oktavia Kaptania. "EXPRESSIVE SPEECH ACTS IN 'LAKON POLITIK REPUBLIK' EPISODE OF 'MATA NAJWA' TALKSHOW." LEKSEMA: Jurnal Bahasa dan Sastra 5, no. 1 (June 17, 2020): 1. http://dx.doi.org/10.22515/ljbs.v5i1.1853.
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The objectives of this research are to find out the types of expressive speech act and the forms of expressive speech act in Mata NajwaTalkshow: Lakon Politik Republik Episode. It is interesting to analyze expressive speech since all the human beings are given a feeling by God and they tend to express their psychological feeling. Feeling is strictly related to expressive speech act. Kreidler and Frank’s theory about expressive speech act was used in this research .This research belongs to qualitative. Furthermore, the data of this research are the utterances containing expressive speech act in Mata Najwa Talkshow: Lakon Politik Republik Episode. In collecting the data, the researchers decide to use documentation technique. The four researchers analyze the data by identifyingand classifying the data into types and forms of expressive speech act. The results are 13 types of expressive speech act and 2 forms of expressive speech act are found in this research. The types are thanking, regretting, apologizing, praising, liking, disliking, approving, disapproving, condoling, criticizing, boasting, lamenting, blaming. The forms of expressive speech act found by the researchers are declarative and interrogative.
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Kurniawati, Andini Shinta. "Wayang Jawa Timuran Lakon Gandamana Luweng (Kajian Struktur Dan Makna)." Mudra Jurnal Seni Budaya 33, no. 1 (March 6, 2018): 9. http://dx.doi.org/10.31091/mudra.v33i1.137.
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Wayang, sebagai salah satu bentuk kesenian klasik tradisional yang oleh pecintanya dikatakan mempunyai nilai adiluhung, banyak mempengaruhi tata nilai kehidupan Jawa khususnya dan masyarakat pada umumnya.Orang Jawa begitu percaya adanya perlambang, simbolisasi ataupun filsafat hidup yang berupa mitos pada satu lakon wayang.Salah satu lakon wayang yang cukup menarik perhatian adalah lakon wayang dengan judul Gandamana Luweng. Pokok permasalahan yang dikaji dalam penulisan ini adalah (1) Bagaimana struktur lakon Gandamana Luweng, (2) Bagaimana makna simbolik lakon Gandamana Luweng. Tujuan penulisan ini yaitu menganalisa dan mendeskripsikan struktur lakon dan makna simbolik lakon Gandamana Luweng. Penelitian ini menggunakan desain penelitian kualitatif dengan pendekatan fenomnologis empiris. Subjek utama dalam penelitian ini adalah Ki Pringgo Jati Rahmanu, sedangkan pengumpulan data diperoleh dengan pengamatan, wawancara, studi dokumen, dokumentasi. Analisis data dilakukan melalui reduksi data, penyajian data, dan penarikan kesimpulan. Pemerksaan keabsahan data menggunakan informan review dan triangulasi data (sumber dan teknik). Hasil penelitian ini menunjukkan bahwa struktur lakon Gandamana Luweng terdiri atas sinopsis, penjabaran lakon, penokohan, alur, setting, dan tema cerita.Lakon Gandamana Luweng ini memiliki makna bahwa jika dalam suatu Negara para rakyatnya bermoral lemah tidak mempunyai kekuatan dan keberanian apalagi kesadaran apa arti hidup ini maka hancurlah Negara itu. Dari data tersebut dapat disimpulkan bahwa Lakon Gandamana Luweng memiliki struktur lakon cukup menarik yang dikemas dalam durasi tampilan 60 menit, sedangkan dengan adanya makna simbolik yang terkandung diharapkan para pelaku hidup ini akan sadar tentang pentingnya saling mengerti, menyadari tentang hidup dan kehidupan di dunia.Shadow Puppettry, as one of the traditional classical art form that by the lover is said to hold in high value, hold much affect to the values of life of Java in particular and its society in general. The Javanese are very confident in the use of symbols. Symbols and philosophies of life that are manifest in one myth in one puppet play. One of the puppet plays that attract attention is the wayang play entitled "Gandamana Luweng". The main issues studied in this book are (1) How Gandamana Luweng play is structured, (2) The symbolic meaning of Gadamana Luweng play. The purpose of this paper is to analyze and describe the structure of the play and the symbolic implications of the play Gandamana Luweng. This research uses qualitative research design with empirical phenomenological approach. The main subject in this study is Ki Pringgo Jati Rahmanu, while data collection is obtained with observation, interview, document study, documentation. Data analysis is done through by data reduction, presentation data, and conclusion. The validity of data is checked using using informant review and triangulation of data (source and technique). The results of this study indicate the structure of the Gandamana Luweng play consists of synopsis, description of the play, characterization, plot, setting, and theme of the story. This Gandamana Luweng play has the meaning if country’s people possess weak moral, no strength and courage let alone awareness as to what this life means, then the country is destroyed. From these data can be concluded Gandamana Luweng shadow puppet play holdss a fascinating structure that comprises a 60 minute view duration, where the symbolic meanings intentions are expected that these actors will be aware of understanding each other, conscious about life and life in the world.
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Szabó, Valentin, and Dániel Vaczkó. "Üvegszál-erősítésű, lapos profilok ragasztott kötéseinek vizsgálata." Acta Materialia Transylvanica magyar kiadás 6, no. 1 (2023): 59–63. http://dx.doi.org/10.33923/amt-2023-01-10.
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Napjainkban a nyersanyaghiány egy jellegzetes probléma, amely az ipar minden területén jelentkezik. A pultrúziós eljárással gyártott, üvegszál-erősítésű kompozitok rendkívül kedvező tulajdonságokkal rendelkeznek. A kutatás során pultrudált profilokon felületkezelések alkalmazását vizsgáltuk a felületi energia növelése érdekében. Kézi csiszolással és homokszórással érdesítettük a ragasztani kívánt felületeket, majd különböző zsírtalanítószereket alkalmazva nedvesíthetőségi méréseket végeztünk el. A felületkezelés létrejöttének bizonyítására és nagyságának a meghatározására a felületeket érdességmérővel ellenőriztük. A ragasztásokat két különböző szerkezeti ragasztóval, valamint epoxi gyantával készítettük el. A lapos profilok nyírószilárdsági értékét szakítóvizsgálaton hasonlítottuk össze, majd meghatároztuk a felületkezelések hatását. Az eredmények alapján a megfelelő felületkezelés, illetve a ragasztó típusa nagymértékben befolyásolja a kialakult kötésszilárdságot.
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Keryell, Gaëla. "“Lapons” ou “Norvégiens”." L'Homme, no. 209 (March 24, 2014): 69–94. http://dx.doi.org/10.4000/lhomme.23477.
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Lintang, Avyana Destyasti, Sarjiwo Sarjiwo, and Nur Iswantara. "Nilai-Nilai Pendidikan Karakter dalam Langen Carita Lakon Patine Arya Penangsang." Indonesian Journal Of Performing Arts Education 1, no. 1 (January 31, 2021): 32–39. http://dx.doi.org/10.24821/ijopaed.v1i1.4918.
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AbstractCharacter education in Indonesia is being re-implemented to shape students to have intellect and character and can be taught through art education, one of which is Javanese opera. Langen carita is one of the arts that is intended to shape children's character as a continuation of children's art education. Langen carita is a form of the sariswara method in which there are literature, songs/music/karawitan, stories and solah bawa in short operas or children's plays (ages 10-14 years). Langen carita has also developed as a performing art with many historical stories, chronicles, or daily life, including Patine Arya Penangsang. This study aims to describe the values of character education in the language of the play Patine Arya Penangsang. This research uses a qualitative descriptive method by studying, analyzing, expressing, and describing character education values in performing art. Data collection techniques used literature study, interviews, observation, and documentation, which were then validated using triangulation. The results showed that Langen Carita entitled Patine Arya Penangsang has values of religious character education, tolerance, discipline, creativity, love for the country, responsibility, leadership, self-confidence, never giving up, cooperation, obedience, perseverance, patience, courtesy, and sincere. In the elements of drama, dance, and music. AbstrakPendidikan karakter di Indonesia sedang diterapkan kembali untuk membentuk siswa memiliki akal pikiran dan budi pekerti dan dapat diajarkan melalui pendidikan seni, salah satunya dalam bentuk opera jawa. Langen carita merupakan salah satu kesenian yang ditujukan untuk membentuk karakter anak sebagai lanjutan pendidikan seni dolanan anak. Langen carita adalah bentuk dari metode sariswara yang di dalamnya terdapat sastra, tembang/lagu/musik/karawitan, cerita dan solah bawa dalam bentuk opera kecil atau sandiwara anak (usia 10-14 tahun). Langen carita juga berkembang sebagai seni pertunjukan dengan banyak cerita sejarah, babad atau kehidupan sehari-hari, salah satunya patine Arya Penangsang. Tujuan penelitian ini adalah mendeskripsikan nilai-nilai pendidikan karakter dalam langen carita lakon Patine Arya Penangsang. Penelitian ini menggunakan metode deskriptif kualitatif dengan mengkaji, menganalisis, mengungkapkan, dan menggambarkan nilai-nilai pendidikan karakter di dalam suatu kesenian. Teknik pengumpulan data menggunakan studi pustaka, wawancara, observasi, dan dokumentasi, yang kemudian divalidasi menggunakan triangulasi. Hasil penelitian menunjukkan bahwa langen carita berjudul Patine Arya Penangsang memiliki nilai-nilai pendidikan karakter religius, toleransi, disiplin, kreatif, cinta tanah air, tanggungjawab, kepemimpinan, percaya diri, pantang menyerah, kerja sama, patuh, tekun, sabar, sopan santun, dan ikhlas dalam unsur drama, tari, dan musik.
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Nugroho, Sugeng. "Social Criticism in Wayang Kulit Purwa Performance by Purbo Asmoro, Study of Interpretation (Sanggit) and Treatment (Garap)." Harmonia: Journal of Arts Research and Education 23, no. 2 (December 31, 2023): 429–43. http://dx.doi.org/10.15294/harmonia.v23i2.45759.
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This study intends to examine wayang kulit purwa performances [from Central Java] of the plays Réyog Ponorogo and Sang Batara Sambo “Prahara Suralaya,” created by Purbo Asmoro (2022). Both of these works are fascinating to study because in addition to the fact that they are allusions to topical conflicts [in Indonesia] presented in the form of social commentary, the structure and texture of these performances differ from the treatment of wayang purwa performances in general. This problem is studied based on the ethnoart paradigm, using the Interpretation (Sanggit) and Treatment (Garap) Theories and critical analysis. Research data was collected through literature studies, documentation studies, and interviews. The results of the study show that the social criticism revealed in lakon Réyog Ponorogo is blatant, while the social criticism in lakon Sang Batara Sambo “Prahara Suralaya” as a whole is equivocal, but in the closing scene it is blatant. In creating a ‘new’ lakon, the dalang must master various references—both written and spoken—which will later be used as hipogram texts, interpret various hypogram texts into a story, and translate them into lakon wayang. The artistic ability of the dalang greatly influences the quality of wayang performances, the ability of the dalang to choose the elements of pakeliran treatment to be highlighted in each scene, the dalang’s ability to organize the performance supporting team, and the ability of the dalang to read the situation of the audience.
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Suprihatin Dyah Pratamawati, Endang Wara. "Malang Mask Puppet Presentation Structure Arrangement of the Story Rabine Panji as Cultural Tourism Commodity in Malang Regency East Java." Harmonia: Journal of Arts Research and Education 16, no. 1 (December 26, 2016): 66. http://dx.doi.org/10.15294/harmonia.v16i1.6021.
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<p>This research aimed to describe the model of structure arrangement of Malang Mask Puppet traditional art performance as the tourism commodity. The research method used was single case study with holistic single-case study approach toward the event program done by the traditional art performance group in Malang. It is done as an effort to maintain the existence of tradition art through tourism art performance arrangement. The result was the performance structure of the story (<em>lakon</em>) of Rabine Panji in Malang mask puppet performance. Malang mask puppet has been performed in shorter duration so that it became more interesting for the purpose of tourism.</p><p><strong>How to Cite:</strong> Pratamawati, E. W. S. D. (2016). Malang Mask Puppet Presentation Structure Arrangement of the Story Rabine Panji as Cultural Tourism Commodity in Malang Regency East Java. <em>Harmonia: Journal of Arts Research And Education</em>, 16(1), 66-74. doi:http://dx.doi.org/10.15294/harmonia.v16i1.4561</p>
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Heidi Pietarinen, Satu Miettinen, and Melanie Sarantou. "Biotaidetta tarkasteleva laboratorio." Tahiti 12, no. 3 (November 17, 2022): 111–20. http://dx.doi.org/10.23995/tht.121885.
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Missä kulkevat elävää materiaalia hyödyntävän biotaiteen rajat? Millaista tietoa jää tieteellisen tutkimustyön ulkopuolelle? Miten biotaide voidaan muuttaa taidelähtöisten menetelmien kautta tiedoksi ja taiteelliseksi ajatteluksi? Esimerkiksi näihin kysymyksiin etsii vastausta Lapin yliopiston taiteiden tiedekuntaan vuonna 2021 perustettu BioARTech-laboratorio, joka tutkii biotaidetta ja sen yhtymäkohtia taiteeseen ja tutkimukseen. Laboratorio tukee biotaiteen, muodin, tekstiilitaiteen, luovan tutkimuksen (art-based method, art-based research), biotekniikan ja tieteen välistä tutkimustyötä. Keskeistä BioARTech-laboratorion toteuttamissa kenttätutkimuksissa ja laboratorion taiteilija-tutkijoiden käyttämissä taidelähtöisissä menetelmissä on poikkitieteellisyys ja pyrkimys kohti kestäviä prosesseja. Biotaiteen avulla voidaan kehittää innovatiivista suunnittelua luonnon ja ei-inhimillisen kanssa sekä saada aikaan uusia suunnitteluratkaisuja, prosesseja ja muutoksia yhteistyössä lappilaisten yritysten kanssa. BioARTech-laboratorion päätutkijat ovat tekstiilialan professori Heidi Pietarinen, palvelumuotoilun professori, dekaani Satu Miettinen ja dosentti Melanie Sarantou, jotka tarkastelevat biotaidetta eri näkökulmista taidelähtöisissä tutkimuksissaan.
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Dipoyono, Achmad, and Yulela Nur Imama. "Kethoprak Reog Paguyuban Seni Reog Singo Bhirowo Lakon Suminten Edan (Kolaborasi Kesenian Rakyat sebagai Ekspresi Akulturasi Budaya)." Acintya Jurnal Penelitian Seni Budaya 15, no. 2 (December 1, 2023): 101–8. http://dx.doi.org/10.33153/acy.v15i2.5586.
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ABSTRACT The city of Surakarta has approximately 35 groups or communities dedicated to the Reog art form. One of these groups is known as "Paguyuban Seni Reog Singo Bhirowo" which comprises 45 members spanning across different generations. This quantity reflects the high level of interest among the Banjarsari community in Reog art. Moreover, the establishment of "Paguyuban Seni Reog Singo Bhirowo" is a response from urban residents living outside Surakarta who have a background in Reog art. The group aims to create a performance format that combines Reog with the traditional Javanese art form called "Kethoprak," known as "Reog Kethoprak." The fusion of Kethoprak and Reog, both rooted in folk art, is seen as a suitable step to promote intercultural understanding, tolerance, and enrich the global heritage of the arts. This cultural amalgamation in the presentation of Kethoprak and Reog is an offering to strengthen their coexistence in society, particularly in Surakarta. The process of creating the Reog Kethoprak performance, exemplified by the Suminten Edan play, involves various stages: cultural exchange, acceptance and exploration, adoption and adaptation, integration, and transformation, resulting in the final show. In the implementation of the Suminten Edan play, contemporary conflicts related to the economic situation of the Reog community are incorporated into the narrative. The collaboration between these two folk art forms, Kethoprak and Reog, serves as a reflection of cultural tolerance and a recognition that differences can come together to produce something significant and have a positive impact on each other. This collaboration is not about division or competition but rather about unity. Keywords: Acculturation, Reog Kethoprak, Local Cultural Expression.
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Intarti, Retno Dwi. "“Kartisampéka” Trigantalpati dalam Lakon Wayang Gandamana Tundhung Ki Hadi Sugito (“Kartisampéka” Trigantalpati in Gandamana Tundhung Shadow Puppet Play Performance by Ki Hadi Sugito)." Wayang Nusantara: Journal of Puppetry 4, no. 1 (March 31, 2020): 12–21. http://dx.doi.org/10.24821/wayang.v4i1.3664.
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AbstractThis paper aimed to examine kartisampéka Trigantalpati in the Gandamana Tundhung play performed by Ki Hadi Sugito. Kartisampéka is an act of deluding others subtly and not automatically visible to other people (sinamun sinamudana). Kartisampéka has a negative connotation because the actions carried out are aimed at harming others. The data analysis was carried out by using descriptive analytical method. This study succeeded in finding kartisampéka as a sub-theme of the Gandamana Tundhung play performed by Ki Hadi Sugito. The kartisampéka concept which attached to the Trigantalpati character was used to build the plot for the Gandamana Tundhung play performed by Ki Hadi Sugito. AbstrakTulisan ini bertujuan mengkaji kartisampéka Trigantalpati dalam lakon Gandamana Tundhung Ki Hadi Sugito. Kartisampéka ialah perbuatan memperdaya orang lain secara halus dan tidak serta merta dapat dilihat oleh orang lain (sinamun sinamudana). Kartisampéka mengandung konotasi negatif, karena perbuatan yang dilakukan bertujuan mencelakakan orang lain. Analisis data dilakukan dengan metode deskriptif analitis. Kajian ini berhasil menemukan kartisampéka sebagai sub-tema dari lakon Gandamana Tundhung Ki Hadi Sugito. Konsep kartisampéka yang dilekatkan pada tokoh Trigantalpati digunakan untuk membangun plot lakon Gandamana Tundhung Ki Hadi Sugito.
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Lis, Marianna. "Murwakala – rytualny wayang." Pamiętnik Teatralny 65, no. 1/2 (June 30, 2016): 248–60. http://dx.doi.org/10.36744/pt.1971.
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Tradycyjny jawajski teatr cieni, czyli wayang kulit, prawdopodobnie wywodzi się z animistycznych rytuałów prehistorycznej Jawy, zgodnie z przypuszczeniami kolonialnych badaczy na przełomie XIX i XX wieku. Według mitu opowiadającego o jego początkach pierwszym lalkarzem był bóg Wisnu, który zstąpił na ziemię jako dalang Kandhabuwana. Historia powstania wayangu opowiedziana w lakon Murwakala to także opowieść o narodzinach i życiu Kali, boga czasu i zniszczenia. Lakon wykonywany jest podczas rytuału ruwatan, który ma oczyścić poszczególnych ludzi lub całe społeczności, by przywrócić uniwersalną harmonię. Świat rzeczywisty i świat iluzji współistnieją w spektaklu, a dalang, poprzez obecność mitycznego dalanga Kandhabuwany na ekranie, gromadzi swoją moc, która umożliwi mu dokonanie ceremonialnego oczyszczenia widowni.
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Wiratama, Rudy. "REPRESENTATION OF JAVANESE IDENTITIES IN WAYANG GEDHOG DEPICTING PANJI TALES." Jantra. 14, no. 2 (December 27, 2019): 203–12. http://dx.doi.org/10.52829/jantra.v14i2.98.
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Wayang Gedhog is a genre of puppetry which once ever enjoyed its popularity in Java, particularly in Surakarta and Yogyakarta until the beginning of 20th century. Its Panji-themed lakon is always for all time identified with court traditions. It implicitly reflects the social order and paradigm of the members of this political institution from its court aristocrats to low-ranked officials. Wayang Gedhog is undergoing an era of change where the life of performing arts is rapidly developing. Using Homi Bhabha’s theory about Self Identification, this research aimed to reveal how far the lakon and artefacts of Wayang Gedhog represents today’s Javanese thoughts and manners and the factors that have influenced the matters. The data were collected from: 1) the information gathered especially from the courtiers, as seen from the social, cultural, religious and political aspects, 2) library research, and 3) puppets of Wayang Gedhog of Surakarta style. This research has found that Wayang Gedhog as a performing art does not only function as an entertainment or aesthetical presentation, but also record the efforts of the Javanese living in the courts to redefine their concepts of self identity.
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Hidayatullah, Panakajaya. "Islam, National, and Local History in Tabbhuwan Walisanga Performance Art." Journal of Urban Society's Arts 7, no. 2 (December 13, 2020): 94–108. http://dx.doi.org/10.24821/jousa.v7i2.3827.
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Tabbhuwân is a Madurese tradition of performing arts. In the present context, modern culture influences many young people. It has become a restlessness for the clerics who then think of strategies on how to incorporate Islamic values in the younger generation today. In 2015 in Situbondo, Wali Sanga boarding school established a tabbhuwân wali sanga art group. Tabbhuwân is considered a way of preaching according to the conditions and culture of the community of Madura Situbondo. The players consist of the santri of the younger generation of Islamic boarding schools. Tabbhuwân wali sanga features Islamic drama performances that elevate the play of Islamic history and Indonesia. The play included Islamic history (stories of the companions of the Prophet Muhammad), local history, the history of the entry of Islam on Java (walisanga), and the history of Indonesian independence, one of which was titled ‘Jihad Resolution.’ Besides, tabbhuwân also includes elements of Madurese culture, including language, traditional music, expression, decoration, and discourse. Tabbhuwân plays a role in the spread of Islam, preserving Madurese culture and instilling nationalism in society through historical themes. The lower-middle-class community assumes that tabbhuwân is a means to understand the historical, social, and cultural realities occurring today. Tabbhuwân also influences fostering a sense of nationalism through heroic historical values, especially to the younger generation. In this case, tabhuwân imagines Indonesia in the discourse of religious nationalism. Islam, Nasional, dan Sejarah Lokal dalam Seni Pertunjukan Tabbhuwan Walisanga. TabbhuwânadalahsenipertunjukantradisimasyarakatMadura.Dalamkontekskekinian, budaya modern banyak mempengaruhi kaum muda. Hal ini menjadi keresahan para ulama yang kemudian memikirkan strategi bagaimana memasukkan nilai-nilai Islam pada generasi muda saat ini. Pada tahun 2015 di Situbondo, Pondok Pesantren Wali Sanga mendirikan kelompok seni tabbhuwân wali sanga. Tabbhuwân dianggap sebagai cara dakwah yang sesuai dengan kondisi dan budaya masyarakat Madura Situbondo. Para pemainnya terdiri dari para santri generasi muda pondok pesantren. Tabbhuwân wali sanga menampilkan pertunjukan drama Islam yang mengangkat lakon sejarah Islam dan Indonesia. Lakon tersebut meliputi sejarah Islam (cerita para sahabat Nabi Muhammad), sejarah lokal, sejarah masuknya Islam di Jawa (walisanga), dan sejarah kemerdekaan Indonesia, salah satunya bertajuk ‘Resolusi Jihad’. Selain itu, tabbhuwân juga memasukkan unsur budaya Madura yang meliputi bahasa, musik tradisional, ekspresi, ragam hias dan wacana. Tabbhuwân berperan dalam penyebaran agama Islam, pelestarian budaya Madura dan menanamkan nasionalisme dalam masyarakat melalui tema sejarah. Masyarakat kelas menengah ke bawah menganggap tabbhuwân sebagai cara memahami realitas sejarah, sosial dan budaya yang terjadi saat ini. Tabbhuwân juga memiliki pengaruh dalam menumbuhkan rasa nasionalisme melalui nilai-nilai sejarah yang heroik, khususnya kepada generasi muda. Dalam hal ini, tabhuwân membayangkan Indonesia dalam wacana nasionalisme agama.
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Harris, James C. "Lapin Agile in Winter." Archives of General Psychiatry 62, no. 10 (October 1, 2005): 1070. http://dx.doi.org/10.1001/archpsyc.62.10.1070.
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Ramadhan, Rizqy Nugraha. "Kepastian Hukum Penetapan Tersangka Terhadap Kasus Saling Lapor Tindak Pidana Penganiayaan." Jurnal Penegakan Hukum Indonesia 3, no. 1 (May 13, 2022): 40–58. http://dx.doi.org/10.51749/jphi.v3i1.58.
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Abstrak
Penelitian Ini bertujuan Untuk mengetahui kepastian hukum penetapan tersangka terhadap kasus saling lapor dalam tindak pidana penganiayaan yang di pandang dari aspek moral dan keadilan.
Metode yang digunakan adalah metode penelitian normatif yang menganalisis peraturan perundang-undangan yang ada sesuai dengan masalah yang diteliti.
Hasil penelitian menemukan perkara saling lapor memang tidak diatur dalam KUHAP dan dalam peraturan kapolri yang di atur hanyalah permasalahan penanganannya. Namun hal ini tidak mengurangi adanya kepastian hukum pada perkara saling lapor. Tidak diaturnya penetapan tersangka pada perkara saling lapor dalam KUHAP karena KUHAP sudah mengatur tentang penetapan tersangka. Khusus pada perkara penganiayaan saling lapor penyidik bekerja secara professional dan melihat perkara ini dari beberapa arah penyidik tidak hanya memperhatikan unsur yang terkandung dalam tindak pidana penganiayaan, tetapi juga harus di perhatikan apakah status salah satu pihak dalam posisi melakukan pembelaan diri atau pembelaan terpaksa sehingga aspek keadilan penetapan tersangka dapat terwujud
Kata Kunci : Kepastian Hukum, Penetapan Tersangka Saling Lapor, Tindak Pidana Penganiayaan
Abstract
This study aims to determine the legal certainty of determining the suspect in cases of mutual reporting in criminal acts of persecution in terms of moral and justice aspects.
The method used is a normative research method that analyzes the existing laws and regulations in accordance with the problem being studied.
The results of the study found that cases of mutual reporting were not regulated in the Criminal Procedure Code and in the regulations of the National Police Chief, only problems were handled. However, this does not reduce the existence of legal certainty in mutual reporting cases. There is no stipulation on the determination of suspects in cases of mutual reporting in the Criminal Procedure Code because the Criminal Procedure Code already regulates the determination of suspects. Especially in cases of persecution, investigators report to each other professionally and look at this case from several directions, investigators not only pay attention to the elements contained in the criminal act of persecution, but also have to pay attention to whether the status of one of the parties is in a position of self-defense or forced defense so that aspects of justice the determination of the suspect can be realized
Keywords: Legal Certainty, Determination of Suspects to Report to Each other, Crime of Persecution
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Lallau, Étienne. "Laon (Aisne). Allée Martinot." Archéologie médiévale, no. 50 (December 30, 2020): 196. http://dx.doi.org/10.4000/archeomed.36271.
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Sunardi, I Nyoman Murtana, and Sudarsono. "Sunardi KONSEP DASAR PERTUNJUKAN WAYANG SINEMA LAKON DEWA RUCI." PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT 2 (January 24, 2020): 57–71. http://dx.doi.org/10.33153/semhas.v2i0.102.
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This paper aims to describe the basic concepts of wayang cinema performance Dewa Ruci play as an alternativeto the development of Indonesian puppets. Wayang Cinema is an innovative wayang performance in awide-screen film. The problems examined are: (1) what lies behind the creation of wayang cinema Dewa Ruciplay; and (2) what is the basic concept and structure of wayang cinema performance Dewa Ruci play. Thestudy was conducted by applying the methods of art creation, namely exploration, design, creation, andpresentation. The results showed that: first, the creation of wayang cinema Dewa Ruci play was motivated bythe decreasing of younger generation’s interest in wayang. The wayang life is marginalized, responding to thechallenges of the era namely the industrial era 4.0., And as a continuation of puppet show experiments.Secondly, the basic concept of wayang cinema Dewa Ruci play is to emphasize the work on the play and thepresence of the song as a driver of plot, characterization, and strengthening the atmosphere, in addition tobeing packaged in the form of widescreen films. Third, the structure of wayang cinema Dewa Ruci playemphasizes the portrayal of the Bima figure in achieving tirta pawitra with a new style.
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Birton, Botond-Antal, and Attila Gergely. "Műanyag-vákuumformázó gép tervezése és kivitelezése." Acta Materialia Transylvanica magyar kiadás 4, no. 2 (2021): 75–78. http://dx.doi.org/10.33923/amt-2021-02-03.
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A dolgozat célja egy vákuumformázó berendezés tervezése és kivitelezése, melyet hőre lágyuló polimer lapok formázására lehet használni. A tervezett berendezés A4-es formátumú műanyag lap megmunkálására alkalmas. A berendezés tervezésekor fontos szempont volt a költséghatékony kivitelezés. A berendezés egy államvizsga-dolgozat keretében a Sapientia EMTE Marosvásárhelyi Karának Gépészmérnöki Tanszékéhez tartozó Polimertechnológia laboratórium számára készül oktatási célra. A tervezett berendezés felépítése és működése hasonló az iparban használt gépekéhez, az előállítási költsége viszont jelentősen kisebb. A berendezés főbb alkotóelemei közé tartoznak a következők: vázszerkezet, melegítő, vákuumszivattyú, a formázandó műanyaglap befogó szerkezete.
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Pitenina, V. "Artistic and stylistic peculiarities of the graphic work of Petro Lapyn, illustrator of the children's books in the first third of the 20th century." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 193–99. http://dx.doi.org/10.33838/naoma.27.2018.193-199.
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The beginning of the 20th century is a period of creative and printing experiments in the Ukrainian art. New generation of Ukrainian books was born in this period. The illustration of the children's books was a significant part of this process. Famous Ukrainian graphic artists, such as H. Narbut, M. Zhuk, O. Sudomora, V. Kononchuk, took part in the creation of a new Ukrainian children's book. Some little-known artists also worked with them, and their creativity was an important part of the artistic process. Petro Lapyn was one of those artists. From 1917 to 1929, he worked with the famous publishing houses, such as Vernyhora, Derzhavne Vydavnytstvo, Proliski, Knyhospilka and Rukh. Children's books, illustrated by P. Lapyn, are kept in the funds of the Pedagogical Museum of Ukraine, the National Library of Ukraine for Children, Ivan Fedorov Book Chamber of Ukraine and private collections. We have found about 30 of his projects. But the information about the artist himself and his life is quite limited. One of the first books he illustrated was the poem of S. Rudanskyi «Vovk, Sobaka ta Kit» («The Wolf, the Dog, and the Cat»), published in black and white in 1918. This early Petro Lapyn's work revealed his artistic outstanding peculiarities: vibrant linear drawing, harmonious combination of text and illustrations, variety of graphic techniques and skills in the representation of characteristic features. The high point of the artist's career is the illustration of «Crows and Owls», I. Franko’s fairy tale, printed in 1926 (Kharkiv, Rukh). It demonstrates the animalistic works of the artist. There are typical structural elements in fairy tale books: vignettes, drop caps. P. Lapyn uses decorative handwritten fonts and silhouette drawings for them. His graphic creations are full of emotions. Specific features of his work are: humour, emotionality, anthropomorphism, careful attitude towards literary material, and consistently high level of drawing.
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Leskiewicz, Monika, Boguslawa Budziszewska, Agnieszka Basta-Kaim, Anna Zajac, Marek Kacinski, and And Lason. "Effects of neurosteroids on neuronal survival: Molecular basis and clinical perspectives." Acta Neurobiologiae Experimentalis 66, no. 4 (December 31, 2006): 359–67. http://dx.doi.org/10.55782/ane-2006-1624.
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Neurosteroids have long been known to act as important modulators of central nervous system functions. The concept of their mechanism of action, however, have essentially undergone an evolution. Previously, these compounds were postulated to regulate neuronal function mainly via allosteric regulation of some membrane-bound receptors, such as GABAA and NMDA receptors, in a non-genomic way. Recent studies have provided evidence for intracellular targets for neurosteroids, e.g., transcription factors (NFk-B, progesterone receptors), protein kinases (phosphatidylinositol 3-kinase, protein kinase C), or microtubule-associated proteins, i.e. factors essential in regulation of neuronal survival and apoptosis. This paper reviews in vitro and in vivo data on neurosteroid involvement in the regulation of neurodegenerative processes with emphasis on new intracellular and genomic mechanisms of their action. Potential utility of neurosteroids in the treatment of some neurodegenerative disorders has been also discussed. Correspondence should be addressed to W. Lason, Email: lason@if-pan.krakow.pl
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Nurdianti, Astri, and Sinta Rosalina. "LIH KODE DALAM TAYANGAN LAPOR PAK PADA CHANNEL YOUTUBE TRANS7 LIFESTYLE." SeBaSa 5, no. 2 (November 13, 2022): 321–32. http://dx.doi.org/10.29408/sbs.v5i2.5660.
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This study aims to explain the form of code switching and code switching contained in Lapor Pak broadcasts on the Trans7 Lifestyle Youtube Channel. The research approach a qualitative descriptive in the form of a description of the data obtained in the analysis. The data used is through the form of speech, sentences and paragraphs. Then the method used is a qualitative method. The data source for this research is the Youtube Lapor Pak program entitled Secret Mission to America which was published on December 14, 2021 with a duration of 48:07 minutes. The data collection technique used by the author in this study is through the listening technique and the note-taking techniques. The type of instrument used is in the form of non-participant observation, namely the author observes YouTube videos from start to finish. The results obtained in this study are the forms of code switching and the role of code switching contained in the Lapor Pak show on the Trans7 Lifestyle Youtube Channel. The forms of code switching obtained include; internal code switching from Indonesian to Javanese, then from Javanese to Indonesian. Then the external code switching switches from Indonesian to English and from English to Indonesian. While the role of code switching is as humor through the theory of Incongruity, Superiority, and Liberation theory.Keywords: Forms of code switching, Role of code switching, and Youtube.
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Lallau, Étienne. "Laon (Aisne). Rue Fernand-Christ." Archéologie médiévale, no. 49 (December 20, 2019): 279. http://dx.doi.org/10.4000/archeomed.25156.
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Galmiche, Thierry. "Laon (Aisne). Chapelle des Templiers." Archéologie médiévale, no. 46 (December 1, 2016): 220. http://dx.doi.org/10.4000/archeomed.7310.
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Anwar, M. Shoim, and Listyo Ambarwati. "Perjuangan Perempuan Menghadapi Kekuasaan Dalam Lakon “Susi Duyungâ€: Ludruk Budhi Wijaya." Jurnal Budaya Nusantara 1, no. 1 (January 1, 2017): 68–88. http://dx.doi.org/10.36456/b.nusantara.vol1.no1.a992.
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Ludruk Budi Wijaya Group is a cultural actor who is active in maintaining and developing the arts of thepeople. The characteristic of ludruk as a critical stage art is maintained, including the structure of the show. Ludruk isa channel for the aspirations of the little people and represents their lives. The "Susi Duyung" play performed byLudruk Budhi Wijaya is also related to the lives of the low society, the fishermen in Ngliyep Village who areoppressed economically by the authorities. The presence of Susi's character as a hero is a modeling that injustice must beresisted. Women should not be underestimated and should be given equal opportunities with men in the fight. Becauseof his firm and courageous attitude, with the public, Susi's character strugled persistently for social justice and erasedfor political corruption so that he is appointed leader.
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Anwar, M. Shoim, and Listyo Ambarwati. "Perjuangan Perempuan Menghadapi Kekuasaan Dalam Lakon “Susi Duyungâ€: Ludruk Budhi Wijaya." Jurnal Budaya Nusantara 1, no. 1 (January 1, 2017): 68–88. http://dx.doi.org/10.36456/jbn.vol1.no1.992.
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Ludruk Budi Wijaya Group is a cultural actor who is active in maintaining and developing the arts of thepeople. The characteristic of ludruk as a critical stage art is maintained, including the structure of the show. Ludruk isa channel for the aspirations of the little people and represents their lives. The "Susi Duyung" play performed byLudruk Budhi Wijaya is also related to the lives of the low society, the fishermen in Ngliyep Village who areoppressed economically by the authorities. The presence of Susi's character as a hero is a modeling that injustice must beresisted. Women should not be underestimated and should be given equal opportunities with men in the fight. Becauseof his firm and courageous attitude, with the public, Susi's character strugled persistently for social justice and erasedfor political corruption so that he is appointed leader.
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Nafisah, Arida. "Lakon Wayang Dewi Sinta Simbol Keteguhan Feminis sebagai Ide Penciptaan Karya Lukis." Jurnal Pendidikan dan Penciptaan Seni 2, no. 1 (May 23, 2022): 1–14. http://dx.doi.org/10.34007/jipsi.v2i1.52.
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The creation of this painting originated from the author's experience when discussing endless issues of women. Social issues regarding women are always updated in various issues ranging from discrimination, crime and injustice against women. In fact, this feminist issue has existed since time immemorial with the story of Dewi Shinta, who has always carried feminine values. The aim is to create paintings that have a feminist value concept in Dewi Shinta and create paintings through the process of selecting sketches, materials, manufacturing techniques, exploration, and presentation that have the meaning of feminist firmness values. The method used in this thesis is the method of making a thesis. In the realm of this creation process consists of several stages, namely the formation stage (Forming). Coloring (Colloring), Finishing (Finishing). The creators hope that this work can be used as inspiration to create works of art that are always updated. Conceptually, the creation of painting works wants to build a national cultural character that is increasingly fading through feminist values.
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Drake, C. S. "A Tournai Font in Laon Cathedral?" Antiquaries Journal 77 (March 1997): 380–88. http://dx.doi.org/10.1017/s0003581500075260.
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LARSON, ATRIA A., and CLAYTON KILLION. "THE EXEGETICAL WORLD THAT PAVED THE WAY FOR THE GLOSSA ORDINARIA: A STUDY OF MANUSCRIPTS, GLOSSES, AND COMMENTARIES ON MATTHEW IN THE TWELFTH CENTURY." Traditio 78 (2023): 175–213. http://dx.doi.org/10.1017/tdo.2023.3.
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Recent scholarship has shown a revived interest in twelfth-century biblical commentaries and exegesis, particularly in and around Laon. In this essay, we argue that a certain kind of exegetical world was being forged in twelfth-century Laon which prepared the way for the widespread success of the Glossa ordinaria, both as a book form and as a bearer of certain theological ideas and exegetical techniques. Based on our examination of the manuscript evidence, two main versions of the Matthew Gloss are discernible in that century. This discovery makes it possible for scholars to reconstruct a primitive version of the Gloss which existed prior to the one used by Comestor and others, should such an edition be deemed useful. By examining the relationship between pre-Glossa ordinaria glossed manuscripts of Matthew and various stand-alone commentaries like Cum post ascensionem, our work clarifies existing understandings of how the Matthew Gloss originated and developed. Although the Gloss initially drew from patristic and Carolingian sources and contemporary masters, the mise-en-page of the gloss-form invited continued modification, with later scribes adding or subtracting material and interweaving their own insights with received tradition. As masters, students, and scribes glossed manuscripts of Matthew from Laon near and far, they left a lasting impact on how Latin Christendom read, studied, discussed, preached from, copied, and wrote in their Bibles.
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Hidayat, Kun, Arif Rahman, Islahuddin Islahuddin, and Yazida Ichsan. "Representation of Islamic Education Values in the Wayang Kekayon Khalifah Lakon Pandanarang Malik Grembyang." Al-Misbah (Jurnal Islamic Studies) 11, no. 2 (October 30, 2023): 109–23. http://dx.doi.org/10.26555/almisbah.v11i2.10150.
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Islamic education as part of society's value system cannot be separated from cultural elements. Therefore, the relationship between Islamic education and culture can be an appropriate collaboration in overcoming shifts in values among society. The aim of this research is to represent the values of Islamic education in the Wayang Kekayon Khalifah play Pandanarang Malik Grembyang, which also looks at the implementation of its value content on the social system. This research uses the hermeneutic phenomenology method to study the play text textually and contextually. The results of the research show that the play contains the essence of the dangers of life that deifies the world or the despicable behavior of one's culture. So, the Pandanarang play in the Wayang Kekayon Khalifah art becomes relevant when it is presented to a community that is starting to experience a shift in values. The implications of this research reflect a cultural approach as optimizing Islamic education in society.
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Putra, Yulio Kusuma, and Teguh Supriyanto. "Ngundhuh Wohing Pakarti dalam Cerita Wayang Lakon Abimanyu Ranjab." Sutasoma : Jurnal Sastra Jawa 9, no. 2 (December 29, 2021): 230–39. http://dx.doi.org/10.15294/sutasoma.v9i2.51295.
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Ngundhuh Wohing Pakarti concept derived from the principle of harmony in Javanese culture of ethical theory. The concept was realized various works of literature one of which is the puppet story Abhimanyu Ranjab, scenes in Baratayuda War tells the causes and consequences of Abimanyu oath to Utari.. The source of story has an interesting value, Serat Baratajuda written by MB. Radyomardhowoe et al, since it told the previous play, namely Kalabendana Lena. The research objectives are: toexplain the coherence concept of Ngundhuh Wohing Pakarti in this story. The study used qualitative approach, the data was collected and analysis using literature review, heuristic, note-taking techniques, hermeneutics and content analysis. The results showed that the interpertation meaning of the wayang story in Ronald Barthes' semiotic theory, found there was a sequential picture among the characters' actions. Point of view of the conformity Javanese culture theory was the interrelation of these as a picture used as moral message of the story. The perspective of the postcolonial literature theory those the connection and the moral message belong to the representation of the mimicry critique, the practice of Dutch colonialism as a karmic act from point of view of the harmony of Javanese culture.
Keywords: the concept of Ngundhuh Wohing Pakarti , abimanyu ranjab, semiotic
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Montaudon, Mickaël. "Aubigné-sur-Layon (Maine-et-Loire). Place de l’église." Archéologie médiévale, no. 39 (December 1, 2009): 303–4. http://dx.doi.org/10.4000/archeomed.20485.
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Sandi, Noviea Varahdilah, and Ririn Setyorini. "Analisis Pembelajaran Drama untuk Meningkatkan Kreativitas Mahasiswa dalam Penulisan Lakon Di Perguruan Tinggi." Jurnal Darussalam: Jurnal Pendidikan, Komunikasi dan Pemikiran Hukum Islam 10, no. 2 (April 19, 2019): 304. http://dx.doi.org/10.30739/darussalam.v10i2.376.
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The aim of this research is to examine process of writing in act of drama, that doing by students in college. The write of script is for developing students creativity and knowledge in order to imagine in field of drama script writing.. Design in this research using qualitative, and the method using descriptive method, that will learn and describe learning of act writing as proponent the running of show in order to developing students creativity in field of dance and drama class. Subject of this research are students of VI semester that take dance and drama class in Peradaban University year of 2017/2018.The analysis technique used interactive model analysis. The results of this study showed that from several students involved in the PGSD1 and PGSD2 classes in making play scripts, only two students passed the selection, two play scripts which were chosen to be performed in dance and drama performances, while the results of this writing showed almost all students cannot develop ideas, experiences and pour creative thoughts into text.
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Kasarska, Iliana. "La sculpture marginale de la cathédrale de Laon." Bulletin Monumental 158, no. 2 (2000): 167–68. http://dx.doi.org/10.3406/bulmo.2000.2391.
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Vivian, Yofi Irvan, Bayu Arsiadhi Putra, Singgih Daru Kuncara, and Jonathan Irene Sartika Dewi Max. "Membaca Praktik Musik Mamanda Kutai Lewat Ekosistem Musikal." Resital: Jurnal Seni Pertunjukan 23, no. 3 (December 17, 2022): 181–89. http://dx.doi.org/10.24821/resital.v23i3.7408.
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ABSTRACT Mamanda Kutai (Ladon) music is a crucial aspect of Mamanda Kutai's performance. This is because, without the music, Mamanda Kutai is just an ordinary drama. Mamanda is a show originating from South Kalimantan. Mamanda arrived in East Kalimantan because Kutai was one of the areas controlled by the Banjarmasin Sultanate. The heyday of Mamanda Kutai occurred when this art was performed regularly by Kutainese society (not only in the Kutai Kartanegara Ing Maradipura Sultanate as the Karesmenan Aji). In its heyday, every village in Kutai Kartanegara had Mamanda Kutai group. Nowadays, there is only one group left, namely Mamanda Panji Berseri. This study aims to find out how to preserve Mamanda Kutai music by the Mamanda performer and the government. This study used a descriptive analysis method by collecting several sources of text and interview. The sustainability of Mamanda Kutai has degenerated in terms of the existing group’s quantity. This is due to the lack of preservation of the Mamanda Kutai musical ecosystem. Some of the challenges faced by Mamanda Kutai are (1) the lack of teachers with cultural literacy; (2) the lack of economic welfare of the Kutai Mamanda performer; (3) the absence of the documentation of this art; and (4) the lack of broadcasting of Mamanda Kutai's performances. ABSTRAK Musik Mamanda Kutai (Ladon) menjadi aspek yang sangat penting pada pertunjukan Mamanda Kutai. Hal ini dikarenakan, tidak adanya Musik Mamanda Kutai maka pertunjukan ini hanya sebagai drama biasa. Mamanda merupakan pertunjukan yang berasal dari Kalimantan Selatan. Mamanda sampai di Kalimantan Timur dikarenakan Kutai menjadi salah satu daerah yang dikuasai Kesultanan Banjarmasin. Masa kejayaan Mamanda Kutai pada saat kesenian ini dipertunjukan di masyarakat (tidak hanya di Kesultanan Kutai Kartanegara Ing Maradipura sebagai Keresmenan Aji). Pada masa kejayaannya, setiap desa di Kutai Kartanegara memiliki kelompok Mamanda Kutai. Pada saat ini hanya tersisa satu kelompok saja, yaitu Mamanda Panji Berseri. Penelitian ini bertujuan untuk mengetahui cara preservasi musik Mamanda Kutai oleh pelaku dan pemerintah. Penelitian ini menggunakan metode deskriptif analisis dengan mengumpulkan beberapa sumber literasi dan data wawancara. Keberlanjutan Mamanda Kutai mengalami kemunduran dilihat dari kuantitas kelompok yang ada. Hal ini disebabkan oleh kurangnya preservasi ekosistem musikal dari Mamanda Kutai. Beberapa tantangan yang dihadapi Mamanda Kutai yaitu (1) kurangnya guru pembawa kebudayaan; (2) kurangnya kesejahteraan ekonomi para pelaku Mamanda Kutai; (3) tidak adanya pengarsipan dari kesenian ini; dan (4) kurangnya penyiaran pertunjukan Mamanda Kutai.
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Petersen, Robert. "Lakon Karangan: The Legacy of Ki Nartosabdho in Banyumas, Central Java." Asian Theatre Journal 18, no. 1 (2001): 105–12. http://dx.doi.org/10.1353/atj.2001.0007.
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Admojo, Iqbal Widyawan Prawiro, Triono Widodo, and Abdul Rahman Prasetyo. "Kesenian Rengganis sebagai Inspirasi Penciptaan Lukisan Surealistik." JoLLA: Journal of Language, Literature, and Arts 3, no. 1 (January 30, 2023): 1–14. http://dx.doi.org/10.17977/um064v3i12023p1-14.
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Kesenian Rengganis adalah seni pertunjukan berbentuk drama tari lakon yang merupakan akulturasi kebudayaan jawa dengan kebudayaan osing. Kesenian ini disebut juga kesenian Praburoro yang berasal dari kata ‘Prabu’ berarti raja dan ‘Rara’ berarti perempuan, sehingga Praburoro berarti raja perempuan. Kesenian tersebut dapat ditampilkan dengan berbagai bentuk, salah satunya dalam bentuk karya seni lukis. Dalam penelitian ditemukan permasalahan bahwa kesenian Rengganis tidak lagi dikenal akibat tereduksi oleh kesenian lain yang serupa yakni Seni Janger yang lebih populer hingga saat ini. Tujuan Peneliti dalam penelitian ini yaitu mengenalkan kembali kesenian Rengganis dalam karya lukisan surealistik. Peneliti memulai dengan melakukan observasi, wawancara, doku-mentasi dan pengolahan data. Penelitian ini menggunakan metode penciptaan Alma Hawkins karena relevan dengan topik yang diusung yaitu seni pertunjukan sebagai sumber inspirasi seni lukis. Metode Alma Hawkins meliputi tiga tahap yakni eksplorasi, improvisasi dan pembentukan. Penekanan dalam penelitian ini ini terletak pada jenis karyanya, yaitu seni lukis. Seni lukis merupakan suatu kegiatan mengolah medium dua dimensi atau permukaan dari objek tiga dimensi untuk mendapatkan kesan tertentu. Ditemukan hasil bahwa filosofi kesenian Rengganis dapat disampaikan melalui seni lukis surealisme. Kata kunci: Kesenian Rengganis, model penciptaan Alma Hawkins, seni lukis surealisme Rengganis Art as Inspiration for Surrealistic Paintings Rengganis art is a performing art in the form of a play dance drama which is an acculturation of Javanese culture with foreign culture. This art is also called Praburoro art which comes from the words 'Prabu' which means king and 'Rara' means woman, so Praburoro means king of women. This art can be displayed in various forms, one of which is in the form of painting. In the study, it was found that the problem of Rengganis art is no longer known due to being reduced by other similar arts, namely Janger Art which is more popular today. The aim of the researcher in this study is to reintroduce the art of Rengganis in surrealistic paintings. Researchers started by conducting observations, interviews, documentation and data processing. This study uses the Alma Hawkins creation method because it is relevant to the topic being promoted, namely performing arts as a source of inspiration for painting. The Alma Hawkins method includes three stages, namely exploration, improvisation and formation. The emphasis in this research lies in the type of work, namely painting. Painting is an activity to process a two-dimensional medium or the surface of a three-dimensional object to get a certain impression. It was found that the philosophy of Rengganis art could be conveyed through surrealism painting. Keywords: Rengganis art, Alma Hawkins' creation model, surrealism painting
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Scarnato, Jenn Miller. "Book Review: Victoria L LaPoe, Candi S Carter Olson and Benjamin R LaPoe (eds) Underserved communities and digital discourse: Getting voices heard." Journalism 20, no. 9 (August 2019): 1279–80. http://dx.doi.org/10.1177/1464884919868096.
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Galmiche, Thierry. "Coucy-le-Château-Auffrique (Aisne). Porte de Laon." Archéologie médiévale, no. 46 (December 1, 2016): 255. http://dx.doi.org/10.4000/archeomed.7399.
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Galmiche, Thierry. "Coucy-le-Château-Auffrique (Aisne). Porte de Laon." Archéologie médiévale, no. 42 (December 1, 2012): 289. http://dx.doi.org/10.4000/archeomed.11055.
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Galmiche, Thierry. "Coucy-le-Château-Auffrique (Aisne). Porte de Laon." Archéologie médiévale, no. 40 (December 1, 2010): 264. http://dx.doi.org/10.4000/archeomed.15135.
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Cao, Pengfei, Zhuoran Jin, Yubo Chen, Kang Liu, and Jun Zhao. "Zero-Shot Cross-Lingual Event Argument Extraction with Language-Oriented Prefix-Tuning." Proceedings of the AAAI Conference on Artificial Intelligence 37, no. 11 (June 26, 2023): 12589–97. http://dx.doi.org/10.1609/aaai.v37i11.26482.
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Event argument extraction (EAE) aims to identify the arguments of a given event, and classify the roles that those arguments play. Due to high data demands of training EAE models, zero-shot cross-lingual EAE has attracted increasing attention, as it greatly reduces human annotation effort. Some prior works indicate that generation-based methods have achieved promising performance for monolingual EAE. However, when applying existing generation-based methods to zero-shot cross-lingual EAE, we find two critical challenges, including Language Discrepancy and Template Construction. In this paper, we propose a novel method termed as Language-oriented Prefix-tuning Network (LAPIN) to address the above challenges. Specifically, we devise a Language-oriented Prefix Generator module to handle the discrepancies between source and target languages. Moreover, we leverage a Language-agnostic Template Constructor module to design templates that can be adapted to any language. Extensive experiments demonstrate that our proposed method achieves the best performance, outperforming the previous state-of-the-art model by 4.8% and 2.3% of the average F1-score on two multilingual EAE datasets.