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Majas Totem Pro Parte pada Candi Jago
No full textKarya sastra merupakan ungkapan pribadi manusia yang berupa pengalaman, pikiran, semangat dan keyakinan dalam suatu bentuk gambaran konkret yang membangkitkan pesona dengan alat bahasa. Karya sastra yang dihasilkan dengan menggunakan bahasa yang indah dan menarik lahir dari perpaduan antara realitas yang ada dengan daya imajinasi pengarang. Majas Totem Pro Parte sebagai bagian dari majas Sinecdoke menjadi majas tak laziim yang menguasai relief Candi Jago ditinjau dari teori Semiotika. Hasilnya terdapat lebih dari 9 relief dalam Candi Jago yang mempergunakan majas Totem Pro Parte
Majas Totem Pro Parte pada Candi Jago
No full textKarya sastra merupakan ungkapan pribadi manusia yang berupa pengalaman, pikiran, semangat dan keyakinan dalam suatu bentuk gambaran konkret yang membangkitkan pesona dengan alat bahasa. Karya sastra yang dihasilkan dengan menggunakan bahasa yang indah dan menarik lahir dari perpaduan antara realitas yang ada dengan daya imajinasi pengarang. Majas Totem Pro Parte sebagai bagian dari majas Sinecdoke menjadi majas tak laziim yang menguasai relief Candi Jago ditinjau dari teori Semiotika. Hasilnya terdapat lebih dari 9 relief dalam Candi Jago yang mempergunakan majas Totem Pro Parte
Capture : arte begets architecture : Jago Museum
No full textLAUREA MAGISTRALEJago è l’artefice di forme che sfidano il tempo, scultore italiano di fama mondiale, che ha portato le sue opere in ogni continente.
Nel 2021, tra le ombre della pandemia, arriva a Napoli e trova rifugio in una chiesa dimenticata.
Sant’Aspreno ai crociferi è il suo convento, nel cuore del Rione Sanità, antica e popolare, dove l’arte si mescola alla vita e al sentimento.
Qui Jago si innamora di Napoli e della sua gente, e scopre il fascino nascosto dietro la povertà quello scampolo di città, che non spegne la speranza e la creatività.
Nel 2023, decide di restituire alla città un dono di bellezza e di cultura, e inaugura il suo primo museo permanente in quella chiesa che per due anni è stata la sua casa.
Ma Sant’Aspreno ai crociferi porta le tracce del passato, chiusa per quarant’anni, ha perso il suo splendore, e chi va a visitare le opere di Jago lo può notare.
Il progetto nasce da questo contrasto, da un desiderio di immaginare uno spazio diverso che possa valorizzare l’artista Jago e la sua arte.
Il primo passo è stato scegliere il luogo ideale per realizzare questa idea.
Palazzo Sanfelice è stato il candidato naturale, un edificio noto, di grande interesse architettonico, luogo storico, situato nel cuore del Rione Sanità. Capolavoro e dimora dell’architetto Ferdinando Sanfelice, simbolo del barocco napoletano e del quartiere.
Si tratta di un palazzo privato, segnato dalle trasformazioni che il tempo e il quartiere hanno portato, eppure ogni giorno è ammirato e fotografato da chi si perde tra i vicoli del Rione Sanità, che lo riconosce come il luogo magico che è.
La necessità di un nuovo museo per Jago si coniuga con la voglia di rivalorizzare questo luogo, esprimendosi nell’unico spazio mai realizzato da Ferdinando Sanfelice: il giardino.Jago is author of time-defying forms, a globally renowned Italian sculptor who has taken his works to every continent.
In 2021, amidst the shadows of the pandemic, he arrives in Naples and finds refuge in a forgotten church.
Sant’Aspreno ai Crociferi is his convent, in the heart of the Rione Sanità, ancient and popular, where art mixes with life and sentiment.
Here Jago falls in love with Naples and its people, and discovers the charm hidden behind the poverty of that remnant of the city, which does not extinguish hope and creativity.
In 2023, he decided to give back to the city a gift of beauty and culture, and opened his first permanent museum in the church that had been his home for two years.
But Sant’Aspreno ai crociferi bears the traces of the past; closed for forty years, it has lost its splendour, and anyone who goes to visit Jago’s works can see this.
The project was born from this contrast, from a desire to imagine a different space that could enhance the artist Jago and his art.
The first step was to choose the ideal place to realise this idea.
Palazzo Sanfelice was the natural candidate, a well-known building of great architectural interest, a historical site, located in the heart of the Rione Sanità. A masterpiece and home of architect Ferdinando Sanfelice, it is a symbol of Neapolitan baroque and of the district.
It is a private palazzo, marked by the transformations that time and the neighbourhood have brought, yet every day it is admired and photographed by those who wander through the alleys of the Rione Sanità, who recognise it as the magical place that it is.
The need for a new museum for Jago is combined with the desire to revalue this place, expressing itself in the only space ever created by Ferdinando Sanfelice: the garden
Fox Fables
No full textThis is the third version I have found of this large, handsome, landscape-formatted book of 32 pages presenting two fables bilingually. Earlier copies have combined English with Arabic and English with Urdu. Here English is combined with Swahili. The Swahili translator is not acknoweldged for either story. I hope at some flea market some day to get all thirty-three bilingual translations! FS is visually splendid! The size of the book allows Jago to create impressive illustrations like that of the crane unable to slurp up soup as well as three detailed specific views of her attempts. Casey has the crane thank the fox for his kindness politely and add: Please let me repay you -- come to dinner at my house. The page after the story lists activities: writing, art, maths, storytelling, and music. The second story here is The King of the Forest, and it is labelled a Chinese fable. Tiger comes upon fox and frightens him. In desperation, fox claims that he is ruler of the forest. Tiger roars with laughter. Fox answers that he will show tiger. This I've got to see, tiger says. Fox gets tiger to walk behind him. Of course, every animal upon whom these two come runs away in respect. Tiger is fooled and pays his respects to the ruler of the forest. Fox bids him be gone and then, on the way home, has a good laugh over the whole ploy. This story is also strongly illustrated.Language note: Bilingual: English/SwahiliRetold by Dawn Case
Fox Fables (Bengali and English)
No full textThis is a large, handsome, landscape-formatted book of 32 pages presenting two fables bilingually. It belongs to a series, of which I now have six. The series presents the two fables of this book by pairing English with a number of different languages, one for each book. FS is visually splendid! The size of the book allows Jago to create impressive illustrations like that of the crane unable to slurp up soup as well as three detailed specific views of her attempts. Casey has the crane thank the fox for his kindness politely and add: Please let me repay you -- come to dinner at my house. The page after the story lists activities: writing, art, maths, storytelling, and music. The second story here is King of the Forest, and it is labelled a Chinese fable. Tiger comes upon fox and frightens him. In desperation, fox claims that he is king of the forest. Tiger roars with laughter. Fox answers that he will show tiger. This I've got to see, tiger says. Fox gets tiger to walk behind him. Of course, every animal upon whom these two come runs away in respect. Tiger is fooled and pays his respects to the king of the forest. Fox bids him be gone and then, on the way home, has a good laugh over the whole ploy. This story is also strongly illustrated. This copy belonged to the Houston Public Library.Language note: Bilingual: English/BengaliRetold by Dawn Casey/Bengali translation by Kanai Datt
Fox Fables
No full textThis is the second version I have found of this large, handsome, landscape-formatted book of 32 pages presenting two fables bilingually. Whereas the copy I found four years ago was Arabic and English, this copy is Urdu and English. I hope at some flea market some day to get all thirty-three bilingual translations! FC is visually splendid! The size of the book allows Jago to create impressive illustrations like that of the crane unable to slurp up soup as well as three detailed specific views of her attempts. Casey has the crane thank the fox for his kindness politely and add: Please let me repay you -- come to dinner at my house. The page after the story lists activities: writing, art, maths, storytelling, and music. The second story here is The Ruler of the Forest, and it is labelled a Chinese fable. It was called King of the Forest in my earlier version. Tiger comes upon fox and frightens him. In desperation, fox claims that he is ruler of the forest. Tiger roars with laughter. Fox answers that he will show tiger. This I've got to see, tiger says. Fox gets tiger to walk behind him. Of course, every animal upon whom these two come runs away in respect. Tiger is fooled and pays his respects to the ruler of the forest. Fox bids him be gone and then, on the way home, has a good laugh over the whole ploy. This story is also strongly illustrated. I fear this copy is lacking its very first inside page. I am thus unsure of the Urdu translator of the first fable.Language note: Bilingual: English/UrduOriginal language: engRetold by Dawn Casey/Urdu Translation by Qamar Zaman
Perancangan Brand Rejuvenation Jamu Jago
No full textJamu Jago adalah salah satu perusahaan jamu yang tertua di Indonesia. Sejak didirikan di Semarang pada tahun 1918, Perusahaan Jamu Jago telah memiliki lini produk yang luas, hal ini menjadikannya salah satu perusahaan jamu terbesar di Indonesia. Seiring berkembangnya jaman, terdapat banyak anak muda dari generasi Z yang kurang familier dengan brand ini, padahal Jamu Jago merupakan brand yang bersejarah di Indonesia. Perusahaan Jamu Jago sendiri telah menyatakan bahwa mereka ingin terus berinovasi dan beradaptasi dengan perkembangan zaman, untuk mencapai hal ini mereka harus berhasil menarik target pasar generasi muda. Untuk memperluas target pasar ke gen Z, Jamu Jago harus memiliki identitas visual yang lebih menarik dan bisa mempengaruhi pandangan anak muda terhadap jamu. Oleh karena itu, penulis memutuskan untuk melakukan brand rejuvenation atau peremajaan wajah brand terhadap Jamu Jago dengan tujuan untuk mengenalkan brand kepada target market generasi Z. Dengan melakukan ini, Jamu Jago akan memiliki cakupan konsumen yang lebih luas
Navigation files of submersible JAGO dives during cruise MSM15/1
No full textNavigation files of submersible JAGO dives during cruise MSM15/
The gypsy’s lot: myth and reality
No full textThis chapter focuses on the lived experiences of gypsies (collectively referred to as gypsies rather than Roma or travellers). The author argues that the relationship between the legal system and the specific lifestyle of this group is itself causing many tensions which cannot be separated from the long-held myths about gypsies. Jago shows how the standing of gypsies in the UK legal system has, in turn, become the object of various myths. He demonstrates how judgements by the European Court of Human Rights in favour of gypsy claims created in many an image of the law being always on the side of the gypsy. A perception which Jago demonstrates is far from true. After addressing the nature and role of myths in general the author illustrates the tension between positive, romanticised myths about the freedom of gypsy lifestyle and three derogatory myths, namely gypsies as "child-snatchers", as thieves and as "land grabbers". Jago illustrates that these myths are linked to deep-rooted beliefs around property and its ownership.</p
Mr Aesop's Story Shop
No full textThe author declares in the introduction that he wanted to know more about Aesop before retelling Aesop's stories. The information he found led him to wonder what might have happened if Aesop had started up his own business, running a stall in the agora (that's Greek for marketplace), doing what he loved best -- entertaining people and telling fables? (5). I am glad that he goes on to declare that the stories have something to say to people of all ages, grown-ups and children alike. He goes on to tell ten of Aesop's stories -- but, true to his purpose, he situates each first in a fictional situation in the agora. Aesop is selling olives and cheese and inviting people Stop for a moment -- and enjoy! The key in telling his first story, LM, is the line in which he asks his audience You're too small, You're too slow. You're too ugly…. Has anyone ever told you that? And then used it to keep you from doing something you really wanted to do? (7). Hartman follows up by including this in the last lines of this fable: Don't let anyone judge you by the way you look (11). For me, the human illustrations -- and especially those of Aesop -- are even more engaging than the good illustrations of the animals in the fables. In the middle of CP, Aesop forces his listeners to go find pebbles that they can put into his jar. We can't finish the story until we have pebbles (14). For FG, Aesop and his listeners watch what happens at a neighboring stall, where two women want the same amphora. Aesop wisely proclaims This is even better than a story, I'd say (17). Of course the two handles break off and the pottery seller demands payment. One woman says It wasn't that nice, anyway! For TMCM, Aesop claims to sell peace. Indeed, he says, I am the richest man in Greece! Aesop goes on to tell the tale of the dung-beetle and the ant, with rain instead of snow. You can't always count on kindness (27). Flattery from the crowd enjoying his stories provokes Aesop to tell FC. DS gets introduced when a dog runs through the crowd with a piece of stolen meat. For non-human illustrations, try DW on 46-47. My! This is Aesop after my own heart!This is a hardbound book (hard cover)First editionFirst printingBob Hartma
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