89 research outputs found
The Scope of Themes of the Story “Randa” by Zakaria Tamer and its Series of Images
No full textThis article is devoted to the themes and figurative system of the story of the Syrian writer Zakaria Tamer. The author combined several relevant topics in one story and, with the help of the main character of the story, the girl Randa, gathered in one image all the children of the Syrian people, in particular, the entire Arab people
Inovasi Penambahan Produk Serai dan Kulit Lemon Terhadap Minuman Tradisional Sarabba Di Kota Makassar
No full textSarabba merupakan minuman khas Makassar yang menggunakan rempah-rempah. Pada penelitian ini, minuman tradisional sarabba melalui penambahan sereh dan kulit lemon dengan tiga perlakuan dan menguji daya terima masyarakat dari segi rasa, warna dan aroma. Penelitian ini adalah penelitian kuantitatif dengan teknik uji hedonik yang menggunakan kuesioner. Analisis data yang digunakan pada penelitian ini yaitu deskriptif. Populasi yang digunakan yaitu mahasiswa Politeknik Bosowa Makassar nagkatan tahun 2018 sebanyak 139 orang dengan panelis sampel yang digunakan adalah sejumlah 25 orang panelis tidak terlatih dengan teknik purposive sampling. Dari hasil penelitian, didapatkan perlakuan yang paling bisa diterima oleh panelis atau yang paling banyak disukai oleh panelis baik melalui percobaan pertama, kedua, dan ketiga adalah perlakuan A dan B dengan nilai rata-rata 4,28 yang dimana data yang dihasilkan seimbang antara uji coba A dan B dengan digolongkan kriteria sangat suka pada aspek rasa, Sedangkan perlakuan yang menghasilkan penilaian kurang dari panelis baik melalui percobaan pertama, kedua dan ketiga adalah perlakuan C dengan kriteria sangat suka di semua aspek dengan nilai rata- rata 4,25 yang diberikan oleh panelis
Mobile Press-Register sleeve MP0086225
No full textJean Barilla, author / (University of South Alabama
Old Gourna: Redefining Sustainability in Vernacular Architecture/Urbanism
No full textAbstractOld Gourna or, what remains of it, is a phantom village existing on the Theban hill amid the archaeological sites of Luxor Necropolis. Nevertheless, its old vernacular houses were designed and constructed in order to be sustainable and to subsist through hundreds of years.The indigenous inhabitants of Old Gourna village were relocated, after several attempts, by a governmental decision in order to protect the ancient Egyptian tombs. In 1960s, a first group of residents were evicted -after a strong resistance- to the New Gourna that was designed by Hassan Fathi. In 2009, the rest of the inhabitants were moved by force to another New Gourna, near Al-Taref village, that was built by the government. The two New Gournas were primarily both rejected by the Old Gourniis despite being completely different in all aspects.By comparing the three Gournas, this paper aims to demonstrate the particularity of Old Gourna, especially when it comes to vernacular architectural sustainability. It also conducts a comprehensive survey concerning the architectural/urban advantages and disadvantages of each one of three villages
Visio artis, Simbolismo, Analogía y Ontología en el Arte de Ramon Llull / Visio artis, Symbolism, Analogy and Ontology in the Art of Ramon Llull
No full textThis article analyses the original core of the ‘Art’ of Ramon Llull, which, according to the author, was the result of a vision on Mount Randa. We start from the paradoxical fact that Llull describes his Art as a result of an immediate revelation, but throughout his life constantly reworked the artistic structure, in both formal and procedural aspects. We thus take a hermeneutical approach to the ontology, logic and symbolism of Llull’s Art to define as precisely as possible what remained constant through the changes. We conclude that the so-called ‘illumination of Randa’ was actually a mystical vision of the cosmos and its internal relations, but not the argumentative process of the Art, which Llull clarified over the course of his life.</jats:p
Visio artis, Symbolism, Analogy and Ontology in the Art of Ramon Llull
No full textEl presente artículo tiene como objetivo analizar cuál fue el núcleo originario del ‘arte’ de Ramón
Llull, y que según nos cuenta el autor, fue fruto de la visión que tuvo en la montaña de Randa. Partimos
del hecho paradójico que Llull describa su arte como fruto de esa revelación inmediata, pero a lo largo
de su vida fue reelaborando incesantemente la estructura artística, tanto en sus aspectos formales como
procedimentales. Para ello realizaremos una aproximación hermenéutica a la ontología, la lógica y el simbolismo del arte luliano para delimitar con la máxima precisión posible cuál fue la novedad que supuso el arte, y que se mantuvo permanentemente a través de los cambios. Con ello llegamos a la conclusión que la llamada ‘iluminación de Randa’, consistió en una visión mística del cosmos y de sus relaciones internas, pero no del proceso argumentativo del arte, el cual Llull fue precisando a lo largo de toda su vida.This article analyses the original core of the ‘Art’ of Ramon Llull, which, according to the author,
was the result of a vision on Mount Randa. We start from the paradoxical fact that Llull describes his Art
as a result of an immediate revelation, but throughout his life constantly reworked the artistic structure,
in both formal and procedural aspects. We thus take a hermeneutical approach to the ontology, logic and
symbolism of Llull’s Art to define as precisely as possible what remained constant through the changes.
We conclude that the so-called ‘illumination of Randa’ was actually a mystical vision of the cosmos and
its internal relations, but not the argumentative process of the Art, which Llull clarified over the course
of his life
OTENTISITAS FILSAFAT ISLAM
No full text Islamic philosophy is one of the fields of study whose existence has given rise to many pros and cons. Viewed from the point of view of the western intellectual tradition, islamic philosophy appears to be merely a Greco-Alexandrian philosophy in arabic 'clothes', a philosophy whose sole role is to channel certain important elements of ancient heritage to the Medieval West. The discussion of Islamic philosophy as a science must certainly refer to the existence of Islam itself with authentic sources that are derived from where a science originated and can develop and survive to the present day but in its course Islamic philosophy has received a lot of criticism from orientalists that Islamic Islamic philosophy does not exist and partly only a reduction from greek philosophical thought translated into arabic. And this also raises a big question for the author where the author got the question in 2020 during a comprehensive exam on islamic philosophy courses that the author still could not answer at that time. However, with the anxiety that is accused of Islamic philosophy the author describes in this paper. using the Library resech with the method of documentation studies finally the author finds the finding that Islamic philosophy is not true what is alleged by orintalism. From this paper, the author wants to see more about the authenticity of Islamic philosophy as a science in terms of terminology, sources, and figures of Islamic thought and how the roots of Islamic philosophy can be formed and survive, in the criticism of orientalism.
Keywords, authenticity, urgensi, Islamic philosophy
Visio artis, simbolismo, analogía y ontología en el arte de Ramon Llull
No full textThis article analyses the original core of the ‘Art’ of Ramon Llull, which, according to the author, was the result of a vision on Mount Randa. We start from the paradoxical fact that Llull describes his Art as a result of an immediate revelation, but throughout his life constantly reworked the artistic structure, in both formal and procedural aspects. We thus take a hermeneutical approach to the ontology, logic and symbolism of Llull’s Art to define as precisely as possible what remained constant through the changes.
We conclude that the so-called ‘illumination of Randa’ was actually a mystical vision of the cosmos and its internal relations, but not the argumentative process of the Art, which Llull clarified over the course of his life.El presente artículo tiene como objetivo analizar cuál fue el núcleo originario del ‘arte’ de Ramon Llull, y que según nos cuenta el autor, fue fruto de la visión que tuvo en la montaña de Randa. Partimos del hecho paradójico que Llull describa su arte como fruto de esa revelación inmediata, pero a lo largo de su vida fue reelaborando incesantemente la estructura artística, tanto en sus aspectos formales como
procedimentales. Para ello realizaremos una aproximación hermenéutica a la ontología, la lógica y el simbolismo del arte luliano para delimitar con la máxima precisión posible cuál fue la novedad que supuso el arte, y que se mantuvo permanentemente a través de los cambios. Con ello llegamos a la conclusión que la llamada ‘iluminación de Randa’, consistió en una visión mística del cosmos y de sus relaciones internas, pero no del proceso argumentativo del arte, el cual Llull fue precisando a lo largo de toda su vida
Intervensi Komunitas dalam Program P2L Oleh Kelompok Wanita Tani Dahlia Sakato di Kelurahan Tigo Koto Diate Lingkungan Cubadak Air
No full textThis writing originated from the author's interest in the program run by the farmer
women's group Dahlia Sakato, namely the Sustainable Food Yard program. A program
that focuses on empowering women farmers to help the family's economy while being
wise in processing existing vacant land. The P2L program from the Food Security
Service in collaboration with the Agriculture Service. The program was run well and
well in accordance with the expectations of Ketapang and the Department of
Agriculture. Seeing this success, the author wants to know more about the application
of the Community Intervention model used in the P2L program by the Dahlia Sakato
Farmer Women's Group in Tigo Koto Diate Village, Cubadak Air Village. The theory
of Community Intervention programs that is suitable for use in this writing is the
opinion of Rothman (1987 and 1995) using 12 variables to distinguish the three
intervention models (approaches) carried out in community-level social interventions.
Regarding empowerment efforts at the community level, Rothman (1995) described
that the process of community empowerment through community intervention can be
carried out through several intervention models (approaches), such as local community
development, social planning and policies, and social action. The data collection
technique used is by combining the results of interviews, observations and
documentation. Then the data will be analyzed by researchers qualitatively and ends
with conclusions drawn from the results of the research that has been done. The results
of the intervention research conducted on the Dahlia Sakato farmer group in the
sustainable food garden program tend to be model A, namely local community
development. This can be seen clearly with the existence of programs as local
community empowerment.105 HalamanSkripsi Sarjan
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