Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
2017, Problematika Kebudayaan
…
10 pages
1 file
makalah Ilmu Sosial Budaya Dasar yang membahas mengenai problematika kebudayaan yg ada di Indonesia
Ilmu budaya dasar adalah suatu pengetahuan yang menelaah berbagai masalah kemanusiaan dan budaya, dengan menggunakan pengertian pengertian dari berbagai bidang pengetahuan keahlian yang tergolong dalam pengetahuan budaya. Adapun tujuannnya adalah : 1. Mengusahakan kepekaan mahasiswa terhadap lingkungan budaya sehingga mereka akan lebih mudah menyesuaikan diri dengan lingkungan baru terutama dengan lingkungan kerja mereka. 2. Memberi kesempata bagi mahasiswa untuk dapat memperluas pandangan mereka tentang masalah kemanusiaan dan budaya, serta mengembangkan daya kritis mereka terhadap persoalan – persoalan yang meyangkut kedua hal tersebut. 3. Sebagai calon pemimpin bangsa dan negara, serta ahli dalam bidang disiplin masing – masing dikehendaki agar mereka jangan jatuh kedalam sifat – sifat kedaerahan dan pengotakan disiplin yang tepat. 4.Berusaha menjembatani akademisi kita, agar lebih dapat berdialog satu sama lain, dengan memiliki bekal yang sama diharapkan agar para akademisi dapat lebih lancar berkomunikasi. RUANG LINGKUP KAJIAN Ada dua masalah yang bisa dipakai sebagai bahan pertimbangan untuk mempertimbangkan ruang lingkup kajian mata kuliah ilmu budaya dasar. 1.berbagai aspek kehidupan yang seluruhnya merupakan ungkapan masalah kemanusiaan dan budaya yang dapat didekati dengan menggunakan pengetahuan budaya (pengetahuan humanitis), baik dari segi masing – masing keahlian (disiplin) di dalam pengetahuan budaya, maupun secara gabungan (antara bidang) berbagai disiplin dalam pengetahuan budaya. 2. Hakikat manusia yang satu atau universal, akan tetapi yang beraneka ragam perwujudannya dalam kebudayaan masing – masing zaman dan tempat. Dalam melihat dan menghadapi lingkungan alam, sosial budaya, manusia tidak hanya mewujudkan kesamaan – kesamaan, akan tetapi ketidak seragaman yang diungkapkan secara tidak seragam, sebagaimana yang terlihat kunjungi blog kami kelompokakuntansi.blogspot.com
2021
Wayang golek bermula dari muncul perkembangan wayang kulit yang asalnya tidak diketahui jelas karena minimnya cerita secara tertulis mengenai sejarah kesenian wayang golek. Hanya saja kesenian ini memang sudah identik dengan hiburan rakyat. Munculnya berawal pada awal abad ke-16 Sunan Kudus membuat 70 buah bangun wayang purwo dengan cerita Menak dan diiringi Gamelan Salendro. Pada tahun 1840 lahirlah lakon Ramayana dan Mahabrata atau disebut dengan wayang golek purwa. Kelahiran wayang golek diprakarsai oleh Dalem Karang Anyar (Wiranata Koesoemah III) pada masa akhir jabatannya dengan memerintahkan Ki Darman (pengrajin kulit asal Tegal) yang tinggal di Cibiru, Ujung Berung, untuk membuat wayang dari kayu. (Sutarno, 1995) Sudah dari jaman dahulu hingga sekarang wayang golek dapat dikategorikan sebagai salah satu kesenian merakyat. Setiap orang, tanpa batasan umur dapat menonton pertunjukan wayang golek. Cerita wayang golek umumnya tentu masih bersumber pada cerita atau kisah Mahabarata dan Ramayana khususnya wayang golek purwa. Isi ceita wayang golek biasanya diselipi unsur-unsur nasihat maupun sindiran yang disesuaikan dengan kejadian yang tengah berlangsung sehari-hari. (Mulyono, 1982). Unsur-unsur tersebut saling mengisi dan menunjang terhadap sukses/tidaknya suatu pertunjukan seni wayang golek. Belakangan ini wayang golek yang biasa kita kenal berasa dari Jawa Barat atau kita kenal dengan tokoh Cepot. Tapi wayang golek juga berkembang di Kota Tegal berupa wayang golek cepak tegalan dengan tokohnya yang kita kenal Lupit Slentheng yang diprakarsai oleh Bupati Tegal, Ki Enthus Susmono. Melihat masalah minimnya pengenalan wayang golek di Tegal itu sendiri , meskipun hanya beberapa orang dewasa yang masih tertarik akan tokohtokoh wayang golek baik tradisional yang berupa tokoh punakawan atau pandawa dan modern yang berupa tokoh terkenal atau bahkan tokoh diri. Berbeda dengan anak-anak, yang cenderung acuh dengan budaya wayang golek apalagi sekarang ini jaman kian berubah dari waktu ke waktu, menjadikan anak-anak menjauhkan dengan hal-hal yang berbau kebudayaan daerah.
Anthropologies and Futures - Researching Emerging and Uncertain Worlds, 2017
My research with Egyptian migrants is a methodological and existential investigation into people’s perception of the future and their imaginative worlds, as they form part of the stories that they construct to narrate their lived experiences. In specific I will look at animation as a practice towards new anthropological directions of envisioning and working with people’s, and not only migrants’, life stories, which need to encompass future and conditional tenses as much as they do the present and the past. Throughout fieldwork and several years working with people traveling without documents, I have realised that my informants’ own storytelling often made reference to perceptions that fell out of the linear structure of a coherent narrative, and went beyond a predictable temporal succession of events. I argue that if we are to understand people’s experiences, as anthropologists, we need to find ways to investigate other realms of being, which go beyond the visible, the factual, the verbal and the material. The intention of this chapter is to give an account of how animation, alongside other creative methods has helped me explore and reflect with my fieldwork participants on the interrelation between their experiences of ‘reality’ and their imaginings, as it influences the meaning people attributed to past choices and events, and their possible future trajectories. Interdisciplinarity has been a fundamental aspect to the whole process, as interviews and observational filmmaking needed to be complemented with other creative practices, which I borrowed from applied theatre and storytelling, participatory photography and finally animation.
Many scholars believe that the proliferation of large-scale datasets will spur scientific advancement and help us to predict the future using sophisticated statistical techniques. Indeed, a team of researchers achieved astonishing success using the world's largest event dataset, produced by the ICEWS project, to predict complex social outcomes such as civil wars and irregular government turnovers. However, the secret of their success lay in transforming epistemically difficult questions into easy ones. Forecasting the onset of civil wars becomes an easy task if one relies on explanatory variables that measure how often newspapers report on tensions, fights, or killings shortly before. But news reports on prewar conflicts are just variations of the variable that researchers want to predict; the finding that more conflicts are likely to occur when journalists report about conflicts carries little scientific value. A similar success rate in " predicting " interstate wars can also be achieved by a simple Google News search for country names and conflict-related news shortly before a conflict is coded as a war. Big data can help researchers to make predictions in simple situations, but there is no evidence that predictions will also succeed in uncertain environments with complex outcomes—such as those characteristic of politics.
Modern Italy 27, 327–350, 2022
In this special issue of Modern Italy, four early-career scholars examine how the study of objects and images rooted in Fascist imperialist history enables a sustained interrogation of Italy's colonial imaginary. Their articles explore the diverse possibilities offered by the study of visual and material culture for scholars of imperialism, as it is precisely this realm of visual and material culture that emerges as a site of negotiation in which different individuals and constituencies contended with the regime's ideology. Visual and Material Legacies of Fascist Colonialism is by no means the first scholarly project to interrogate the relationship between the aesthetic field and the Fascist colonial project. Pioneering studies in different disciplinary fields, as well as contemporary art projects, have addressed the role of architecture, cinema, art and exhibitions in underpinning colonial ideology under the Fascist regime. We have added an extensive (but by no means exhaustive) thematic bibliography on these studies at the end of our introduction. While building upon the aforementioned scholarship, the aim of this special issue (perhaps one of the most heavily illustrated ever published by Modern Italy) is to highlight how the complementary methodologies of visual and material studies, in tandem, can be used to unpack the colonial imaginary of Fascist Italy. In the next few pages, we probe this approach and apply it to two case studies. We hope that this special issue will act as an invitation to scholars to adopt such productive partnership of visual and material studies for the study of other subjects pertaining to Italian colonialism. Fascist colonialism and its legacies Italy was already a colonial power when Benito Mussolini came to power in 1922. In 1882 Assab Bay on the Red Sea became Italy's first overseas territory. Eritrea was militarily occupied three years later and Somalia in the 1890s-the former became Italy's first official colony in 1890. In 1901, in the aftermath of the Boxer Uprising, Italy also gained a share of the European concession in Tianjin, China. But until the ascent of Fascism, Italy's most important colony was Libya, which it invaded in 1911. The following year, Italy also occupied the Dodecanese Islands.
Palabra Publica, 2024
Pemeriksaan dan Penyitaan Hukum Acara Perdata, 2024
The judicial system is one way to resolve conflicts between communities in various regions. If a person feels that his or her interests and rights are being violated, he or she may file a claim against the responsible parties before a competent court. The goal of justice seekers is to get the fairest justice possible in solving their problems. And also their rights and interests feel protected by law. However, many individuals or plaintiffs want the judicial process to be completed quickly. To do so, they must also comply with the rules of procedure for resolving disputes in court. However, reality often shows that the process of resolving civil cases can take a relatively long time. This is usually due to factors such as the parties involved in the dispute, witnesses or the effectiveness of the proceedings and the judge making the decision. This paper also aims to analyze some of the important stages of the case examination process as well as the seizure stage in the trial procedure law. Where the examination will review the mediation to the conclusion of the disputed case. Meanwhile, the confiscation section describes and analyzes the purpose of confiscation, the types of confiscation and also the execution of confiscation in civil procedure law.
IIC - International Review of Intellectual Property and Competition Law, 2017
Jurnal Studia Insania, 2021
Revista Latina de Comunicación Social, 2022
ERF Working Paper # 1259, 2018
Economic and Business Review, 2012
Proceedings of the 18th IFAC World Congress, 2011
Religación. Revista de Ciencias Sociales y Humanidades
Journal of Space Science and Technology, 2022
Czechoslovak Journal of Physics, 2004
Anuario mexicano de historia del derecho, 2004
Environmental Chemistry Letters, 2017