Hasil untuk "Manners and customs (General)"

Luciana Lis de Souza e Santos, Elio Ferreira de Souza

O presente artigo tem por objetivo refletir sobre ancestralidade e como, a partir desta, deriva-se a autoestima quando são criadas imagens positivas acerca da negritude, no romance Maréia, de Miriam Alves, publicado em 2019. Analisa, também, a Autodefinição e a Autoavaliação (Collins, 2019) de Maréia, personagem homônima. Por meio da obra, é possível exaltar nossos ancestrais negros. Para tanto, o estudo está apoiado nas teorias de Collins (2016, 2019), Mongim (2017), Maldonado-Torres (2018), Woodson (2021), Carneiro (2005), Oliveira (2009), Ribeiro (2020), dentre outros. Os estudos tendem ao entendimento de que Maréia está sempre buscando, em seus ancestrais, a força para criar seus caminhos. Portanto, ela subverte a lógica colonial que invisibilizou os saberes provenientes da diáspora negra.

Nathália Carvalho da Silva, Emanuella Oliveira Diniz Lins, Gabriella Dupim

Na produção literária de Maria Gabriela Llansol podemos identificar uma escrita que aparece articulada ao indizível e se aproxima do que Lacan definiu enquanto lituraterra. É ao escrever a partir do vazio feminino que a autora traz, através da dimensão da letra, o traço que marca a inserção do corpo na escrita e os excessos da posição de gozo de cada ser falante. Este trabalho pretende ir ao encontro do que a obra de Llansol intitulada Contos do mal errante nos ensina sobre a função da escrita como tratamento da devastação feminina, fazendo litoral ao infinito de um gozo fora da linguagem, bem como explorar a relação entre texto-autor-leitor como proposta por Barthes.

Mei Hua Soares

À leitura literária atribui-se comumente aspectos silenciosos, individuais e solitários. Mas outras práticas de leitura de literatura — realizadas histórica e contemporaneamente — fazem parte de nossa cultura, dentre elas, as públicas e em voz alta. Partindo de premissas depreendidas de tese de doutoramento sobre práticas de leitura coletivas e de relatos envolvendo exemplos ocorridos em salas de aula (ensino superior e no médio) e em um grupo teatral, pretende-se tecer reflexões sobre as possibilidades de recepção mobilizadas nesse tipo de leitura.

Budi Gustaman

Upaya pelestarian satwa liar telah muncul di Priangan sejak akhir abad ke-19. Munculnya gagasan konservasi satwa liar diawali dari kebiasaan berburu yang dilakukan para tuan kebun teh di Priangan (Preangerplanters). Studi ini mempertanyakan sebab kemunculan gagasan konservasi satwa liar akibat kebiasan berburu yang dilakukan preangerplanters. Penelitian dilakukan dengan metode sejarah dengan memanfaatkan sumber berupa arsip, buku, koran, majalah, dan internet. Temuan utama studi ini ialah kedekatan dengan alam memunculkan kebiasaan berburu sebagai proteksi diri, perlindungan tanaman perkebunan, dan rekreasi. Preangerplanters membentuk perkumpulan berburu bernama venatoria untuk mengontrol perburuan yang tidak terkendali serta berupaya melestarikan hutan Cikepuh sebagai kawasan konservasi. Kesimpulannya ialah gagasan konservasi satwa liar muncul dari ketakutan preangerplanters terhadap kelangkaan satwa buruannya. Wilayah Priangan menjadi salah satu pionir perlindungan satwa liar. Hal yang selama ini terlupakan karena upaya konservasi sangat identik dengan Buitenzorg (Bogor) sebagai poros konservasi alam di Indonesia. Wildlife conservation had emerged in Priangan since the end 19th century. The emergence of wildlife conservation idea begins with hunting habits carried out by tea plantation owners in Priangan (Preangerplanters). This study questions the cause of the emergence of the wildlife conservation idea due to hunting habits. It employs historical method by utilizing sources, such as archieves, books, newspaper, magazine, and internet. Main finding of this study is the proximity to nature led to the habit of hunting as a protection (self-safety and plantation crops), and as a pleasure. Preangerplanters formed hunting’s club called venatoria to control the uncontrolled game and preserve Cikepuh forest. The concludes is  wildlife conservation idea arises from the fear of them in the scarcity of game. Priangan is one of the forgotten pioneers because wildlife conservation refers to Buitenzorg (Bogor) which became center of nature conservation in Indonesia.

Adriana Kogan

In 1972, the poet Waly Salomão published the book Me Segura Qu'eu Vou Dar um Troço, in which the visual dimension plays an important role. The typographic layout and the incorporation of photographs bestow a character that raises the text above its literary nature so that the book also works as a photo-book. This essay analyses the differing layouts of the images that appear in Me Segura Qu'eu Vou Dar um Troço based on the problematization of conditions of enunciation, montage as a procedure and the incorporation of new discourses and languages which give rise to new "modes of speaking".

Rafaela Cardeal

Este artigo propõe uma reflexão sobre a questão da visualidade desenvolvida na obra de João Cabral de Melo Neto, a partir do conceito de "dar a ver", um de seus principais objetivos poéticos. Com uma leitura abrangente que acompanhará o percurso desde Pedra do sono (1942) até A educação pela pedra (1966) — o livro de estreia e o exemplar que marca o ápice da trajetória do autor, respectivamente — analisaremos algumas imagens e propriedades resultantes da percepção visual. Veremos de que maneira a escrita cabralina, apesar de procurar uma perspectiva objetiva, denuncia a mirada do poeta.

Geni Mendes de Brito, Tânia Maria de Araújo Lima

O conto "Foram as dores que o mataram", de Dina Salústio, escritora cabo verdiana, traz à lume uma discussão ímpar sobre a realidade de violência a que muitas mulheres estão subjugadas em algumas ilhas de Cabo Verde, mas também em diferentes rincões do mundo. À luz dos estudos e do conceito da Literatura e da Antropologia sobre esta realidade vivenciada por mulheres sofridas, silenciadas, decorrente do machismo e do patriarcado, este ensaio apresenta uma análise sobre violência de gênero que, através da narrativa contemporânea, anuncia um tipo de realidade que se abisma na lente de contato da inscritura africana. Nessa travessia, a artimanha de contar história vem traduzida pelo legado das culturas dos povos insulares.

Shazia Mohammad, A. Rahman

Félix Elie Régamey

Ending centuries of isolation, the Meiji era opened Japan to the world in the late nineteenth century, revealing a rich and sophisticated culture. Largely unknown until then, it proved an object of fascination to the West, and the delicacy of its art inspired such figures as Van Gogh, Manet, Whistler and the architect Frank Lloyd Wright. French painter Félix Elie Régamey (1844–1907) was one of the few Europeans who had travelled to Japan, and his deep respect and understanding of the country's art and customs soon established him as an expert. Appearing first in French in 1891, his observations were published in this English translation in 1893. Offering an artist's perspective on Japan and its mores, it also contains 100 illustrations drawn by the author using Japanese techniques. Readers will find much of interest in this valuable contribution to the study of Japanese culture.

Euis Thresnawaty S

Abstrak Pencak silat merupakan seni bela diri yang berakar dari budaya asli bangsa Indonesia. Perkembangan dan penyebaran silat secara historis mulai tercatat ketika penyebarannya banyak dipengaruhi oleh kaum ulama, seiring dengan penyebaran agama Islam pada abad ke-15 di Nusantara. Demikian pula halnya pencak silat Banten Bandrong, mulai dikenal seiring dengan berdirinya kerajaan Islam Banten. Saat ini silat asli Banten mulai kurang diperhatikan keberadaannya. Salah satu sebab ditinggalkannya seni dan budaya pencak silat asli Banten ini karena manajemen perguruan silat yang masih bersifat seadanya, padahal transformasi pengelolaan dari metode tradisional ke arah yang lebih modern mutlak diperlukan seiring dengan perkembangan zaman. Atas dasar itu, maka dilakukan penelitian mengenai Perguruan Silat Bandrong Renggong Ampel di Kabupaten Serang dengan tujuan mengungkapkan latar belakang perjalanan sejarah serta dinamika perkembangannya. Adapun metode yang digunakan adalah metode sejarah dengan melakukan wawancara. Pada kenyataannya dengan pengelolaan yang terorganisasi silat bandrong yang merupakan seni asli Banten ini dapat lebih dikenal oleh masyarakat luas Abstract Pencak silat is a kind of martial art that has root in original culture of Indonesia. Its development and spreading were historically recorded when the ulamas (Islamic scholars) influence it along with the spreading of Islam in the Archipelago during 15th century. Pencak silat Bandrong became familiar along with the establishment of the Islamic Kingdom of Banten. Today it is gradually abandoned due to mismanagement in the organization, whereas it is necessary to transform traditional management into modern one. Based on this fact the author conducted this research in order to reveal the background of its historical course and dynamics of its development. History method andinterview were used in the research. In fact, good management could make Bandrong martial art more familiar to society.

Lasmiyati .

Abstrak Rasinah adalah maestro yang peduli pada kesenian tradisional Topeng Indramayu. Ia lahir dari keluarga seniman, ayahnya seorang dalang wayang kulit dan ibunya seniman ronggeng. Ia penari topeng yang handal. Kiprahnya di dunia topeng dikenal ke mancanegara. Penelitian ini dilakukan untuk mengetahui siapakah Rasinah dan bagaimana kiprahnya sebagai penari topeng di Indramayu. Metode yang digunakan adalah metode sejarah yang meliputi heuristik, kritik, interpretasi, dan historiografi. Dari hasil penelitian yang dilakukan, diperoleh informasi bahwa Rasinah lahir di Pamayahan Lohbener Indramayu tanggal 5 Januari 1929. Ia dalang topeng turunan dari neneknya. Ayahnya merupakan dalang wayang kulit dan dalang topeng, ibunya seniman ronggeng. Ia belajar menari topeng sejak usia tiga tahun. Tahun 1960-an Rasinah mengalami masa kejayaan, namun tahun 1970-an, ia mengalami masa surut seiring penggemar tari topeng beralih ke jenis kesenian organ tunggal dan tarling. Tahun 1994 ia bertemu Endo Suanda, kiprahnya sebagai penari topeng kembali bangkit. Ia dipromosikan tampil di beberapa negara. Sabtu 15 Maret 2008 Rasinah mewariskan Topengnya kepada cucunya, Aerli Rasinah. Tanggal 7 Agustus 2010 Rasinah meninggal dunia. Ia mendapat penghargaan sebagai penari dan pelestari Topeng Indramayu, di antaranya Lifetime Achievement dalam Festival Topeng Nusantara 2010.   Abstract Rasinah was a maestro who has great concern about Indramayu traditional arts of Tari Topeng or the Mask Dance. She was born into an artist family. Her father was a puppets shadow play master and her mother was a Ronggeng dancer. She is a brilliant Topeng dancer. Her role in Tari Topeng known in foreign countries. This research was conducted to find out who Rasinah is, and what her role in the development of Topeng dance of Indramayu. This research used historical method, which consist of four phases: heuristics, critics, interpretation, and historiography. Rasinah was born in Pamayahan Lohbener Indramayu, January 5, 1929. Her mastery of Topeng dance she inherited from her grandmother. Rasinah has learned dance since 3 years old. The 1960s witnessed the heyday of her performance. However, one decade later her reception declined. People more interested in Tarling and organ tunggal instead of Topeng dance. After Rasinah met Endo Suanda in 1994, her role in Topeng dance started again. She promoted by Endo Suanda to perform in the couple of countries. Rasinah officially bequeath her role in Topeng dance to her granddaughter, Aerli Rasinah on March 15, 2008. On August 7, 2008, Rasinah passed away. She received an award as a dancer and conservationist of Topeng Indramayu in Topeng Festival Nusantara 2010.

Antonis Glytzouris