ABSTRACT Based on a rhetorical-narratological analysis of Joshua Oppenheimer’s film The Act of Killing (2012), this article identifies a specific use of the filmic voice which it defines as ‘laissez-faire storytelling.’ The laissez-faire voice is a rhetorical stance that serves documentary filmmakers to reconfigure their narrative position toward actors who espouse a ‘post-factual’ worldview. Directors who employ this stance strategically grant their actors a considerable amount of freedom in the making of the documentary. Ultimately, however, their technique exposes a problematic rhetoric in which the borderline between fictionality and non-fictionality is obliterated. The article concludes that the laissez-faire documentary resonates strongly with current attempts in both theory and art to restabilize the precarious boundaries between fictionality and non-fictionality—a reorientation that is decidedly ‘post-postmodernist.’
{"title":"Laissez-Faire Storytelling: Fictionality, Post-Factuality, and the Filmic Voice in Joshua Oppenheimer’s Documentary <i>The Act of Killing</i> (2012)","authors":"Alexander Scherr","doi":"10.5325/style.57.3.0296","DOIUrl":"https://doi.org/10.5325/style.57.3.0296","url":null,"abstract":"ABSTRACT Based on a rhetorical-narratological analysis of Joshua Oppenheimer’s film The Act of Killing (2012), this article identifies a specific use of the filmic voice which it defines as ‘laissez-faire storytelling.’ The laissez-faire voice is a rhetorical stance that serves documentary filmmakers to reconfigure their narrative position toward actors who espouse a ‘post-factual’ worldview. Directors who employ this stance strategically grant their actors a considerable amount of freedom in the making of the documentary. Ultimately, however, their technique exposes a problematic rhetoric in which the borderline between fictionality and non-fictionality is obliterated. The article concludes that the laissez-faire documentary resonates strongly with current attempts in both theory and art to restabilize the precarious boundaries between fictionality and non-fictionality—a reorientation that is decidedly ‘post-postmodernist.’","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135053032","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT Combining the poet’s cultivated character, tones and rhythms, and spirit in Wang Guowei’s poetic realm theories with the viewpoints of poem compositions in Shi Sou, the article proposes the four essential elements, cultivated character, genre, tones and rhythms, and style, in poem translations, and argues that the translator should find the poet who has similar cultivated characters with him to translate, and meters and rhythms of translated poems should show the emotions and meanings of the original, and the styles of the translated poems should agree with those of the original ones. The article, therefore, constructs a contextual model integrating the context of situation consisting of the genre (field), tones (meters) and rhythms (mode), and style (tenor) into the context of culture containing the cultivated character and puts forth the principles for poem translations and criticisms.
{"title":"The Contextual Model for Poem Translations and Criticisms: An Enlightenment from Wang Guowei’s Realm of Poetic World","authors":"Yuanpeng Huang","doi":"10.5325/style.57.3.0370","DOIUrl":"https://doi.org/10.5325/style.57.3.0370","url":null,"abstract":"ABSTRACT Combining the poet’s cultivated character, tones and rhythms, and spirit in Wang Guowei’s poetic realm theories with the viewpoints of poem compositions in Shi Sou, the article proposes the four essential elements, cultivated character, genre, tones and rhythms, and style, in poem translations, and argues that the translator should find the poet who has similar cultivated characters with him to translate, and meters and rhythms of translated poems should show the emotions and meanings of the original, and the styles of the translated poems should agree with those of the original ones. The article, therefore, constructs a contextual model integrating the context of situation consisting of the genre (field), tones (meters) and rhythms (mode), and style (tenor) into the context of culture containing the cultivated character and puts forth the principles for poem translations and criticisms.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135052739","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the literature academia, whether science fiction is a genre was contested and the definition of science fiction has been chaotic for years. Although many scholars attempted to define the nature of science fiction, there are still piecemeal insights and observations either in its theoretical or historical aspects. For a long time, the nature of science fiction has been discussed mostly among literary critics, and seldom do professional writers participate in such a debate. The book Between Science and Society: Charting the Space of Science Fiction, is a centerpiece focusing on inner dialogues among writers of science fiction. By adopting an unorthodox research method, Van Belle interviews twenty-four renowned science fiction writers who represent an extensive scope of sub-genres of science fiction in order to document the perspectives of the writers and construct the mediated space, as the book title suggests, between science and society.The volume under review consists of thirty chapters, which are well-organized. Chapter 1 explains the setting and the goal of the interviews. Chapters 2 through chapter 25 present the interview transcripts of the writers in alphabetical order of their names. Chapters 26 to 29 are a conclusion of the content of these interviews and the key elements the writers propose in conceptualizing the nature of science fiction as an ecosystem. In the last chapter, Van Belle proposes academic implications and calls for further studies.The “Introduction” section of this book outlines the conflict between literature academia and professional science fiction writers. Some of the academic analyses of the genre had regarded science fiction as inferior to other genres of literature, disparaged the writers’ thinking, skill, and intent, and worse of all failed to grasp the essence of science fiction. Though the hostility is alleviated in recent years, the estrangement still impedes the two parties from understanding each other. Van Belle announced in advance the intent of the book is to find out and document “as faithfully as possible, how the authors conceptualized their role in that space between science and society and explore how that conceptualization might translate into their conceptualization of the genre” (3).The research method adopted in this study is loosely structured interviewing, consisting of six questions that are not designed to obtain a rigorous yes or no answer, but to serve as an elicitation inspiring the writers to elaborate on their understanding without any bounds. It is more of a conversational style than a Q&A routine. The six questions can be roughly divided into three groups:The questions in the first group are (1. Origin Story; 2. Compromise on Science) related to writers’ history and their writing process, asking how they conceive of themselves as professional science fiction writers and what the elements they consider to be necessary to science fiction. This group of questions allows the writers to “t
在文学界，科幻小说是否是一种体裁一直存在争议，科幻小说的定义多年来一直很混乱。尽管许多学者试图定义科幻小说的本质，但在理论或历史方面仍有零星的见解和观察。长期以来，关于科幻小说本质的讨论主要集中在文学评论家之间，很少有专业作家参与其中。《在科学与社会之间:描绘科幻小说的空间》是关注科幻作家之间内心对话的核心作品。范·贝尔采用了一种非正统的研究方法，采访了24位著名的科幻作家，他们代表了广泛的科幻小说子流派，以记录作家的观点，并构建科学与社会之间的中介空间，正如书名所示。正在审查的这卷书有三十个章节，组织得很好。第一章解释了访谈的背景和目的。第2章至第25章是按作者姓名的字母顺序排列的采访笔录。第26至29章是对这些访谈内容的总结，以及作者在将科幻小说的本质概念化为一个生态系统时提出的关键要素。在最后一章，Van Belle提出了学术意义，并呼吁进一步研究。本书的“引言”部分概述了文学学术界和专业科幻作家之间的冲突。一些对科幻小说的学术分析认为，科幻小说不如其他文学类型，贬低了作家的思维、技巧和意图，更糟糕的是，没有抓住科幻小说的本质。虽然近年来敌意有所缓解，但隔阂仍然阻碍着双方相互理解。Van Belle提前宣布，这本书的目的是找出并记录“尽可能忠实地，作者如何概念化他们在科学和社会之间的空间中的角色，并探索如何将概念化转化为他们对流派的概念化”(3)。本研究采用的研究方法是松散结构的访谈，包括六个问题，不是为了获得严格的是或否的答案。而是作为一种启发，激励作者毫无限制地阐述自己的理解。它更像是一种对话风格，而不是例行的问答。这六个问题大致可以分为三组:第一组的问题是(1);起源的故事;2. 《科学妥协》(Compromise on Science)与作家的历史和写作过程有关，询问他们如何看待自己作为专业科幻作家，以及他们认为科幻小说必须具备哪些要素。这组问题允许作者“从一开始就掌握自己的所有权”(17)。第二组的问题是(3)。与科学家互动;4. 教学时刻;5. 《在科学与社会之间》一书探讨了作家对科幻小说的角色和功能的理解。这组问题揭示了作家如何“概念化他们在科学与社会之间的社会、文化、有时是物理空间中的位置”(15)。第三组是一个附加问题(6)。我应该问什么?)，为作者提供了补充他们的评论或疑问的机会。这样的问题“增强了被调查者信念表征的有效性”(17)。从一群被确定为雨果获奖者的作家中选出24位作家作为受访者，星云奖获得者，著名编剧，多产的年轻成人科幻作家，或杰出的未来主义者，涵盖各种科幻领域，包括硬科幻，社会学科幻小说，以性别/性为中心的科幻小说，太空歌剧，仅举几例。在性别和文化多样性方面，白人男性作家的优势值得注意，收集更多文化多样性的作家将更具代表性。凡·贝尔从24位专业科幻作家的回答中提取了共性。科幻小说最常被提及和最重要的特征或元素是讲故事。在对第一组问题的回答中，大多数作家会将自己定位为一个讲故事的人。杰克·麦克德维特认为自己是一个艺人，而不是使用抽象的描述，如“科学与社会之间的代理人”(172)。引用大卫·布林的话，他说:“(科幻小说)就是通过这些思想实验来延伸这个不可思议的故事，从而推断出这个戏剧在未来可能的延伸。”(187)
{"title":"Between Science and Society: Charting the Space of Science Fiction","authors":"Huiyang Pan, Hongwei Zhan","doi":"10.5325/style.57.3.0408","DOIUrl":"https://doi.org/10.5325/style.57.3.0408","url":null,"abstract":"In the literature academia, whether science fiction is a genre was contested and the definition of science fiction has been chaotic for years. Although many scholars attempted to define the nature of science fiction, there are still piecemeal insights and observations either in its theoretical or historical aspects. For a long time, the nature of science fiction has been discussed mostly among literary critics, and seldom do professional writers participate in such a debate. The book Between Science and Society: Charting the Space of Science Fiction, is a centerpiece focusing on inner dialogues among writers of science fiction. By adopting an unorthodox research method, Van Belle interviews twenty-four renowned science fiction writers who represent an extensive scope of sub-genres of science fiction in order to document the perspectives of the writers and construct the mediated space, as the book title suggests, between science and society.The volume under review consists of thirty chapters, which are well-organized. Chapter 1 explains the setting and the goal of the interviews. Chapters 2 through chapter 25 present the interview transcripts of the writers in alphabetical order of their names. Chapters 26 to 29 are a conclusion of the content of these interviews and the key elements the writers propose in conceptualizing the nature of science fiction as an ecosystem. In the last chapter, Van Belle proposes academic implications and calls for further studies.The “Introduction” section of this book outlines the conflict between literature academia and professional science fiction writers. Some of the academic analyses of the genre had regarded science fiction as inferior to other genres of literature, disparaged the writers’ thinking, skill, and intent, and worse of all failed to grasp the essence of science fiction. Though the hostility is alleviated in recent years, the estrangement still impedes the two parties from understanding each other. Van Belle announced in advance the intent of the book is to find out and document “as faithfully as possible, how the authors conceptualized their role in that space between science and society and explore how that conceptualization might translate into their conceptualization of the genre” (3).The research method adopted in this study is loosely structured interviewing, consisting of six questions that are not designed to obtain a rigorous yes or no answer, but to serve as an elicitation inspiring the writers to elaborate on their understanding without any bounds. It is more of a conversational style than a Q&A routine. The six questions can be roughly divided into three groups:The questions in the first group are (1. Origin Story; 2. Compromise on Science) related to writers’ history and their writing process, asking how they conceive of themselves as professional science fiction writers and what the elements they consider to be necessary to science fiction. This group of questions allows the writers to “t","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135053034","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT Since the 1990s, social neuroscience has established imitation as an unconscious, constitutive element of human identity; to the point that one may reasonably say that human identity is imitative identity. This research has profound implications for the human fascination with imitation in general, as well as with specific kinds of imitation. For the imitative identity, imitation human beings are uniquely, but strangely fascinating. This may readily be seen from the long history of stories about humanly made imitation humans. Philip K. Dick’s Do Androids Dream of Electric Sheep? is a major entry in the history of such stories. This article shows how social-neuroscientific findings about imitative identity can help us understand Dick’s novel.
{"title":"The Fascination of Imitation: What Social Neuroscience Reveals about <i>Do Androids Dream of Electric Sheep?</i>","authors":"Tony Jackson","doi":"10.5325/style.57.3.0273","DOIUrl":"https://doi.org/10.5325/style.57.3.0273","url":null,"abstract":"ABSTRACT Since the 1990s, social neuroscience has established imitation as an unconscious, constitutive element of human identity; to the point that one may reasonably say that human identity is imitative identity. This research has profound implications for the human fascination with imitation in general, as well as with specific kinds of imitation. For the imitative identity, imitation human beings are uniquely, but strangely fascinating. This may readily be seen from the long history of stories about humanly made imitation humans. Philip K. Dick’s Do Androids Dream of Electric Sheep? is a major entry in the history of such stories. This article shows how social-neuroscientific findings about imitative identity can help us understand Dick’s novel.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135052740","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT To feel nervously and apprehensively “creeped out” is a familiar emotional state, but its cause—what makes something or someone “creepy”—is poorly understood. A recent evolutionary account of creepiness suggests that the emotion arises from a perceived “ambiguity about the presence of threat” (McAndrew and Koehnke 10). However, not all ambiguous threats are perceived as creepy. This article argues that specifically creepy threats arise from disrupted mentalization, by which is meant difficulties in apprehending the mind of another being in such a way as to make that being seem threateningly unpredictable. The authors propose that this explanation of creepiness also explains “the uncanny,” a concept that is closely related to creepiness and to which a much older and larger research literature attaches. Finally, it is suggested that the present account can make sense of some iconically creepy figures of horror fictions, including zombies, ghosts, and ominously unhuman children.
{"title":"Creepiness and the Uncanny","authors":"Jens Kjeldgaard-Christiansen, Mathias Clasen","doi":"10.5325/style.57.3.0322","DOIUrl":"https://doi.org/10.5325/style.57.3.0322","url":null,"abstract":"ABSTRACT To feel nervously and apprehensively “creeped out” is a familiar emotional state, but its cause—what makes something or someone “creepy”—is poorly understood. A recent evolutionary account of creepiness suggests that the emotion arises from a perceived “ambiguity about the presence of threat” (McAndrew and Koehnke 10). However, not all ambiguous threats are perceived as creepy. This article argues that specifically creepy threats arise from disrupted mentalization, by which is meant difficulties in apprehending the mind of another being in such a way as to make that being seem threateningly unpredictable. The authors propose that this explanation of creepiness also explains “the uncanny,” a concept that is closely related to creepiness and to which a much older and larger research literature attaches. Finally, it is suggested that the present account can make sense of some iconically creepy figures of horror fictions, including zombies, ghosts, and ominously unhuman children.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135052738","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As a field of academic study, pop culture has historically been under researched in the social sciences by virtue of a perception that it constitutes low culture, and is thus less worthy of critical study than traditionally canonical cultural products. While films, television shows, and pop music are consumed by mass audiences at an ever more considerable rate, their status as the object of linguistic analysis has long been neglected in favor of more perceivably high culture texts such as poems, novels, and plays. In recent years, however, there has been a shift in thinking in this area, and the ideological significance of language use in such pop(ular) artforms has come to be recognized as both a reflection of, and a vehicle for the communication of, contemporary ideology.Since the turn of the millennium, there have been significant works on the language of pop culture (Bell and Gibson; Queen; Werner), the language of film and television, often dubbed “telecinematic linguistics” (Bateman and Schmidt; Bednarek; Beach; Beers Fägersten; Forchini; Harrison; Hodson; LippiGreen; Marshall and Werndly; Piazza et al.; Richardson), and the language of pop music (Beal; Coupland; Flanagan; Gerfer; Harrison and Ringrow; Jansen and Westphal; Jansen; Machin; McKerrell and Way; Pennycook; Ross and Rivers; Simpson; Watts and Morrissey; Werner; West; WisemanTrowse). The concept of performed language underpins all of these areas of interest, with the linguistic study of pop culture texts necessarily framed with the central notion that the language being analyzed is at least to some extent “inauthentic”: crafted, deliberately or even subconsciously, with a consideration of the effect that linguistic choices will have on the communication of artists’/characters’ identities, and ultimately the effect this will have on how the audience interprets the text.The present volume, Stylistic Approaches to Pop Culture is edited by Christoph Schubert and Valentin Werner, and builds on the latter’s 2018 introductory edited volume The Language of Pop Culture. This is the first book to focus exclusively on stylistic approaches to a range of pop culture text genres; it thus exhibits a more consistent thematic approach to pop cultural linguistic study than its predecessor, which by necessity provides a broader outlook on this field of linguistic inquiry. Stylistics here is defined relatively broadly, and encompasses a range of approaches, these being social stylistic, pragmatic, cognitive, multimodal, and corpus-based stylistic analysis.The book comprises 10 chapters and is divided into subsections that delve into different spheres of pop culture: pop fiction; telecinematic discourse; pop music and lyrics; and cartoons and video games. This establishes pop culture as a broad church indeed, with a useful introductory chapter from Werner on the nature of pop culture texts from a stylistic perspective bookended by an afterword from Michael Toolan on the present and future of pop cultu
作为一个学术研究领域，流行文化在历史上一直受到社会科学的研究，因为人们认为它构成了低级文化，因此不如传统的规范文化产品值得批判性研究。虽然电影、电视节目和流行音乐被大众消费的速度越来越快，但它们作为语言分析对象的地位长期以来一直被忽视，人们更倾向于研究诗歌、小说和戏剧等更容易被感知的高雅文化文本。然而，近年来，这一领域的思维已经发生了转变，语言在这种流行(普通)艺术形式中的意识形态意义已经被认为既是当代意识形态的反映，也是沟通的工具。自世纪之交以来，出现了关于流行文化语言的重要著作(贝尔和吉布森;女王;沃纳)，电影和电视的语言，经常被称为“影视语言学”(贝特曼和施密特;Bednarek;海滩;啤酒Fagersten;Forchini;哈里森;Hodson;LippiGreen;马歇尔和温德利;Piazza等人;Richardson)和流行音乐语言(Beal;科普兰;弗拉纳根;Gerfer;哈里森和林格罗;詹森和韦斯特法尔;Jansen;食蟹猴;McKerrell and Way;Pennycook;罗斯和里弗斯;辛普森;沃茨和莫里西;沃纳;西方;WisemanTrowse)。表演语言的概念支撑着所有这些感兴趣的领域，流行文化文本的语言研究必然以被分析的语言至少在某种程度上是“不真实的”这一中心概念为框架:精心制作的，故意的，甚至是下意识的，考虑到语言选择对艺术家/角色身份交流的影响，以及最终对观众如何解释文本的影响。本卷《流行文化的文体方法》由克里斯托夫·舒伯特和瓦伦丁·维尔纳编辑，并以后者2018年的介绍性编辑卷《流行文化的语言》为基础。这是第一本专门关注流行文化文本类型的文体方法的书;因此，它在流行文化语言学研究中表现出比其前身更一致的主题方法，这必然为这一语言研究领域提供了更广阔的前景。文体学在这里的定义相对宽泛，包括一系列方法，包括社会文体学、语用学、认知学、多模态和基于语料库的文体学分析。这本书共有10章，分为几个小节，深入探讨了流行文化的不同领域:通俗小说;telecinematic话语;流行音乐和歌词;还有卡通和电子游戏。这确实确立了流行文化是一个广泛的教会，从风格的角度来看，维尔纳有一个有用的介绍章节，从流行文化文本的本质来看，迈克尔·图兰在后记中谈到了流行文化语言学的现在和未来。在引言部分，Werner和Schubert承认，最近关注流行文化语言学的作品数量的增加(参见Werner 2022)是这一研究领域的“转折点”。他们根据许多标准来定义流行文化文本，包括它们的大规模生产和消费，以及至少是符号化。最重要的是，他们指出，这些文本“每天影响着大多数人，如果不是所有人的话”，因此捍卫了他们分析的重要性和成果。文体学是研究这类文本的一门特别重要的学科，因为它倾向于关注虚构文本，并通过一系列框架和独特的方法使用广泛的工具包来研究语言。格雷戈里奥在罗宾逊1988年的犯罪小说《一个献身的人》中关于误导的章节开始了关于流行小说的部分。通过关注利兹大学的特殊收藏档案材料，Gregoriou探索了犯罪小说类型的流行本质，以及作者如何隐藏(背景)“犯罪相关线索”，以鼓励具有该类型经验的读者参与到解决犯罪的过程中。Gregoriou采用了一种认知风格的方法，通过这种方法，他揭示了语法、语义和语用的特征，这些特征有助于作者在整个过程中指导读者的一系列策略。通过考虑读者的图式期望(以及定期中断和恢复的影响)，作者探索了认知“怀疑列表”的概念，作者在整个故事中仔细地提供了这个概念，并且作者如何传达诸如性别，性取向和身体能力等特征。接下来，蒙托罗对《死到天黑》进行了语料库风格的研究，将其改编为HBO大受欢迎的吸血鬼题材剧集《真爱如血》。 通过关注南方哥特类型，对小说和电视改编的第一季的语言分析被用来洞察种族和性的概念是如何经常成为吸血鬼故事的核心。严格的基于语料库的方法允许Montoro发现，通过语义和词性分析，颜色(暗/光)和性的主题在小说和电视剧中都特别突出，但改编更明确和广泛地突出了这些问题。作者因此得出结论，鉴于流行文化文本对复杂社会问题的明显关注，它是一个特别有利的分析基础。Karpenko-Seccombe对英国真人秀《爱情岛》第四季中语言使用的分析是电影文体学领域四篇论文中的第一篇:电影和电视语言。真人秀节目如《爱情岛》被认为是特别有趣的，因为它们的语言和交流在某种程度上是复杂的混合性质，可以被认为是自然的和无脚本的。作者采用基于语料库的方法，专注于关键词，n-grams和一致性;分析表明，交际语境是观察到的语言风格的核心，其特点是为了说话人和观看者的利益而进行交流(以及“格式的脚本元素”)。与自然口语相比，语言被发现是重复的，公式化的，非典型性的，是这种流行的电视电影话语混合类型的象征。在本章之后，Reichelt对美国喜剧系列《处女简》前四季的意识形态立场进行了多模态分析。通过分析西班牙语-英语双语代码转换的模式，以及对非母语/捷克语英语的处理，作者“举例说明了流行文化产物中构建的多层次风格”，并支持对“解构潜在有意义的意识形态”进行详细分析的必要性。Reichelt基于Lippi-Green和Androutsopoulos的工作，使用了一个意识形态索引框架，揭示了一套复杂的意识形态，从标准语言对少数民族语言用户的优势到使用代码转换作为积极的立场标记。视觉元素分析是基于三个场景，这被认为是加强语言数据的发现。作者的结论是，有迹象表明，不同的语言代码比以前的研究发现更积极的表现，但一些刻板印象和歧视的问题仍然存在。联合编辑舒伯特接下来考虑了塔伦蒂诺2015年的电影《八恶》的原始剧本，重点关注扩展的问答邻接对，以及通过不合作话语的存在产生悬念的格里安语用元素。舒伯特专注于“选定的关键场景”，因此采取了定性的方法来分析会话特征。作为一种“侦探小说”叙事，与Gregoriou前面章节中讨论的并无不同，交际不合作被视为产生悬疑的基本实用手段，而悬疑是电影类型的核心。舒伯特认为悬疑是一系列流行文化作品的核心元素，因此，他支持将实用主义风格分析作为理解更广泛的流行文化文本特征的“增强娱乐效果”的重要组成部分。霍夫曼对电视电影文体学部分的最后贡献也是由他提供的，他也采用了对话分析的方法，这次他评估了47部当代美国电影中127个电话的开场。霍夫曼发现，电影电话的表演语言(其中一些由于媒介的原因，只有一个可听到的参与者)与自然发生的可比较数据中发现的结构之间存在显著差异。这种变化被认为是战略性的:一种叙事手段，减少口头交流，使情节发展更快，但可能会牺牲更真实的“真实”交流。有趣的是，分析表明电影类型之间的差异很小，这表明电话序列中的“压缩”风格是电视电影语言的一个广泛特征。关于流行音乐和歌词的部分包含了两种截然不同的方法，第一种是Jansen和Gerfer对Alex Turner最近在Albert Hall演出中的现场表演的分析，该演出来自谢菲尔德独立乐队Arctic Monkeys。在之前对特纳(比尔;弗拉纳根)，作者采用了一种社会风格的方法，关注歌手表演语言的语音特征。 总的来说，这是一本组织良好、具有启发性的作品集，它反映了(实际上只是简单地触及了)流行文化文本的有效风格方法的万花筒范围。这本
{"title":"Stylistic Approaches to Pop Culture","authors":"Paul J. Flanagan","doi":"10.5325/style.57.3.0392","DOIUrl":"https://doi.org/10.5325/style.57.3.0392","url":null,"abstract":"As a field of academic study, pop culture has historically been under researched in the social sciences by virtue of a perception that it constitutes low culture, and is thus less worthy of critical study than traditionally canonical cultural products. While films, television shows, and pop music are consumed by mass audiences at an ever more considerable rate, their status as the object of linguistic analysis has long been neglected in favor of more perceivably high culture texts such as poems, novels, and plays. In recent years, however, there has been a shift in thinking in this area, and the ideological significance of language use in such pop(ular) artforms has come to be recognized as both a reflection of, and a vehicle for the communication of, contemporary ideology.Since the turn of the millennium, there have been significant works on the language of pop culture (Bell and Gibson; Queen; Werner), the language of film and television, often dubbed “telecinematic linguistics” (Bateman and Schmidt; Bednarek; Beach; Beers Fägersten; Forchini; Harrison; Hodson; LippiGreen; Marshall and Werndly; Piazza et al.; Richardson), and the language of pop music (Beal; Coupland; Flanagan; Gerfer; Harrison and Ringrow; Jansen and Westphal; Jansen; Machin; McKerrell and Way; Pennycook; Ross and Rivers; Simpson; Watts and Morrissey; Werner; West; WisemanTrowse). The concept of performed language underpins all of these areas of interest, with the linguistic study of pop culture texts necessarily framed with the central notion that the language being analyzed is at least to some extent “inauthentic”: crafted, deliberately or even subconsciously, with a consideration of the effect that linguistic choices will have on the communication of artists’/characters’ identities, and ultimately the effect this will have on how the audience interprets the text.The present volume, Stylistic Approaches to Pop Culture is edited by Christoph Schubert and Valentin Werner, and builds on the latter’s 2018 introductory edited volume The Language of Pop Culture. This is the first book to focus exclusively on stylistic approaches to a range of pop culture text genres; it thus exhibits a more consistent thematic approach to pop cultural linguistic study than its predecessor, which by necessity provides a broader outlook on this field of linguistic inquiry. Stylistics here is defined relatively broadly, and encompasses a range of approaches, these being social stylistic, pragmatic, cognitive, multimodal, and corpus-based stylistic analysis.The book comprises 10 chapters and is divided into subsections that delve into different spheres of pop culture: pop fiction; telecinematic discourse; pop music and lyrics; and cartoons and video games. This establishes pop culture as a broad church indeed, with a useful introductory chapter from Werner on the nature of pop culture texts from a stylistic perspective bookended by an afterword from Michael Toolan on the present and future of pop cultu","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135052761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT Stories and the Brain: The Neuroscience of Narrative by Paul B. Armstrong and Brain, Mind, and the Narrative Imagination by Christopher Comer and Ashley Taggart adopt cultural constructivist perspectives that reject the idea of evolved human motives and emotions. Both books contain information that could be integrated with other research in a comprehensive and empirically grounded theory of narrative, but they both fail to construct any such theory. In order to avoid subordinating the humanities to the sciences, Comer and Taggart avoid integrating their separate disciplines: neuroscience (Comer) and narrative theory (Taggart). They draw no significant conclusions from the research they summarize. Armstrong subordinates neuroscience to the paradoxes of phenomenology and 4E cognition. His prose develops not by consecutive reasoning but by the repetitive intonation of paradoxical formulas. The failures in theoretical construction displayed by these two books run parallel with weaknesses in the interpretive criticism with which they illustrate their ideas. The different ways in which the books fail are sometimes comical but nonetheless instructive. The failures inadvertently point toward the radical changes in humanist thinking that would be necessary for success in integrating neuroscience and narrative theory.
{"title":"Narrative Theory and Neuroscience: Why Human Nature Matters","authors":"Joseph Carroll","doi":"10.5325/style.57.3.0241","DOIUrl":"https://doi.org/10.5325/style.57.3.0241","url":null,"abstract":"ABSTRACT Stories and the Brain: The Neuroscience of Narrative by Paul B. Armstrong and Brain, Mind, and the Narrative Imagination by Christopher Comer and Ashley Taggart adopt cultural constructivist perspectives that reject the idea of evolved human motives and emotions. Both books contain information that could be integrated with other research in a comprehensive and empirically grounded theory of narrative, but they both fail to construct any such theory. In order to avoid subordinating the humanities to the sciences, Comer and Taggart avoid integrating their separate disciplines: neuroscience (Comer) and narrative theory (Taggart). They draw no significant conclusions from the research they summarize. Armstrong subordinates neuroscience to the paradoxes of phenomenology and 4E cognition. His prose develops not by consecutive reasoning but by the repetitive intonation of paradoxical formulas. The failures in theoretical construction displayed by these two books run parallel with weaknesses in the interpretive criticism with which they illustrate their ideas. The different ways in which the books fail are sometimes comical but nonetheless instructive. The failures inadvertently point toward the radical changes in humanist thinking that would be necessary for success in integrating neuroscience and narrative theory.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135053011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While generations of poets around the world have taken direct inspiration from Plato’s contemplation of beauty and truth, the Greek philosopher fiercely criticized poets and even insisted to expel them from his ideal state. He believed that poetry “feeds and waters passions instead of drying them up; she lets them rule”; consequently, society risks at being ruled by “pleasure and pain.” But is there any evidence for his assumptions? Is there proof that linguistic elements cause emotional reactions? Does poetry about pain really make us suffer? And how can we collect independent data to confront different assumptions about the effects that poetry has on its recipients? For those who find these questions interesting or troublesome, Experiencing Poetry. A Guide to Psychopoetics by Willie van Peer and Anna Chesnokova will help find reliable answers.The term psychopoetics is used here in a different sense from that adopted by Felman or Bal, who aimed to relate psychoanalysis to the studies of literature. Van Peer and Chesnokova define psychopoetics as “the study of poetic experiences, of what goes through you when you are confronted with poetic texts” (viii). In their approach empirical results are a central component to their argument. They intend “to expose claims about the psychological workings of poetry to serious and methodological tests as well as instruct our readers on how to apply and interpret such tests” (viii). Marrying “age-old traditional poetics to more recent methods of investigation, developed in the social sciences” (17), Van Peer and Chesnokova bring solutions to those who are tempted to investigate how people experience poetry, but are discouraged by the subjectivity of textual analysis alone.The book is a timely publication. The empirical study of literature has been expanding for several decades now (van Peer; Miall and Kuiken; Bortolussi and Dixon; Koopman). Van Peer is one if its founders and both authors have made a compelling case for the development and recognition of this type of investigation (Chesnokova and van Peer, Versus; Chesnokova and van Peer, Znaki Czy Nie Znaki?; van Peer and Chesnokova). Moreover, as the authors point out in the introduction, cognitive poetics has also brought a psychological dimension to the research about our reading and understanding literature (Gavins and Steen, Stockwell, Tsur). Nonetheless, the uniqueness of this monograph lies in its focus on an evidence-based approach studying the emotions we experience while being exposed to poetry (and not to literature in general).What is more, the “book [is designed] for an international audience” and the authors open their research to “the multiplicity and variety of cultural expressions,” bearing in mind that “different cultures handle poetic issues in different ways” (ix). At the same time, their examples include poems written not only in languages other than English, but also in different epochs. Expanding the intercultural and historical dimensi
虽然世界各地的几代诗人都从柏拉图对美与真的沉思中获得了直接的灵感，但这位希腊哲学家却激烈地批评诗人，甚至坚持要把他们从他的理想状态中驱逐出去。他相信诗歌“滋养和滋润激情，而不是使之干涸;她让他们统治”;因此，社会面临着被“快乐和痛苦”所统治的风险。但他的假设有证据吗?有证据表明语言因素会引起情绪反应吗?关于痛苦的诗歌真的会让我们受苦吗?我们如何收集独立的数据来对抗关于诗歌对接受者的影响的不同假设?对于那些觉得这些问题有趣或麻烦的人来说，体验诗歌。威利·范·皮尔和安娜·切斯诺科娃的《心理心理学指南》将有助于找到可靠的答案。这里使用的“心理心理学”一词与费尔曼或巴尔使用的意思不同，后者旨在将精神分析与文学研究联系起来。Van Peer和Chesnokova将心理诗学定义为“诗歌体验的研究，当你面对诗歌文本时，你会经历什么”(viii)。在他们的方法中，实证结果是他们论点的核心组成部分。他们打算“将关于诗歌心理作用的主张暴露给严肃和方法论的测试，并指导我们的读者如何应用和解释这些测试”(viii)。Van Peer和Chesnokova将“古老的传统诗学与最近在社会科学中发展起来的调查方法”(17)结合起来，为那些想要调查人们如何体验诗歌，但又被文本分析的主观性所阻碍的人提供了解决方案。这本书是及时出版的。几十年来，文学的实证研究一直在扩大(范佩尔;米尔和库伊肯;Bortolussi和Dixon;•库普曼)。范佩尔是其中之一，如果它的创始人和两位作者都为这类调查的发展和认可做出了令人信服的案例(Chesnokova和范佩尔，对;切斯诺科娃和范佩尔，Znaki Czy Nie Znaki?;van Peer和Chesnokova)。此外，正如作者在引言中指出的那样，认知诗学还为我们对文学的阅读和理解研究带来了一个心理学维度(Gavins and Steen, Stockwell, Tsur)。尽管如此，这本专著的独特之处在于它专注于一种基于证据的方法，研究我们在接触诗歌(而不是一般的文学)时所经历的情感。更重要的是，“这本书是为国际读者设计的”，作者将他们的研究开放给“文化表达的多样性和多样性”，牢记“不同的文化以不同的方式处理诗歌问题”(ix)。同时，他们的例子不仅包括用英语以外的语言写的诗歌，而且包括不同时代的诗歌。扩展跨文化和历史的维度是这本专著与众不同和非常受欢迎的另一个原因。正如副标题所示，《体验诗歌》是一本指南。它是为没有诗学背景的学生和早期职业学者写的。然而，利用社会科学的工具来研究诗歌的影响，对于想要扩大学术视野的文学和/或语言学家来说是一个有价值的追求。这本书组织得很好。全书分为九章，标题引人入胜，风格优雅，如“诗是疯狂的”、“诗是美丽的”。作者平易近人的风格和他们对读者的直接呼吁(“等一下，不要逃跑”)使阅读过程变得愉快和引人入胜。每章以一个关键词列表开始，表明其内容，并以一组核心问题和进一步的阅读建议结束。在书的最后一部分，有一个最重要的术语的词汇表，然后是辅助资源，包括几个样本问卷，这对想要进行自己实验的读者非常有用。另一个舒适的解决方案是将本书链接到与其内容一起开发的网络伴侣。第一章以一个直截了当的问题开篇:“什么是诗?”为了避免分散讨论的注意力，作者建议从原型的角度来思考诗歌:文本中出现的品质越多，“人们就越有可能认为它是一首诗”(2)。他们考虑了各种因素，如诗歌的图形布局、节形式、押韵、格律、比喻语言;指出这些都是引起诗歌读者心理效应的结构。公平的是，作者没有让我们等待证据来证明这一切是否属实。第二章介绍了统计学的基本概念，并指导我们如何应用心理心理学中收集数据的工具，即问卷调查。 Van Peer和Chesnokova邀请读者参与第一个实验，并带领他们一步一步地了解他们的方法，提请注意统计分析的棘手方面。第三章和第四章讨论了文体学的两个中心前提:平行和偏离。一旦读者了解了这两种重要的诗歌机制，作者就会展示更多的工具来为其效果寻求证据支持。他们讨论了一种操作方法，并提出了一个需要对照组和实验组的实验。他们让一组读者看原著，而让另一组读者看他们精心识别的平行结构被剥夺的文本。在比较读者反应的过程中，他们向我们介绍了李克特量表，这是一种定量数据收集的标准工具。第五章是诗歌的效果，这可以被称为启示或顿悟。正如作者所指出的那样，人们在阅读诗歌时感到鸡皮疙瘩或突然对某些情况有了新的理解的启发性时刻是相当自发的，无法计划，因此无法用定量方法来衡量。因此，这种对诗歌顿悟的调查形成了呈现定性研究方法的恰当时机。同时，本章所描述的实验是为了讨论十四行诗的结构和互文性的概念，这两个都是诗学的重要主题。下一章将讨论诗歌对个人和社会施加的权力的不同方面。作者总结了已有的分析，为心理心理学理论做出了贡献。它们将我们的注意力引向安慰现象——诗歌的力量在这个领域变得尤为明显。对其机制的解释可以追溯到亚里士多德的《诗学》和他的“宣泄”思想，以及最近对阅读疗法的研究。本章的一个单独的小节报告了前景对读者情感影响的研究结果，这些研究表明“语言的正式构成在情感影响中起着主导作用”(123)。虽然前面章节提到的大多数诗歌都属于西方背景，但第七章开始讨论吉尔伽美什史诗，这是用苏美尔语的楔形文字写成的。作者对这篇文章的评价包括对书中前面章节的有用的交叉参考。本章第二部分着重于非洲的口述诗歌。虽然这一亚流派的每个文本都经历了重大的变化，受到后代不同表演者的影响，但主要主题贯穿了几个世纪。作者向我们展示了这一现象的心理心理学视角，反思了这些主题重新出现的社会原因。第8章完全致力于总结本指南前面演示的统计方法的基本原理。虽然它解决了方法论上的一些难题，但我们必须记住，这本专著不是一本关于人文学科统计方法的手册。对于对更详细信息感兴趣的读者，作者提供了有价值的来源推荐。最后一章的题目是“走向心理心理学的一般理论”，它概括了前几部分的最重要的观点。这一节以一系列关于诗歌体验的假设结束，这些假设不仅是“心理诗学的主要流派”，而且是“以证据为基础寻求真理的起点”(192)。这欢迎读者在心理心理学中进行研究，并为他们提供了一套具体的鼓舞人心的想法，供他们进一步探索。作为一个整体的反思，这本书有三个特别值得注意的特点。首先，作者使用引人入胜且经常讲故事的风格来展示如何使用基于证据的方法将深入的文学分析与经验准确性相匹配。其次，这本书的另一个优势是它如何处理古代和现代诗歌，创造一个跨文化和跨语言的视角。它提出了一种观点，即心理诗学作为对诗歌读者所唤起的情感的研究，为理解诗歌体验提供了一种普遍的途径。最后，在选择要分析的诗歌时，作者通常会参考我们的社会和日常环境:他们讨论用于歌曲、电影甚至电子游戏的诗歌。他们把诗歌定位在它应该属于的地方——现实世界，强烈地提醒人们“它不是关于孤独、美丽的自然或浪漫的爱情的感伤的东西，而是一种可能深刻影响你生活的力量”(101)。作者对读者的开放和欢迎的态度，他们对诗歌的热情和他们提出的方法，一定会吸引新的研究者，不仅是心理心理学，而且是一般的学术道路。
{"title":"Experiencing Poetry. A Guidebook to Psychopoetics","authors":"Józefina Piątkowska","doi":"10.5325/style.57.3.0402","DOIUrl":"https://doi.org/10.5325/style.57.3.0402","url":null,"abstract":"While generations of poets around the world have taken direct inspiration from Plato’s contemplation of beauty and truth, the Greek philosopher fiercely criticized poets and even insisted to expel them from his ideal state. He believed that poetry “feeds and waters passions instead of drying them up; she lets them rule”; consequently, society risks at being ruled by “pleasure and pain.” But is there any evidence for his assumptions? Is there proof that linguistic elements cause emotional reactions? Does poetry about pain really make us suffer? And how can we collect independent data to confront different assumptions about the effects that poetry has on its recipients? For those who find these questions interesting or troublesome, Experiencing Poetry. A Guide to Psychopoetics by Willie van Peer and Anna Chesnokova will help find reliable answers.The term psychopoetics is used here in a different sense from that adopted by Felman or Bal, who aimed to relate psychoanalysis to the studies of literature. Van Peer and Chesnokova define psychopoetics as “the study of poetic experiences, of what goes through you when you are confronted with poetic texts” (viii). In their approach empirical results are a central component to their argument. They intend “to expose claims about the psychological workings of poetry to serious and methodological tests as well as instruct our readers on how to apply and interpret such tests” (viii). Marrying “age-old traditional poetics to more recent methods of investigation, developed in the social sciences” (17), Van Peer and Chesnokova bring solutions to those who are tempted to investigate how people experience poetry, but are discouraged by the subjectivity of textual analysis alone.The book is a timely publication. The empirical study of literature has been expanding for several decades now (van Peer; Miall and Kuiken; Bortolussi and Dixon; Koopman). Van Peer is one if its founders and both authors have made a compelling case for the development and recognition of this type of investigation (Chesnokova and van Peer, Versus; Chesnokova and van Peer, Znaki Czy Nie Znaki?; van Peer and Chesnokova). Moreover, as the authors point out in the introduction, cognitive poetics has also brought a psychological dimension to the research about our reading and understanding literature (Gavins and Steen, Stockwell, Tsur). Nonetheless, the uniqueness of this monograph lies in its focus on an evidence-based approach studying the emotions we experience while being exposed to poetry (and not to literature in general).What is more, the “book [is designed] for an international audience” and the authors open their research to “the multiplicity and variety of cultural expressions,” bearing in mind that “different cultures handle poetic issues in different ways” (ix). At the same time, their examples include poems written not only in languages other than English, but also in different epochs. Expanding the intercultural and historical dimensi","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135053033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-16DOI: 10.26887/style.v2i2.3719
Rahmayani Rahmayani, Dini Yanuarmi, Hendratno Hendratno
Siak Palace is a sturdy rectangular building, decorated at the gate with a pair of hawks striking with sharp eyes and consists of two floors. Siak Palace is located in the city of Siak Sri Indrapura, Riau Province. The creation of this work was inspired by the beautiful visual form of the Siak Palace and then created at each end of the pillars of the building. The form of work created is in the form of an L-sized jacket using a written batik technique. The function of this jacket is outerwear that is used to protect from cold weather or fashion. The creation method in this work goes through three stages, namely the exploration stage which is field observation activities, source excavation and data collection. Exploration begins with going to the field to see and observe the shape of the Siak Palace. The design stage is pouring ideas through several alternative sketches, then from several alternative sketches it is determined to be the selected design as a reference in the process of making works. The embodiment stage uses a written batik technique with reactive coloring which is applied to a pullover hoodie jacket. The creation of works uses a theoretical basis of form, function, color, motif, creation and aesthetics. The results of the process of making this work created the Siak Palace motif in the form of five works with the titles "Kenyamanan", "Gugur" and "Bangkit".
{"title":"JAKET PULLOVER HOODIE DENGAN MOTIF ISTANA SIAK RIAU","authors":"Rahmayani Rahmayani, Dini Yanuarmi, Hendratno Hendratno","doi":"10.26887/style.v2i2.3719","DOIUrl":"https://doi.org/10.26887/style.v2i2.3719","url":null,"abstract":"Siak Palace is a sturdy rectangular building, decorated at the gate with a pair of hawks striking with sharp eyes and consists of two floors. Siak Palace is located in the city of Siak Sri Indrapura, Riau Province. The creation of this work was inspired by the beautiful visual form of the Siak Palace and then created at each end of the pillars of the building. The form of work created is in the form of an L-sized jacket using a written batik technique. The function of this jacket is outerwear that is used to protect from cold weather or fashion. The creation method in this work goes through three stages, namely the exploration stage which is field observation activities, source excavation and data collection. Exploration begins with going to the field to see and observe the shape of the Siak Palace. The design stage is pouring ideas through several alternative sketches, then from several alternative sketches it is determined to be the selected design as a reference in the process of making works. The embodiment stage uses a written batik technique with reactive coloring which is applied to a pullover hoodie jacket. The creation of works uses a theoretical basis of form, function, color, motif, creation and aesthetics. The results of the process of making this work created the Siak Palace motif in the form of five works with the titles \"Kenyamanan\", \"Gugur\" and \"Bangkit\".","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135673176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-16DOI: 10.26887/style.v2i2.3720
Mia Yudina Yanti, Dini Yanuarmi, Wisnu Prastawa
Candi Bahal is one of the Vajrayana Buddhist temples located in Bahal Village, Padang Bolak District, Padang Lawas Regency, North Sumatra. Candi Bahal was founded by Rajendra Cola I from Tamil India which is estimated to be thousands of years old at that time. The uniqueness of Candi Bahal is the shape of the Candi Bahal roof which is about 2.5 m high, like a cake on a square saucer with flower carvings around the edge of the Temple roof. Candi Bahal was created as a motif on men's shirts. The process of creating this work uses a theoretical basis which includes form, function, motif, color, aesthetics and creation. The method used in the embodiment of the work starts from exploring data collection about the Candi Bahal such as searching for library sources or looking directly at it. Designing is putting ideas into design that will be realized. The embodiment stage is the process of realizing the work that was previously designed, using the main ingredients of primisisma cotton and remazol dyes and using written batik techniques and sewing techniques. The work created is a shirt with size L. In the creation of this work, the Candi Bahal motif was made by adding isen-isen and creating the size of the temple and adding additional motifs such as bricks, reliefs, makara and gecko motifs. The creation of this work uses the colors red, green, black, white and golden yellow. The presentation of the work will be carried out in the form of displays and fashion shows. The results of the creation of this work are three shirts with the titles merangkul, keberanian, keindahan.
坎迪巴哈是一个金刚乘佛教寺庙位于巴东博拉克区巴哈村，巴东Lawas摄政，北苏门答腊岛。Candi Bahal是由来自印度泰米尔的Rajendra Cola I创立的，据估计当时已有数千年的历史。坎迪巴哈尔神庙的独特之处在于其屋顶的形状，高约2.5米，就像一块蛋糕放在方形碟子上，寺庙屋顶边缘雕刻着鲜花。坎迪·巴哈尔(Candi Bahal)是作为男士衬衫的图案而创作的。这个作品的创作过程使用了一个理论基础，包括形式、功能、母题、色彩、美学和创作。在作品的体现中使用的方法从探索关于Candi Bahal的数据收集开始，例如搜索图书馆资源或直接查看它。设计就是把想法付诸设计，然后实现。实施阶段是利用原棉和雷马佐染料的主要成分，运用蜡染技术和缝纫技术，实现先前设计的作品的过程。该作品是一件l号衬衫，在创作过程中，通过添加isen-isen和创造寺庙的大小，并添加砖块、浮雕、makara和壁虎等额外的图案，制作了Candi Bahal图案。这幅作品的创作使用了红、绿、黑、白和金黄色。作品的展示将以展示和时装秀的形式进行。这项工作的创作结果是三件衬衫，标题是merangkul, keberanian, keindahan。
{"title":"CANDI BAHAL SEBAGAI MOTIF PADA KEMEJA PADANG LAWAS, SUMATERA UTARA","authors":"Mia Yudina Yanti, Dini Yanuarmi, Wisnu Prastawa","doi":"10.26887/style.v2i2.3720","DOIUrl":"https://doi.org/10.26887/style.v2i2.3720","url":null,"abstract":"Candi Bahal is one of the Vajrayana Buddhist temples located in Bahal Village, Padang Bolak District, Padang Lawas Regency, North Sumatra. Candi Bahal was founded by Rajendra Cola I from Tamil India which is estimated to be thousands of years old at that time. The uniqueness of Candi Bahal is the shape of the Candi Bahal roof which is about 2.5 m high, like a cake on a square saucer with flower carvings around the edge of the Temple roof. Candi Bahal was created as a motif on men's shirts. The process of creating this work uses a theoretical basis which includes form, function, motif, color, aesthetics and creation. The method used in the embodiment of the work starts from exploring data collection about the Candi Bahal such as searching for library sources or looking directly at it. Designing is putting ideas into design that will be realized. The embodiment stage is the process of realizing the work that was previously designed, using the main ingredients of primisisma cotton and remazol dyes and using written batik techniques and sewing techniques. The work created is a shirt with size L. In the creation of this work, the Candi Bahal motif was made by adding isen-isen and creating the size of the temple and adding additional motifs such as bricks, reliefs, makara and gecko motifs. The creation of this work uses the colors red, green, black, white and golden yellow. The presentation of the work will be carried out in the form of displays and fashion shows. The results of the creation of this work are three shirts with the titles merangkul, keberanian, keindahan.","PeriodicalId":45300,"journal":{"name":"STYLE","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135673175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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