934 research outputs found
El bautizo de Aida Lucía, sobre la afrorreparación
No full textRESUMEN: Las huellas de la esclavización a la que fue sometida una parte de la población africana durante la trata esclavista desatada a partir de la conquista de América por los europeos, pueden ser aún visibles desde diferentes perspectivas. En el marco de los Estudios del Caribe, esas huellas pueden extenderse hasta el Pacífico colombiano, lugar donde se centra este texto. Aida Lucía Angulo Díaz es una bebé nacida en Buenaventura, el más importante puerto comercial sobre el Pacífico colombiano, y al ser la autora nombrada su madrina de bautizo, este hecho le permite poner en análisis la multiplicidad de elementos que hacen complejos los procesos de reparación de la memoria africana de los ancestros de su ahijada y su entorno social. El texto es un análisis de hasta qué punto es posible la afrorreparación en una población de clara descendencia africana, en la que también elementos culturales de las sociedades que los han marginado, como el bautizo católico, están fuertemente arraigados en ellos. Al ser el bautizo católico una práctica cultural propia de las sociedades europeas, el texto constituye un juego entre lo simple y lo complejo, entre lo inmediato y los procesos de larga duración, entre el presente y el pasado, entre lo académico y lo cotidiano, entre los intereses propios y los ajenos. Por eso este es también un texto de carácter auto reflexivo, al estar inevitablemente la autora inmersa dentro de toda esa complejidad a la que se refiere en su análisis.ABSTRACT: The treads of the slavery that suffered a portion of the African population during the slavers’ trade arose since the conquer of America by the Europeans, can be apparent from different views. In the background of the Caribbean Studies, those treads can extend to the Colombian Pacific, place where this paper is focused. Aida Lucía Angulo Díaz is a baby girl born in Buenaventura, the most important commercial harbour over the Colombian Pacific region, and being the author named her godmother, this fact allows her to put in an analysis the multiplicity of elements that make complex the reparation processes of the African memory of the ancestors of her goddaughter and her social environment. The text is an analysis about how much is possible the African reparation in a population with a clear evidence of African roots, where also cultural elements of the societies that have excluded them, as the catholic baptism, are strongly established in them. Being the catholic baptism a cultural practice that belongs to the European societies, the text constitutes a game between the simple and the complex, between the immediate and the long terms’ processes, between the present and the past, between the academic and the quotidian, between the own interests and the somebody’s else. That’s because this is also a text of auto reflexive kind, being the author unavoidably immerse in all that complexity that she refers in her analysis.Pregrad
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
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
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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
Application of Matrix Equations in the Aida Method
No full textThe article presents the problem of a decision-making process based on the method known as the analysis of interconnected decision areas (AIDA). Author described the basic assumptions of the AIDA method and the classic method of its implementation with the usage of a decision tree. Crucially, the new and innovative improvement in development of the AIDA method is connected with the replacement of the decision tree by the matrix equation to speed up the cost assessment of decision variants
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
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