1,354,167 research outputs found
Annotated 50-item wordlist of the basic lexicon of the Ancient Greek language (the idiolect of Herodotus)
No full textKassian, A. Annotated 50-item wordlist of the basic lexicon of the Ancient Greek language (the idiolect of Herodotus) [Электронный ресурс] / Alexei Kassian// Вопросы языкового родства. - 2011. - № 6. - С. 65-100. - (Вестник РГГУ. Серия "Филологические науки. Языкознание" ; № 16)
Annotated 50-item wordlist of the basic lexicon of the Ancient Greek language (the idiolect of Herodotus)
No full textKassian, A. Annotated 50-item wordlist of the basic lexicon of the Ancient Greek language (the idiolect of Herodotus) [Электронный ресурс] / Alexei Kassian// Вопросы языкового родства. - 2011. - № 6. - С. 65-100. - (Вестник РГГУ. Серия "Филологические науки. Языкознание" ; № 16)
Oskar Loorits, Der Heilige Kassian und die Schaltjahrlegende, F.F. Communications, n° 149, 1954
No full textFuchs A-.N. Oskar Loorits, Der Heilige Kassian und die Schaltjahrlegende, F.F. Communications, n° 149, 1954. In: Revue d'histoire et de philosophie religieuses, 40e année n°2,1960. pp. 183-184
KASSIAN CEPHAS: FOTOGRAFER PRIBUMI PERTAMA MASA HINDIA BELANDA (1845-1912)
No full textPenelitian ini membahas tentang Kassian Cephas, fotografer pribumi pertama di Hindia Belanda pada periode 1845-1912. Tujuan penelitian ini adalah untuk mendeskripsikan bagaimana teknologi fotografi pertama kali diperkenalkan di Indonesia dan memahami bagaimana Cephas, mampu menguasai teknologi baru dan menggunakannya untuk menciptakan karya-karyanya. Penulisan skripsi ini menggunakan metode sejarah menurut kuntowijoyo yaitu: (1) pemilihan topik, (2) pengumpulan sumber, (3) verifikasi (kritik Sejarah terhadap keabsahan sumber), (4) interpretasi, dan (5) penulisan. Hasil penelitian menunjukkan bahwa Cephas memainkan peran penting dalam memperkenalkan dan memajukan fotografi di Hindia Belanda. Dia tidak hanya menguasai teknik fotografi yang canggih untuk masanya, tetapi juga berhasil menerapkannya dalam berbagai konteks, termasuk dokumentasi kehidupan dan budaya Jawa. Cephas mendapatkan pengakuan baik dari kraton Yogyakarta maupun pemerintah Belanda, dan karyanya menjadi dokumen sejarah dan budaya yang penting. Kesimpulan dari penelitian ini adalah bahwa Kassian Cephas, sebagai fotografer pribumi pertama, telah memberikan kontribusi signifikan terhadap perkembangan fotografi dan dokumentasi sejarah dan budaya di Indonesia. Penelitian ini berharap dapat memberikan pemahaman yang lebih mendalam tentang sejarah fotografi di Indonesia dan peran penting fotografer pribumi dalam proses tersebut.
Kata Kunci: Kassian Cephas, Fotografi, Hindia Belanda, Budaya Jawa.
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This study examines the life and work of Kassian Cephas, the first indigenous photographer in the Dutch East Indies during the period of 1845-1912. The aim of this research is to describe how photography technology was first introduced in Indonesia and to understand how Cephas mastered this new technology and used it to create his works. This thesis employs Kuntowijoyo's historical method, which consists of: (1) topic selection, (2) source gathering, (3) verification (historical criticism of source validity), (4) interpretation, and (5) writing. The results of this study demonstrate that Cephas played a crucial role in introducing and advancing photography in the Dutch East Indies. He not only mastered advanced photographic techniques for his time but also successfully applied them in various contexts, including documenting Javanese life and culture. Cephas gained recognition from both the Yogyakarta kraton and the Dutch government, and his work became significant historical and cultural documents. The conclusion of this research is that Kassian Cephas, as the first indigenous photographer, made significant contributions to the development of photography and the documentation of history and culture in Indonesia. This study hopes to provide a deeper understanding of the history of photography in Indonesia and the important role of indigenous photographers in the process.
Keywords: Kassian Cephas, Photography, Dutch East Indies, Javanese Culture
GAYA FOTO KASSIAN CEPHAS (1845 – 1912): JURUGAMBAR JAWA MAHKAMAH KESULTANAN YOGYAKARTA
No full textAbstrak
Pertikaian mengenai kerja foto Kassian Céphas telah diperdebatkan sehingga hari ini. Mengapa gambargambar kerajaan Jawa kelihatan begitu kaku, bermuka-muka, bermaruah, bercahaya rata dan, tidak mencerminkan watak Raja Jawa. Kajian ini dijalankan menggunakan model kritikan seni Barrett dan analisis semiotik. Gambar Raja Sultan Hamengkubuwana VII biasanya bergambar berwibawa, pose formal, menghadap ke hadapan seperti adat Jawa, mengikut protokol istana, dan jurugambar biasanya tidak cuba mendedahkan watak model. Odalisque tidak digunakan oleh Kassian Chepas kepada keluarga diraja kecuali untuk gambar di studionya sendiri. Bagaimanapun, Kassian Céphas juga kreatif dengan gambar wanita muda Jawa dalam pelbagai pose dan teknik cahaya studio termasuk chiaroscuro dan menerapkan gaya Odalisque di studionya. Gayanya lebih kepada "pendekatan dokumentari" dan tidak mengikut gaya High Art. Gambar Kassian Chepas telah diiktiraf sebagai ikon, indeks dan simbol. Khususnya bagi orang Jawa, imej Sultan adalah ikon dan simbol yang terkenal bagi orang Indonesia. Imej sultan sejak zaman Sultan Hamengkubowono X boleh didapati. Sultan Hamengkubowono VII membuat kesimpulan bahawa Belanda memerintah Indonesia pada zaman penjajahan dengan menggunakan pakaian seragam tentera Belanda sebagai penunjuk.
Abstract
The dispute over Kassian Céphas \u27 photo work has been debated to this day. Why do the pictures of theJavanese kingdom look so rigid, face-to-face, with dignity, flat lighting and do not reflect the character ofthe King of Java. This study was conducted using Barrett\u27s art criticism model and semiotic analysis. The picture of the King of Sultan Hamengkubuwana VII is usually photographed in an authoritative, formal pose, facing forward as it is a custom of Java, following palace protocol, and the photographer usually does not try to reveal the character of the model. Kassian Chepas did not apply the Odalisque to the royal family except for photographs in his studio. However, Kassian Céphas is also creative with photos of young Javanese women in various poses and studio light techniques, including chiaroscuro and applying Odalisque style in his studio. His style is more “documentary approach” and does not follow the High Art style. Kassian Chepas\u27 photographs have been recognized as icons, indexes, and symbols. In particular, for Javanese people, the Sultan\u27s image is a well-known icon and symbol for Indonesians. Images of sultans dating back to Sultan Hamengkubowono X are available. Sultan Hamengkubowono VII inferred that the Dutch ruled Indonesia during the colonial era by using the Dutch military uniform as an indicator
Estetika Kassian Cephas, Fotografer Jawa yang Mendunia
No full textLooking at a photo means a provement to past time’s existence. Aphoto is similar with an arrow which is ready to be launched from the pasttime to present’s era. Hence, through a photo we do have an experience acronological time. Whereas a photo becomes a mediation to experience thepast time and to experience a cronological flow which is relate the past andthe present time. With that understanding I want to talk about the past time’sphotographer. He is a Javanese who is able to bring and to introduce themodernity that time to the citizen through himself and his works in photoforms. He is Kassian Cephas, the first Javanese who knew a camera. Thus, heis known as the father of Indonesia’s photography
Foto-Foto Karya Kassian Céphas dalam Dialektika Sosial
No full textKassian Céphas is recognized as photographer Kraton Yogyakarta that has the equal rights of Europeans in the nineteenth century. Photographs of his work in addition to documentation of Yogyakarta and the Dutch empire, also sold as souvenirs for the Europeans. Although at that time the profession as a photographer is still scarce, but Céphas work professionally. Photographs by Céphas has recorded social and cultural development as part of the social dialectic. Attributes clothing, custom intergovernmental exchange visits, as well as efforts to obtain equal footing Céphas Europeans, showed a socio-cultural dialogue. Céphas works is a form of social description that has been cultured people of Yogyakarta, about art and knowledge though not necessarily a formal education. Through his photographs, Céphas confirms the existence ofYogyakarta as part of a nation.Keywords: Céphas, photographs, social dialectic, culture, nation
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
No full textWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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