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Journal articles on the topic 'Rakugo'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Afrina, Uray, Tri Bigrit Cleveresty, and Pika Yestia Ginanjar. "Analisis Gaya Bahasa dalam Seni Bercerita Tradisional Pingshu Hong Lou Meng dan Rakugo Ikuyo Mochi." Jurnal Cakrawala Mandarin 6, no. 2 (November 2, 2022): 202. http://dx.doi.org/10.36279/apsmi.v6i2.216.

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AbstrakPenelitian ini berjudul” Analisis Gaya Bahasa dalam Seni Bercerita TradisionalPingshu Hong Lou Meng dan Rakugo Ikuyo Mochi”. Penelitian ini bertujuan untukmenganalisis gaya bahasa dalam naskah Pingshu Hong Lou Meng dan Rakugo Ikuyo Mochi”.Metode penelitian yang digunakan adalah metode deskriptif, menggunakan pendekatankualitatif. Teknik yang digunakan dalam pengumpulan data dalam penelitian ini, yaitu Teknikmembaca , mencatat dan menginventarisasi . Instrumen dalam penelitian ini yaitu penelitisendiri yang merupakan alat pengumpul data utama analisis data dilakukan dengan tahapan:( 1 ) mengidentifikasi dan menginventarisasi data hasil temuan , ( 2 ) mengklasifikasi hasiltemuan berdasarkan jenis majas dan ciri penanda , ( 3 ) menginterpretasi makna hasil analisisdata , ( 4 ) mendeskripsikan hasil analisis data tersebut. Hasil analisis dan pembahasan yangtelah dilakukan adalah menunjukkan dalam kisah Hong Lou Meng lebih cenderungmenggunakan gaya bahasa hiperbola, sedangkan dalam kisah Ikuyo Mochi lebih cenderungmenggunakan gaya bahasa metafora.Kata Kunci : Analisis;Gaya Bahasa;Pingshu;Rakugo

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2

Hallett, Catherine. "Music in Kamigata Rakugo Performance." New Voices 6 (January 2014): 91–115. http://dx.doi.org/10.21159/nv.06.04.

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3

Novianti, Nalti. "Majas Eufimisme Dalam Kamigata Rakugo Karya Katsura Beicho." Lingua Cultura 6, no. 1 (May 31, 2012): 60. http://dx.doi.org/10.21512/lc.v6i1.393.

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Euphimisme merupakan sebuah majas yang bertujuan untuk menghaluskan satu ucapan agar petutur tidak perlu mendengarkan kata-kata tabu atau kasar. Selain itu majas inipun bertujuan untuk memperkecil perasaan tidak nyaman petutur saat sedang melakukan tindak komunikasi. Artikel menjelaskan penelitian yang membahas masalah eufimisme melalui sebuah cerita humor Jepang, yaitu Rakugo karya Katsura Beichoo yang berjudul Aizo moyo. Tujuan penelitian untuk mengetahui sejauh mana eufimisme dapat digunakan untuk menarik unsur humor dari cerita yang disajikan. Rakugo daerah Kansai atau sering disebut dengan Kamigata rakugo, ceritanya banyak dilatarbelakangi oleh budaya Kansai yang kental dengan budaya perdagangan. Osaka sejak dulu terkenal sebagai kota perdagangan yang diwarnai hubungan sosial yang vertikal, dengan tipisnya hubungan hierarki antara atasan dan bawahan. Sementara di daerah Tokyo hubungan sosial antar manusianya lebih ke arah hierarki tinggi yang mengusung ketat hubungan atasan dan bawahan. Karena itulah budaya Osaka lebih kental dengan berbagai problem manusia yang tidak mementingkan hierarki, dan justru itulah yang membuat budaya Osaka kaya akan warna, dan disebut dengan “Wahha Bunka“ atau budaya ketawa ala Osaka. Untuk meneliti eufimisme dalam unsur humor ini, penulis menggunakan teori relevansi dari Sperber dan Wilson (1991). Kemudian untuk menemukan unsur humornya digunakan teori Raskin (1996), yang didukung oleh Ross (1998).

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4

Masuyama, E. "Analysis of Punch Lines of Rakugo." Japanese journal of ergonomics 25, Supplement (1989): 56–57. http://dx.doi.org/10.5100/jje.25.supplement_56.

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5

Markus, Andrew L., Heinz Morioka, and Miyoko Sasaki. "Rakugo: The Popular Narrative Art of Japan." Journal of Japanese Studies 18, no. 2 (1992): 623. http://dx.doi.org/10.2307/132855.

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6

Katsumi, Masahiko, and Eitaro Masuyama. "Study on factors of laughing in Rakugo." Japanese journal of ergonomics 27, Supplement (1991): 232–33. http://dx.doi.org/10.5100/jje.27.supplement_232.

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7

Yamamoto, Fumiko Y., Akira Y. Yamamoto, Heinz Morioka, and Miyoko Sasaki. "Rakugo, the Popular Narrative Art of Japan." Asian Folklore Studies 50, no. 2 (1991): 364. http://dx.doi.org/10.2307/1178399.

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8

Fowler, Edward, Heinz Morioka, and Miyoko Sasaki. "Rakugo: The Popular Narrative Art of Japan." Monumenta Nipponica 46, no. 3 (1991): 408. http://dx.doi.org/10.2307/2385228.

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9

Armstrong, Elizabeth L., Heinz Morioka, and Miyoko Sasaki. "Rakugo: The Popular Narrative Art of Japan." Asian Theatre Journal 10, no. 2 (1993): 216. http://dx.doi.org/10.2307/1124182.

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10

Masuyama, Eitaro, and Masahiko Katsumi. "Study on factors of laughing in Rakugo II." Japanese journal of ergonomics 27, Supplement (1991): 234–35. http://dx.doi.org/10.5100/jje.27.supplement_234.

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11

Oshima, Kimie. "Japanese Cultural Expressions Seen in English Rakugo Scripts." Asian Englishes 14, no. 1 (June 2011): 46–65. http://dx.doi.org/10.1080/13488678.2011.10801293.

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12

Shores, M. W. "Using yoshikono and war to save rakugo in Osaka." Japan Forum 30, no. 3 (December 20, 2017): 394–420. http://dx.doi.org/10.1080/09555803.2017.1411379.

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13

福重一成. "An Investigative Report on Rakugo in the JFL(Japanese as a Foreign Language) Learner’s native language-Through a rakugo performance in Chinese-." Japanese Modern Association of Korea ll, no. 60 (May 2018): 65–76. http://dx.doi.org/10.16979/jmak..60.201805.65.

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14

KATSUMI, Masahiko, and Eitaro MASUYAMA. "Comparison of characteristics among Rakugo, Manzai and comercial message (CM)." Japanese journal of ergonomics 29, no. 5 (1993): 307–12. http://dx.doi.org/10.5100/jje.29.307.

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15

Novianti, Nalti. "Penggunaan Metafora sebagai Frame Pencetus Unsur Humor dalam Kamigata Rakugo “Tachigire Senkoo” dan “Sutokuin”." Humaniora 1, no. 1 (April 30, 2010): 155. http://dx.doi.org/10.21512/humaniora.v1i1.2159.

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The use of metaphor in a comedy story is a tool to create the funny effect. In many comedy stories of kamigata rakugo, a metaphor can be used as one way to bring the contradict frame that will cause the unbalance in the story (incongruity). It means that the comedy story cannot stand alone without any contradiction of situation. This contradiction of situation is brought up by the story teller to get one phrase that is able to attract the listeners’ attention, and in the end will bring a big laughs.

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16

Ginanjar, Pika Yestia, Uray Afrina, and Herdis Hikmatusadis. "WORKSHOP PEMBUATAN AUDIOBOOK CERITA RAKUGO DAN PINGSHU, SERTA TERJEMAHANNYA DALAM BAHASA INDONESIA UNTUK TEMAN DISABILITAS: TAHAP AWAL." Dharmakarya 12, no. 1 (April 9, 2023): 46. http://dx.doi.org/10.24198/dharmakarya.v12i1.35167.

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Pembuatan audiobook ini bertujuan untuk meningkatkan minat literasi pembelajar bahasa Jepang dan bahasa Mandarin pada khususnya, dan masyarakat pada umumnya, serta dapat dimanfaatkan pula oleh siswa yang memiliki hambatan penglihatan. Menurut Renninger dan Su (dalam Walgermo, dkk., 2018) Workshop diselenggarakan pada tanggal 24 Juli 2021 sampai 31 Juli 2021. Kami mencoba mengaplikasikan metode shadowing dan self-monitoring dalam pendampingan pembuatan audiobook terhadap peserta. Serta penggunaan Audacity sebagai audio editor. Sebagai hasilnya, telah terkumpul 4 audiofile rekaman rakugo bahasa Jepang, 1 terjemahannya, serta 1 audiofile pingshu dan 1 audiofile terjemahannya.

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17

Sim, Gerald. "Cinematic Expressions of Rakugo in Akira Kurosawa’s Comedies Yojimbo and Sanjuro." Asian Cinema 22, no. 2 (September 27, 2011): 253–68. http://dx.doi.org/10.1386/ac.22.2.253_1.

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18

MASUYAMA, Eitaro, and Masahiko KATSUMI. "The image difference among the entertaining performances. Rakugo, Manzai and Commercial Video." Japanese journal of ergonomics 28, no. 1 (1992): 37–45. http://dx.doi.org/10.5100/jje.28.37.

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19

LeeDeokbae. "A Study on Japanese 2nd personal pronoun in Meiji 20’s Rakugo." Journal of Japanese Language Education Association ll, no. 78 (December 2016): 57–70. http://dx.doi.org/10.26591/jpedu.2016..78.005.

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20

Till Weingärtner. "Rakugo: Performing Comedy and Cultural Heritage in Contemporary Tokyo (review)." Journal of Japanese Studies 35, no. 2 (2009): 405–8. http://dx.doi.org/10.1353/jjs.0.0117.

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21

Matthew W. Shores. "Rakugo: Performing Comedy and Cultural Heritage in Contemporary Tokyo (review)." Asian Theatre Journal 26, no. 1 (2008): 191–94. http://dx.doi.org/10.1353/atj.0.0028.

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22

IVY, MARILYN. "Rakugo: The Popular Narrative Art of Japan . HEINZ MORIOKA and MIYOKO SASAKI." American Ethnologist 18, no. 3 (August 1991): 626. http://dx.doi.org/10.1525/ae.1991.18.3.02a00340.

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23

Kato, Shuhei, Yusuke Yasuda, Xin Wang, Erica Cooper, Shinji Takaki, and Junichi Yamagishi. "Modeling of Rakugo Speech and Its Limitations: Toward Speech Synthesis That Entertains Audiences." IEEE Access 8 (2020): 138149–61. http://dx.doi.org/10.1109/access.2020.3011975.

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24

Ginanjar, Pika Yestia, Uray Afrina, Tri Bigrit Cleveresty, and Samsul Maarif. "SOSIALISASI NASKAH STORY-TELLING TRADISIONAL DARI TINGKOK DAN JEPANG KEPADA DIABILITAS." Kumawula: Jurnal Pengabdian Kepada Masyarakat 6, no. 2 (August 12, 2023): 409. http://dx.doi.org/10.24198/kumawula.v6i2.43301.

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Sosialisasi yang kami lakukan bertujuan untuk menambah referensi dan menambah bacaan dalam bentuk audiobook kepada penyandang disabilitas yang dinaungi oleh Cahaya Inklusi Indonesia (CAI). Naskah yang kami gunakan adalah empat cerita tradisional dari Tiongkok dan dari Jepang. Naskah kami sediakan dalam bahasa asli Tiongkok dan Jepang, serta dalam bahasa Indonesia sebagai terjemahannya. Kegiatan sosialisasi dilaksanakan secara daring, diawali dengan pemaparan cara pengejaan bahasa Tiongkok, serta materi tentang naskah bahasa Jepang. Naskah Tiongkok diambil dari tiga judul cerita Hong Lou Meng, Shi Er Shengxiao (12 shio), dan Nian (monster Nian). Sedangkan naskah rakugo bahasa Jepang diambil dari cerita Jugenmu, Tengu Sabaki, Hatsutenjin, dan Manjuu Kowai. Selain itu kami sediakan juga daftar kosakata dalam bahasa Jepang dan kosakata bahasa Tiongkok sehingga memungkinkan untuk dipelajari secara mandiri. Sosialisasi diterima dengan sangat antusias oleh CAI, sehingga rekaman acara maupun file audiobook naskah keseluruhan pun kami sediakan supaya dapat diakses kembali oleh penyandang disabilitas.

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25

Şahin, Esra-Gökçe. "Matthew W. Shores. The Comic Storytelling of Western Japan: Satire and Social Mobility in Kamigata Rakugo." Japanese Language and Literature 57, no. 2 (October 18, 2023): 150–55. http://dx.doi.org/10.5195/jll.2023.339.

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26

Weingärtner, Till. "Whose Story Is It Anyway? Shunpūtei Shōta and the Individuality of the Performer in Contemporary Rakugo Storytelling." Japanese Studies 41, no. 2 (April 14, 2021): 161–79. http://dx.doi.org/10.1080/10371397.2021.1914009.

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27

Weingärtner, Till. "The Comic Storytelling of Western Japan: Satire and Social Mobility in Kamigata Rakugo by M. W. Shores." Journal of Japanese Studies 49, no. 1 (January 2023): 210–14. http://dx.doi.org/10.1353/jjs.2023.0022.

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28

Rogals, Alex. "The Comic Storytelling of Western Japan: Satire and Social Mobility in Kamigata Rakugo by M.W. Shores (review)." Asian Theatre Journal 40, no. 2 (September 2023): 440–43. http://dx.doi.org/10.1353/atj.2023.a912927.

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29

Song, Se-Ryoun. "The first person pronouns observed in Rakugo during the Meiji period: About “wasi” and “Ore” in terms of phase." Global Knowledge and Convergence Association 5, no. 1 (June 30, 2022): 257–75. http://dx.doi.org/10.47636/gkca.2022.5.1.257.

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The purpsoe of this paper is to understand the use of the first person pronouns according to the phase of the first person pronouns “Wasi” and “Ore” during the Meiji and Taisho periods, and understand its position before the settlement of the first person pronouns “Wasi” and “Ore” in modern Japanese. The subject of the study is “Kouensokki MeijiTasyoRakugoSyusei” published by combining Rakugo from the Meiji and Taisho periods, and “Wasi” and “Ore” observed here is analyzed by dividing it by the phase of each speaker. As for the results of the study, both “Wasi” and “Ore” are mostly used by the male by gender, and “Wasi” in used by older people compared to “Ore” by age. In addition, by context, “Ore” is often used to express the speaker’s anger or furious feelings in an equal relationship with some acquaintance. In the case of the female, although observed very rarely, “Ore” is use to indicate the valor of the speaker. “Kouensokki MeijiTasyoRakugoSyusei” is a suitable data for observing the actual language life of people during the Meiji and Taisho periods, and it can be found to be meaningful in that it is a result obtained based on these data. In the future, I will study the personal pronouns observed in “Kouensokki MeijiTasyoRakugoSyuusei” in terms of politeness expression and sociolinguistics.

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30

Murra Morales, David. "Ficción inventiva en la literatura de la Era Meiji: Una relectura del “Gran descubrimiento” de Mori Ōgai." Mirai. Estudios Japoneses 5 (June 10, 2021): 151–60. http://dx.doi.org/10.5209/mira.66765.

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Este artículo propone analizar “El gran descubrimiento” (大発見), un cuento poco conocido de Mori Ōgai que fue publicado por primera vez en la revista Kokoro no hana en 1909. En él, Ōgai recuenta de forma ficcional algunas de sus experiencias como estudiante de intercambio en Alemania entre 1884 y 1888. El narrador problematiza el término 発見 (hakken) y lo pone en contraste con su equivalente en inglés “discover”, iniciando su relato con una reflexión metalingüística sobre dicho concepto para así proponer que los términos discover e invent son en realidad ambiguos dentro del sistema de pensamiento occidental. Los contrastes entre Occidente y Japón en la literatura abundan en el período Meiji a raíz de una problemática de individuación vs. asimilación con respecto a las influencias extranjeras. Ōgai deja entrever, tanto en el estilo como en la temática de su relato, una postura política con respecto a este dilema. Me propongo explorar una nueva lectura a partir de esta reflexión que arroje pistas sobre cómo opera el humor de la narración y cuáles son los valores e ideales que subvierte. Para este propósito compararé la estructura del relato con la forma teatral popular del rakugo y analizaré con más detalle la parodia que hace Ōgai del método científico y del positivismo europeo.

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31

Takagi Takanashi, Kayoko. "Tres cuentos en el inicio del intercambio España-Japón." Mirai. Estudios Japoneses 3 (July 5, 2019): 127–42. http://dx.doi.org/10.5209/mira.63248.

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Juan Valera, uno de los escritores más destacados de la literatura española del siglo XIX, tradujo y publicó dos cuentos japoneses en 1887: El Pescadorcito Urashima (浦島太郎) y El espejo de Matsuyama (松山鏡), dos cuentos sobradamente conocidos en Japón. Si Urashima Tarō tiene su antecedente ya en Nihonshoki, Matsuyama kagami es de origen budista y pasó a Japón convirtiéndose en un cuento popular de la región de Echigo (actual prefectura de Niigata). Del último, existen versiones en el teatro noh, kyōgen, y rakugo. Por otro lado, el cuento del Ratón Pérez del que ningún niño español podría ser ignorante, se publicó en 1911 en España y se tradujo al japonés en 1953 por la editorial Iwanami. El desfase temporal que separa estas publicaciones indica varios factores históricos que atravesaron los dos países durante este período. Aunque se trata de un campo poco reconocido hasta ahora, hemos de admitir el hecho de que el poder de comunicación de la literatura infantil es altamente significativo cuando hablamos de la cognición temprana de imágenes del mundo. Este trabajo estudiará los elementos que han inspirado a Valera para realizar la traducción de dichos cuentos al español al igual que el caso del cuento español en el terreno japonés. Al mismo tiempo observaremos la recepción y la valoración de estas publicaciones en ambos países.

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32

Kramer, R. W. "Book Reviews : Heinz Morioka and Miyoko Sasaki, Rakugo: The Popular Narrative Art of Japan (Cambridge, MA: Harvard University Press, 1990), x, 470 pp. Cloth $30.00." Journal of Asian and African Studies 30, no. 3-4 (January 1, 1995): 229–30. http://dx.doi.org/10.1177/002190969503000319.

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Brau, Lorie. "The Comic Storytelling of Western Japan: Satire and Social Mobility in Kamigata Rakugo. By M. W. Shores. Cambridge: Cambridge University Press, 2021. Pp. xii + 261. £75/$99.99 Hb." Theatre Research International 47, no. 3 (October 2022): 316–17. http://dx.doi.org/10.1017/s0307883322000293.

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34

Sweeney, Amin. "Rakugo, The Popular Narrative Art of Japan. By Heinz Morioka and Miyoko Sasaki. Harvard East Asian Monographs, 138. Cambridge: Council on East Asian Studies, Harvard University, 1990. x, 470 pp. $30.00." Journal of Asian Studies 50, no. 3 (August 1991): 696–98. http://dx.doi.org/10.2307/2057609.

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35

GUNJIMA, Shoji. "The Rakuho monrui in Shoko's Fodoshu yoshu." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 52, no. 2 (2004): 505–7. http://dx.doi.org/10.4259/ibk.52.505.

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yang, dongyeop. "A Study on Rakudawan and Rakudo Pottery." Association for International Tea Culture 26 (December 18, 2014): 1–28. http://dx.doi.org/10.21483/qwoaud.26..201412.121.

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Islam, Md Aminul, Kenji Hashiguchi, A. K. M. Humayun Kober, Kyoko Morie, Binghui Zhou, Mikado Tomokiyo, Tomoyuki Shimazu, et al. "Effect of Dietary Supplementation of Immunobiotic Lactiplantibacillusplantarum N14 Fermented Rakkyo (Allium chinense) Pickled Juice on the Immunocompetence and Production Performance of Pigs." Animals 11, no. 3 (March 9, 2021): 752. http://dx.doi.org/10.3390/ani11030752.

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Rakkyo (Allium chinense), is a Japanese leek that is primarily used to make a popular sweet or sour pickled dish. Lactic acid bacteria are often involved in the preparation steps of fermented pickles, which helps in the effective preservation of the natural bioactive compounds of fruits and vegetable, and thereby exert several health benefits including immunomodulation and growth performance. This work aimed to evaluate the in vivo effects of adding Lactiplantibacillus plantarum N14 fermented rakkyo pickled juice as feed supplement on the immunocompetence and production performance of pigs. We first analyzed the nutritional composition, which revealed that the proportion of protein, lipid, and water-soluble fiber content were estimated as of 4%, 5%, and 5% in rakkyo residual liquid or juice, while 22%, 15% and 14%, respectively, were estimated in rakkyo residual powder. For the in vivo feeding trials, three groups of pigs were treated either with 5%, 20%, or 40% mixture (v/v) of fermented rakkyo pickled juice and the grinded residual liquid supplemented in the drinking water in addition to standard feed. The results of the feeding trials showed that the administration of a juice mixture of 5% or 20% (fermented pickled juice and residual liquid) had a similar trend of effects in improving the complement activity, phagocytic activity and leucocytes counts in the peripheral blood when compared to pigs fed with 40% mixture or untreated controls. Those changes were related to an improved resistance to enteric infections. Moreover, animals receiving a mixture of fermented pickled juice and fermented rakkyo residues had a higher growth rate and carcass quality than controls. The results suggested that the use of 5% mixture of fermented rakkyo pickled juice and the residual liquid through drinking water could be a cost-effective approach to promote the immune-health and production performance of pigs. This approach would contribute not only to the sustainable management of food wastes but also to the application of a value-added feed supplement for the promotion of animal health and production.

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38

Kubota, Naohiro, and Kazuyoshi Kawazu. "ACTIVE SUBSATNCES IN CHINESE CHIVE AND RAKKYO PLANTS FOR BREAKING BUD DORMANCY IN GRAPEVINES." HortScience 27, no. 6 (June 1992): 689b—689. http://dx.doi.org/10.21273/hortsci.27.6.689b.

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We previously found that volatile substances in Chinese chive (Allium tuberosum) and rakkyo (A. chinense) as well as garlic (A. sativum) stimulated budbreak in vines. But the active substances stimulating budbreak in Chinese chive and rakkyo have not yet been identified. The volatile sulfur—containing substances in fresh Chinese chive and rakkyo were identified by GC—MASS. The main volatile substances in Chinese chive and rakkyo were allyl and methyl mercaptans, and dimethyl disulfide, respectively. Cuttings witn a single bud obtained from `Kyoho' vines in dormancy were exposed to vapors of different concentrations of the three compounds for 12 or 24 hr in a desiccator, and they were kept at 25C, mounted on styrofoam plate floated in water. Diallyl disulfide, a main component in garlic, was also tested for comparison. Irrespective of concentrations and exposure periods of sulfide compounds, sprouting was greatly accelerated with diallyl disulfide. In mercaptan homologues, allyl mercaptan accelerated sprouting more effectively than in methyl mercaptan. A solution of 75% dimethyl disulfide accelerated sprouting on exposure for 12 hr, while inhibited budbreak for 24 hr.

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39

Sembiring, Yenita. "ANALISIS RUNGGU RAKUT SITELU SUKU KARO SEBAGAI STRATEGI UNTUK MENINGKATKAN KEMAMPUAN BERBICARA MAHASISWA PROGRAM STUDI PENDIDIKAN BAHASA INGGRIS UNIVERSITAS PRIMA." Jurnal Bahasa Indonesia Prima (BIP) 2, no. 1 (March 23, 2020): 53–57. http://dx.doi.org/10.34012/bip.v2i1.873.

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Analisis Runggu Rakut Sitelu Suku Karo Sebagai Strategi Untuk Meningkatkan Kemampuan Berbicara Mahasiswa Program Studi Pendidikan Bahasa Inggris Universitas Prima Indonesia adalah suatu penelitian yang berfokus kepada penggunaan budaya Karo Runggu Rakut Sitelu sebagai satu strategi mengajar yang dapat digunakan oleh dosen dalam proses pembelajaran. Runggu Rakut Sitelu adalah sistem komunikasi dalam kekerabatan suku Karo yangmelibatkan tiga komponen, yaitu kalimbubu, senina dan anak beru (Rakut Sitelu).

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Rakhno, Mykhailo. "Plots of Gothic Origin in Ukrainian Folklore Prose." Folklore: Electronic Journal of Folklore 85 (April 2022): 161–80. http://dx.doi.org/10.7592/fejf2022.85.rakhno.

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The article deals with plot elements of Gothic origin present in Ukrainian folk legends and other prose works: people and cattle sinking into the earth, and witches’ curses. Those motifs can be traced back to the Migration Period when the Germanic tribes entered the Circum-Pontic region. Despite the significant time lapse, the relics of those times still remain in the European folklore in the form of certain plots or plot elements. A widespread legend about a person punished by God for tilling the earth at Easter is comparable to an accident with some Gothic troops crossing a bridge across the river in Jordanes’s Getica. The beliefs about the reasons of the Gothic empire’s downfall are to some extent similar to those about the Zaporizhian Sich’s demise.

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Sembiring, Milisi. "The Role of Rakut Si Telu in Karonese society." KOMUNITAS: International Journal of Indonesian Society and Culture 10, no. 1 (September 4, 2018): 78–85. http://dx.doi.org/10.15294/komunitas.v10i1.12054.

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The researcher applied qualitative research and cultural analysis to analyze the material and social culture of rakut si telu. The reseacher participated the wedding ceremony to explore the practicing of rakut si telu. He has the wedding ceremony texts recorded. Colleting data, classifying the data, and analyzing data were done scientifically. The result shows the concepts of harmony among Karonese society are the center of practising rakut si telu. The role of rakut si telu in Karonese society are important as social standard control. The present of kalimbubu in a wedding party increases prestige of sukut. Anakberu has the role to keep the prestige of sukut. The role of anakberu are responsible to arrange activities in the wedding ceremony. Both groom’s and bride’s anakberu serve their each kalimbubu. Both anakberu are as mediators of each kalimbubu in proposing and responding the wedding regularities. Rakut si telu must be preserved to avoid negative impact of modern science and to keep the harmony of the way humanity come to think.

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DAMANIK, DESY WULAN PITA SARI. "ANKAI SITELU: KOREOGRAFI TERINSPIRASI DARI SISTEM KEKERABATAN PADA MASYARAKAT KARO." Pixel :Jurnal Ilmiah Komputer Grafis 16, no. 2 (December 7, 2023): 58–80. http://dx.doi.org/10.51903/pixel.v16i2.1431.

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Ankai sitelu is taken from the Batak Karo language, the word ankai means understanding and sitelu which means sitiga. If these three words are interpreted, they mean a dance that originates from understanding rakut sitelu. " ankai sitelu" is a dance work inspired by the Batak Karo kinship system, namely rakut sitelu. Rakut sitelu consists of sukut, kalimbubu, and anak beru. Sukut is the party who is the host in a traditional or ritual ceremony, kalimbubu is the party who is highly respected because he is considered to be the representative of dibata (god) on earth who gives tendi and blood, while anak beru is the party who does the sukut work in traditional ceremonies and rituals. This work takes the essence of balance in the rakut sitelu system with traditional karo dance movement patterns which are developed according to broader teba movement intensity, volume, level and time. Ankai Sitelu's work is a group choreography consisting of three female dancers, a total of three dancers who will be composed in a large group and small group composition by paying attention to the composition of the parts. The number of three dancers is analogous to three social positions in the Rakut Sitelu kinship system. This work uses the exploration method as an initial part in developing the creativity of the creation process, improvisation to find movements by chance or spontaneously, composition to arrange the movements that have been obtained, as well as periodic corrective evaluation of the process. This work is expected to provide information about the meaning and values contained in Rakut Sitelu. Keywords: Rakut sitelu, balance, Karo Batak tradition

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Sazali, Hasan, Abdul Rahman Matondang, and Bakhrul Khair Amal. "RAKUT SITELU AS A BRAND OF RELIGIOUS MODERATION MEDIA IN NORTH SUMATRA." Khazanah: Jurnal Studi Islam dan Humaniora 21, no. 1 (July 31, 2023): 25–40. http://dx.doi.org/10.18592/khazanah.v21i1.8630.

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The purpose of this research is to analyze the existing Rakut Sitelu system in the social life of the Karo ethnic group in North Sumatra and to synthesize the values of Rakut Sitelu as a means of religious moderation in North Sumatra. The method used in this research is ethnography and reference tracing, involving data collection from interviews, books, journals, and manuscripts for further analysis. The results of this research conclude that Rakut Sitelu has deep roots in the Karo ethnic kinship, where the three bonds of kalimbubu, senina, and anak beru coexist in daily activities with an attitude of mutual respect, assistance, and cooperation based on their respective structures, without distinguishing religion. Rakut Sitelu also exhibits manifestations of religious moderation values, such as high tolerance, anti-violence, and accommodation of their own culture. This can serve as a reference for implementing moderate values in North Sumatra, especially for the Karo ethnic group.

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Taneike, Tetsuro, Takio Kitazawa, Hiroki Teraoka, and Akira Ohga. "Education in veterinary pharmacology and toxicology at Rakuno Gakuen University." Japanese Journal of Pharmacology 64 (1994): 28. http://dx.doi.org/10.1016/s0021-5198(19)49886-7.

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Tsukamoto, Akihiro. "Unfolding the landscape drawing method of Rakuchū Rakugai Zu screen paintings in a GIS environment." International Journal of Humanities and Arts Computing 3, no. 1-2 (October 2009): 39–60. http://dx.doi.org/10.3366/ijhac.2009.0008.

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In this paper, I propose a new methodology for analysing landscape drawing methods using a GIS. The subject of my analysis is the genre of Japanese screen paintings known as rakuchū rakugai zu, created between the 16th and 18th centuries. Rakuchū rakugai zu provide bird's-eye views of the then-capital city of Kyoto, including buildings, natural features, and human activities. The methodology introduced here uses GIS spatial analysis functions to scan the painting surface onto a survey coordinate grid based on the relative positions of landmarks in the painting. The analytic sequence is as follows: (1) derive coordinate values for landmarks both on the painting and on a survey coordinate grid; (2) generate a link table from these two point-data sets; (3) use the projective transformation and rubber sheeting techniques to project the painting surface onto the survey coordinate grid; and (4) project the areas of the rubber sheet-derived polygons onto the painting. This process gives visual representation to differences between real space and the depicted space. Results show that rakuchū rakugai zu painted in the seventeenth century and later distorted real space more than those painted in the sixteenth century, indicating a decrease in adherence to conventional perspective-based painting.

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Tarigan, Brepin. "Karya Rakut Sitelu." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 12, no. 1 (July 16, 2017): 11–16. http://dx.doi.org/10.33153/dewaruci.v12i1.2515.

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Rakut Sitelu adalah salah satu unsur yang ada dalam konsep Sangkep Nggeluh yang fungsinya untuk menentukan kedudukan seseorang dalam bersosial dan berbudaya kedalam tiga kategori yaitu Sukut, Kalimbubu, dan Anak Beru. Sukut adalah pihak yang menjadi tuan rumah dalam suatu upaca adat istiadat maupun ritual, kalimbubu adalah pihak yang sangat dihormati karena dianggap menjadi perwakilan Dibata (Tuhan) dibumi pemberi tendi dan darah, sedangkan Anak Beru adalah pihak yang mengerjakan pekerjaan sukut dalam upacara adat istiadat maupun ritual. Namun dalam sistem Rakut Sitelu kedudukan tersebut akan berganti melalui proses ertutur sehingga tidak ada kedudukan tetap dan kasta dalam masyarakat Karo. Namun dewasa ini sistem Rakut Sitelu menjadi artifisal karena berbagai pengaruh diantaranya jabatan, ekonomi, dan tantangan hidup. Fenomena tersebut membuat pengkarya merasa perlu menciptakan sebuah kritisi melalui media musik kemasan seni pertunjukan yang digagas dari konsep falsafah hidup masyarakat Karo dengan sumber bunyi dan rhitem dari gendang sarunei dalam kemasan seni pertunjukan dengan durasi pertunjukan lebih kurang 50 menit. Komposisi ini diberi judul “Rakut Sitelu” dan dibagi menjadi tiga bagian yaitu Sukut, Kalimbubu, dan Anak Beru. Namun komposisi ini tidak dapat berdiri sendiri-sendiri melainkan terkait antara yang satu dengan bagian lainnya. Masing-masing dalam bagian tersebut mempunyai makna tersendiri yang terkait dengan sistem Rakut Sitelu. ABSTRACTRakut Sitelu is one of the elements contained in the concept Sangkep Nggeluh whose function is to determine the position of a person in a sociable and cultured into three categories Sukut, Kalimbubu, and Anak Beru. Sukut is party to host a customs ceremony and rituals, Kalimbubu is the highly respected because it is considered to be a representative Dibata (God) on earth giver tendi and blood, while the Anak Beru is a party that does the work Sukut ceremonial customs and rituals. However, within the Rakut Sitelu these positions will change through the process ertutur so there is no fixed position and caste in society Karo. But today it is the Rakut Sitelu sytem be artifisal due to various influences such positions, the economy, and the challenges of life. That phenomenon makes composer felt the need to create a critique through packaging music media performance art conceived of the concept of community Karo philosophy of life with the sound source and rhitem of drum sarunei in the packaging art show with performances duration of approximately 50 minutes. This composition was given the title of “Rakut Sitelu” and is divided into three parts, namely Sukut, Kalimbubu, and Anak Beru. However, this composition can not stand alone but bound between the one with the other parts. Respectively in the section has its own meaning related to the raccoon Sitelu system.

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Ventura, Alessandro. "Il graffio." Medico e Bambino 43, no. 6 (June 24, 2024): 351. http://dx.doi.org/10.53126/meb43351.

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Grašič Kuhar, Cvetka, and Katrina Mencin. "Nova skupina zdravil v onkologiji: konjugati protitelesa in zdravila." Medicinski razgledi 62, no. 3 (September 2023): 381–86. http://dx.doi.org/10.61300/mr6203013.

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Cilj onkološkega zdravljenja je čim učinkoviteje uničiti tumorske celice in pri tem povzročiti čim manj neželenih učinkov na zdrava tkiva in organe. To je mogoče doseči le s strategijo, ki vključuje tarčno zdravljenje, še posebej, če so tarče v tumorju drugačne kot v normalnih zdravih tkivih. Konjugati tarčnega protitelesa in zdravila imajo preko povezovalnega člena vezano zdravilo (kemoterapevtik). Tak konjugat ima dvojno vlogo: zavira prekomerno aktivacijo receptorja, na katerega se veže, in obenem omogoča tarčno dostavo kemoterapevtika v rakavo celico. Na ta način so sistemski neželeni učinki kemoterapevtika manjši, učinek na rakavo celico pa večji. Opisujejo pa tudi nov, t. i. sosedski učinek, ki se kaže v terapevtskem učinku na sosednje rakave celice, ne glede na izraženost receptorja za protitelo. Poznamo že več tovrstnih zdravil. Značilno zanje je, da so zelo učinkovita tudi takrat, ko so bolniki že bili predhodno obsežno zdravljeni.

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Emoff, Ron, and Ben Mandelson. "Rakoto Frah: Flute Master of Madagascar." Yearbook for Traditional Music 33 (2001): 192. http://dx.doi.org/10.2307/1519659.

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Kondrič Horvat, Vesna. "Transkulturalität der "Schweizer" Autorin Ilma Rakusa." Acta Neophilologica 41, no. 1-2 (December 19, 2008): 57–64. http://dx.doi.org/10.4312/an.41.1-2.57-64.

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Ilma Rakusa gibt mit ihrer Tatigkeit als Schriftstellerin, Essayistin, Übersetzerin und Dozen tin ein Paradebeispiel für die Transkulturalität ab, die bekanntlich die Fähigkeit bedeutet, scheinbar gegenteilige Werte in Einklang zu bringen. Sie hat die Erfahrung mehrerer Kulturen und Sprachen gemacht, die sie sehr konstruktiv zu verbinden weiß, was ihre Gedichte, Dramolette, Erzählungen so wie Essays am deutlichsten demonstrieren. Der Beitrag versucht ein reiches Spektrum ihres transkulturel len Lebens und Schaffens zu erfassen.

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