The research adopts the genetic structuralism theory with its emphasis on literary text (intrinsic analysis), socio cultural background (historic social reality observation), and the writer.The method is the dialectic method, mutual relations between structures of a literary work (the intrinsic features of "Thauqul--Chamāmah fil--Ilfah wal--Ullāf"), historic materialism (socio cultural background of Andalusya at the time the work was written), and the writer of "Thauqul--Chamāmah fil--Ilfah wal--Ullāf". The conclusion of the research is that according to Ibnu Chazm Al--Andalusy, the concept of love (Al--chubbun--nazhary) must be based on syari'ah. In another word, the theory of love, the cause of love, expressing love, mantaining love, meeting and "leaving" the one, must be based on syari'ah.
. Pemikiran ini diwakili oleh figur Liem Sim Djiwie. Pemikiran ketiga adalah pemikiran yang bersifat moderat dan adaptif, yakni menerima unsur lokalitas sebagai bagian dari identitas Tionghoa, tetapi menolak unsur Barat. Pemikiran ini diwakili Liem Khing Hoo dan Njoo CheongSeng (1921-1935--an Confucianism (1870Confucianism ( -1910. The actors in this period were Oei Soei Tiong, Ang Siong Tiauw, Tan Khing Tian, and Tjap Goan Thay. Second, in the period of 1911-1920 (1935)(1936)(1937)(1938)(1939)(1940)(1941)(1942).
Thahir Jalaluddin seringkali disebut sebagai tokoh falak Indonesia pertama. Pemikirannya berbeda dengan kitab lain yang juga memakai logaritma dalam perhitungannya. Artikel ini membahas bagaimana Thahir Jalaluddin memformulasikan perhitungan waktu shalat dalam kitab Pati Kiraan. Artikel disusun menggunakan metode library research dengan deskriptif-analitik untuk menganalis dan mendeskripsikan pemikirannya. Kesimpulan yang diperoleh bahwa pemikiran Thahir Jalaluddin banyak dipengaruhi oleh guru-gurunya, terlihat pada penggunaan tabel logaritma sebagai media menghitung. Konsep astronomi modern juga dipakai dalam menghisab waktu shalat, seperti konsep koreksi dalam menentukan ketinggian Matahari. Konsep matematika yang dipakai sudah menggunakan teori spherical trigonometry walaupun dalam merumuskannya masih sangat rumit apabila dibandingkan dengan tokoh falak yang sezaman dengannya dimana sama-sama memakai logaritma dalam menghitung.
This article explains the Hamas movement's influence on Palestinian social conditions. This paper's purpose is to describe the hegemony of Hamas in Palestine and its influence on the social behavior of the Palestinian people. The problem in this study is how the Hamas movement affects the social conditions of the Palestinian people. This research used a qualitative interpretive method and a hermeneutic method. This study uses Gramsci's theory of hegemony as a scalpel. The results of this paper indicate that the hegemony of Hamas in Palestine affects the mindset, behavior, and vision of the Palestinian people. The Hamas movement influences people's minds to defend and fight for the Palestinian territories from Israel. Hamas also forms the mindset of the people to seize power from Fatah, which is its political opponent in Palestine, who has different views on the form of a Palestinian state.
Wayang Potehi is a traditional puppet show art performance originating from Southern China. Performing arts in the form of Chinese puppets that entered the archipelago along with Chinese ethnic immigration from mainland China. There are estimates that the roots of Wayang Potehi have evolved more than 3000 years. Stronger historical evidence showing the existence of the Wayang Potehi in China has existed since the Jin dynasty (265-420 AD). Wayang Potehi in Indonesia at the time had experienced the glory and helped colour the cultural diversity that existed in Indonesia. The political phenomenon of 1965, namely China or communist ideology, was associated with the tragedy of the G30 S / PKI. Governmental policies that forbid everything that smells of Tioghoa also contributed to the existence of Wayang Potehi in Indonesia. Wayang Potehi has been suspended because of this political policy. The reformation era in 1998 with the lifting of the ban on all things Chinese, opened a new faucet for the revival of cultural arts including Wayang Potehi. An exciting development also occurred in Wayang Potehi in Gudo, Jombang, East Java. Wayang Potehi is essentially an example of a work that is equated with a traditional drama. Based on its essence, Wayang Potehi is basically a puppet show, because the performance and structure of the show can be said to be almost the same as puppet performance art in general. Some phenomena and indicators in the Wayang Potehi performance art that show this include: (1) using puppet puppets; (2) played by the dalang as a narrator or storyteller; (3) accompanied by music; (4) performed or displayed in a particular place, (5) has a clear duration of performance; (5) presenting certain stories or stories; (6) has a bangesresem aesthetics which includes jokes, nges, gregret and sem as well as the aesthetics that exist in wayang kulit purwa in Java. The existence or existence of Wayang Potehi in Indonesia, is part of the performing arts that is transformed so that this art can still exist and be part of the performing arts in the archipelago. The application of the principle of adaptation in terms of the plays played, the place and time of the performance of the show is one of the strategies for the continuity of the Wayang Potehi performance art to be re-accepted by the wider community. This will certainly support the understanding of multiculturalism which in general can be used to prevent national desintegration.
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