Suchergebnisse

ABSTRAK Kritik sosial adalah salah satu bentuk komunikasi dalam masyarakat yang bertujuan atau berfungsi sebagai kontrol terhadap jalannya sebuah sistem sosial atau proses bermasyarakat. Tujuan adanya kritik sosial adalah untuk perubahan sosial ke arah yang lebih baik. Salah satu drama yang memuat aspek kritik sosial adalah drama Dantons Tod karya Georg Büchner. Berdasarkan latar belakang tersebut, penelitian ini bertujuan untuk mendeskripsikan (1) Masalah sosial yang terdapat dalam naskah drama Dantons Tod karya Georg Büchner (2) Bentuk penyampaian kritik sosial dalam naskah drama Dantons Tod karya Georg Büchner. Pendekatan penelitian yang digunakan dalam penelitian ini adalah pendekatan sosiologis. Sumber data penelitian ini adalah naskah drama Dantons Tod karya Georg Büchner, tahun 1835. Data berupa kalimat atau kutipan dialog yang diperoleh melalui teknik baca dan catat. Data dianalisis dengan teknik analisis deskriptif kualitatif. Hasil penelitian berupa: (1) Masalah sosial yang dikritik pada naskah drama Dantons Tod karya Georg Büchner mengenai masalah politik yang terdiri atas: kritik terhadap bentuk pemerintahan, kritik terhadap lambatnya kinerja Guillotine, ketidakadilan hukum kepada rakyat, pengaruh kaum Aristokrat terhadap keberlangsungan politik Republik, pengaruh teror sebagai bentuk dari tirani, kritik mengenai lawan politik, ketidakadilan hukum untuk rakyat, teror sebagai pengendali kekuasaan, kritik terhadap keadilan politik, kritik terhadap pengaruh revolusi, kritik terhadap rakyat untuk kepentingan politik, kritik terhadap penguasa yang otoriter, kritik mengenai paham revolusi, adanya perbedaan ideologi Revolusi, pengaruh guillotine sebagai penegak keadilan, dan pergerakan revolusi untuk rakyat. (2) Penyampaian kritik sosial pada naskah drama Dantons Tod karya Georg Büchner terdiri atas: (a) Penyampaian kritik secara langsung (b) Penyampaian kritik secara tidak langsung yang meliputi: (a) Bentuk sinis (b) Bentuk simbolik dan (c) bentuk interpretatif. Kata kunci : Jenis Kritik Sosial, Penyampaian Kritik, Dantons Tod AUSZUG Sozialkritik ist eine Form der Kommunikation in der Gesellschaft, die als Kontrolle über den Verlauf eines sozialen Systems oder Gemeinschaftsprozesses dient oder fungiert. Der Zweck der Sozialkritik ist der soziale Wandel in eine bessere Richtung. Das Drama mit sozialkritischen Aspekten ist das Drama Dantons Tod von Georg Büchner.In dieser Studie wird folgende diskutiert (1) Die sozialen Probleme im Drama Dantons Tod von Georg Büchner (2) die Übermittlungsformen der Kritik im Drama Dantons Tod von Georg Büchner. Der Ansatz dieser Untersuchung ist soziologischer Ansatz. Die Datenquelle ist das Drama Dantons Tod von Georg Büchner aus dem Jahr 1835. Die Daten sind die Sätze oder die Dialoge im Dramentext Dantons Tod von Georg Büchner, die durch Lese- und Notiztechniken erhalten werden. Um die Daten zu analysieren, wurde eine deskriptiv-qualitative Analyse benutzt. Das Ergebniss der Untersuchung zeigte, dass: (1) Die Sozialkritiken im Drama Dantons Tod sind folgende: Kritik am Politischenproblem umfasst: Kritik an der Regierungsform, Kritik an der langsamen Leistung der Guillotine, legale Ungerechtigkeit gegenüber den Menschen, Einfluss der Aristokraten auf die politische Kontinuität der Republik, der Einfluss des Terrors als eine Form der Tyrannei, Kritik an politischen Gegnern, rechtliche Ungerechtigkeit für die Menschen, Terror als Machtkontrolle, Kritik an politischer Gerechtigkeit, Kritik am Einfluss der Revolution, Volkskritik für politische Interessen, Kritik an autoritären Machthabern, Kritik am Begriff der Revolution, Unterschiede in der ideologischen Revolution, Einfluss der Guillotine als Vollstrecker und Bewegung der Revolution für die Menschen; (2) Die Übermittlungsformen der Kritik im Drama Dantons Tod sind (a) direkte Formen und (b) indirekte Formen umfasst: zynische Form, symbolische Form, interpretative Form. Sluβwörter : Der Typ der Sozialkritik, Übermittlungsformen der Kritik, Dantons Tod

The text of Dantons Tod's Drama is a literary work that presents the practice of Hegemony and Culture. The event studied is Cultural Hegemony. The background of the French revolution presents two revolutionary leaders named Danton and Robiespierre. Robiespierre acts as the dominating party and Dantons as his political opponent as the dominated party. This study uses a qualitative method to describe Antonio Gramsci's theory of Hegemony found in the text of the play Dantons Tod by Georg Büchner. The results of the study indicate that the discovery of 5 key concepts of cultural hegemony from Dantons Tod's Drama Script including Hegemony, Agreement and Consensus, Domination, Intellectuals, Language and Ideology. The concept of hegemony consists of 5 data consisting of 5dialogue quotes written by Georg Büchner. This study uses data collection techniques, namely reading techniques and note-taking techniques by researching, understanding and classifying them. Then, qualitative descriptive data analysis techniques identify, classify and draw conclusions. This research makes legitimacy fall to the dominant party, namely Robiespierre. The actions of this character and his group gain victory on the basis of the authority, power of each character contained in Dantons Tod's drama script. Based on Gramsci's theory of hegemony, it shows the form of hegemony of every leader and ruler in obtaining his power and how the life of the French people is when hegemonized by the ruling class. Gramsci's theory of hegemony is part of the research foundation.

This paper argues that the spatial design of the mise-en-scène in Georg Büchner's "Danton's Death" is well built into his portrayal of the individual as marginalized self in the French Revolution. The paper is divided into four parts. The introduction briefly explains Büchner's critical reflection on the brutal tyranny of history's Grand Mechanism and the meager existence of human individuals and justifies the importance of spatial structure in the play. The first part of the main body examines the analogously marginalized existence of the two political rivals, Danton and Robespierre, with focus on their seemingly different but implicitly similar presence of being too less marginalized and too much marginalized at one and the same time. The second part explicates the sorry plight of the common people and the female characters, including the poverty and brutality of the san-culottes, the idealization of Julie and Lucile, and particularly the metaphorical significance of the larger-than-life nymphomaniac Marion, who is considered an inherent rival equal in weight to Robespierre. A particular spatial design especially discussed in both parts is the moments when Danton, Robespierre, Julie, Lucile, and Marion are respectively presented at the window, deliberately brought to the verge, to a "boundary" for the "presencing" of their existence. Finally, the conclusion summarizes all the discussions on the individuals living on the edge. ; 本論文的主旨在於論證畢希納《旦通之死》劇中場景調度的空間設計與法國大革命人物邊緣化自我的描繪兩者之間的緊密結合。論文分四部分。緒論簡述畢希納對於歷史「大機制」之殘酷暴虐與個人自我之貧乏存有的批判省思,以及論述空間結構在本劇中的重要性。論文主體第一部分探討兩位政治對手旦通與羅伯斯庇爾同樣邊緣化的存有,聚焦於兩人貌似歧異實則隱然相似之處,亦即同時邊緣化不足與過度邊緣化。第二部分解說平民與女性角色的困境,包含平民的貧苦與殘忍、女性角色朱莉與呂西亞的理想化、尤其是可視為足以和羅伯斯庇爾相庭抗禮的女性成癮者瑪莉安的隱喻意義。兩部分中特別共同討論到的一點是:旦通、羅伯斯庇爾、朱莉、呂西亞、以及瑪莉安各自臨窗省思的場景,實為劇作家刻意將其推至邊緣、邊界而「呈現」其存有。結論總括前述人物生於邊緣處境的論述。

International audience ; On August 8, 2019, an explosion of a military missile occurred at the Nenoksa (also transcribed as Nyonoksa) Missile Test Center (Russian Federation). Russian authorities confirmed arelease of radioactive material in the course of this incident,which fueled rumors that it could have involved a nuclear-propelled missile of the Burevestnik/Skyfall type. In this study,our radioanalytical efforts are summarized searching for the"smoking gun" of the incident. These included the gamma-measurements of air filters from two vessels that were in someproximity to the event as well as one Greek high-volume airfilter. In addition, we tested the hypothesis that radioactive 42Ar may have been used to operate a radiothermal generator. If the incident had released 42Ar, it may have become detectable by measuring characteristic gamma radiation emitted from a tank containing liquefied atmospheric argon. No traces what so ever were found that could provide clues about the release. It is possible that the presumably small amounts of radionuclides released from either a small nuclear reactor or a powerful radionuclide source dispersed quickly over Russian territory to non-detectable levels before reaching any of our assayed samples.

International audience ; On August 8, 2019, an explosion of a military missile occurred at the Nenoksa (also transcribed as Nyonoksa) Missile Test Center (Russian Federation). Russian authorities confirmed arelease of radioactive material in the course of this incident,which fueled rumors that it could have involved a nuclear-propelled missile of the Burevestnik/Skyfall type. In this study,our radioanalytical efforts are summarized searching for the"smoking gun" of the incident. These included the gamma-measurements of air filters from two vessels that were in someproximity to the event as well as one Greek high-volume airfilter. In addition, we tested the hypothesis that radioactive 42Ar may have been used to operate a radiothermal generator. If the incident had released 42Ar, it may have become detectable by measuring characteristic gamma radiation emitted from a tank containing liquefied atmospheric argon. No traces what so ever were found that could provide clues about the release. It is possible that the presumably small amounts of radionuclides released from either a small nuclear reactor or a powerful radionuclide source dispersed quickly over Russian territory to non-detectable levels before reaching any of our assayed samples.

Queer immanence in Who is? Woyzeck: The technocentric utopia of the master and the slaveMontažstroj's Who is? Woyzeck is a performative history about individuals' open wounds that will probably never heal, especially in the context of technodemocracy and liberal deprivation processes. Woyzeck is a Georg Büchner hero whose voice is not able to be heard. He is deprived, deprivileged, and his behavior/labor is socially unacceptable. He is devoid of humanity, turned into an animal, pure zoe, and thus treated like one by the system. Montažstroj's project was, therefore, eager to explore the politics of power where the individual is subdued to numerous forms of violence and the way these violent acts resonate on the surface of human intimacy. The rhythmic changing of scenes depicted social coercion and private agony; the play questioned the world of isolated and lonely individuals. Woyzeck was presented as a pure phenomenon, as an individual trapped in a Hegelian master-slave relation, thus as a non-person whose body is being occupied and used in a specific situation of violence, love, betrayal, jealousy and murder, with no way out. The performance of two men and a woman on a stage, which is supposed to function as a specific community of life, bombarded with techno and rave music, together with pure channels of associations derived from various sources, primarily from Büchner's text, which was written in 1836, is thus analyzed as a deconstructive and multi-layered re-inscription of political and discursive regimes subdued by frenetic music samples. Immanencja queer w Who is? Woyzeck. Technocentryczna utopia "pana i niewolnika"Who is? Woyzeck autorstwa grupy Montažstroj to performatywna opowieść o otwartych ranach jednostek, które prawdopodobnie nigdy się nie zagoją, szczególnie ze względu na procesy technodemokracji i liberalnej deprywacji. Woyzeck, którego głos jest niesłyszalny, to bohater dramatu Georga Büchnera – jest ograbiony, odarty z praw, a jego zachowanie/praca są społecznie nieakceptowane. Woyzeck jest pozbawiony cech ludzkich, zamieniony w zwierzę, czyste zoe, a co za tym idzie jest traktowany przez system jak zwierzę. Celem omawianego projektu grupy Montažstroj było zbadanie polityki władzy, w której jednostka jest poddana licznym formom przemocy, a także sposobów, w jakie te akty przemocy rezonują na powierzchni ludzkiej intymności. Rytmiczna zmiana scen ilustruje społeczny przymus i prywatną agonię, sztuka bada świat zamieszkany przez wyizolowane i samotne jednostki. Woyzeck został zaprezentowany jako czyste zjawisko, jednostka uwięziona w Heglowskiej relacji "pana i niewolnika", a więc jako nie-osoba, której ciało jest zawłaszczane i używane w konkretnej sytuacji przemocy, miłości, zdrady, zazdrości i morderstwa, bez możliwości ucieczki. Performans dwóch mężczyzn i kobiety na scenie, który ma prezentować specyficzną wspólnotę życia, bombardowany muzyką techno i rave, wzbogacony czystymi strumieniami skojarzeń wywodzącymi się z różnych źródeł (przede wszystkim z napisanego w 1936 roku tekstu Georga Büchnera), jest analizowany jako dekonstrukcyjna i wielowarstwowa re-inskrypcja politycznych i dyskursywnych reżimów podporządkowanych frenetycznym próbkom muzycznym.

Born in 1938 in Poland, I epxperienced wartime Berlin and post-war Stalinism. My first job, at sixteen, was with the East Berlin States Opera and the Bertold Brecht's Berliner Ensemble. The play writes Betrtold Brecht and Buechner had the strongest influence on me. Brecht's play 'Mutter Courage and her children' and Georg Buechner's 'Woyzech' encapsulated the harsh realities of post-war Europe, and confirmed my desire for social justice and reform. Yet, the main influence on my work comes from my own life experience. My life in Australia has become a kind of exile-a deprivation of the origin of my culture and my cradle. After nearly forty years in Australia I feel a little displaced. Yet I left Europe voluntarily to escape from the very culture and history I now miss. I am experiencing a common dilemma of migration. I belong neither here nor there-a kind of dislocation. There exists a twilight zone in the in-between time-a discontinuity of my Berliner development. Artists such as Kaethe Kollwitz, John Heartfield, George Grosz, Otto Dix, and Max Beckman influenced my teenage years. Later, Joseph Beuys, Anselm Kiefer and Georg Baselitz. I work with found objects, such as toys crafted by human hand. I am giving them a new meaning, a new being. They are meditations on the conflict of war, where women and children are the primary victims of political fragmentation. My sculptures evoke memories of a childhood stolen. They take on a menacing character reminding the viewer of the effects war has on humanity. But Art is the reflector and searcher; it is our way to enlightenment. Joseph Beuys introduced the concept of an expanded notion of art ("der erweiterte Kunstbegriff") to surpass the boundaries of modernism with in art, science, spirituality, humanism and economics. He drew attention to the potential of human creativity. Art, against all odds, is poetry to life.

The only way to cure leukemia is by cooperative research. To optimize research, the European LeukemiaNet integrates 105 national leukemia trial groups and networks, 105 interdisciplinary partner groups and about 1,000 leukemia specialists from 175 institutions. They care for tens of thousands of leukemia patients in 33 countries across Europe. Their ultimate goal is to cure leukemia. Since its inception in 2002, the European LeukemiaNet has steadily expanded and has unified leukemia research across Europe. The European LeukemiaNet grew from two major roots: 1) the German Competence Network on Acute and Chronic Leukemias; and 2) the collaboration of European Investigators on Chronic Myeloid Leukemia. The European LeukemiaNet has improved leukemia research and management across Europe. Its concept has led to funding by the European Commission as a network of excellence. Other sources (European Science Foundation; European LeukemiaNet-Foundation) will take over when the support of the European Commission ends.