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Analisis Fungsi Pakaian Karnaval di Yogyakarta Menurut Roland Barthes dan Fungsi Seni Edmund Burke Felmand Deni Setiawan; Timbul Haryono; M. Agus Burhan
Humaniora Vol. 6 No. 3 (2015): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v6i3.3368

Abstract

Carnival clothing is one form of artists’ creativities in fine art, created in various functions. Those functions are viewed based on utility value and the purpose that consistently are embedded in an art work. In addition, several functions of carnival clothing were constructed on the basis of social and cultural conditions that are effective in a certain place. Each and every type of clothing raises perception to everyone else who sees it. Promotion of fashion style and industry through carnival clothing results in diverse perceptions acceptable to the viewers. Audience’s perceptions are also not apart from the key functions, social ones, and the physical ones of those carnival clothings themselves. Those three functions are the common ones of each art work created as communication tool with everyone else. The carnival clothings are communication tools of the fashion designer to the customers, communication between one customer and another one. On the carnival clothing there are also sources of knowledge science, history, technology, and many other explainable meanings. Through carnival clothings, the detectable issues in physical and non-physical structures are identifiable as well as they play role as the space to make more exploration on the dynamics of a community culture. This article aims to answer the functions of carnival clothing, using aesthetic approach, through the theory of clothing functions Roland Barthes and Edmund Burke Feldman’s art functions. 
Borobudur as a Cosmological Communication System: The Main Stupa as a Giant Gnomon in Javanese Buddhist Tradition Deni Setiawan; Lasiyo; Iva Ariani
INJECT (Interdisciplinary Journal of Communication) Vol. 11 No. 2 (2026)
Publisher : FAKULTAS DAKWAH UIN SALATIGA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18326/inject.v11i2.6943

Abstract

This research looks at the main stupa at Borobudur and how it works like a big shadow tool for the sky. It seems tied to older Javanese views on the universe and what people knew about farming back then. Sources on old astronomy and building studies were compared in a descriptive way, along with some historical notes. The layout and carvings probably hold details on time and crops, so the monument could pass things along to people nearby. I think the shadows line up at certain points in the year with a local calendar that splits the seasons into twelve. That part feels like it helped share practical knowledge with farmers around the area. Some of the alignments might connect to Buddhist ideas too, but it is not totally clear how far that goes. The design has layers that do not always fit together neatly in what gets discussed. This paper brings together archeoastronomy and communication theory in a new framework. It fills a gap by treating cosmological communication as layers of symbols and environmental knowledge that get passed on. I think that part stands out as useful, but maybe it oversimplifies the connections. The findings point to a need for stronger heritage protection. Not just the buildings, but the living knowledge about the cosmos that stays tied to them. Using secondary sources has some limits, though. It feels like primary field observations and direct solar measurements could help later studies. Some details might still need checking in person.