scholarly journals Genre Liederabend in creative practice by J. Kauffmann

2019 ◽  
Vol 55 (55) ◽  
pp. 183-197
Author(s):  
Haosyuan Yan
Keyword(s):  
Point Of View ◽  
Vocal Performance ◽  
Creative Work ◽  
Special Trait ◽  
Main Research ◽  
Metropolitan Opera ◽  
Behavioural Characteristics ◽  
Official Site ◽  
Slow Tempo ◽  
The Voice

Statement of the problem. Within the frameworks of interpretology, the performing style appears as the relation of two subjects (the performer and the subject of the music itself, recorded in the text), a meeting of the composing and performing thinking. It is every performance by Jonas Kaufmann, a prominent singer of the present, that becomes this meeting. According to the singer’s words, the «chamber form» invented by him and called Liederabend is the favourite form of his expression. Liederabend always demonstrates the singer’s outstanding acting skills, stage presence, strong voice and impeccable technique. Among the outstanding events there are the performances of G. Mahler’s chamber opuses (romances, «Song of the Earth», «Songs of the Dead Children», R. Strauss; Liederabends in Bamberg, Munich and the Metropolitan Opera with F. Liszt’s songs «Three Sonnets of Petrarch», G. Mahler, A. Dupark (including on Heine’s and Goethe’s verses), R. Wagner (Five Songs on Matilda Wesendonk’s verses), B. Britten (Seven Sonnets by Michelangelo). The singer’s attention to the AustrianGerman repertoire is the special trait of such chamber evenings. Analysis of recent publications on the topic. The main material on J. Kaufmann’s creative work is contained in numerous interviews, official site materials, Thomas Voigt’s book called «Meinen die wirklich mich», nonfiction articles and reviews on the performance of, in particular, Liederabends (T. Belova, T. Yelagin, E. Shapinska, Tim Ashley, and Christie Franke). From the studies of chamber and vocal performance (I. Gersamiya, T. Madysheva, T. Lymareva), the classification of dialogue quality (E. Stepanidina) in chamber music is involved. The systematic approach allows (based on G. Tsypin’s research) to identify the phenomenon of J. Kaufmann’s creativity. The purpose of the study is the formulation of the basic parameters of his performing style based on the analysis of J. Kaufmann’s Liederabends. Presentation of the main research material. In «The Winter Way» the singer resorts to such expressive means as a little exaggerated, chanted diction of the initial phrases («Sleep quietly»), radically contrasting dynamics of opera ff and subtle pp («Flood»), extremely slow tempo and filigree breathing («Inn»), «performance on the verge» of sound and silence («Loneliness», «Grey Hair», «Crow», and «Last Hope»). The centre of the performance concept is «Loneliness» (according to the singer himself). K. Frank sees the performance by Kaufmann as a rich spectrum of emotions; many listeners note the introversion of his expression. Concerning the conceptual dimension of J. Kaufmann’s interpretation of “The Winter Way”, the following facts were noted: the integrity and the construction of the performance form; the conscious avoidance of unnecessary expressiveness, monologue quality (the master connects the songs, creating an extended monologue), and artistry. Conclusions of the study. The analysis of Liederabends made it possible to find the components of J. Kaufmann’s performing style that characterize his individuality. 1. Intellectualism, conceptual design and «cyclicality» of the embodiment. For Liederabends the singer always chooses sophisticated programs, dominated by song cycles, or even the evenings devoted to the creative work of one composer. From the point of view of dramaturgy, the singer combines several songs into a kind of a micro-cycle, which enhances the monologue of the expression (dialogue «I-I»); the performance by the singer of any composition or cycle is always integral and intends for the catharsis. 2. The system of vocal expressive means that allow the singer to simulate different facets of images. Liederabends reflect the main features of J. Kaufmann’s style, which can also be noted in terms of opera interpretations: the economy of the performer, the singer’s commitment to conducting the cantilena, the role of the rhythmic component in the vocal score, the ability to tune his voice in different vocal ensembles, brilliant piano and mezzo voce, the brightness of forte, the filigree diminuendo and more. Kaufmann’s outwardly restrained manner of performance allows conveying the shades of poetic and musical text, reaching the heights peculiar to him as the performer of the tragic roles of the opera repertoire. In the chamber performance, some things sound even more pronounced. This applies to timbre (the singer can choose the desired colour of the voice, in particular, a matte or «steel» hue), the dynamic hue of ppp (sometimes a barely audible sound of the voice in the vocal cycle by F. Schubert gave a sense of boundary between the worlds, which is as if crossed by the lyric hero), diction (the singer speaks words clearly, and sometimes even sings in a recitative manner, in particular F. Schubert’s «Warrant»), and rhythm (he has a specific «acuteness» with certain disturbances of a uniform course, which has a powerful influence on the audience). Analysing the method of J. Kaufmann’s work with the author’s musical material, it is noted that he respectfully treats the text of the performed compositions, never exaggerates with “liberties” (agogic deviations, text notes, and fioritures). In terms of behavioural characteristics, J. Kaufmann’s performance always prevails in masculinity; from the point of view of the dialogue of the vocal and piano parties in J. Kaufmann’s Liederabends, the monologue quality is of great importance. All of the above allows us to identify another feature of Kaufmann’s performing style – his artistry. Due to his unstoppable artistic energy, which is felt by the listeners and visitors of Liederabends, the singer creates vivid, conceptual song evenings that are generally distinguished by the thoughtfulness of interpretations and which will surely be included in the collection of the world chamber performance. The prospect of further study of the topic is related to the study of J. Kaufmann’s performing style from the standpoint of interpretology.

scholarly journals The specificity of the interpretation of Rodelinda’s pa rt from G. Handel’s opera “Rodelinda”: interpretological approa

2021 ◽  
Vol 24 (24) ◽  
pp. 90-110
Author(s):  
Xin Yuan
Keyword(s):  
Vocal Music ◽  
Point Of View ◽  
Vocal Performance ◽  
Scientific Publications ◽  
Metropolitan Opera ◽  
Performance Traditions ◽  
Baroque Era ◽  
And Performance ◽  
The One ◽  
Interpretative Approach

Statement of the problem. Among the questions that arise, let us single out those that will form the basis of the proposed article devoted to women’s parts in the opera “Rodelinda”: HIP traditions and staging strategies; vocal roles and their possible modifications / transformations under the conditions of specific directing and performing solutions. Analysis of recent scientific publications shows that ‘Handeliana’ is currently very voluminous. Thus, the works of W. Dean (1969), J. Knapp (2009) and C. Hogwood (2007), which have been republished several times, are considered thoroughly; L. Silke (2014) summarized the experience of predecessors and presented new dimensions of scientific understanding of Handel’s legacy. Fundamental are the studies by L. Kirillina (2019). The problem of performing vocal music of the Baroque era has been actively discussed in the works of I. Fedoseev (1996), N. Harnoncourt (2002), G. Kaganov (2013), M. Burden (2009), A. Jones (2006), О. Kruglova (2007), G. Konson & I. Konson (2020). The purpose of the article is to single out the main parameters of the baroque performance of women’s parts in G.F. Handel’s opera “Rodelinda” taking into account the performing traditions and modern trends. The research methodology is focused on the concept of “authentic performing strategy” (Yu. Nikolaievska, 2020), positions of comparative interpretology (Ch. Zhiwei, 2012) and interpretative approach, aimed at studying the specifics of the performance versions. The scientific novelty of the article lies in the application of an interpretive approach to the study of G. F. Handel’s operas. Results. In the 1938 recording (conducted by G. Leonhard), Rodelinda was performed by the famous Cecile Reich, in 1959, 1973 – by Joan Sutherland (in London and Netherlands productions). Closer to the authentic versions is the one performed by Sophie Danneman (1996); there is also a famous recording of 2005 with Rene Fleming (Metropolitan Opera), who was brilliant as an actress (which is required by the plot), but she admired and “played” her voice a little, which does not quite correspond to the principles of authenticity. One of the stars of the Glyndebourne Festival (1998) was the performer of Rodelinda’s part – Anna Caterina Antonacci, who performed her part with the necessary psychological and vocal accents, but, perhaps, somewhat dry and removed, which is why the listener is also removed from the heroine’s tragedy. In 2011 N. Harnoncourt recorded “Rodelinda” (in the title role – Danielle de Niese, who owns the entire arsenal of means inherent in baroque performance). Lauren Woods (recording of the 2016) is one of the most famous performers of the baroque repertoire. Critics have noted her perfect articulation, acting ability and “impressive vocals”. Simone Kermes, who critics call “the mad queen of the Baroque”, is distinguished by bright and temperamental performance, especially incomparable in the interpretation of baroque operas. Conclusions. From the interpretive point of view, mastering the expressive system of Baroque vocal performance traditions, in particular the art of vocal improvisation and ornamentation, consistent with the artistic context and directorial decision, can broadcast for the modern listener the affects and meanings of Handel’s music. The established features of baroque style are marked (affect, which is usually concentrated in such positions as tempo-rhythm, tonality, text, syntax of the melody) and performance (timbre, dynamics, intonation of the melodic line, ornamentation). Rodelinda’s part has been shown to require the ability to switch from one affect to another fairly quickly. In the analyzed interpretations, modern singers (D. de Nies, J. Sutherland, S. Kermez, L. Woods, A. K. Antonacci) practically do not allow themselves to be free, but seek to follow the principles of authentic performance, which is manifested in dynamic, agogic elements, various timbre colors arias (aria of revenge, duet-consent, aria of lamento), the ability to improvise.

scholarly journals THE IMAGE OF ANNA IN THE OPERA “STOLEN HAPPINESS” BY Y. MEYTUS: INTERPRETATIVE ANALYSIS

2021 ◽  
Vol 58 (58) ◽  
pp. 112-129
Author(s):  
Olha Hohaizel
Keyword(s):  
Practical Importance ◽  
Point Of View ◽  
Physical Endurance ◽  
Vocal Performance ◽  
Musical Drama ◽  
Frequent Change ◽  
Historical Aspect ◽  
Main Research ◽  
Vocal Apparatus ◽  
Key Characteristics

The article analyzes the musical material of the two arias of Anna – as the key characteristics of her image in the opera Y. Meytus “Stolen Happiness” (based on the experience of analysis, since the arias are in the work and repertoire of the author of the study). Consideration of the image from the point of view of performance and interpretation of the understanding of the interactions of words and music, the composer logic of emotional experiences, taking into account a complex of components such as the nature of the musical fabric and the historical aspect, is proposed. operas. Statement of the problem. The creativity of Y. Meytus as a composer, who stood at the origins of the formation of the Ukrainian composing school of the twentieth century, is still relevant and, in particular, his rarely performed opera «Stolen Happiness», which in the true opinion of Y. Malyshev, is a «significant contribution» in the development of realistic opera art. There are still an undeserved number of records of this opera, and accordingly a small number of variants of interpretations of images, semantic texts and subtexts, and this work in this sense is of practical importance from the performer’s point of view. Since Anna’s arias are in the work and repertoire of the author of the study, the relevance of this topic is also related to the direct presentation of this music on stage. The purpose of the study –to determine the specificity of the interpretation of the image of Anna from the opera “Stolen Happiness” by Y. Maytus. Analysis of publications on the topic of the study. Regarding the works of Y. Meytus, there are researches and publications by Y. Malyshev, L. Archimovich, I. Mamchur, L. Bas, where the composer’s creativity is covered. There are few sources for the opera «Stolen Happiness», and there is no comprehensive and in-depth interpretative performance analysis.Presentation of the main research material. Widely utilizing the opera-harmonic basis of the features of Western Ukrainian folklore in the opera «Stolen Happiness», Y. Meytus emphasizes the national identity and color of the characters, including the main heroine, by means of the symphonic development of the musical material creates a dramatically and intelligently developed development of the multifaceted and multifaceted. The task of vocal performance is to consciously read the “score of feelings” of the performed character, which is contained primarily in the musical texture, which much and fully conveys the dynamics of character image development. The vocal part, the melody, being a part of harmony, is the condensate, the quintessence of the harmonious thought of the composer, which demands from the performer imagination, intuition, attention, sensory perception, emotional sensitivity. Conclusions of the study. Having performed a performative analysis of the image of Anna in the opera «Stolen Happiness» by Y. Meytus. 1. Because, first and foremost, it is an aria-melodic musical drama, close in style to verisim (the melody in Y. Meytus does not lose the properties of the length and cantilenes) therefore performance requires good long vocal breathing, cantilever, legato, flexibility of voice and timbral equality with simultaneous force of sound in climaxes, long thought of phrases, fullness of each vowel, clear diction, that is, awareness of the relationship between words and music, the smoothness of the language line. Good intonation hearing and good coordination of vocal apparatus are required not only from the point of view of breathing, but also from the point of view of difficult intonational musical language. 2. Performing arias requires from the singer a deep emotional responsiveness, great mental strength and physical endurance, as well as an actor’s understanding of the image-role. This image does not tolerate excessive passion for expressiveness, unnecessary emotions and hysterics, it will penetrate the depth of the tragedy of the heroine. The nuances from pianissimo, not transient to whispering, but voiced, to the filled fortissimo, not transitional to cry. The choice of tempo, especially given their frequent change, should be consistent with the natural sound of the vocal language. 3. The texture of the music material determines the role of the voice. The party is suitable for a solid lyric, lyric-dramatic (spinto) or dramatic soprano, that is, for voice, has the flight to “cut through” the orchestra and be sounded part of its rich texture.

scholarly journals Giacomo Puccini's Operatic Legacy and Its Study in the Practice of Vocalists

wisdom ◽  
2020 ◽  
Vol 15 (2) ◽  
pp. 199-209
Author(s):  
Dmitry SEMKIN ◽  
Lyubov BUSHUEVA
Keyword(s):  
Research Methods ◽  
Vocal Pedagogy ◽  
Point Of View ◽  
Vocal Performance ◽  
Historical Overview ◽  
Main Subject ◽  
Giacomo Puccini ◽  
Imaginative Thinking ◽  
The Right ◽  
The Voice

The purpose of this article is to analyze the Opera legacy of Giacomo Puccini from the standpoint of philosophy and practical vocal pedagogy, which, according to the authors, is necessary for the formation of vocal and performing skills of young singers of the academic direction. The authors suggest a historical overview of the main works of the composer in this genre, based on the study of their vocal characteristics, the author reveals the features of his unique Arioso-recitative style. On the basis of various research methods (among which the special place is occupied by the philosophical, aesthetic, vocal-technical and methodological analysis) concluded, that vocal performance the point of view of the works G. Puccini are useful for the development of vocalists ' singing breath, musicality, imaginative thinking, mastering of the technique of cantilena, continuous legato (as the basis of belcanto), improving the timbral colors of the voice, its dynamic nuances, developing the right senses of agogics. The above is confirmed by the analysis of the peculiarities of the technique of performance and interpretation of one of the composer's most famous works for the tenor repertoire – Calaf's Aria "Nessun dorma" from the Opera "Turandot" (which was the main subject of this study).

Wacana Kolonial dalam Novel Max Havelaar: Sebuah Kajian Poskolonial

Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 411
Author(s):  
Abu Bakar Ramadhan Muhamad
Keyword(s):  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Colonial Discourse ◽  
The Impact ◽  
The Voice

AbstrakHegemoni kolonialisme dalam budaya poskolonial merupakan alasan penelitian inikemudian mengkaji wacana kolonial dalam novel Max Havellar (MH) khususnya dampakditimbulkannya. Dampak dimaksud adalah posisi keberpihakan pemikiran tersirat darikarya tersebut. Hasil pembahasan menunjukkan, secara temporal maupun permanen MHmenyuarakan ketidakadilan dalam kondisi-kondisi kolonial menyangkut penindasan sangpenjajah terhadap terjajah. Hanya saja, upaya mengatasnamakan atau mewakili suarakaum terjajah terbukti mengimplikasikan ciri ideologis statis kerangka kolonialisme(orientalisme); yakni cara pandang Eropasentris, di mana “Barat” sebagai self adalah superior,dan “Timur” sebagai other adalah inferior. Dalam konteks poskolonialisme, MH dengan sifatkritisnya yang berupaya “menyuarakan” nasib pribumi terjajah, justru menampilkan stigmapenguatan kolonialitas itu sendiri secara hegemonik. Artinya, “menyuarakan” nasib pribumidimaknai sebagai keberpihankan kolonial yang kontradiktif, di mana stigma penguatankolonialitas justru lebih terasa, ujung-ujungnya melanggengkan hegemoni kolonial. Tidakmembela yang terjajah, tetapi memperhalus cara kerja mesin kolonial.AbstractThe hegemony of colonialism in the culture of postcolonial society is the reason this studythen examines the colonial discourse in the novel Max Havellar (MH) in particular the impactit brings. The impact in question is the implied position of thought in the work. The resultsof the discussion show that, temporarily or permanently, MH voiced injustice in the colonialconditions regarding the oppression of the colonist against the colonized. However, the effort toname or represent the voice of the colonized has proven to imply a static ideological characterin the framework of colonialism (orientalism); ie Eropacentric point of view, in which “West” asself is superior, and “East” as the other is the inferior. In the context of postcolonialism, MH withits critical nature that seeks to “voice” the fate of the colonized natives, actually presents thestigma of strengthening coloniality itself hegemonicly. That is, “voicing” the fate of the pribumiis interpreted as a contradictory colonial flare, where the stigma of strengthening colonialityis more pronounced, which ultimately perpetuates the hegemony of colonialism. No longerdefending the colonized, but refining the workings of the colonial machinery.

THE METADIALOGUE CONCEPT IN ITS LINGUISTIC ASPECT

2019 ◽  
Vol 29 (5) ◽  
pp. 721-726
Author(s):  
Yu.V. Kupriyanova ◽  
I.M. Vasilyanova
Keyword(s):  
Subject Matter ◽  
Dynamic Structure ◽  
Point Of View ◽  
Semantic Relations ◽  
Human Cognition ◽  
Main Research ◽  
Key Points ◽  
Research Findings ◽  
The Subject ◽  
Linguistic Aspect

The article summarizes the key points in the development of the metadialogue phenomenon from a linguistic point of view. Some stages of the development of this concept and the difficulties associated with its structuring are covered. The main research findings of modern foreign and domestic experts on its study are considered. Some characteristics of the subject of the research from the standpoint of various pragmatic installations are given. On the basis of the dynamic structure of the metadialogue development, certain principles of semantic relations connected with the dialectical nature of human cognition are presented. Excursion into the history and evolution of the concept is presented. Several types of formulation of the subject matter are given. In accordance with the goal of speech exposure, internal problems of the development of metadialogue are highlighted and the critical points related to solving these problems are described. The rules of metadialogue flow are explained at the level of steps, the success/failure of which directly affects the final result of communication. The prospects of development of the concept research in accordance with various types of discourse are indicated.

scholarly journals Optimising outcome assessment of voice interventions, II: sensitivity to change of self-reported and observer-rated measures

2007 ◽  
Vol 122 (1) ◽  
pp. 46-51 ◽  
Author(s):  
I N Steen ◽  
K MacKenzie ◽  
P N Carding ◽  
A Webb ◽  
I J Deary ◽  
...  
Keyword(s):  
General Health ◽  
Voice Quality ◽  
Voice Handicap Index ◽  
Effect Sizes ◽  
Voice Therapy ◽  
Vocal Performance ◽  
Symptom Scale ◽  
Wide Range ◽  
The Voice ◽  
Responsiveness To Change

AbstractObjectives:A wide range of well validated instruments is now available to assess voice quality and voice-related quality of life, but comparative studies of the responsiveness to change of these measures are lacking. The aim of this study was to assess the responsiveness to change of a range of different measures, following voice therapy and surgery.Design:Longitudinal, cohort comparison study.Setting:Two UK voice clinics.Participants:One hundred and forty-four patients referred for treatment of benign voice disorders, 90 undergoing voice therapy and 54 undergoing laryngeal microsurgery.Main outcome measures:Three measures of self-reported voice quality (the vocal performance questionnaire, the voice handicap index and the voice symptom scale), plus the short form 36 (SF 36) general health status measure and the hospital anxiety and depression score. Perceptual, observer-rated analysis of voice quality was performed using the grade–roughness–breathiness–asthenia–strain scale. We compared the effect sizes (i.e. responsiveness to change) of the principal subscales of all measures before and after voice therapy or phonosurgery.Results:All three self-reported voice measures had large effect sizes following either voice therapy or surgery. Outcomes were similar in both treatment groups. The effect sizes for the observer-rated grade–roughness–breathiness–asthenia–strain scale scores were smaller, although still moderate. The roughness subscale in particular showed little change after therapy or surgery. Only small effects were observed in general health and mood measures.Conclusion:The results suggest that the use of a voice-specific questionnaire is essential for assessing the effectiveness of voice interventions. All three self-reported measures tested were capable of detecting change, and scores were highly correlated. On the basis of this evaluation of different measures' sensitivities to change, there is no strong evidence to favour either the vocal performance questionnaire, the voice handicap index or the voice symptom scale.

scholarly journals USE OF ORGANIZATION AND ENGINEERING IN EVENT TOURISM

2020 ◽  
pp. 22-28
Author(s):  
Svitlana Tyshchenko ◽  
Taisiіa Chernyshova ◽  
Snizhana Mutasova
Keyword(s):  
System Analysis ◽  
Technical Support ◽  
Point Of View ◽  
Practical Significance ◽  
Wide Audience ◽  
Main Research ◽  
Goal Development ◽  
Effective System ◽  
Event Tourism ◽  
First Time

The article discusses the main problems of the implementation of event tourism in certain territories, which primarily include: short-term event; the scale of the event; placement in a natural area; lack of sufficient means of accommodation and services for tourists; style of events and the like. Goal. Development of an effective system of organizational and technical support for event tourism events. Methodology. The main research methods, in order to achieve the goal, are the analysis of engineering support, the classification of mobile homes for event tourism and the modeling of requirements for them based on the system analysis of event tourism technologies. Results. The organizational and technical support of event tourism activities proposed in the article will reduce the technogenic load on the local natural landscapes of natural areas in the places where event events are held. This will contribute to the formation of a higher culture, the style of their conduct, which will make it possible to undertake events of event tourism in regions that are even more attractive to a wide audience of tourists not only in our country, but also abroad. This method of organizational and technical support can also be used for holding rallies, forums, conferences and other events. Important for the success of the development of event tourism and the correct organization of organizational and engineering support is the formation of a calendar of events, which makes it possible to approach all future events in a planned manner, from the point of view of engineering and technical support, later will give its positive results. Scientific novelty. The current state of the use of mobile houses in event tourism on the territory of Ukraine is analyzed for the first time. For the first time, the calendar of the territory of the Stanishovskaya OTG of the Zhytomyr region was compiled for 2020-2021. Practical significance of the study lies in the fact that the compiled calendar of event tourism will be used by OTG "Stanishovskaya" in full and taking into account our recommendations regarding the holding of mass events.

scholarly journals MEMORIZING PROPAGANDA OF EQUALITY IN NGULANDARA AND KIRTI NDJOENJOENG DRADJAT, NOVELS OF BALAI POESTAKA (Mengingat Kembali Propaganda Kesetaraan dalam Novel-Novel Balai Poestaka, Ngulandara dan Kirti Ndjoenjoeng Dradjat)

Kandai ◽  
2020 ◽  
Vol 16 (1) ◽  
pp. 96
Author(s):  
Yohanes Adhi Satiyoko
Keyword(s):  
Lower Class ◽  
Point Of View ◽  
Literary Works ◽  
Colonial Era ◽  
Sociological Approach ◽  
Independence Era ◽  
Colonial Government ◽  
The Voice ◽  
Dutch Colonial ◽  
The Way

Equality of men is a great issue to maintain every country all the time. Indonesia is one of them which should struggle to maintain it so far. Fictional work is one of the aesthetical means to support it. The way of struggle can be memorized through the time of independence era in fictional works of Balai Poestaka publisher. Javanese language novels, Ngulandara and Kirti NdjoendjoengDradjat are two literary works published by BalaiPoestaka that were written in the dominance times of Balai Poestaka activities as commission for people’s reading in Dutch colonial era in Indonesia (Dutch Indies). Kepriyayian (nobility) was the theme of Ngulandara (1936) and Kirti NdjoendjoengDradjat(1924) novels. As seen from propaganda point of view, ideologically the portrayal of priyayi (nobleman) was analogy symbol of Dutch colonial government that ruled social system. Ngulandara and Kirti Njunjung Drajat showed a “struggle” through literary works as portrayed in wong cilik (Javanese: lower class people) who struggled against the existence of the authorities. The struggle emerged in the way of wong cilik behaved intellectually, morally, even mannerly better than the nobles (priyayi). This research used the theory of literature and propaganda using a sociological approach. Those oppositional relationships between deconstruction nobles and the raise of wong cilik in the field of intellectual, moral, and manner show the propaganda of equality of men through the voice of Jasawidagdo and Margana Djajaatmadja.Kesetaraan manusia merupakan isu besar yang harus selalu dijaga di setiap negara. Indonesia adalah salah satu negara yang harus tetap berjuang menjaga isu tersebut. Karya fiksi berfungsi sebagai salah satu peranti estetis untuk mendukung isu tersebut. Cara memperjuangkan isu tersebut ialah dengan mengingat kembali masa kemerdekaan melalui penerbit Balai Poestaka. Novel-novel berbahasa Jawa, Ngulandara dan Kirti Ndjoendjoeng Dradjat ialah dua karya sastra yang diterbitkan oleh Balai Poestaka yang ditulis pada waktu dominasi Balai Poestaka sebagai komisi bacaan rakyat di era kolonial Belanda di Indonesia (Hindia Belanda). Kepriyayian merupakan tema novel Ngulandara (1936) dan Kirti Njoendjoeng Dradjat (1924). Dilihat dari sudut pandang propaganda, penggambaran priyayi merupakan analogi simbol pemerintah kolonial Belanda yang berkuasa mengatur sistem sosial kemasyarakatan. Ngulandara dan Kirti Ndjoendjoeng Dradjat menunjukkan sebuah “perjuangan” melalui karya sastra seperti digambarkan melalui wong cilik yang berjuang melawan kemapanan penguasa. Perjuangan tersebut muncul dengan cara wong cilik tersebut bertindak secara intelektual, bermoral, bahkan bersikap lebih terhormat daripada para priyayi. Penelitian ini menggunakan teori sastra dan propaganda dengan pendekatan sosiologi. Relasi oposisional antara dekonstruksi priyayi dan bangkitnya wong cilik dalam ranah intelektual, moral, dan sikap menunjukkan propaganda kesetaraan manusia melalui suara Jasawidagdo dan Margana Djajaatmadja.  

scholarly journals The Rainbow Land: Exploring How Children Accept Diversity

K ta Kita ◽  
2018 ◽  
Vol 6 (2) ◽  
pp. 165-172
Author(s):  
Jossy Vania Christiani
Keyword(s):  
Point Of View ◽  
The Other ◽  
Creative Work ◽  
Main Character ◽  
Only Children

For years, cases related to intolerence of races, religions, and ethnicities have been used for political weapons in Indonesia. This cases has affected children's point of view and behaviour on diversity around them. In order to help not only children, but also parents and educators to be aware of it, I created a 70 minute play for children that discusses how children tolerate differences. I use Indonesia's folktales characters as my characters, and also use Indonesia as the setting. The first main character of the story, Nawang Wulan, struggles on how she tries to be accepted by her new friends who are different from her. While the other main character, Bawang Merah, insisting on excludes Nawang Wulan from her groups because she feels insecure of Nawang Wulan's differences. At the end of the story, Nawang Wulan finally learns that she has to accept her friends' differences first to be accepted. While Bawang Merah finally learns that even though Nawang Wulan is different, her differences are not a threat for her. I use theory of Diversity and Differences in childhood stageand also the theory of inferiority to justify my characters' behavior towards the conflicts. Through this creative work, I want to raise an awareness that diversity is inevitable, even around children. Therefore, it is better for them to learn how to tolerate it so they can accept it rather than misused it. 

PROPER NAME IN SYNCHRONISTIC COINCIDENCES

2021 ◽  
pp. 75-87
Author(s):  
G.I. Berestnev ◽  
Keyword(s):  
Cognitive Linguistics ◽  
Deep Structure ◽  
Proper Names ◽  
Physical Reality ◽  
Point Of View ◽  
Human Cognition ◽  
Main Research ◽  
Personal Names ◽  
Proper Nouns ◽  
Cognitive Attitudes

The article launches a new approach to studying coincident proper names in different cultural conditions - names viewed in a synchronistic perspective, in the Jungian sense. The paper purports to answer a number of questions adding to the theory of language, depth psychology and cognitive science. The main research methods, such as cognitive analysis and reconstruction, allow recovering data on deep cognitive attitudes of a person and possible connections of his/her mental sphere with physical reality. In this regard, the functional and cognitive nature of proper names is analyzed. It is determined by a number of characteristics that form the basis for further research. The paper further elaborates on the conditions and models of synchronistic coincidences of proper nouns (mostly personal names). The identified conditions and models are as follows: a) thematic seriality of personal names; b) their cross-matching; c) their systemic parallel matching; d) their complete coincidence in space and time; e) their promising coincidences in fortune telling; f) coincidence of ideal and real personal names; g) coincidences of personal names “framing” certain historical epochs; h) coincidences of proper names, removing the referential certainty of the named subjects. The data presented in the article made it possible to make some generalizations and to outline research prospects in this area. First of all, researching proper names from the point of view of synchronistic coincidences allows us to have an insight into human cognition and shed light on its deep structure. In addition, such studies have interdisciplinary significance bringing cognitive linguistics and the fundamental sciences closer together. Finally, the analysis of synchronistic coincidences of proper names allows us to reconstruct some deep cognitive attitudes in the human psyche, demonstrating the unity of mental and physical realities. Even more promising in this regard is the unification of cognitive linguistics with other advanced scientific disciplines engaged in this issue.

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