VAIRAMUTTU TAMIḺTTIRAIYICAIP PĀṬALKAḶIL UVAMAI AṆIYIYAL [RHETORIC USAGE IN VAIRAMUTHU'S TAMIL FILM SONGS]

Literature is about achieving a goal. George Lucas stated that literature is the mirror of a society. This definition encompasses literature of all languages. This paper aimed to examine the usage of metaphorical elements in Lyricist Vairamuthu’s Tamil film songs. Literary scholars point out that metaphor is a figure of speech containing an implied comparison. The objectives of this study are to identify the Rhetoric, to analyse the Rhetoric, to find the relevance of the Rhetoric, and the effects of the Rhetoric. The study conducted based on the theory of Taṇṭiyalaṅkāram, a Tamil grammar book. The research used 'Vairamuthu's Thousand Songs' compilation as the primary source. This study will examine 396 songs and determine what kind of metaphor Lyricist Vairamuthu has used to describe them in the context of Taṇṭiyalaṅkāram.

POTRET KEMISKINAN KAUM MARJINAL PADA NOVEL ORANGORANG BIASA KARYA ANDREA HIRATA (THE PORTRAIT OF MARGINAL PEOPLE’S POVERTY IN NOVEL ORANG-ORANG BIASA BY ANDREA HIRATA)

The portrait of marginal people’s poverty in novel Orang-orang Biasa by Andrea Hirata. This study aimed to identify the issues this study aims to uncover social facts that were objectively reviewed by the authors about conflicting communities or often referred to as social inequalities. This study uses qualitative approach using deductive development by Mayring. Analyzed through the theory of literary sociology of George Lucas, who considers literature is a reflection in society. Reading and note-taking techniques were used in this research as techniques in collected the data. The data is the novel Orang-Orang Biasa by Andrea Hirata. Data collection techniques in this study were carried out by coding the data findings, analyzing the data in the study, and interpreting the data. The results found in the research show that there are three poverty portraits of marginalized people, which is a term from a small group and is usually marginalized people. The problems of poverty experienced by the marginalized related to one another, including education poverty, moral poverty and wealth poverty. Key words: sociology of literature, poverty portrait, marginal Abstrak Potret kemiskinan kaum marjinal pada novel orang-orang biasa karya Andrea Hirata. Penelitian ini berujuan untuk mengungkap fakta-fakta sosial yang diulas secara objektif oleh penulisnya tentang masyarakat yang penuh pertentangan atau sering disebut dengan kesenjangan sosial. Penelitian ini menggunakan pendekatan kualitatif menggunakan pengembangan deduktif oleh Mayring. Analisis melalui teori sosiologi sastra George Lucas yang menganggap sastra sebagi refleksi cerminan dalam masyarakat. Teknik baca dan catat merupakan teknik pengumpulan data yang digunakan dalam penelitan ini. Data berupa teks pada novel Orang-Orang Biasa karya Andrea Hirata. Teknik pengumpulan data dalam penelitian ini dilakukan dengan cara memberi pengkodean pada temuan data, menganalisis data dalam penelitian, dan menginterpretasikan data. Hasil penelitian yang ditemukan menunjukkan adanya data tentang tiga potret kemiskinan kaum marjinal yang merupakan istilah dari suatu kelompok yang kecil jumlahnya dan biasanya merupakan orang-orang yang terpinggirkan. Permasalahan kemiskinan yang dialami oleh kaum marjinal menimbulkan masalah yang saling berkaitan, diantaranya adalah kemiskinan pendidikan, kemiskinan moral dan kemiskinan harta.Kata-kata kunci: sosiologi sastra, potret kemiskinan, marjinal

STAR WARS: lições contra a atual ameaça invisível à República

A saga Star Wars é um fenômeno mundial multibilionário, ela é um largo fenômeno da cultura global, formada por filmes, livros, jogos eletrônicos e brinquedos. Enquanto prodígio mundial, essa franquia pode ser utilizada como instrumento metodológico para discussões atuais que perpassam questões jurídicas, internas e internacionais, sobre a efetivação dos direitos humanos e fundamentais. Enquanto ferramenta para debates, os produtos derivados pela saga Guerra nas Estrelas possibilitam o acesso a diálogos que aproximam as pessoas, por terem oportunidade de compartilhar a mesma experiência. Neste sentido, a pesquisa teve como problematização, como a franquia Star Wars pode ser utilizada como instrumento pedagógico. O objetivo geral é demonstrar que aquele conjunto narrativo ficcional pode ser utilizado como um instrumento pedagógico para reflexões sobre diversas situações complexas hodiernas, como a proteção dos direitos essenciais ou a erosão da democracia ocidental. Para tanto, foram utilizados os métodos hipotético dedutivo e a técnica de revisão bibliográfica. Assim, buscando utilizar expressões próprias dos filmes e livros, serão conectados os problemas da atualidade à ficção criada originalmente por George Lucas.

The Force Is Strong with This One (but Not That One): What Makes a Successful Star Wars Video Game Adaptation?

The Star Wars films have probably spawned more video game adaptations than any other franchise. From the 1982 release of The Empire Strikes Back on the Atari 2600 to 2019’s Jedi: Fallen Order, around one hundred officially licensed Star Wars games have been published to date. Inevitably, the quality of these adaptations has varied, ranging from timeless classics such as Star Wars: Knights of the Old Republic, to such lamentable cash grabs as the Attack of the Clones movie tie-in. But what makes certain ludic adaptations of George Lucas’ space opera more successful than others? To answer this question, the critical response to some of the best-reviewed Star Wars games is analysed here, revealing a number of potential factors to consider, including the audio-visual quality of the games, the attendant story, and aspects of the gameplay. The tension between what constitutes a good game and what makes for a good Star Wars adaptation is also discussed. It is concluded that, while many well-received adaptations share certain characteristics—such as John Williams’ iconic score, a high degree of visual fidelity, and certain mythic story elements—the very best Star Wars games are those which advance the state of the art in video games, while simultaneously evoking something of Lucas’ cinematic saga.

Ten-Cent Ideology: Donald Duck Comic Books and the U.S. Challenge to Modernization

The comic-book artist Carl Barks was one of the most-read writers during the years after the Second World War. Millions of children took in his tales of the Disney characters Donald Duck and Uncle Scrooge. Often set in the Global South, Barks's stories offered pointed reflections on foreign relations. Surprisingly, Barks presented a thoroughgoing critique of the main thrust of U.S. foreign policy making: the notion that the United States should intervene to improve “traditional” societies. In Barks's stories, the best that the inhabitants of rich societies can do is to leave poorer peoples alone. But Barks was not just popular; his work was also influential. High-profile baby boomers such as Steven Spielberg and George Lucas imbibed his comics as children. When they later produced their own creative works in the 1970s and 1980s, they drew from Barks's language as they too attacked the ideology of modernization.

George Lucas : Prophète du transhumanisme ?

La Guerre des étoiles, saga cinématographique « grand public », permet de se questionner sur la nature humaine et sur le transhumanisme. Elle met en effet en scène différents personnages qui ne sont ni de « vrais » humains, ni des robots, des créatures pouvant être assimilées à des humains évolués (des cyborgs, des chimères ou des humains génétiquement modifiés). À partir de cette approche cinématographique, nous aborderons certains moyens de modification de la personne humaine à la fois dans son corps et dans sa conscience, et nous nous interrogerons sur l’homme de demain, en se demandant si George Lucas (réalisateur du premier film) n’était pas un visionnaire des hommes de demain.

Performing science-fiction fandom through debating controversy: Communicative leisure, collective memory and Rogue One: A Star Wars Story, below the line at The Guardian

Star Wars has become one of a handful of science-fiction franchises that have defined and shaped what Adorno calls the modern culture industry. The original trilogy challenged the way Hollywood financed and marketed its movies and made George Lucas incredibly rich. Star Wars fans bought tickets for re-releases, special editions and the notoriously egregious prequels, as well as a seemingly endless range of merchandise. When Lucas sold the franchise to Disney new movies were promised, including what became the stand-alone prequel Rogue One: A Star Wars Story. In this article, I am interested in exploring how people react in publicly accessible online spaces, as these are key spaces for the performativity of digital communicative leisure. Specifically, I am interested in how fans of the original trilogy and the Star Wars franchise critiqued or defended the film and Star Wars more broadly through a detailed analysis online comments below the line reacting to review by film critic Mark Kermode published in a middle-class, liberal newspaper: the UK-based The Guardian. This review and its comments below the line represent a snapshot of what middle-class liberals might feel able to write about the film and their own Star Wars fandom. This analysis will also be extended to critiques made by people seeking to distance themselves from Star Wars and all that Star Wars fandom may entail, as a performativity of anti-fandom. I will show that for fans collective memory is used to try to construct authenticity and ownership of Star Wars, but that collective memory is only ever temporarily negotiated.

Eastern Cultures Enter Hyperspace

The article discusses inspirations from Far Eastern cultures present in George Lucas’ Star Wars saga. This cinematic story is treated as a postmodernist text, in which references to earlier cultural works appear. More attention is given to the sequel trilogy, not explored in academic circles as much as the two earlier trilogies. These inspirations are analysed through the lens of Edward Said’s concept of orientalism, with additional focus on the specific ways in which it was employed in the United States of America. In the conclusion, some reflections are devoted to audience reactions to the newest trilogy and the Eastern elements present therein.