The Historical and Cultural Meaning of Jeju Women Commemorated through The memorial rituals ­- Focusing on Kim Manduk, Mrs. Koh, Mrs. Park, and Hong Yoonae - ­

탐라문화 ◽  
2020 ◽  
Vol null (63) ◽  
pp. 59-89
Author(s):  
Moon soon-deok
Keyword(s):  
Cultural Meaning

Makna Budaya Nama Motif Kain Bentenan Minahasa

2015 ◽  
Vol 3 (1) ◽  
Author(s):  
Silvana Lahama
Keyword(s):  
Social Status ◽  
Cultural Meaning ◽  
History Of ◽  
Qualitative Descriptive

Bentenancloth is a Minahasa traditional fabric cloth which is the only craft of weavingfrom Minahasa people that has a very long journey of history. The existence ofthis cloth cannot be separated from the cultural and historical activities ofMinahasa tribe, where this cloth reflects the symbol of social status andbecome the part of life principal acted by the Minahasa people.Theobjectives of this research are to describe : 1) The name of motifs and lingualmeaning of Bentenan  cloth, 2) Thecultural meaning behind the Bentenan cloth motifs.This research conduct in theform of qualitative-descriptive. The data taken from the books contains aboutthe history of Minahasa especially the Bentenan cloth, proposed by the formerresearchers and the culture expert of Minahasa. Fromthe result, it can be conclude that cultural meaning behind the name ofBentenan cloth motifs reflects the whole aspects of life especially theirbelieves on something considered being exist around them. The cultural meaningfromeach motifs carryingessential norm that people should know whether it isallowed to do and whether is not.KeyWords : The cultural meaning, The motifs in Bentenan cloth.

Makna Budaya Lagu Daerah Tontemboan

2015 ◽  
Vol 3 (1) ◽  
Author(s):  
Christina Rawung
Keyword(s):  
Observation Point ◽  
Folk Songs ◽  
The Other ◽  
Cultural Meaning ◽  
Cultural Meanings ◽  
Deep Meaning ◽  
Traditional Songs ◽  
Descriptive Method ◽  
Power Of God

Kapoya village is located in SouthMinahasa precisely in the District Suluun-Tareran. Problems of this research,what is the folk songs in Tontemboan areas that exist in Kapoya village andwhat is the function, what cultural meanings contained in the Tontemboan folksongs, and why villagers of Kapoya still sing the Tontemboan folk songs basedon their reflected the mindset. The purpose of this study is to identify the Tontemboanfolk songs and explain its function, explains the cultural meaning of theTontemboan folk songs, and explain the reason for the villagers of Kapoya stillsing the Tontemboan folk songs based on their reflected the mindset.This study used descriptive method withqualitative approach. The observation point chosen five informants. The firstone as the main informant and the other as a companion. In this study,collected twenty-seven folk songs in Tontemboan.In terms of meaningful culturalTontemboan folk songs in the Kapoya village and their functions, which consistsof 27 traditional songs and their functions. In terms of cultural meaningscontained in Tontemboan folk songs have some deep meaning, such as the peopleof Kapoya village who believe in the power of God as the Creator, the publicbelieves that happen compassion into the new year is a joy to remember therelatives and siblings. In terms of folk songs sung reason thatis the mindset of the villagers of Kapoya, namely as guidelines, instructions,and the correct way for a person to live a life based onwhat he believes and meaningful bring compassion, happy, respectful, and proudof the life lived in the Kapoya village.Keywords: Culture, Tontemboan, Kapoya

Cultural Meaning for Women Composers: Charlotte (“Minna”) Brandes and the Beautiful Dead in the German Enlightenment

2004 ◽  
Vol 57 (2) ◽  
pp. 231-284 ◽  
Author(s):  
Matthew Head
Keyword(s):  
Women Composers ◽  
Fund Raising ◽  
Close Friend ◽  
Cultural Meaning ◽  
Financial Loss ◽  
Cultural Meanings ◽  
German Enlightenment

This article explores the cultural meanings of female musical authorship in the late German Enlightenment through a case study of Charlotte (“Minna”) Brandes, a composer, keyboardist, and opera singer. With Minna's death in 1788 at the age of twenty-three, her father, the playwright Johann Christian Brandes, and her close friend and teacher Johann Friedrich Höönicke prepared two memorials to her memory, a biography and a collection of her music, the latter titled Musikalische Nachlass von Minna Brandes (Hamburg, 1788). These memorials situated her authorship in the contexts of pedagogy and education, the composition of occasional works for the home, and the solace offered by music amidst bereavement and illness. The principal discourse was of death itself. Minna's memorialization shared with the novels of Goethe a topos of the beautiful female dead in which the female corpse (or its representation) was exhibited as a beautiful artifact. Death turned Minna from composer into a passive, aestheticized object of male authorship. These discursive contexts contained Minna's activities as a composer within a framework of bourgeois femininity. Both Minna's father and her teacher were at pains to stress that she sought neither fame nor fortune from her compositions. However, such representations of Minna were misleading. Her collected works suggest she was working toward a published collection of strophic German songs and toward the composition of operatic music for her own performance. The idealizing tropes of the memorials are also challenged by Johann Christian's later memoirs in which his daughter's turn to composition is situated in what he described as her multiple breaches of deferential daughterly conduct. Minna's reported profligacy during her final illness may have stimulated the posthumous publication of her music, which was possibly a form of fund raising for her multiply bereaved father, a corrective to his emotional and financial loss. The healthy list of 518 subscribers indicates that youthful female death was marketable as a topos occasioning the pleasures of melancholy.

Political Emotions: Aristotle and the Symphony of Reason and Emotion

2007 ◽  
Vol 40 (2) ◽  
pp. 543-544
Author(s):  
Ann Ward
Keyword(s):  
Original Work ◽  
Emotional Experience ◽  
The Other ◽  
Cultural Meaning ◽  
Human Emotion ◽  
Central Thesis ◽  
Political Emotions ◽  
Northern Illinois University ◽  
Relations Of Power

Political Emotions: Aristotle and the Symphony of Reason and Emotion, Marlene K. Sokolon, DeKalb: Northern Illinois University Press, 2006, pp. 217.Marlene K. Sokolon has provided an intellectually stimulating and highly original work on Aristotle's understanding of the emotions, mainly as presented in his treatise the Art of Rhetoric. The central thesis of Sokolon's book manifests itself in her analysis of the emotion of anger. According to Sokolon, for Aristotle anger is the paradigmatic human emotion, defined as the desire for revenge for a dishonourable and undeserving public insult against oneself or those one loves. Of this desire for revenge, Sokolon argues that “for Aristotle, unique human anger is not ‘at’ something, but more properly ‘with’ what some other person did or intends to do. Anger and the other political emotions are certain kinds of judgments or perceptions about sociopolitical circumstances. Anger judges specific kinds of events with an acknowledged political, or what we now call ‘cultural,’ meaning” (p. 55). Thus, Sokolon argues that for Aristotle the emotional experience of anger occurs in social and political contexts where there are evaluations of worth in situations involving relations of power. But if anger is the paradigmatic human emotion, this means that anger is not simply representative of various political emotions, but illustrates that human emotion as such is an essentially political phenomenon. Sokolon's thesis, therefore, is that for Aristotle, “man is by nature a political animal” not simply because he possesses reason, the apparent claim of the Politics, but also because he experiences emotions.

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