scholarly journals Motivational structure of female and male dancers of different dance disciplines

Acta Gymnica ◽  
2020 ◽  
Vol 50 (2) ◽  
pp. 68-76
Author(s):  
Petra Zaletel ◽  
Tanja Kajtna
Keyword(s):  
Motivational Structure ◽  
Male Dancers

Development of the L2 Motivational Self System: English at a University in Japan

2014 ◽  
Vol 36 (2) ◽  
pp. 153 ◽  
Author(s):  
Scott Aubrey
Keyword(s):  
Structural Equation ◽  
English Language ◽  
Structural Equation Models ◽  
Japanese Learners Of English ◽  
L2 Motivation ◽  
L2 Motivational Self System ◽  
Motivational Structure ◽  
International Posture ◽  
Japanese Learners ◽  
Self System

This paper reports on a study investigating changes in L2 motivation for Japanese learners of English as they completed their first communicative English language course at university. I aim to describe the strength and structure of students’ motivation and the degree to which these changed over one semester. A 36-item questionnaire was used to measure components of the L2 Motivational Self System and International Posture. The questionnaire was administered twice to 202 second-year university students in Japan: during the first week of the semester and 11 weeks later. Structural equation models were created to describe the causal relationships between motivational variables for the two time periods. Paired t tests revealed that both motivated learning behavior and ought-to L2 self significantly increased over the semester. A comparison of the two models indicated that there was a change in the motivational structure from Week 1 to Week 12. 本研究は、英語学習者の動機づけの強さと構造、及びその変化に焦点をあて、日本人大学生の外国語（L2）に対する動機づけの変化を調査した。大学で最初に履修するコミュニケーション英語の授業を対象に、第2言語習得を動機づける自己システム（L2 Motivational Self System）と国際志向性の2側面を測定する36項目からなる質問紙を作成し、2年生202名に対して授業第1週目とその11週間後に調査を実施した。分析は、まず構造方程式モデリングで2回の調査間の動機づけの変化を分析し、それに基づき対応のあるt検定を実施した。分析の結果、動機づけの高い学習行動と義務自己ought-to selfに関する数値が1学期を通して向上したことが明らかになった。

scholarly journals ANALISIS KOREOGRAFI TARI KETIMANG BURONG SUKU SAWANG

JOGED ◽  
2019 ◽  
Vol 13 (1) ◽  
pp. 59-72
Author(s):  
Martha Sarassati Afnal
Keyword(s):  
Sequence Comparison ◽  
Daily Life ◽  
Energy Space ◽  
Motion Pattern ◽  
Transition Sequence ◽  
Space And Time ◽  
Choreographic Analysis ◽  
Male Dancers

Tari Ketimang Burong adalah sebuah pertunjukan tari yang lahir dari masyarakat suku Sawang Belitung. Tari ini adalah tari kelompok yang ditarikan oleh 6 orang penari laki-laki dan 6 orang penari perempuan secara berpasangan. Dilihat dari gerak, pola lantai, dan syair yang dilantunkan oleh para penyanyi memberikan gambaran mengenai kehidupan keseharian masyarakat suku Sawang yang dahulunya adalah suku yang menghabiskan hidupnya di lautan lepas.  Pemahaman analisis koreografi terdiri dari prinsip-prinsip kebentukan yang meliputi: keutuhan, variasi, repetisi, transisi, rangkaian, perbandingan dan klimaks.Dengan pendekatan Koreografi yang meliputi aspek bentuk, teknik, dan isi, serta menganalisis gerak tari dari aspek tenaga, ruang, dan waktu. Ketiga konsep tersebut merupakan satu kesatuan dalam bentuk tari yang tidak dipisahkan dan merupakan satu kesatuan bentuk tari yang utuh.  Tari Ketimang Burong suku Sawang merupakan suatu tari hiburan dengan bentuk koreografi tari kelompok. Koreografi dalam tari ini memiliki motif gerak yang sangat sederhana, setiap motif geraknya dilakukan berulang-ulang. Dari kesederhanan yang terdapat dalam tari Ketimang Burong menyimpan berbagai makna disetiap hal yang terkait dengan tari tersebut, diantaranya tema, gerak, kostum, pola lantai, dan syair yang menjadi aspek penting dalam tari Ketimang Burong. This researchment analyze choreography of Ketimang Burong as a dance that comes from Sawang’s People of Belitung. This dance is a group dance that was danced by 6 male dancers and 6 female dancers in pairs. This dance is a dance that’s very closely related to daily life of the Sawang’s people. Judging from the motion, pattern of the floor, and the lyrics that sung by the singer provide an overview of the tribe of Sawang people who were former as the tribe who spend their life  in the sea.  This Researchment uses choreography appoarch, covering the aspect of form, technique, and content. And analyze the motion of dance from the aspect of energy, space, and time. The three concepts are unity in the form of dance that is not separated and is a unified whole dance form. The understanding of choreographic analysis consists of the principles of deformity which include : wholeness, variety, repetition, transition, sequence, comparison and climax.  Ketimang Burong dance of Sawang’s people is a entertainment dance where the form of choreography is a group dance. Choreography in this dance has a very simply motif, it is like every single of motion motif is done repeatedly. From the simplicity of Ketimang Burong dance, there are various meaning in ever thing related to the dance among theme are theme, motion, costume, floor pattern, and poem which become important aspect in Ketimang Burong dance.

scholarly journals Scientific Trust, Risk Assessment, and Conspiracy Beliefs about COVID-19 - Four Patterns of Consensus and Disagreement between Scientific Experts and the German Public

2020 ◽  
Author(s):  
Tobias Rothmund ◽  
Fahima Farkhari ◽  
Flavio Azevedo ◽  
Carolin-Theresa Ziemer
Keyword(s):  
Risk Assessment ◽  
Cognitive Ability ◽  
Scientific Literacy ◽  
General Public ◽  
Latent Class ◽  
Risk Assessments ◽  
Scientific Experts ◽  
Containment Measures ◽  
Conspiracy Beliefs ◽  
Motivational Structure

We investigated laypersons’ agreement with technical claims about the spread of the Sars-CoV-2 virus and with claims about the risk from COVID-19 in the general public in Germany (N = 1,575) and compared these with the evaluations of scientific experts (N = 128). Using Latent Class Analysis, we distinguished four segments in the general public. Two groups (mainstream and cautious, 73%) are generally consistent with scientific experts in their evaluations. Two groups (doubters and deniers, 27%) differ distinctively from expert evaluations and tend to believe in conspiracies about COVID-19. Deniers (8%) are characterized by low risk assessments, anti-elitist sentiments and low compliance with containment measures. Doubters (19%) are characterized by general uncertainty in the distinction between true and false claims and by low scientific literacy in terms of cognitive ability and style. Our research indicates that conspiracy beliefs about COVID-19 cannot be linked to a single and distinct motivational structure.

scholarly journals The influence of social factors on the development of the motivational sphere of student youth

2021 ◽  
pp. 168-180
Author(s):  
Lada Yakovytska
Keyword(s):  
Social Factors ◽  
Professional Activity ◽  
Actual Situation ◽  
Productive Activity ◽  
The Social ◽  
New Meanings ◽  
Motivational Structure ◽  
Motivational Profile ◽  
The Individual ◽  
The Relationship

The article is devoted to the analysis and empirical study of the most promising developmental tasks of the modern educational environment for the development of new approaches to the organization and psychological support of the development of a person's productive activity. These tasks clearly demonstrate the relationship between the motivational sphere of the individual and the social environment, the effectiveness of the influence of social factors on the development of the individual, the importance of studying their hierarchization according to the degree of influence. The relevance of the research lies in the fact that the study of the possibility of a targeted impact through social factors, norms, requirements on the motivational-need sphere of a developing personality will allow to determine to a large extent, the direction of its development. Our research is based on the assumption that the analysis of the motivational profile will allow us to understand how student youth comes to the realization of the need to coordinate the goals, requirements, wishes of the external environment with their own motivation. The aim of the study was to study the influence of the individual's objective attitudes on the structure of professional activity motives. To solve the set tasks, the following methods were used: the motivational profile of S. Ritchie and P. Martin, the test "20 statements". The results obtained by the method of S. Ritchie and P. Martin confirmed our hypothetical assumption, the respondents predominantly chose the objective components of the motivational structure, which were substantively related to the social expectations of the subjects (from society to themselves). The results obtained confirmed the prospects of studying the influence of social factors on the development of the motivational-need-related sphere of the individual. The analysis of social factors makes it possible to study and model the conditions that contribute to the rethinking of the actual situation by the individual and the creation of new meanings of activity that provide for a wider non-utilitarian social context that goes beyond the current situation.

scholarly journals Analisis Koreografi Tari Ganjur Pada Upacara Adat Erau Kutai Kertanegara Kabupaten Kutai Kertanegara, Kalimantan Timur

JOGED ◽  
2017 ◽  
Vol 10 (2) ◽  
pp. 517-532
Author(s):  
Agus Yulianti
Keyword(s):  
Surrounding Area ◽  
Dance Movement ◽  
Dance Performance ◽  
Classical Dance ◽  
Art Form ◽  
The People ◽  
City District ◽  
Evil Spirits ◽  
Musical Accompaniment ◽  
Male Dancers

Tari Ganjur merupakan kesenian yang berbentuk ritual dalam sebuah upacara adat yaitu Upacara Erau adat Kutai Kartanegara Ing Martadipura, yang dilestarikan oleh masyarakat kota Tenggarong, kabupaten Kutai Kartanegara, Kalimantan Timur.Tari Ganjur merupakan tarian Klasik yang dimiliki oleh Kesultanan Kutai Kartanegara Ing Martadipura dalam bentuk koreografi kelompok, karena dapat dilihat dari bentuk pertunjukan tari ganjur yang ditarikan oleh empat penari laik-laki. Di dalam tari Ganjur menggunakan sebuah properti Gada yang biasa disebut dengan ganjur. Tari Ganjur menggambarkan seorang pangeran yang sedang menjaga keamanan tiang ayu agar pada saat acara Bepelas Sultan tidak diganggu oleh roh-roh jahat. Tari Ganjur mengenakan busana atasan miskat sedangkan bawahannya mengenakan celana panjang berwarna hitam dipadukan dengan sarung Samarinda. Rias penari menggunakan rias natural, serta iringan tari menggunakan seperangkat alat gamelan Kutai.Dalam hal ini yang menjadi pokok permasalahan adalah analisis koreografi tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura. Untuk menjawab permasalahan tersebut, maka akan meminjam teori Y. Sumandiyo Hadi mengenai Koreografi Bentuk-Teknik-Isi. Menurut Y. Sumandiyo Hadi ketiga konsep bentuk, teknik, dan isi ini tidak dapat dipisahkan dalam sebuah pertunjukan tari. Dalam penelitian ini tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura dapat ditinjau dari aspek bentuk, teknik, dan isi. Aspek bentuk tari Ganjur terbagi menjadi tiga bagian, pembagian ini terlihat dari perpindahan iringan musiknya. Aspek teknik gerak tari Ganjur terdapat kesamaan dengan gerak tari Klasik yang ada di Surakarta dan Yogyakarta. Aspek isi tari Ganjur bertemakan keamanan yang bertujuan untuk menjaga keamanan daerah sekeliling Tiang Ayu. Kehadiran tari Ganjur dalam upacara Erau adat Kutai Kartanegara Ing Martadipura sangat berperan penting dalam acara bepelas sultan, karena kehadirannya diperuntukan menurunkan Pangeran Sri Ganjur untuk menjaga keamanan tiang ayu dari roh-roh jahat, dan kehadirannya selalu ada pada malam Bepelas Sultan.  Ganjur dance is a ritual art form in a traditional ceremony that is customary Erau ceremony Kutai Ing Martadipura, preserved by the people of Tenggarong city, district, Kutai, East Borneo. Ganjur dance a classical dance that is owned by the Sultanate of Kutai Ing Martadipura in the form of choreography Group, because it can be seen from the form of dance performances ganjur danced by four male-male dancers. In Ganjur dance uses a property called Gada commonly called ganjur. Ganjur Dance depicts a prince who is guarding the security pole so that at the time of the Sultan Bepelas event is not disturbed by evil spirits. Ganjur Dance wearing a clothing top miskat while his subordinates dressed in black trousers combined with sarong Samarinda. The dancers makeup using natural makeup, dance accompaniment using a set of Kutai gamelan instruments.In this case an issue of concern is the analysis of dance choreography Ganjur Ceremony Indigenous Erau Martadipura Kutai Ing. To answer these problems, it will borrow Y. Sumandiyo Hadi theory regarding Choreography Form-Fill-technique. According to Y. Sumandiyo Hadi these three concepts of form, technique, and content can not be separated in a dance performance. In this study dance Ganjur Ceremony Indigenous Erau Kutai Ing Martadipura can be viewed from the aspect of forms, techniques, and content. Aspects of dance form Ganjur is divided into three parts, this division is seen from the transfer of musical accompaniment. Techniques of motion dance movement Ganjur there are similarities with Classical dance movement in Surakarta and Yogyakarta. Aspects of dance contents Ganjur themed security that aims to maintain the security of the surrounding area Tiang Ayu. The presence of dance in the ceremony Ganjur custom Erau Kutai Ing Martadipura very important role in the event bepelas sultan, because his presence is intended to lower the Prince Sri Ganjur to maintain the security of ayu pole of evil spirits, and his presence is always there at night Bepelas Sultan.

scholarly journals Endogena korupcija kao ravnoteza sekvencijalne igre

2003 ◽  
Vol 44 (156) ◽  
pp. 21-43
Author(s):  
Milic Milovanovic
Keyword(s):  
Working Conditions ◽  
Perfect Information ◽  
Equilibrium Strategy ◽  
Backward Induction ◽  
Power Struggle ◽  
Extensive Form ◽  
Sequential Game ◽  
Privatized Firms ◽  
Motivational Structure ◽  
Insider Privatization

In this paper power struggle over the control of an insider privatized firm is modeled as a sequential game with perfect information. The endogenous corruption is a consequence of an insider privatization plan, where employees obtain majority of shares. In the post privatization game three players are dominant: managers, employees, and outside owners. Managers are by far the strongest player, with their key position in privatized firms despite their minority ownership stake. Since managers control working conditions of employees-cum-owners, they exercise an unparalleled power. Motivational structure is given for each player. Their ranked lists of goals and fears are necessary in order to specify parameters for the model. The game is modeled in an extensive form, and backward induction suggests a coalition of insiders (managers and employees) against the interests of outsiders. Under stated conditions, the equilibrium strategy results in an endogenous corruption.

scholarly journals Contemporary art music and its audiences: Age, gender, and social class profile

2018 ◽  
Vol 24 (1) ◽  
pp. 60-77 ◽  
Author(s):  
Katarzyna Grebosz-Haring ◽  
Martin Weichbold
Keyword(s):  
Social Class ◽  
Contemporary Art ◽  
Art Music ◽  
New Music ◽  
Music Festivals ◽  
Social Patterns ◽  
Active Involvement ◽  
The Social ◽  
Cultural Movements ◽  
Motivational Structure

Contemporary art music (CAM) has experienced significant aesthetic changes in recent decades and has acted as a seismograph for socio-cultural movements. New music festivals have had a significant influence on the development and perception of this music by promoting aesthetic pluralism, introducing new concert formats, and expanding to unusual venues. These movements induce changes in the social patterns of CAM consumers and have an impact on the traditional high culture audience profile. This article relies on audience surveys at three European CAM festivals and draws on Bourdieu’s (1984) and Schulze’s (1992) class and lifestyle concepts in order to explore demographic characteristics and social class in CAM audiences. As the results show, consumption of CAM is still a distinctive practice sustained by an exclusive community having considerable education and “musical capital”. Nevertheless, the festivals show heterogeneity in the age structure and motivational structure of attendees as well as in specific patterns regarding knowledge, experience and active involvement with CAM. The analysis shows that aesthetic pluralism can lead to greater social openness regarding social class affiliation.

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