20,505 research outputs found
Efektivitas Promosi Produk Chatime Melalui Instagram Menggunakan Model AIDA
No full textThis study aims to determine the extent of Chatime's effectiveness when evaluated with the AIDA model. This research uses a case study method with a qualitative approach with data collection through interviews, documentation, and observation. The informants in this study were 10 key informants who were followers of Chatime Instagram. The results showed that Chatime's promotional efforts were in accordance with the attention and desire stages in the AIDA model, but were still lacking in reaching the interest and action stages
Writing from the shadowlands: how cross-cultural literature negotiates the legacy of Edward Said
No full textThis thesis examines the impact of Edward Said's influential work Orientalism and its legacy in respect of contemporary reading and writing across cultures. It also questions the legitimacy of Said's retrospective stereotyping of early examples of cross-cultural representation in literature as uncompromisingly 'orientalist'.
It is well known that the release of Edward Said's Orientalism in 1978 was responsible for the rise of a range of cultural and critical theories from multiculturalism to postcolonialism. It was a study that not only polarized critics and forced scholars to re-examine orientalist archives, but persuaded creative writers to re-think their ethnographic positions when it came to the literary representations of cultures other than their own. Without detracting from the enormous impact of Said, this thesis isolates gaps and silences in Said that need correcting. Furthermore, there is an element of intransigence, an uncompromising refusal to fine-tune what is essentially a binary discourse of the West and its other in Said's work, that encourages the continued interrogation of power relations but which, because of its very boldness, paradoxically disallows the extent to which the conflict of cultures indeed produced new, hybrid social and cultural formations.
In an attempt to challenge the severity of Said's claim that 'every European, in what he could say about the Orient, was consequently a racist, an imperialist, and almost totally ethnocentric', the thesis examines a number of different discursive contexts in which such a presumption is challenged. Thus while the second chapter discusses the 'traditional' profession-based orientalism of nineteenth-century E. G. Browne, the third considers the anti-imperialism of colonial administrator Leonard Woolf. The fourth chapter provides a reflection on the difficulties of diasporic 'orientalism' through the works of Michael Ondaatje while chapter five demonstrates the effects of the dialogism used by Amitav Ghosh as a defence against 'orientalism'. The thesis concludes with an examination of contemporary writing by Andrea Levy that appositely illustrates the legacy of Said's influence.
While the restrictive parameters of Said's work make it difficult to mount a thorough-going critique of Said, this thesis shows that, indeed, it is within the restraints of these parameters and in the very discourse that Said employs that he traps himself. This study claims that even Said is susceptible to 'orientalist' criticism in that he is as much an 'orientalist' as those at whom he directs his polemic
Contemporary Art in Japan and Cuteness in Japanese Popular Culture
No full textThis thesis is an art historical study focussing on contemporary Japan, and in particular the artists Murakami TakashL Mori Mariko, Aida Makoto, and Nara Yoshitomo. These artists represent a generation of artists born in the 1960s who use popular culture to their own ends. From the seminal exhibition 'Tokyo Pop' at Hiratsuka Museum of Art in 1996 which included all four artists, to Murakami's group exhibition 'Little Boy: The Arts of Japan's Exploding Subculture' which opened in April 2005, central to my research is an exploration of contemporary art's engagement with the pervasiveness of cuteness in Japanese culture.
Including key secondary material, which recognises cuteness as not merely something trivial but involving power play and gender role issues, this thesis undertakes an interdisciplinary analysis of cuteness in contemporary Japanese popular culture, and examines howcontemporary Japanese artists have responded, providing original research through interviews with Aida Makoto, Mori Mariko and Murakami Takashi. Themes examined include the deconstruction of the high and low in contemporary art; sh6jo (girl) culture and cuteness; the relation of cuteness and the erotic; the transformation of cuteness into the grotesque; cuteness and nostalgia; and virtual cuteness in Japanese science fiction animation, and computer games.
Director of Studies: Toshio Watanabe
Supervisors: David Ryan and Omuka Toshihar
Recommended from our members
Aida and the Empire of Emotions (Theodor W. Adorno, Edward Said, and Alexander Kluge)
No full textThis essay investigates how Theodor W. Adorno, Edward Said, and Alexander Kluge read Verdi's opera Aida with respect to the theme of being buried alive, where being buried alive can occur not only to characters in an opera but, according to a discourse of fate, also to the opera itself. To write about being buried alive but living as it were tot tell the tale, the three critics ask whether a residue of resistance in the opera remains that allows the opera to escape a totalizing discourse of fate or fatality that threatens to destroy it. Goehr begins by presenting the more familiar views of Adorno and Said, although hopefully in a new light. After, Goehr presents and develops the less familiar view (in an Anglo-American musicological context) of the Frankfurt filmmaker and critical theorist, Alexander Kluge
Aida and the Empire of Emotions (Theodor W. Adorno, Edward Said, and Alexander Kluge)
No full textThis essay investigates how Theodor W. Adorno, Edward Said, and Alexander Kluge read Verdi’s opera Aida with respect to the theme of being buried alive, where being buried alive can occur not only to characters in an opera but, according to a discourse of fate, also to the opera itself. To write about being buried alive but living as it were tot tell the tale, the three critics ask whether a residue of resistance in the opera remains that allows the opera to escape a totalizing discourse of fate or fatality that threatens to destroy it. Goehr begins by presenting the more familiar views of Adorno and Said, although hopefully in a new light. After, Goehr presents and develops the less familiar view (in an Anglo-American musicological context) of the Frankfurt filmmaker and critical theorist, Alexander Kluge
The mezzo-soprano as representation of 'the other' in nineteenth century opera
No full textIncludes bibliographical references.The author continues by arguing that mezzo-soprano and contralto voices resemble the male voice and therefore composers often cast women in this fach as the jealous and malicious characters compared to the true and simplistic nature of the soprano (e.g. Ortrud versus Elsa in Lohengrin).3 When one looks at the significant mezzo-soprano roles in nineteenth-century opera, it is clear that the majority of these roles can be seen as representations of the Other. The aim of the thesis will be to investigate some of the most important nineteenth-century mezzo-soprano roles that represent the Other. The main research question is: To what extent do the selected roles represent the various templates delineated in theories of alterity? The roles will be classified and discussed according to four templates of alterity: social, religious, moral and emotional
Crossing the Mediterranean (Sea) in Opera: the case of Aida
No full textBased on interactions between music and cultural studies, my contribution approaches GiuseppeVerdi’s Aida, which is part of the cultural archive of western modernity. Since the political andcultural context in which Verdi worked on Aida from 1870 to 1871 included not only Italy but alsoimperialist Europe and viceroyal Egypt, I would like to take up the concept of contrapuntal reading developed by Edward Said, who adopted the term from music theory in order to adequately capture the relationship between dominant and subaltern voices in literary texts, including the genre of opera. A contrapuntal reading is aware of both “the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts” (Said 1994, 63). Therefore, the creation of Aida is first examined with a view to the historical context of the time; in a second step, the question is whether the almost unheard voices, melodies and stories silenced by hegemonic powers can possibly find expression in music.Based on interactions between music and cultural studies, in my contribution I will reread Giuseppe Verdi’s Aida (1871), which is part of the cultural archive of western modernity. Since the political and cultural context in which Verdi worked on Aida from 1870 to 1871 included not only Italy, but also imperialist Europe and viceroyal Egypt, the creation of Aida will first be examined in the context of transmediterranean relations with a view to the role of French Egyptologist Auguste Mariette-Bey, who can be seen as the initiator of the opera project. In a second step, I will elaborate the hypothesis that the almost unheard voices, melodies and stories silenced by hegemonic powers can possibly find expression in music
ANALISIS KEISHIKI MEISHI AIDA NI DAN UCHI NI SEBAGAI SINONIM
No full textDalam pembelajaran bahasa Jepang, pembelajar bahasa Jepang dihadapi oleh berbagai kendala, salah satunya adalah kosakata yang bersinonim, terutama apabila kata bersinonim tersebut adalah hal yang abstrak. Oleh karena itu, pada penelitian ini penulis menganalisis sepasang kata bersinonim yang termasuk ke dalam jenis kata keishiki meishi. Keishiki meishi sendiri merupakan bagian dari meishi atau kata benda yang menunjukkan hal-hal yang abstrak seperti waktu. Dan keishiki meishi bersinonim yang diteliti penulis adalah aida ni dan uchi ni. Kedua keishiki meishi ini sama-sama memiliki makna “saat” dalam bahasa Indonesia. Metode yang digunakan pada penelitian ini adalah analisis deskriptif. Dan setelah melakukan analisis terhadap kedua kata tersebut, maka dapat dijelaskan persamaan, perbedaan, dan tingkat probabilitas kedua kata tersebut saling menggantikan. Hasilnya adalah bahwa kosakata aida ni dan uchi ni dapat diartikan sebagai “saat”, “ketika”, “selama” dan “selagi” dalam bahasa Indonesia. Keduanya sama-sama berfungsi sebagai ungkapan yang menunjukkan bahwa sebuah klausa bawahan adalah latar yang sedang berlangsung saat hal yang ditunjukkan klausa inti terjadi. Latar yang ditunjukkan dapat berupa waktu, keadaan atau aktivitas. Aida ni memiliki makna “saat” secara konsisten apabila diikuti oleh semua jenis kata, kecuali kata kerja bentuk -ta yang dapat mengubah makna aida ni menjadi “sebelum” dan kata keterangan yang dapat mengubah makna aida ni menjadi mengikuti makna kata keterangan itu sendiri. Kemudian uchi ni juga memiliki makna “saat” secara konsisten dengan pengecualian apabila diikuti kata kerja bentuk -nai, maka makna uchi ni akan berubah menjadi “sebelum”. Dan dalam situasi tertentu, apabila diikuti sebuah kata sifat, maka makna uchi ni juga dapat berubah menjadi “sebelum”. Sama seperti aida ni, makna uchi ni juga akan mengikuti makna kata keterangan yang mengikutinya. Dan perbedaannya adalah bahwa aida ni merupakan waktu objektif sementara uchi ni dapat menjadi sebuah dorongan. Keduanya dapat saling menggantikan kecuali apabila aida ni diikuti oleh kata kerja bentuk -ta. Oleh karena itu, pergantian kedua kosakata tersebut dalam satu kalimat yang sama akan berdampak terjadinya perubahan makna dan penekanan kalimat tersebut.
In learning Japanese, Japanese learners are faced with various obstacles, one of which is a synonymous vocabulary, especially if the synonymous word is an abstract thing. Therefore, in this research author analysed a pair of synonymous words that belong to the formal noun type of word class. The formal noun itself is a part of a noun which shows abstract things like time. And the synonymous formal nouns that author researched are aida ni and uchi ni. Both of these formal nouns have the same meaning of “saat” in Indonesian. The method used in this research is descriptive-analytic research method. And after analysing the two words, the similarities, differences, and the level of possibility of replacing each other are able to be explained. The result is that the vocabulary of aida ni and uchi ni can be interpreted as “saat”, “ketika”, “selama” and “selagi” in Indonesian. Both function as an expression that indicates a subordinate clause is a setting that is taking place when the thing shown by a main clause occurs. The said setting can be as a time, condition or activity. Aida ni has a consistent meaning of “during” when being followed by all kind of words with the exception if aida ni is followed by verb in -ta that could change the meaning of aida ni to “before” and adverbs can also change the meaning of aida ni to have the same meaning as the said adverbs. Then, uchi ni also has a consistent meaning of “during” with the exception if uchi ni is followed by verb in -nai form, the meaning that uchi ni has will change into “before”. For some cases, if followed by an adjective, the meaning of uchi ni will also turn into “before”. Just like aida ni, the meaning that uchi ni has will also change into the meaning of the adverbs that follows it. And the difference is that aida ni is an objective time while uchi ni can act as a reason. Both can replace one another unless the aida ni is followed by a verb in -ta form. In addition, the replacement of the two vocabularies in the same sentence will cause an impact on the meaning and emphasis of the sentence
“Su! Del Nilo al sacro lido”. Note sulla realtà ed i fraintendimenti di Aida
No full textThe genesis of Aida in 1871 involved the French Egyptologist Auguste Mariette and the Italian musician Giuseppe Verdi, together with other protagonists: the plot of the opera mixes up and is based on historical events and fictions that are necessarily reflected in the scenes and the musical choices. Edward Said’s analysis of Verdi’s opera strongly affected the meaning and aim of Aida debating the ideal (European and Orientalized) image of ancient Egypt that the opera fosters. Based on the letters and documents, the present study discloses the intricacy of the creation of Aida and disputes the arbitrary judgements of Said
Aida, Opera North 2019 (REF 2021 Practice Research Submission)
No full textAida is a practice research project that involved the design of set, costumes and video for a new stage production of Verdi’s Aida, a key work of the European opera canon, first performed in 1871. The concert staging was commissioned by Opera North for a two-month tour in May and June 2019. My practice research as set and costume designer included directing and orchestrating the content for a videographic montage that was projected throughout the entirety of the opera as a crucial element of the overall spatial design and dramaturgy.
Verdi’s opera has come under severe attack from cultural criticism, most prominently from Edward Said, who claimed Aida represented aesthetically the warped interests and sensibilities of an imperialist Europe. This posed a major challenge to our choice of dramaturgy and resulted in a realist reading, placing Aida within a concrete contemporary context, namely the current war in Syria, whilst freeing it from any exoticizing references.
My practice research involved exploring and implementing formal design solutions that would convey our dramaturgical intentions. It set out to achieve three aims: a) to decolonize Aida by creating a mise-en-scène free of orientalist fantasy; b) to give the performance political relevance by turning Aida into an explicit anti-war piece; and c) to undermine the misogyny inherent in the original. As a result, I developed innovative scenographic methodologies that enabled a new critical space for the reception of this canonical piece. The outcome of my research addressed the interests of a more diverse twenty-first-century audience, who are increasingly engaged with issues of de-colonization and inclusion.
During its 2019 UK-wide tour, Aida was performed 12 times and seen by more than 24,000 audience members. The production won critical acclaim and has been invited for future performances by Montpellier Opera House, France and Washington National Opera, US
- …
