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Journal articles on the topic 'Art lapon'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

Budiarti, Endah. "Lakon Mintaraga ke Sang Indrakila Resi Kajian Alih Wahana (The Play of Mintaraga to Sang Indrakila Resi: Study of a Change from One Type of Art to Another)." Wayang Nusantara: Journal of Puppetry 4, no. 1 (2020): 22–39. http://dx.doi.org/10.24821/wayang.v4i1.4749.

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AbstractThe Play of Mintaraga to Sang Indrakila Resi: Study of a Change from One Type of Art to Another. This study aimed to trace the art transformation of the Mintaraga play to Sang Indrakila Resi. In other words, tracing the art transformation from play to written play. Sapardi Djoko Damono’s theory of art transformation is used as a framework for thinking in this study. Sapardi Djoko Damono’s theory states that art transformation is the change and transfer of “something” from one type of art to another. This study used descriptive qualitative method. The data collection and processing meth

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Suci Amalia, Sri Indah, and Afifah Asriati. "MANAJEMEN SANGGAR SENI LAKON GERAK MINANG DI NAGARI BARINGIN KABUPATEN TANAH DATAR." Jurnal Sendratasik 10, no. 2 (2021): 10. http://dx.doi.org/10.24036/jsu.v1i1.112011.

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The Management of Lakon Gerak Minang Art Studio in Baringin Village, Tanah Datar Regency. A Bachelor Thesis. Sendratasik Department. FBS. Universitas Negeri Padang. This research aims to describe and explain the management system of Lakon Gerak Minang Art Studio in Baringin Village, Tanah Datar Regency. This research belongs to a qualitative research using descriptive method. The main instrument in this study was the researcher itself and was assisted by supporting instruments such as writing tools and cameras. The data types used in this study were primary and secondary data. The data were co

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3

Berard, Christopher Michael. "King Arthur and the Canons of Laon." Arthuriana 26, no. 3 (2016): 91–119. http://dx.doi.org/10.1353/art.2016.0039.

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4

Rosa, Gea, Arti Wulandari, and Oscar Samaratungga. "LAKON PUNAKAWAN DALAM KARYA FOTOGRAFI SENI." spectā: Journal of Photography, Arts, and Media 3, no. 2 (2019): 90–97. http://dx.doi.org/10.24821/specta.v3i2.2790.

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Abstrak Penciptan karya seni ini bermula dari keprihatinan terhadap pementasan wayang yang sudah mulai ditinggalkan di era milenial ini, sangat disayangkan apaila pementasan tersebut hilang begitu saja. Padahal kesenian ini sangat banyak memberikan pelajaran yang dapat membentuk karakter generasi muda menjadi lebih baik. Sebagai seorang yang lahir dan besar di Jawa, berkewajiban untuk turut andil dalam melestarikan kesenian peninggalan nenek moyang ini. Penciptaan karya seni ini mengambil tokoh Punakawan yang beranggotakan Semar, Gareng, Petruk dan Bagong. Tokoh-tokoh wayang tersebut diambil k

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Laanemets, Mari. "Flight into Tomorrow: Rethinking Artistic Practice in Estonia During the 1970s (Leonhard Lapin)." ARTMargins 2, no. 2 (2013): 137–62. http://dx.doi.org/10.1162/artm_a_00050.

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This article observes how the new understanding of art which was introduced at the end of the 1960s by pop art influenced groups was pursued and radicalised in the second half of the 1970s, in a period generally referred to as the weakening of the avant-garde. It focuses on the texts by Leonhard Lapin, promoting art as a means of creating a new living environment. Taking Lapin's text as a framework, the author analyses the intervention in the official exhibition of monumental art in 1976.

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Bagaskara, Akbar, Umilia Rokhani, and Galih Pangestu Jati. "The Art of Puppetery in Demak: History of Islamic Da'wah and Lakon Carangan Created by Sunan Kalijaga." Paradigma 21, no. 2 (2024): 244–58. http://dx.doi.org/10.33558/paradigma.v21i2.9652.

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The purpose of this article is to analyze in general the phenomenon of puppetry in Demak Regency and its relation to Lakon Carangan created by Sunan Kalijaga as a medium for Islamic preaching. The research method used in this research is a qualitative type with a triangulation validation technique. The results of this research show that Sunan Kalijaga's Lakon Carangan is not just an ordinary story, but a story that is thick with Islamic elements that have been adjusted, as a means of moral and spiritual education that reinforces Javanese Islamic identity. Therefore, the art of puppetry in Dema

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Anis Mirna Defi. "The Internalization of Moral Values in Wayang Kulit: The Tale of Begawan Among Raga (An Ethnopedagogical Perspective)." Journal of Practice Learning and Educational Development 5, no. 1 (2025): 130–37. https://doi.org/10.58737/jpled.v5i1.399.

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Efforts to strengthen identity related to the existence of wayang kulit (shadow puppetry) are being intensively carried out by the community, particularly artists. Ki Dalang Roman and the wayang kulit troupe of the gagrak trowulanan style have engaged in cultural innovations to preserve the art of wayang kulit. The Lakon Carangan (non-canonical stories) serves as a solution to address the challenges posed by global cultural influences. This study focuses on the meaning of character reinforcement within society through Ki Dalang Roman’s wayang kulit gagrak trowulanan performance of Lakon Begawa

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8

Anderson, Myrdene, and Claire Vilgard. "Peurs et humour dans l'imaginaire lapon." Journal of the Royal Anthropological Institute 1, no. 2 (1995): 457. http://dx.doi.org/10.2307/3034753.

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L’Héritier, Maxime, and Vincent Le Quellec. "Laon (Aisne). Cathédrale de Laon." Archéologie médiévale, no. 47 (December 20, 2017): 275. http://dx.doi.org/10.4000/archeomed.7101.

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10

Mashuri, Mashuri. "Desakralisasi Wayang Purwa Lakon Ruwat." ATAVISME 10, no. 2 (2007): 27–38. http://dx.doi.org/10.24257/atavisme.v10i2.238.27-38.

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In the culture of Java, the wayang purwa (shadow play with leather puppets often dramatizing theme from Hindu epics) is important, central and sacral. Finally, many Javanese identify themselves to the characters in the wayang. The main factor is because the wayang is considered as the oldest of culture product, and also it can glorify the grandeur and the sacrality. The wayang sacrality can be found in ruwat act. The act in old treasure is ini some serat and suluk, consides that the act is not only a common story. But, the sacrality value that is glorified in Javanese culture, either in the wa

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Triyogo, YB Rahno. "Menghidupkan Kesenian Ketoprak di Desa Sanggrahan Kecamatan Kranggan Kabupaten Temanggung Jawa Tengah." Abdi Seni 10, no. 2 (2020): 74–82. http://dx.doi.org/10.33153/abdiseni.v10i2.3038.

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AbstractJudul artikel PPM Tematik ini adalah Menghidupkan Kesenian Ketoprak Di Desa Sanggrahan, Kecamatan Kranggan, Kabupaten Temanggung, Jawa Tengah yang memusatkan perhatiannya pada usaha menghidupkan kembali kesenian ketoprak yang pernah ada sebelumnya. Berpijak pada judul artikel di atas dengan mudah dapat ditangkap bahwa yang menjadi tujuan penulisan artikel ini adalah mendiskripsikan usaha-usaha untuk menghidupkan kembali kesenian ketoprak yang pernah ada dan kini dalam keadaan mati suri. Adapun langkah yang ditempuh adalah mengadakan pelatihan untuk para pemain dan pengrawit, serta pemb

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Nuraini, Fajar Indah, Dwi Santoso, Novi Sri Rahmi, and Rosa Oktavia Kaptania. "EXPRESSIVE SPEECH ACTS IN 'LAKON POLITIK REPUBLIK' EPISODE OF 'MATA NAJWA' TALKSHOW." LEKSEMA: Jurnal Bahasa dan Sastra 5, no. 1 (2020): 1. http://dx.doi.org/10.22515/ljbs.v5i1.1853.

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The objectives of this research are to find out the types of expressive speech act and the forms of expressive speech act in Mata NajwaTalkshow: Lakon Politik Republik Episode. It is interesting to analyze expressive speech since all the human beings are given a feeling by God and they tend to express their psychological feeling. Feeling is strictly related to expressive speech act. Kreidler and Frank’s theory about expressive speech act was used in this research .This research belongs to qualitative. Furthermore, the data of this research are the utterances containing expressive speech act in

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Kurniawati, Andini Shinta. "Wayang Jawa Timuran Lakon Gandamana Luweng (Kajian Struktur Dan Makna)." Mudra Jurnal Seni Budaya 33, no. 1 (2018): 9. http://dx.doi.org/10.31091/mudra.v33i1.137.

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Wayang, sebagai salah satu bentuk kesenian klasik tradisional yang oleh pecintanya dikatakan mempunyai nilai adiluhung, banyak mempengaruhi tata nilai kehidupan Jawa khususnya dan masyarakat pada umumnya.Orang Jawa begitu percaya adanya perlambang, simbolisasi ataupun filsafat hidup yang berupa mitos pada satu lakon wayang.Salah satu lakon wayang yang cukup menarik perhatian adalah lakon wayang dengan judul Gandamana Luweng. Pokok permasalahan yang dikaji dalam penulisan ini adalah (1) Bagaimana struktur lakon Gandamana Luweng, (2) Bagaimana makna simbolik lakon Gandamana Luweng. Tujuan penu

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14

Szabó, Valentin, and Dániel Vaczkó. "Üvegszál-erősítésű, lapos profilok ragasztott kötéseinek vizsgálata." Acta Materialia Transylvanica magyar kiadás 6, no. 1 (2023): 59–63. http://dx.doi.org/10.33923/amt-2023-01-10.

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Napjainkban a nyersanyaghiány egy jellegzetes probléma, amely az ipar minden területén jelentkezik. A pultrúziós eljárással gyártott, üvegszál-erősítésű kompozitok rendkívül kedvező tulajdonságokkal rendelkeznek. A kutatás során pultrudált profilokon felületkezelések alkalmazását vizsgáltuk a felületi energia növelése érdekében. Kézi csiszolással és homokszórással érdesítettük a ragasztani kívánt felületeket, majd különböző zsírtalanítószereket alkalmazva nedvesíthetőségi méréseket végeztünk el. A felületkezelés létrejöttének bizonyítására és nagyságának a meghatározására a felületeket érdessé

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15

Keryell, Gaëla. "“Lapons” ou “Norvégiens”." L'Homme, no. 209 (March 24, 2014): 69–94. http://dx.doi.org/10.4000/lhomme.23477.

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16

Lintang, Avyana Destyasti, Sarjiwo Sarjiwo, and Nur Iswantara. "Nilai-Nilai Pendidikan Karakter dalam Langen Carita Lakon Patine Arya Penangsang." Indonesian Journal Of Performing Arts Education 1, no. 1 (2021): 32–39. http://dx.doi.org/10.24821/ijopaed.v1i1.4918.

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AbstractCharacter education in Indonesia is being re-implemented to shape students to have intellect and character and can be taught through art education, one of which is Javanese opera. Langen carita is one of the arts that is intended to shape children's character as a continuation of children's art education. Langen carita is a form of the sariswara method in which there are literature, songs/music/karawitan, stories and solah bawa in short operas or children's plays (ages 10-14 years). Langen carita has also developed as a performing art with many historical stories, chronicles, or daily

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17

Nugroho, Sugeng. "Social Criticism in Wayang Kulit Purwa Performance by Purbo Asmoro, Study of Interpretation (Sanggit) and Treatment (Garap)." Harmonia: Journal of Arts Research and Education 23, no. 2 (2023): 429–43. http://dx.doi.org/10.15294/harmonia.v23i2.45759.

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This study intends to examine wayang kulit purwa performances [from Central Java] of the plays Réyog Ponorogo and Sang Batara Sambo “Prahara Suralaya,” created by Purbo Asmoro (2022). Both of these works are fascinating to study because in addition to the fact that they are allusions to topical conflicts [in Indonesia] presented in the form of social commentary, the structure and texture of these performances differ from the treatment of wayang purwa performances in general. This problem is studied based on the ethnoart paradigm, using the Interpretation (Sanggit) and Treatment (Garap) Theorie

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18

Suprihatin Dyah Pratamawati, Endang Wara. "Malang Mask Puppet Presentation Structure Arrangement of the Story Rabine Panji as Cultural Tourism Commodity in Malang Regency East Java." Harmonia: Journal of Arts Research and Education 16, no. 1 (2016): 66. http://dx.doi.org/10.15294/harmonia.v16i1.6021.

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<p>This research aimed to describe the model of structure arrangement of Malang Mask Puppet traditional art performance as the tourism commodity. The research method used was single case study with holistic single-case study approach toward the event program done by the traditional art performance group in Malang. It is done as an effort to maintain the existence of tradition art through tourism art performance arrangement. The result was the performance structure of the story (<em>lakon</em>) of Rabine Panji in Malang mask puppet performance. Malang mask puppet has been perf

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19

Dipoyono, Achmad, and Yulela Nur Imama. "Kethoprak Reog Paguyuban Seni Reog Singo Bhirowo Lakon Suminten Edan (Kolaborasi Kesenian Rakyat sebagai Ekspresi Akulturasi Budaya)." Acintya Jurnal Penelitian Seni Budaya 15, no. 2 (2023): 101–8. http://dx.doi.org/10.33153/acy.v15i2.5586.

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ABSTRACT The city of Surakarta has approximately 35 groups or communities dedicated to the Reog art form. One of these groups is known as "Paguyuban Seni Reog Singo Bhirowo" which comprises 45 members spanning across different generations. This quantity reflects the high level of interest among the Banjarsari community in Reog art. Moreover, the establishment of "Paguyuban Seni Reog Singo Bhirowo" is a response from urban residents living outside Surakarta who have a background in Reog art. The group aims to create a performance format that combines Reog with the traditional Javanese art form

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20

Heidi Pietarinen, Satu Miettinen, and Melanie Sarantou. "Biotaidetta tarkasteleva laboratorio." Tahiti 12, no. 3 (2022): 111–20. http://dx.doi.org/10.23995/tht.121885.

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Missä kulkevat elävää materiaalia hyödyntävän biotaiteen rajat? Millaista tietoa jää tieteellisen tutkimustyön ulkopuolelle? Miten biotaide voidaan muuttaa taidelähtöisten menetelmien kautta tiedoksi ja taiteelliseksi ajatteluksi? Esimerkiksi näihin kysymyksiin etsii vastausta Lapin yliopiston taiteiden tiedekuntaan vuonna 2021 perustettu BioARTech-laboratorio, joka tutkii biotaidetta ja sen yhtymäkohtia taiteeseen ja tutkimukseen. Laboratorio tukee biotaiteen, muodin, tekstiilitaiteen, luovan tutkimuksen (art-based method, art-based research), biotekniikan ja tieteen välistä tutkimustyötä. Ke

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Intarti, Retno Dwi. "“Kartisampéka” Trigantalpati dalam Lakon Wayang Gandamana Tundhung Ki Hadi Sugito (“Kartisampéka” Trigantalpati in Gandamana Tundhung Shadow Puppet Play Performance by Ki Hadi Sugito)." Wayang Nusantara: Journal of Puppetry 4, no. 1 (2020): 12–21. http://dx.doi.org/10.24821/wayang.v4i1.3664.

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AbstractThis paper aimed to examine kartisampéka Trigantalpati in the Gandamana Tundhung play performed by Ki Hadi Sugito. Kartisampéka is an act of deluding others subtly and not automatically visible to other people (sinamun sinamudana). Kartisampéka has a negative connotation because the actions carried out are aimed at harming others. The data analysis was carried out by using descriptive analytical method. This study succeeded in finding kartisampéka as a sub-theme of the Gandamana Tundhung play performed by Ki Hadi Sugito. The kartisampéka concept which attached to the Trigantalpati char

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22

Lis, Marianna. "Murwakala – rytualny wayang." Pamiętnik Teatralny 65, no. 1/2 (2016): 248–60. http://dx.doi.org/10.36744/pt.1971.

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Tradycyjny jawajski teatr cieni, czyli wayang kulit, prawdopodobnie wywodzi się z animistycznych rytuałów prehistorycznej Jawy, zgodnie z przypuszczeniami kolonialnych badaczy na przełomie XIX i XX wieku. Według mitu opowiadającego o jego początkach pierwszym lalkarzem był bóg Wisnu, który zstąpił na ziemię jako dalang Kandhabuwana. Historia powstania wayangu opowiedziana w lakon Murwakala to także opowieść o narodzinach i życiu Kali, boga czasu i zniszczenia. Lakon wykonywany jest podczas rytuału ruwatan, który ma oczyścić poszczególnych ludzi lub całe społeczności, by przywrócić uniwersalną

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23

Wiratama, Rudy. "REPRESENTATION OF JAVANESE IDENTITIES IN WAYANG GEDHOG DEPICTING PANJI TALES." Jantra. 14, no. 2 (2019): 203–12. http://dx.doi.org/10.52829/jantra.v14i2.98.

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Wayang Gedhog is a genre of puppetry which once ever enjoyed its popularity in Java, particularly in Surakarta and Yogyakarta until the beginning of 20th century. Its Panji-themed lakon is always for all time identified with court traditions. It implicitly reflects the social order and paradigm of the members of this political institution from its court aristocrats to low-ranked officials. Wayang Gedhog is undergoing an era of change where the life of performing arts is rapidly developing. Using Homi Bhabha’s theory about Self Identification, this research aimed to reveal how far the lakon and

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Maulana, Marsel Ridky. "Ambivalence and Symbolic Dualism in the Character of Kumbakarna in the Wayang Golek Lakon “Kumbakarna Gugur”: A Narrative Analysis." Wacana : Jurnal Bahasa, Seni, dan Pengajaran 9, no. 1 (2025): 1–13. https://doi.org/10.29407/jbsp.v9i1.1.

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The lakon “Kumbakarna Gugur” in wayang golek highlights the moral ambivalence and symbolic dualism inherent in the character of Kumbakarna. As a warlord of the Alengka kingdom, Kumbakarna faces doubts between his loyalty to his brother Rahwana and his responsibility to the people and his country Alengka. The purpose of this research is to analyze ambivalence and symbolic dualism in Kumbakarna's character using Vladimir Propp's narrative function theory and Claude Lévi-Strauss' binary opposition. The research uses a qualitative method with a narrative analysis approach based on data from the te

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Harris, James C. "Lapin Agile in Winter." Archives of General Psychiatry 62, no. 10 (2005): 1070. http://dx.doi.org/10.1001/archpsyc.62.10.1070.

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Hidayatullah, Panakajaya. "Islam, National, and Local History in Tabbhuwan Walisanga Performance Art." Journal of Urban Society's Arts 7, no. 2 (2020): 94–108. http://dx.doi.org/10.24821/jousa.v7i2.3827.

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Tabbhuwân is a Madurese tradition of performing arts. In the present context, modern culture influences many young people. It has become a restlessness for the clerics who then think of strategies on how to incorporate Islamic values in the younger generation today. In 2015 in Situbondo, Wali Sanga boarding school established a tabbhuwân wali sanga art group. Tabbhuwân is considered a way of preaching according to the conditions and culture of the community of Madura Situbondo. The players consist of the santri of the younger generation of Islamic boarding schools. Tabbhuwân wali sanga feature

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Ramadhan, Rizqy Nugraha. "Kepastian Hukum Penetapan Tersangka Terhadap Kasus Saling Lapor Tindak Pidana Penganiayaan." Jurnal Penegakan Hukum Indonesia 3, no. 1 (2022): 40–58. http://dx.doi.org/10.51749/jphi.v3i1.58.

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 Abstrak Penelitian Ini bertujuan Untuk mengetahui kepastian hukum penetapan tersangka terhadap kasus saling lapor dalam tindak pidana penganiayaan yang di pandang dari aspek moral dan keadilan. Metode yang digunakan adalah metode penelitian normatif yang menganalisis peraturan perundang-undangan yang ada sesuai dengan masalah yang diteliti. Hasil penelitian menemukan perkara saling lapor memang tidak diatur dalam KUHAP dan dalam peraturan kapolri yang di atur hanyalah permasalahan penanganannya. Namun hal ini tidak mengurangi adanya kepastian hukum pada perkara saling

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Lallau, Étienne. "Laon (Aisne). Allée Martinot." Archéologie médiévale, no. 50 (December 30, 2020): 196. http://dx.doi.org/10.4000/archeomed.36271.

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Sunardi, I Nyoman Murtana, and Sudarsono. "Sunardi KONSEP DASAR PERTUNJUKAN WAYANG SINEMA LAKON DEWA RUCI." PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT 2 (January 24, 2020): 57–71. http://dx.doi.org/10.33153/semhas.v2i0.102.

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This paper aims to describe the basic concepts of wayang cinema performance Dewa Ruci play as an alternativeto the development of Indonesian puppets. Wayang Cinema is an innovative wayang performance in awide-screen film. The problems examined are: (1) what lies behind the creation of wayang cinema Dewa Ruciplay; and (2) what is the basic concept and structure of wayang cinema performance Dewa Ruci play. Thestudy was conducted by applying the methods of art creation, namely exploration, design, creation, andpresentation. The results showed that: first, the creation of wayang cinema Dewa Ruci p

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Birton, Botond-Antal, and Attila Gergely. "Műanyag-vákuumformázó gép tervezése és kivitelezése." Acta Materialia Transylvanica magyar kiadás 4, no. 2 (2021): 75–78. http://dx.doi.org/10.33923/amt-2021-02-03.

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A dolgozat célja egy vákuumformázó berendezés tervezése és kivitelezése, melyet hőre lágyuló polimer lapok formázására lehet használni. A tervezett berendezés A4-es formátumú műanyag lap megmunkálására alkalmas. A berendezés tervezésekor fontos szempont volt a költséghatékony kivitelezés. A berendezés egy államvizsga-dolgozat keretében a Sapientia EMTE Marosvásárhelyi Karának Gépészmérnöki Tanszékéhez tartozó Polimertechnológia laboratórium számára készül oktatási célra. A tervezett berendezés felépítése és működése hasonló az iparban használt gépekéhez, az előállítási költsége viszont jelentő

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Leskiewicz, Monika, Boguslawa Budziszewska, Agnieszka Basta-Kaim, Anna Zajac, Marek Kacinski, and And Lason. "Effects of neurosteroids on neuronal survival: Molecular basis and clinical perspectives." Acta Neurobiologiae Experimentalis 66, no. 4 (2006): 359–67. http://dx.doi.org/10.55782/ane-2006-1624.

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Neurosteroids have long been known to act as important modulators of central nervous system functions. The concept of their mechanism of action, however, have essentially undergone an evolution. Previously, these compounds were postulated to regulate neuronal function mainly via allosteric regulation of some membrane-bound receptors, such as GABAA and NMDA receptors, in a non-genomic way. Recent studies have provided evidence for intracellular targets for neurosteroids, e.g., transcription factors (NFk-B, progesterone receptors), protein kinases (phosphatidylinositol 3-kinase, protein kinase C

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Pitenina, V. "Artistic and stylistic peculiarities of the graphic work of Petro Lapyn, illustrator of the children's books in the first third of the 20th century." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 193–99. http://dx.doi.org/10.33838/naoma.27.2018.193-199.

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The beginning of the 20th century is a period of creative and printing experiments in the Ukrainian art. New generation of Ukrainian books was born in this period. The illustration of the children's books was a significant part of this process. Famous Ukrainian graphic artists, such as H. Narbut, M. Zhuk, O. Sudomora, V. Kononchuk, took part in the creation of a new Ukrainian children's book. Some little-known artists also worked with them, and their creativity was an important part of the artistic process. Petro Lapyn was one of those artists. From 1917 to 1929, he worked with the famous publ

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Nurdianti, Astri, and Sinta Rosalina. "LIH KODE DALAM TAYANGAN LAPOR PAK PADA CHANNEL YOUTUBE TRANS7 LIFESTYLE." SeBaSa 5, no. 2 (2022): 321–32. http://dx.doi.org/10.29408/sbs.v5i2.5660.

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This study aims to explain the form of code switching and code switching contained in Lapor Pak broadcasts on the Trans7 Lifestyle Youtube Channel. The research approach a qualitative descriptive in the form of a description of the data obtained in the analysis. The data used is through the form of speech, sentences and paragraphs. Then the method used is a qualitative method. The data source for this research is the Youtube Lapor Pak program entitled Secret Mission to America which was published on December 14, 2021 with a duration of 48:07 minutes. The data collection technique used by the a

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Mikó, Árpád. "A Budavári Tudományos Társaság és a magyar művészettörténet-írás helyzete az 1920-as években. Hekler Antal, Klebelsberg Kunó „szürke eminenciása”." Művészettörténeti Értesítő 72, no. 2 (2025): 305–12. https://doi.org/10.1556/080.2023.00016.

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Antal Hekler was a decisive figure of Hungarian art historiography in the interwar period. He occupied important offices as the heir to the country’s then only university department of art history (1918–1940), that is, the successor to Gyula Pasteiner; chief editor of the Archaeologiai Értesítő (1923–1940) also carrying art historical writings; the vice president of the National Archaeo-logical and Anthropological Society (later Hungarian Archaeological and Art Historical Society) (1920–1928); founder and editor of the bilingual Henszlmann-lapok (1927–1930); member of the Hungarian Academy of

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Vaczkó, Dániel, Zoltán Weltsch, and Róbert Keresztes. "Femtoszekundumos lézerrel végzett felületkezelés hatásai pultrúzióval gyártott üvegszállal erősített kompozitokon." Acta Materialia Transylvanica magyar kiadás 7, no. 2 (2024): 113–16. https://doi.org/10.33923/amt-2024-02-10.

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Ebben a tanulmányban a pultrúzióval előállított, üvegszálas, lapos profilokon a lézeres felületkezelés hatékonyságát értékeltük. A kísérletekben Coherent Monaco 1035-80-60 femtoszekundumos lézert használtunk, ahol a fő paraméter a lézer teljesítménye volt. Az így kezelt próbadarabokat Olympus OLS5000 konfokális mikroszkópon vizsgáltuk meg, ahol a lézernyaláb által kialakított árkok mélységét és területét mértük. Az adatokat a teljesítmény függvényében grafikonon ábrázoltuk. Eredményeink azt mutatják, hogy a mélység növekedése nem arányos a teljesítménnyel, míg a mélység és terület változása kö

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Lallau, Étienne. "Laon (Aisne). Rue Fernand-Christ." Archéologie médiévale, no. 49 (December 20, 2019): 279. http://dx.doi.org/10.4000/archeomed.25156.

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Galmiche, Thierry. "Laon (Aisne). Chapelle des Templiers." Archéologie médiévale, no. 46 (December 1, 2016): 220. http://dx.doi.org/10.4000/archeomed.7310.

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Anwar, M. Shoim, and Listyo Ambarwati. "Perjuangan Perempuan Menghadapi Kekuasaan Dalam Lakon â€œSusi Duyungâ€: Ludruk Budhi Wijaya." Jurnal Budaya Nusantara 1, no. 1 (2017): 68–88. http://dx.doi.org/10.36456/b.nusantara.vol1.no1.a992.

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Ludruk Budi Wijaya Group is a cultural actor who is active in maintaining and developing the arts of thepeople. The characteristic of ludruk as a critical stage art is maintained, including the structure of the show. Ludruk isa channel for the aspirations of the little people and represents their lives. The "Susi Duyung" play performed byLudruk Budhi Wijaya is also related to the lives of the low society, the fishermen in Ngliyep Village who areoppressed economically by the authorities. The presence of Susi's character as a hero is a modeling that injustice must beresisted. Women should not be

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Anwar, M. Shoim, and Listyo Ambarwati. "Perjuangan Perempuan Menghadapi Kekuasaan Dalam Lakon â€œSusi Duyungâ€: Ludruk Budhi Wijaya." Jurnal Budaya Nusantara 1, no. 1 (2017): 68–88. http://dx.doi.org/10.36456/jbn.vol1.no1.992.

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Ludruk Budi Wijaya Group is a cultural actor who is active in maintaining and developing the arts of thepeople. The characteristic of ludruk as a critical stage art is maintained, including the structure of the show. Ludruk isa channel for the aspirations of the little people and represents their lives. The "Susi Duyung" play performed byLudruk Budhi Wijaya is also related to the lives of the low society, the fishermen in Ngliyep Village who areoppressed economically by the authorities. The presence of Susi's character as a hero is a modeling that injustice must beresisted. Women should not be

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Remalia Anggraeni and Eka Yudha Wibowo. "Langgam Bayang, Sabda Kelir: Peran dan Kontribusi Ki Narto Sabdo dalam Pelestarian Wayang Kulit di Semarang (1945-1985)." Jurnal Sosial Humaniora dan Pendidikan 4, no. 1 (2025): 661–71. https://doi.org/10.55606/inovasi.v4i1.4387.

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Ki Narto Sabdo is an important figure in Javanese culture, especially in Semarang. During the period from 1945 to 1985, through innovations in the art of wayang kulit puppetry, he successfully preserved, developed, and revitalized the wayang tradition amidst the modernization and socio-political dynamics of Indonesia. As a master puppeteer and innovator in performance styles, Ki Narto Sabdo not only created hundreds of new gending and lakon rich in Javanese moral, spiritual, and philosophical values, but also built a cultural preservation ecosystem. He did this through the establishment of art

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Raharja, R. Bima Slamet, Wisma Nugraha Christianto Richardus, and Timbul Haryono. "Serat Kasantikaning Raga Sebagai Pengayaan Naratif Lakon Figur Gathotkaca." Jumantara: Jurnal Manuskrip Nusantara 16, no. 1 (2025): 87–101. https://doi.org/10.37014/jumantara.v16i1.5506.

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This paper discusses the manuscript collection of J.L. Moens, which contains many narratives of wayang plays. Most of the manuscripts come from the Yogyakarta puppetry tradition within the popular tradition originating from Yogyakarta and its surrounding areas. In addition to the narratives, these Javanese script texts are adorned with illustrations in the style of Yogyakarta wayang forms. Kasantikaning Raga is one of the titles of the manuscript that contains the story of Gathotkaca's journey and is divided into about 75 plays. Not many people have seen or even read this manuscript completely

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Drake, C. S. "A Tournai Font in Laon Cathedral?" Antiquaries Journal 77 (March 1997): 380–88. http://dx.doi.org/10.1017/s0003581500075260.

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Nafisah, Arida. "Lakon Wayang Dewi Sinta Simbol Keteguhan Feminis sebagai Ide Penciptaan Karya Lukis." Jurnal Pendidikan dan Penciptaan Seni 2, no. 1 (2022): 1–14. http://dx.doi.org/10.34007/jipsi.v2i1.52.

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The creation of this painting originated from the author's experience when discussing endless issues of women. Social issues regarding women are always updated in various issues ranging from discrimination, crime and injustice against women. In fact, this feminist issue has existed since time immemorial with the story of Dewi Shinta, who has always carried feminine values. The aim is to create paintings that have a feminist value concept in Dewi Shinta and create paintings through the process of selecting sketches, materials, manufacturing techniques, exploration, and presentation that have th

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Yatmin, Yatmin, and Tita Nur Enda. "Nilai-Nilai Kearifan Lokal pada Lakon Baruklinting dalam Wayang Timplong sebagai Norma Bermasyarakat." INCARE, International Journal of Educational Resources 5, no. 3 (2024): 344–56. https://doi.org/10.59689/incare.v5i3.1083.

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This study is motivated by observations of the potential found in Nganjuk Regency, particularly the Wayang Timplong. Wayang Timplong contains many performances that encapsulate local wisdom, one of which is the Baruklinting play. In light of the growing moral degradation phenomena, applying local wisdom values within social norms is an effective approach to addressing these issues. The aim of this research is to explore the history of Wayang Timplong, the storyline of Baruklinting, and the local wisdom embedded in the Baruklinting play within Wayang Timplong. This research uses a qualitative e

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Pramulia, Pana, Sunu Catur Budiyono, Eko Cahyo Prawoto, and Moh Mujib Al Firdaus. "Dekonstruksi Lakon Arjuna Wiwaha Dalam Pengajaran Semiotika Teater Bagi Pengembangan Kemampuan Berakting Mahasiswa." Ed-Humanistics : Jurnal Ilmu Pendidikan 10, no. 1 (2025): 30–39. https://doi.org/10.33752/ed-humanistics.v10i1.8984.

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This research aims to develop students' critical thinking, creativity, and acting skills through the application of semiotics and deconstruction theory in teaching theatre based on the play Arjuna Wiwaha. With a descriptive qualitative approach and a Project-Based Learning model using peer tutor techniques, students are invited to understand semiotic elements such as signs, symbols, and hidden meanings, and apply deconstruction theory to dismantle traditional assumptions in the story. The results showed that the students were able to identify themes, characters, and symbols, and integrate this

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Koyel Naskar and Urmi Satyan. "Celebration and protest in art: a Comparative Study of Australia’s Corroboree and West Bengal’s Gambhira as Forms of Socio-Cultural Expression." Scientific Temper 15, spl-2 (2024): 104–8. https://doi.org/10.58414/scientifictemper.2024.15.spl-2.17.

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The present paper studies the similarities between art forms to express the respective cultures of Australian aboriginals and marginalized communities of the Indian state of West Bengal. The paper focuses on how these two communities use art to express joy, celebrate cultural practices, articulate societal struggle and display political conditions. Australia’s performing art form, corroboree, is a ceremonial gathering that collectively celebrates a spiritual practice of connecting to their ancestors through dreamtime- a mythological episode and spirituality. The word corroboree is derived from

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DE, OLIVEIRA Valéria Cristina, and RIBEIRO Ludmila Mendonça LOPES. "Confidence in institutions, democracy and social control in Latin America." Utopía y Praxis Latinoamericana 24, Extra 2 (2019): 155–69. https://doi.org/10.5281/zenodo.3344919.

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In this article, the approaches related to the process of democratic consolidation and Collective Effectiveness establish the guideline for an empirical analysis of data from the Latin American Public Opinion Project (LAPOP or Americas Barometer), designed to answer the following question: Confidence Institutional (mainly in the Police) is an element that conditions the individuals' willingness to act to solve neighborhood problems in Brazil, Chile, Colombia and Honduras. The results suggest that corruption and institutional trust are not as intense as the literature on democracy in Latin

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Hidayat, Kun, Arif Rahman, Islahuddin Islahuddin, and Yazida Ichsan. "Representation of Islamic Education Values in the Wayang Kekayon Khalifah Lakon Pandanarang Malik Grembyang." Al-Misbah (Jurnal Islamic Studies) 11, no. 2 (2023): 109–23. http://dx.doi.org/10.26555/almisbah.v11i2.10150.

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Islamic education as part of society's value system cannot be separated from cultural elements. Therefore, the relationship between Islamic education and culture can be an appropriate collaboration in overcoming shifts in values among society. The aim of this research is to represent the values of Islamic education in the Wayang Kekayon Khalifah play Pandanarang Malik Grembyang, which also looks at the implementation of its value content on the social system. This research uses the hermeneutic phenomenology method to study the play text textually and contextually. The results of the research s

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Putra, Yulio Kusuma, and Teguh Supriyanto. "Ngundhuh Wohing Pakarti dalam Cerita Wayang Lakon Abimanyu Ranjab." Sutasoma : Jurnal Sastra Jawa 9, no. 2 (2021): 230–39. http://dx.doi.org/10.15294/sutasoma.v9i2.51295.

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Ngundhuh Wohing Pakarti concept derived from the principle of harmony in Javanese culture of ethical theory. The concept was realized various works of literature one of which is the puppet story Abhimanyu Ranjab, scenes in Baratayuda War tells the causes and consequences of Abimanyu oath to Utari.. The source of story has an interesting value, Serat Baratajuda written by MB. Radyomardhowoe et al, since it told the previous play, namely Kalabendana Lena. The research objectives are: toexplain the coherence concept of Ngundhuh Wohing Pakarti in this story. The study used qualitative approach, th

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Montaudon, Mickaël. "Aubigné-sur-Layon (Maine-et-Loire). Place de l’église." Archéologie médiévale, no. 39 (December 1, 2009): 303–4. http://dx.doi.org/10.4000/archeomed.20485.

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