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Journal articles on the topic 'Tortyr'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Ahlin, Per. "JO – ett effektivt skydd mot tortyr (?) Några tankar om behovet av nationell övervakning av internationella förbud." Förvaltningsrättslig tidskrift, no. 2023 2 (May 23, 2023): 165–78. http://dx.doi.org/10.53292/a17743e5.3872bbeb.

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2

Phillips, Robert. "Word Torture (La tortura con palabras)." Hispania 73, no. 4 (December 1990): 1179. http://dx.doi.org/10.2307/344331.

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3

Diana Sari, Sivalis Diana Sari, and Nurwani Nurwani. "TRANSFORMASI PANGURASON DARI RITUAL KE SENI PERTUNJUKAN." Gesture : Jurnal Seni Tari 7, no. 2 (January 8, 2019): 26. http://dx.doi.org/10.24114/senitari.v7i2.13297.

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ABSTRACT This study discusses the Transformation of Pangurason Performing Arts Ritual. Describes the presentation of Pangurason tortors in the transformation of saucers to the Batak Toba Society in Samosir, and also describes the transformation of Pangurason tortors in the art of tortor cup performances.The theory used in this research is Ritual theory, Transformation, presentation theory form. The time used in this study is during (two months), which starts from October to December 2016. The location of this study was conducted in Pangururan Government of Samosir Regency. The population in this study were artists who knew about Pangurason and the samples were all actors involved in tortor Pangurason and actors involved in tortor bow transformation, data collection techniques including observation, interview, literature study, and documentation, then analyzed by descriptive method qualitative.Based on the data collected, it can be seen that Pangurason is a cleansing or purification of a place that has been considered sacred, so that the place is far from distress, and not disturbed by evil spirits. Formerly when Pangurason was used because at that time, the place wanted to be disturbed by evil spirits, then sibaso or shaman made a ritual to reject the reinforcements, by making a bowl of water, kaffir lime and banyan leaves.The transformation transforms the form of ritual presentation into the performing arts and uses the media or property of the saucer as an attraction in the tortor cup art show. Keywords: Transformation, Pangurason Ritual, Performing Arts

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4

Gjergji, Iside. "Tortura e Migrazioni/Torture and Migration, by Fabio Perocco (ed.)." Torture Journal 30, no. 1 (June 11, 2020): 59–61. http://dx.doi.org/10.7146/torture.v30i1.118739.

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Reviewing this volume edited by Fabio Perocco and published in open access version by University of Venice Ca’ Foscari Editions is no easy task. What makes it hard to sum up this work is not its length (430 pages), but rather its interdisciplinary approach, the depth of observations, the richness in contents and points of view, its geographical width. Yet, these aspects make the book fundamental for anyone willing to understand migratory movements in today’s world. Its main merit is having addressed, consistently and systematically, the close relation that has come to be, over the course of decades, between torture and migration. Such relation is no recent piece of news: for a long time, torture has been indicated as one of the most widespread reasons for leaving, one of the most frequent experiences lived along the migration path and, more and more often, a reality that migrants are forced to tackle in receiving countries. Nevertheless, the scientific narrative of such relation is often limited, fragmented and, sometimes, manipulated. Torture has thus far been studied systematically in relation to power (MacMaster 2004), wars and dictatorships (Hajjar 2013, Cohen 2005, Rejali 2009), it is considered as lying at the basis of modernity (Reemtsma 2012) or of the process of civilization (Linklater 2007), but never before it had been analyzed as a structured element of migration. Thus, the volume deserves to be recognized as paving the way for an innovative field of research.

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5

Betanzos Torres, Eber Omar, Juan Pablo Pampillo Baliño, and Carla Ledezma Castro. "LA LEY MEXICANA CONTRA LA TORTURA (MEXICAN LAW AGAINST TORTURE)." Universos Jurídicos, no. 17 (November 5, 2021): 253–81. http://dx.doi.org/10.25009/uj.v0i17.2603.

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Resumen: La presente investigación se centra su análisis en un esquema exegético, se aborda la importancia de los derechos humanos y la eliminación de la tortura, este trabajo aborda un análisis de las formas constitucionales que han permitido la creación de una nueva Ley contra la Tortura en México, lo cual, crea una visión más uniforme en la protección de los derechos humanos, tanto en el ámbito nacional, internacional y del derecho comparado con otros países. Pero ¿acaso basta con una nueva legislación para prevenir y erradicar la tortura? Ciertamente, habría que estudiar lo que constituye la tortura y los avances multifactoriales en materia de derechos humanos en este país.Este trabajo versa sobre una reflexión de incluir al turismo en los derechos humanos de segunda generación y cómo se integra, así de los límites o afectaciones hacia los derechos económicos, sociales y culturales del otro identificado como las comunidades de origen indígena o no, el entorno natural y el patrimonio turístico. Abstrac: This research focuses its analysis on an exegetical scheme, it addresses the importance of human rights and the elimination of torture, this work addresses an analysis of the constitutional forms that have allowed the creation of a new Law against Torture in Mexico, which creates a more uniform vision in the protection of human rights, both at the national, international and legal levels compared to other countries. But is new legislation enough to prevent and eradicate torture? Certainly, it would be necessary to study what constitutes torture and the multifactorial advances in human rights in this country

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6

Nowacka, Maria. "Lekarz – Tortury – Sumienie. Krytyka artykułu: Medical Doctors in Torture Program." Etyka 53 (December 1, 2016): 21–29. http://dx.doi.org/10.14394/etyka.508.

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7

Dilinar Adlin and Ruth Hertami Dyah Nugrahaningsih. "History Analysis, Form of Presentation, and Function Tortor Naposo Nauli Bulung on Batak Mandailing Communities." Britain International of Linguistics Arts and Education (BIoLAE) Journal 1, no. 2 (November 30, 2019): 296–302. http://dx.doi.org/10.33258/biolae.v1i2.97.

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Tortor Naposo Nauli Bulung is one of North Sumatra's local dance content, originating from the Mandailing Batak. As a traditional dance, this tortor has binding rules, sourced from the Dalihan Na Tolu kinship system, which illustrates the roles in it such as kahanggi, Mora, and boru children, so that the various movements contain traditional rules and norms that apply and must be obeyed when adhered to to dance it. This article discusses the history, form of presentation, and function of tortors. Theories used to explore history are the progressive-linear theory according to Ibn Khaldun, Djelantik's opinion for the form of presentation, and the theory of function according to Shay. The research method is descriptive qualitative. The results of the study conveyed Tortor Naposo Nauli Bulung became a medium for socializing. This tortor was performed by young people with six or three pairs of dancers. The floor pattern used was only two shapes, namely the horizontal line pattern and the triangle shape. The group of dancers in the front are called 'na gakspi' or 'na isembar', while the group in the back is called 'pangayapi' or 'panyembar'. The basic motions of the Naposo Nauli Bulung tortor are: a) Manyomba tu Raja, b) Markusor (spinning), and c) Singgang (squatting). Naposo Nauli Bulung Tortor contains four functions, namely: as a reflection and legitimacy of the social order, as a vehicle for secular rite expression, dance as social entertainment or recreational activities, and dance as a reflection of aesthetic values.

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8

Ferrari, Nathallie Matos. "A (RE)ELITIZAÇÃO DO FUTEBOL MODERNO: ESPETACULARIZAÇÃO DO ESPORTE MAIS POPULAR DO BRASIL COMO UM NEGÓCIO." Alamedas 7, no. 1 (August 5, 2019): 65. http://dx.doi.org/10.48075/ra.v7i1.22664.

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Nos últimos anos é possível observar um avanço significativo de proibições e restrições nos estádios de futebol que afetam diretamente na forma de torcer. Muitos torcedores são contra o futebol moderno executados pelas grandes empresas e corporações esportivas, que visam vendas e o lucro cada vez mais altos. O objetivo ao desenvolver esse artigo preocupa-se em entender como um esporte com características populares modernizou-se e vem os excluindo de forma que estabeleceu-se restrições e proibições no decorrer dos anos aos torcedores como a característica primeira de empurrar seus respectivos times e tornar as arquibancadas dos estádios de futebol uma verdadeira festa, padronizando a forma de torcer e tornando aos poucos esse esporte para a elite que visa a espetacularização do mesmo.

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9

Burrill, Derek A. "거두어 가는 손 : 고문의 안무, 안무의 고문." Journal of Dance Society for Documentation & History 52 (March 31, 2019): 29–44. http://dx.doi.org/10.26861/sddh.2019.52.29.

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10

Timoteus, Arnold Laurence, Flansius Tampubolon, and Asriaty Purba. "Semiotic Study on Tortor Hoda Hoda on Sibandang Island." International Journal of Research and Review 11, no. 4 (April 23, 2024): 436–41. http://dx.doi.org/10.52403/ijrr.20240448.

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This article is entitled Semiotic Analysis of Tortor Hoda Hoda on Sibandang Island. This research aims to describe the symbols in the Tortor Hoda Hoda movement, describe the function of the symbols in the Tortor Hoda Hoda movement, describe the value of the symbols in the Tortor Hoda Hoda movement. The theory used in analyzing data is the semiotic theory put forward by Charles Sanders Peirce. The method used in this research is descriptive qualitative. In this research, the results of 4 symbols for the tortor hoda hoda movement were found, including the tortor at first, tortor somba, tortor manerser and factoring. Furthermore, there are 4 symbol functions of the tortor hoda hoda movement, including the initial tortor function, the somba tortor function, the manerser tortor function, and the factoring function. The meaning contained in tortor hoda hoda is the meaning contained in the movements of tortor initially, tortor somba, tortor manerser, and factoring. Keywords: tortor hoda hoda, Toba Batak ethnicity, semiotics.

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11

Wannag, Svein. "Legeforeningenes forhold til tortur." Tidsskrift for Den norske legeforening 130, no. 13 (2010): 1333. http://dx.doi.org/10.4045/tidsskr.10.0488.

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12

Jessberger, Florian. "Bad Torture — Good Torture?" Journal of International Criminal Justice 3, no. 5 (November 1, 2005): 1059–73. http://dx.doi.org/10.1093/jicj/mqi076.

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13

Siallagan, F. Kristina, Yusnizar Heniwaty, and Dilinar Adlin. "TORTOR BATAK TOBA DALAM KONTEKS PARIWISATA DI MUSEUM HUTA BOLON SIMANINDO KABUPATEN SAMOSIR." Gesture : Jurnal Seni Tari 7, no. 1 (December 31, 2018): 11. http://dx.doi.org/10.24114/senitari.v7i1.11902.

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Abstract − This Research purposed to figure out the Performance of tortor Batak Toba as one of tourism package of Museum Huta Bolon Simanindo and its impact of increasing tourism visit tothe Museum. The method in this research uses descriptive qualitative method. The population are; the Department of Culture and Tourism Samosir, Museum Huta Bolon Simanindo officers, musicians, dancers, Public figures/Leader, community of Simanindo, and the tourists. The sample was part of the study population. The place of this research was taken in the Museum Huta Bolon Simanindo -Samosir regency. The data collection was done by observation, interviews, documentation and literature study. Generally, it discusses the development of cultural tourism through the performances of tortor Batak Toba which is the potential resources of local communities as cultural attractions. Cultural attractions are expected to have contributed to the preservation of culture in local communities. Tortor performance is held on an open stage in the old village of Huta Bolon. Performanceis no longer sacred but still follow the traditional rules of adatni gondang, such as the number of gondang types, rules of how to ask certain gondang types, the rules of motion in tortor, apparel and equipment. Another packaging of forms of performance that is of short duration and dense, full of variety, imitation of the original forms, and effective cost. Travelers can enjoy the Batak Toba culture, such as music, dance, historical objects, and the feel of Batak Toba villages. Overall the show is divided into two sessions, the first are Tortor Lae-lae, Tortor Mula-mula, Tortor Mula Jadi, Tortor Mangaliat, Tortor Marsiolop-olopan, tortor tortor Si Boru Si Doli, and Tortor Pangurason. Performing the second session has been packed in line with its objectives, namely manortor together, Tortor Tunggal Panaluan, and Tortor Si Gale-gale. Keywords: Tortor Batak Toba, Context Tourism

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14

Pettersen, Halvar D. "Isolasjon – tortur uten blod." Samtiden 115, no. 02 (January 5, 2007): 6–16. http://dx.doi.org/10.18261/issn1890-0690-2006-02-02.

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15

Maciejewski, Tadeusz. "Michael Kerrigan, Narzędzia tortur, 2010." Czasopismo Prawno-Historyczne 64, no. 1 (October 31, 2018): 263–65. http://dx.doi.org/10.14746/cph.2012.64.1.17.

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16

Estañol, Iliana. "TORPOR." Archivos de Neurociencias 25, no. 4 (December 24, 2020): 8. http://dx.doi.org/10.31157/an.v25i4.268.

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Contribución especial literaria: Iliana Estañol, Nacida en 1978 en Ciudad de México. Cineasta y guionista, radica actualmente en Berlín. Premiada por su primer largometraje "Lovecut" (2020) con el Premio Max Ophüls a mejor guión; nos regala esta pieza sobre cómo ha afectado la pandemia nuestro forma de vivir.

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17

Edgerton, Samuel Y., and Edward Peters. "Torture." American Historical Review 91, no. 4 (October 1986): 906. http://dx.doi.org/10.2307/1873359.

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18

Delmas, Hugues. "Torture." Cerveau & Psycho N° 141, no. 3 (February 25, 2022): 64–69. http://dx.doi.org/10.3917/cerpsy.141.0064.

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19

Estañol, Iliana. "TORPOR." Archivos de Neurociencias 25, no. 4 (December 24, 2020): 8. http://dx.doi.org/10.31157/archneurosciencesmex.v25i4.268.

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Contribución especial literaria: Iliana Estañol, Nacida en 1978 en Ciudad de México. Cineasta y guionista, radica actualmente en Berlín. Premiada por su primer largometraje "Lovecut" (2020) con el Premio Max Ophüls a mejor guión; nos regala esta pieza sobre cómo ha afectado la pandemia nuestro forma de vivir.

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20

Brownstein, E. G. "Torture." Medical Journal of Australia 149, no. 1 (July 1988): 55–56. http://dx.doi.org/10.5694/j.1326-5377.1988.tb120498.x.

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21

Agosin, Marjorie. "Torture." Human Rights Quarterly 10, no. 1 (February 1988): 126. http://dx.doi.org/10.2307/761979.

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22

Weierstall, Roland, Thomas Elbert, and Andreas Maercker. "Torture." Zeitschrift für Psychologie 219, no. 3 (January 2011): 129–32. http://dx.doi.org/10.1027/2151-2604/a000059.

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23

Moio, Jené A. "Torture." Journal of Ethnic & Cultural Diversity in Social Work 15, no. 3-4 (April 4, 2006): 1–30. http://dx.doi.org/10.1300/j051v15n03_01.

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24

Hope, David. "TORTURE." International and Comparative Law Quarterly 53, no. 4 (October 2004): 807–32. http://dx.doi.org/10.1093/iclq/53.4.807.

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I am deeply conscious of the fact, as I consider the subject of torture, that I have led a very sheltered life. I have never been tortured. I have never seen anybody being tortured. Nor have I ever met anyone who has undergone this dreadful practice. But I cannot say that I have never met anyone who has had anything to do with it. The Cyprus emergency was at its height during my period of national service. My attempt to persuade the military authorities that my knowledge of classical Greek was a suitable qualification for me to be sent to the island to act as an interpreter was unsuccessful. I was sent instead to serve with an infantry battalion in the British Army of the Rhine in West Germany. I did not think so at the time as we endured one of the coldest winters in living memory in Nordrhein-Westphalia, but I was to discover later that this may well have been the better option. When I went up to university I met someone who had indeed been sent to Cyprus. He had acted as an interpreter when Greek Cypriot members of the Eoka organization were being interrogated. Conscious of the constraints of the Official Secrets Act, he never revealed to me the details of what was done to them during this process. But I had the distinct impression, as we talked, that he had been revolted by it and that things were done which were and would always remain a scar on his memory.

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25

Koukal, D. R. "Torture." International Journal of Applied Philosophy 23, no. 2 (2009): 305–14. http://dx.doi.org/10.5840/ijap200923222.

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26

Wenzel, Thomas. "Torture." Current Opinion in Psychiatry 20, no. 5 (September 2007): 491–96. http://dx.doi.org/10.1097/yco.0b013e3282c3a5c1.

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27

Harding, T. "Torture." Refugee Survey Quarterly 21, no. 3 (October 1, 2002): 135–38. http://dx.doi.org/10.1093/rsq/21.3.135.

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28

Basoglu, M., and I. Marks. "Torture." BMJ 297, no. 6661 (December 3, 1988): 1423–24. http://dx.doi.org/10.1136/bmj.297.6661.1423.

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29

Košeleva, Ol’ga. "„Lass nicht zu, dass Du gefoltert wirst …“." Jahrbücher für Geschichte Osteuropas 69, no. 3 (2021): 420–36. http://dx.doi.org/10.25162/jgo-2021-0011.

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30

Ozdemir, Mirac. "Forensic Psychiatric Evaluation of Torture Victims." International Journal of Forensic Sciences 7, no. 4 (2022): 1–5. http://dx.doi.org/10.23880/ijfsc-16000285.

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Torture is a word of Persian origin and is defined as “excessive physical or moral punishment to a person” Torture is one of the important subjects of forensic medicine. Forensic Medicine specialists are experts who detect the lesions on the bodies of torture cases, which are considered to be the most extreme points of violations of rights, who can interpret them, and also try to diagnose invisible psychiatric traces. This duty obliges Forensic Medicine to evaluate scientific truths impartially and in all details.

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31

Mollica, Richard F., and Yael Caspi-Yavin. "Measuring torture and torture-related symptoms." Psychological Assessment 3, no. 4 (1991): 581–87. http://dx.doi.org/10.1037/1040-3590.3.4.581.

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32

Rahmadani, Suci, and Erlinda Erlinda. "MAKNA SIMBOLIK TORTOR TOPING HUDA-HUDA DALAM UPACARA ADAT SAYURMATUA PADA MASYARAKAT SIMALUNGUN SUMATERA UTARA." Gorga : Jurnal Seni Rupa 8, no. 1 (July 2, 2019): 61. http://dx.doi.org/10.24114/gr.v8i1.12786.

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AbstrakTortor toping huda-huda adalah pemberian penghormatan kepada orang tua yang telah meninggal, yang merupakan suatu bentuk kesenian tradisi yang secara turun temurun diwarisi oleh masyarakat Simalungun untuk memenuhi kebutuhan upacara adat sayurmatua. Upacara adat sayurmatua adalah ritual upacara kematian, dimana sayurmatua merupakan orang tua yang sudah lanjut usia meninggal dunia, yang mana orang tua tersebut sudah memiliki cucu dari anak laki-laki dan anak perempuannya. Upacara adat sayurmatua terdapat 2 pembagian acara yaitu mandingguri dan manggiligi. Tortor toping huda-huda ditampilkan dalam acara mandingguri. Dalam pelaksanaan upacara adat sayurmatua terdapat beberapa acara kemudian terdapat musik dan tari di dalamnya yaitu gonrang sipitu-pitu, , tortor manggiligi, dan tortor toping huda-huda. Tujuan penelitian ini adalah mengungkap makna yang terkandung pada tortor toping huda-huda dan pelaksanaan tortor toping huda-huda dalam upacara adat sayurmatua di Simalungun Sumatera Utara. Metode yang digunakan adalah metode kualitatif, pengumpulan data dilakukan melalui observasi dan mengamati upacara adat sayurmatua, khususnya pertunjukan tortor toping huda-huda yang terkait dengan upacara, kemudian didukung oleh dokumentasi audio dan visual serta wawancara dengan sejumlah tokoh adat dan masyarakat. Penelitian ini dianalisis dengan teori Semiotika oleh Ferdinand De Sausurre.Kata Kunci: upacara, sayurmatua, tortor toping.AbstractTortor toping huda-huda is giving respect to deceased parents, which is a form of traditional art that has been inherited from the Simalungun community for the needs of the adat vegetable ceremony. The sayurmatua traditional ceremony is a ritual death ceremony, where sayurmatua is an elderly parent who has passed away, in which the parents already have grandchildren from their sons and daughters. There are 2 adat divisions of the sayurmatua ceremony, namely the mandingguri and mujukigi. Tortor toping huda is displayed in the mandingguri program. In the implementation of the sayurmatua traditional ceremony there are several events then there are music and dance in it, namely gonrang sipitu-pitu, tortor manggiligi, and tortor toping huda-huda. The purpose of this study was to reveal the meaning contained in tortor toping huda-huda and the implementation of tortor toping huda-huda at the sayurmatua traditional ceremony in Simalungun, North Sumatra. The method used is a qualitative method, data collection is carried out through observation and observing the vegetablematua traditional ceremony, especially the tortor toping huda-huda performance related to the ceremony, then supported by audio and visual documentation and interviews with a number of traditional leaders and the community. This study was analyzed by Semiotic theory by Ferdinand De Sausurre. Keywords: ceremony, sayurmatua, tortor toping.

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33

Kessing, Petter Vedel. "Tortur, statsterrorisme og ikke-statlig terrorisme." Nordic Journal of Human Rights 22, no. 01 (February 12, 2004): 53–61. http://dx.doi.org/10.18261/issn1891-814x-2004-01-06.

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34

Dyresen, Glenn. "Pasienter utsatt for tortur blir neglisjert." Tidsskrift for Den norske legeforening 137, no. 7 (2017): 511. http://dx.doi.org/10.4045/tidsskr.16.1029.

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35

Dige, Morten. "Terror, tortur og den tikkende bombe." Slagmark - Tidsskrift for idéhistorie, no. 63 (March 9, 2018): 111–27. http://dx.doi.org/10.7146/sl.v0i63.104087.

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The so-called “war on terror” has renewed the interest in torture in practice as well as in theory. The philosophical debate about possible justifications for torture has to a large extent revolved about the ticking time-bomb scenario: would it be justified to torture a terrorist in order to prevent a catastrophe? I criticize arguments based on ticking bomb scenarios in two steps. First, I show that exceptional resort to torture will not be possible in the situations where it is most needed. Second, I state several pragmatic as well as principled objections against a state sanctioned or tolerated practice of torture. Finally, I offer an explanation of what it means to regard the prohibition of torture as absolute.

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36

Remkes, G. J. J., A. J. H. Donne, H. de Kluiver, and F. C. Schuller. "Density fluctuations in the TORTUR tokamak." Plasma Physics and Controlled Fusion 34, no. 8 (August 1, 1992): 1379–95. http://dx.doi.org/10.1088/0741-3335/34/8/002.

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37

Spahn, Claudia. "Angst macht den Auftritt zur Tortur." MMW - Fortschritte der Medizin 153, no. 43 (November 2011): 46–49. http://dx.doi.org/10.1007/bf03368985.

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38

Sipayung, Finny Ermawati, and Ruth Hertami Dyah Nugrahaningsih. "TORTOR BALANG SAHUA SIMALUNGUN KAJIAN SEMIOTIKA." Gesture: Jurnal Seni Tari 13, no. 1 (April 9, 2024): 102. http://dx.doi.org/10.24114/gjst.v13i1.57067.

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Penelitian ini bertujuan untuk mendeskripsikan kajian semiotika (tanda, penanda, dan petanda) yang terdapat dalam gerak dan busana Tortor Balang Sahua pada masyarakat Simalungun. Tortor Balang Sahua merupakan tari tradisi kerakyatan yang berasal dari Kabupaten Simalungun. Penelitian ini menggunakan teori Ferdinand de Saussure dalam Amrin, Khairil, Zulkifli, dkk (2021:62) mengartikan semiotika adalah ilmu yang mengkaji dan mempelajari peran dari tanda di mana ruang lingkup semiotika dibagi dua yaitu penanda (Signifier) dan petanda (Signifield). Penelitian ini menggunakan penelitian deskriptif melalui pendekatan kualitatif. Populasi dan sampel pada penelitian ini adalah dua orang seniman Simalungun yang berada di Sanggar Sayur Matua. Hasil penelitian menunjukan bahwa ada tujuh motif gerak dalam Tortor Balang Sahua yaitu sombah, habang, patuduhkon arah, mandoppak hutoruh, manjaga diri, manganhon sipanganon, tinggalak. Busana yang digunakan dalam Tortor Balang Sahua adalah baju dan celana hitam, suri-suri sibirong dan gotong parhorja. Iringan musik pada Tortor Balang Sahua adalah gual imbou manibung. Adapun semiotika yang terdapat dalam Tortor Balang Sahua yang dituangkan melalui tanda diwujudkan dalam simbol gerak, penanda merupakan lambang yang berbunyi dan memberi makna, sedangkan petanda merupakan penjelasan makna yang dihasilkan oleh penanda.

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Gurusinga, Mellya Friska, and Nurwani Nurwani. "TORTOR MARTONUN PADA MASYARAKAT SIMALUNGUN: KAJIAN SIMBOL DAN MAKNA." Gesture: Jurnal Seni Tari 11, no. 2 (June 10, 2022): 91. http://dx.doi.org/10.24114/gest.v11i2.35317.

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Abstract - This study aims to determine the symbols and meanings contained in tortor martonun in the Simalungun community. The theoretical basis used is Anya Peterson Royce's theory of symbols. The research method used is a qualitative descriptive method with a population consisting of dancers of the Sultan Agung Foundation, resource persons / traditional leaders, and the Simalungun people who know about Simalungun culture and the research samples are resource persons / traditional leaders, dancers of the Sultan Angung Foundation. Data collection techniques were carried out in two ways, namely, written data collection techniques and field data collection techniques. Written data collection techniques in the form of literature study by reading books, journals and theses, field data collection techniques in the form of observations, interviews, and documentation. The musical accompaniment symbol in the martonun tortor is seen by reading the scores which consist of musical instruments in the form of gondrang sidua-dua, ogung, serunei, and mongmongan. The meaning of movement contained in tortor martonun, which means discipline and patience in doing a job from beginning to end, in order to get the desired result, the meaning in tortor martonun clothing is to show the majesty and authority of Simalungun women in doing a job, while the meaning of musical accompaniment is in tortor. Keywords: Symbol, Meaning, Tortor Martoun. Abstrak -Penelitian ini bertujuan untuk mengetahui simbol dan makna yang terdapat dalam tortor martonun pada masyarakat Simalungun.Landasan teori yang digunakan adalah teori simbol Anya Peterson Royce, dan teori makna Anya Peterson Royce yang dijadikan acuan dalam penelitian ini. Metode penelitian yang digunakan ialah metode deskriptif kualitatif dengan jumlah populasi terdiri penari sanggar Yayasan Sultan Agung, narasumber/tokoh adat, dan masyarakat Simalungun yang mengetahui tentang kebudayaan Simalungun dan sampel penelitian yaitu narasumber/tokoh adat, penari Yayasan Sultan Angung. Teknik pengumpulan data dilakukan dengan dua cara yaitu, teknik pengumpulan data tertulis dan teknik pengumpulan data lapangan. Teknik pengumpulan data tertulis berupa studi pustaka dengan cara membaca buku-buku, jurnal-jurnal serta skripsi-skripsi, teknik pngumpulan data lapangan berupa observasi, wawancara, dan dokumentasi, Hasil penelitian ini adalah tortor martonun pada masyarakat Simalungun: kajian simbol dan makna. Simbol dan makna dalam tortor martonun dilihat dari gerak, busana, dan iringan musik. Simbol gerak yang terdapat dalam tortor martonun ini menyimbolkan bagaimana proses bertenun, dimulai dari proses mengumpulkan kapas, proses membentuk kapas menjadi benang, sampai proses menenun benang menjadi ulos, Simbol busana dalam tortor martonun memakai pakaian marabit datas yang terdiri dari bulang sulapei, suri-suri, dan ulos hatirongga. Simbol iringan musik dalam tortor martonun dilihat dengan membaca partitur yang terdiri dari alat-alat musik berupa gondrang sidua-dua, ogung, serunei, dan mongmongan. Makna gerak yang terdapat dalam tortor martonun yaitu bermakna kedisplinan dan kesabaran dalam melakukan suatu pekerjaan dari awal hingga akhir, agar mendapat hasil yang diinginkan, makna dalam busana tortor martonun yaitu memperlihatkan keagungan dan kewibawaan perempuan Simalungun dalam melakukan suatu pekerjaan, sedangkan makna iringan musik dalam tortor martonun adalah menyampaikan suasana yang tenang, damai saat melakukan proses bertenun. Kata kunci: Simbol, Makna, TortorMartonun.

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Panjaitan, Asramilasari. "Nilai Pendidikan Moral Dalam Tortor Mangalehen Goar Pada Masyarakat Mandailing Di Kabupaten Labuhan Batu." Gesture : Jurnal Seni Tari 6, no. 2 (August 23, 2017): 10. http://dx.doi.org/10.24114/senitari.v6i2.7199.

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ASRAMILASARI PANJAITAN, NIM 2123340005 Moral Education Values In Tortor Mangalehen Goar the Community Mandailaing In Labuhan Batu District. Subject: Sendratasik Dance Education Program. Faculty of Language and Art, State University Medan.2016This study discusses the Tortor Mangalehen Goar contained in Mandailing community in Labuhan Batu District aims to determine the structure of the presentation and moral education value contained in Tortor Mangalehen Goar.To discuss the above research purposes, used theories related to the research topic, such as understanding Mangalehen Goar, understanding Tortor and Moral Education Values.When the study are used in discussing the Moral Education Value In Tortor Mangalehen Goar the Community Mandailaing In Labuhan Batu regency for 2 (two) months, namely in June to August 2016. The study site is a hamlet Haloban Padang District of West bar. The population in this study is Mandailing community, traditional leaders, and events Mangalehen Goar. Analysis of the data in this study using descriptive qualitative data collection techniques with literature study, observation, interviews, and documentation.The results showed that, Values Moral Education contained in Tortor Mangalehen Goar is the values contained in the range of motion tortor mangalehen goar are: (a) preferably, (b) desired, (c) be pursued, (d) appreciated and moral education contained at tortor mangalehen goar offender is liable to a neighbor that responsibility to others include: a). Protecting b). helping c). Inspire d). selfless and responsibility towards oneself, among others: a). protected b). Inspired c). Meets d). support.

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Tubiana, Jérôme, and Einas Ahmed. "« Seule une tortue peut mordre une tortue »." Politique africaine 118, no. 2 (2010): 205. http://dx.doi.org/10.3917/polaf.118.0205.

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Sinaga, Anggi Pratiwi. "TORTOR PARSIARABU PADA UPACARA HORJA BIUS DI DESA TOMOK KECAMATAN SIMANINDO KABUPATEN SAMOSIR: KAJIAN SEMIOTIKA." Gesture: Jurnal Seni Tari 9, no. 1 (June 25, 2020): 13. http://dx.doi.org/10.24114/senitari.v9i1.17961.

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ABSTRACT This study examines the semiotics contained in the Parsiarabu Tortor in Tomok Village, Samosir Regency. The purpose of this study is to explore the meaning contained in Tortor Parsiarabu and the interpretation of the meaning seen. To discuss the research objectives above, use theories related to the research. The theoretical foundation in this study uses the Semiotics theory of signs, markers and markers by Ferdinan De Saurrsure and the theory of forms concerning motion and clothing by Humardani. The location and time of the study was carried out in Tomok Village and the time of the research was two months, the population and sample were the community and members of the Parsaulian GPSB Studio (Generation of Art and Culture Lovers). The author conducts data collection techniques including library research, field observations, interviews with resource persons, and completes the data by taking photo documentation. This research uses descriptive qualitative. The results of the study are based on data that has been collected that Tortor Parsiarabu has 6 main motives namely Siubeon, Marsomba, Mambukka Roha, Patoru Diri, Papunguhon, Mangandungi. Clothing used in this Parsiarabu tortor is Ulos Sibolang, Ulos Bittang Maratur, Ulos Suri-suri Ganjang. The semiotics contained in the Parsiarabu tortor are poured through the sign that is in the form of motion that is seen in the serving, the signer which is seen from the main range of motion in the Parsiarabu tortor, and the signfied is the meaning contained in the motion Parsiarabu tortor, it can be interpreted that the meaning of this whole dance is respecting God, respecting the high position or government, respecting fellow human beings, staying humble and not arrogant, respecting others, uniting the hearts of fellow people so that there is no envy and revenge . Keywords: Semiotics, signs, markers, markers, Parsiarabu tortor ABSTRAKPenelitian ini mengkaji tentang semiotika yang terdapat dalam Tortor Parsiarabu di desa Tomok Kabupaten Samosir. Tujuan penelitian ini untuk mengupas makna yang terdapat dalam Tortor Parsiarabu dan interpretasi makna yang dilihat. Untuk membahas tujuan penelitian di atas menggunakan teori-teori yang berhubungan dengan penelitian tersebut. Landasan teoritis dalam penelitian ini menggunakan teori Semiotika mengenai tanda, penanda, dan petanda oleh Ferdinan De Saurrsure dan Teori bentuk mengenai gerak dan busana oleh Humardani. Lokasi dan waktu penelitian ini dilaksanakan di Desa Tomok dan waktu penelitian nya selama dua bulan, populasi dan sampel adalah masyarakat dan anggota sanggar Parsaulian GPSB (Generasi Pecinta Seni Budaya). Penulis melakukan teknik pengumpulan data meliputi studi pustaka, observasi lapangan, wawancara dengan narasumber, dan melengkapi data dengan mengambil foto dokumentasi. Penelitian ini menggunakan deskriptif kualitatif. Hasil penelitian berdasarkan data yang telah terkumpul bahwa Tortor Parsiarabu memiliki 6 motif utama yaitu Siubeon, Marsomba, Mambukka Roha, Patoru Diri, Papunguhon, Mangandungi. Busana yang digunakan dalam tortor Parsiarabu ini yaitu Ulos Sibolang, Ulos Bittang Maratur, Ulos Suri-suri Ganjang. Adapun semiotika yang terdapat dalam tortor Parsiarabu dituangkan melalui tanda (sign) yang terdapat pada bentuk gerak yang terlihat pada penyajianya, penanda (signfer) yang dilihat dari ragam gerak utama yang ada pada tortor Parsiarabu, dan petanda (signfied) merupakan makna yang terdapat pada gerak tortor Parsiarabu, maka dapat diinterpretasikan bahwa makna dari keseluruhan tarian ini yaitu menghormat kepada Tuhan, menghormati yang berkedudukan tinggi atau pemerintah, menghormati sesama manusia, tetap rendah hati dan tidak sombong, menghargai orang lain, menyatukan hati sesama masyarakat agar tidak ada iri hati dan dendam. Kata Kunci : Semiotika, tanda, penanda, petanda, tortor Parsiarabu

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Sidabutar, Yuli M. "TORTOR HUSIP-HUSIP DALAM UPACARA KEMATIAN SAURMATUA PADA MASYARAKAT BATAK TOBA KAJIAN KOMUNIKASI NON VERBAL." Gesture : Jurnal Seni Tari 6, no. 1 (February 2, 2017): 52. http://dx.doi.org/10.24114/senitari.v6i1.5700.

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This study aims to find out how non-verbal communication of Tortor Husip-husip in Batak Toba society. The population in this study are some of the traditional leaders Batak Toba society in Simanindo district, some of the artists who know about Tortor Husip-husip and the actors (citizens) who are involved as performer Tortor-husip Husip. The sample is also customary prominent figure, artists, and actors involved in Tortor Husip-husip. The method is used descriptive qualitative method. To complete the data in this study, the research conducted field observations, video, interviews and also documentation. The results of the data collected can be seen in non-verbal communication of Tortor Husip-husip in Batak Toba society, which is not only as a dance performed in ceremonies of death Batak Toba, but also can serve as a medium of communication and symbolic systems. The uniqueness and characteristic of this tortor are gotten in Husip-husip which has meaning how expressing of whispering, hopeful and prayers to those who have Saurmatua. As a medium of non-verbal communication can be seen from the gesture. The dancers are not only get dance as usual, but there are non-verbal messages will be conveyed through by gesture in Tortor Husip-Husip. The form of non-verbal communication in Tortor Husip-husip is symbolized by keep nodding head with body position leaning forward and whispering with a corpse. Gondang Bolon as the traditional music is used in this ceremonial celebrating. It contains sarune, taganing, gordang, ogung and hesek. The Non-verbal messages will be submitted to each community must be respecting to parents. And the Tortor Husip-husip is one of final tribute and delivering of the prayer, hope, gratitude and apology to the parents who have saurmatua.

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Kesić, Zoran. "Police brutality and torture similarities and differences." Nauka, bezbednost, policija 23, no. 1 (2018): 35–50. http://dx.doi.org/10.5937/nabepo23-17166.

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Malik, Nikhil. "Constitutional Provisions Regarding Custodial Torture in India." International Journal of Research Publication and Reviews 5, no. 5 (May 17, 2024): 7879–83. http://dx.doi.org/10.55248/gengpi.5.0524.1323.

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Khodijah, Siti. "TORTOR ILAH MAJETTER PADA MASYARAKAT SIMALUNGUN KAJIAN TERHADAP NILAI." Gesture : Jurnal Seni Tari 6, no. 1 (February 2, 2017): 21. http://dx.doi.org/10.24114/senitari.v6i1.5696.

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Tortor Ilah Majetter an entertainment dance originating from the area Simalungun are often present at the party Rondang Bittang. Tortor Ilah Majetter a Tortor Ilah/singing. This study aims to determine how Tortor Ilah Majetter in Simalungun of values. To discuss the purpose of the study above, use the theories related to the topic of this research is the theory of value is made up ofreligious values, aesthetic values, social values, ethics values. Time spent in discussing Tortor Ilah Majetter in Simalungun of values research on the study of public during three monhs from june 2016 to august 2016. The location where the research is desa Purba Tongah Kecamatan Purba, Kabupaten Simalungun, Sumatera Utara. Data analysis in this research use descriptive qualitative data collection techniques by observation, library research, interviews, and documentation. The result of research based on the data collected can be seen that Tortor Ilah Majetter a young dance game on the night when the bright moon full moon that came with the singing. Tortor Ilah Majetter describe the joy of young people Simalungun. Though not much in the range of motion, but Tortor Ilah Majetter have values which are : 1) religious values which can be seen through poetry, 2) social values can be seen through the movement made jointly and simultaneously indicating Simalungun society very closely in togetherness, 3) aesthetic values can be seen through the motions, the pattern of the floor is well ordered and tidy. But it also can be seen through clothing and makeup dancer, 4) ethical values can be seen through the motions, the pattern of the floor, the clothes are limits and rules.

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Tambun, Immanensia. "Tortor Mangiligi Dalam Upacara Sayur Matua Pada Masyarakat Simalungun Kajian Terhadap Nilai Sosial." Gesture : Jurnal Seni Tari 6, no. 2 (August 23, 2017): 72. http://dx.doi.org/10.24114/senitari.v6i2.7205.

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This study discusses the Tortor Mangiligi In Ceremony Sayur Matua At Simalungun Society Study on the Social Value.To discuss the above research purposes, used theories related to the research topic, such as Tortor understanding, understanding Sayur Matua, Social Values and Implementation Process.When the study are used in discussing Tortor Mangiligi In Ceremony Sayur Matua At Simalungun Society Study on Social Values for 3 (three) months, namely in June to August 2016. The study site is Dalig Raya, Pematang Raya, Simalungun. The population in this study is the traditional leaders of society Simalungun, Tortor Mangiligi video documentation, as well as actors in the ceremony Tortor Mangiligi Sayur Matua.Analisis data in this study using descriptive qualitative data collection techniques with literature study, observation, interviews, and documentation.The results showed that, Tortor Mangiligi implemented as a form of respect for his children for services, kindness and hard work to his parents, and as a family party of gratitude to our Creator for longevity given to the parents of the deceased. Through the stages of planning to carry out the funeral ceremony event Sayur Matua up the process of implementation, the envisaged role of the alliance system that is ToluSahundulan and Lima Simelungun Saodaran. They are incorporated in the kinship system is an integral and inseparable relationship brotherly rope while their parents died, and they intertwined relationship between good communication, mutual respect, love, and cooperation in the success of traditional events Sayur Matua death Keywords: Tortor Mangiligi, Sayur Matua ceremony, Social Values

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Tarihoran, Valent. "TORTOR PINING ANJEI PADA MASYARAKAT SIMALUNGUN KAJIAN TERHADAP ETIKA DAN ESTETIKA." Gesture : Jurnal Seni Tari 6, no. 1 (February 2, 2017): 42. http://dx.doi.org/10.24114/senitari.v6i1.5698.

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Pining Anjeitortor dance tortor is entertainment on Simalungun society. Tortor dance creations that this is taken from folklore Simalungun. This study aims to determine how the shape and Ethics and Aesthetics Tortor Pining Anjei the Community Simalungun. To discuss the purpose of the study above, use the theories related to the topic of this research is the theory of the Presentation Form AM. Hermin K theory of Manner and Costum Ethics and Aesthetics of Dharsono theory.Time used in the research to discuss Tortor Pining Anjei In Simalungun Study on Public Ethics and Aesthetics for 2 months ie June 2016 to July 2016. The research site is in Pamatang Raya, Simalungun, North Sumatra. Analysis of the data in this study using a qualitative descriptive, data collection techniques by observation, library research, interviews, and documentation.The results based on the data collected can be seen that Tortor Pining Anjei as dance entertainment for the community Simelungun pick ethical values and aesthetics that can be seen from the movement, as well as the clothing worn in Tortor Pining Anjei. Ethical values contained therein are tortor movement which moved from the activities and habits of the people Simalungun. And also ethics in Simalungun tor tor-like hands that should not be open too wide, and must not exceed the ears. It is clear that a woman should be polite. Ethics in a dress no where used clothing is Marabit Top. However Marabit Top fashion is clothing worn by women Simalungun society. Aesthetic value can be observed from the movement of the arms, legs and head. Motion carried out can be seen with a good, neat, organized, and flexible. In addition to aesthetics in motion, there is also the aesthetic in the distinctive fashion Simelungun like Ragi Pane and suriSuri makes Tortor Pining Anjei more beautiful views.

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Caswell, Alan. "Torture victims." Nursing Standard 3, no. 2 (October 8, 1988): 41. http://dx.doi.org/10.7748/ns.3.2.41.s73.

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Lobato, Rodolfo. "Linhas Tortas." Confluências | Revista Interdisciplinar de Sociologia e Direito 1, no. 1 (April 1, 2004): 64. http://dx.doi.org/10.22409/conflu1i1.p20196.

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