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Unstable identity generated by parallel and traumatic processes of Europeanization and delayed nationalization is a dominant feature of Bosniak ethnicity. Bosniak culture, under the influence of newly arisen and imported cultural magnetic lines, with all that it carries within, is just entering into an intensive process of fictionalization of more coherent national- cultural identity. Literature, as it did in the past, will homogeneously follow, and to some extent be probably less and less effective, and it will retroactively shape the arrangement of colours of Bosniak identity kaleidoscope.
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Many folk calendars which were printed in Virovitica between the two World Wars were, considering their numbers and diversity, extremely popular in the Virovitica district. In the paper, 49 folk calendars are analysed. So far in works from the area of Croatian literary periodicals there has been no mention of these serial publications which abound in literary forms, although the folk reading matter actively participated in the long-term process of building the population’s readership determinedly delayed the process of modernization and the education system. Since the Virovitica calendars were issued by local publishers, the aim of the paper is to establish what mental, culturological, political and world-view specificities are present in them. The commercial success of the Virovitica annual editions, on the one hand, can be interpreted as a consequence of the characteristic post-war “hunger for reading”, and on the other hand as a reflection of the traditional culture of the prevailing rural population, who partly measured the practical advice for life and information about the events according to just what was published in the popular calendars. In studying the Virovitica interwar annual editions the author of this paper has dedicated special attention to the poetics of the calendars’ entertaining and educational folk texts, the structure of individual publications and the relationship of the editors towards the tradition of publishing folk calendars.
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The culture promotion emerges from an active, creative life which gives basis to fulfil oneself. The individual character of activity is a very significant feature of participating in the culture process. We form new virtues in accordance to traditional ideas and reconstruct and transform existing ones to bring about emotions. A creator of culture could be an active participant, a creator of the culture world who plays a social role related to a social position. The text is about the culture and the education associations promoting the music culture in Piotrków Trybunalski such as: The Association of Friends of Art Centers, Senior Club and University of the Third Age affiliated to Local Centre of Art in Piotrków Trybunalski. The article tries to answer the following questions: What types of artistic activities do they offer? Which ones are the most popular among local people? The associatons have been active and successful for many years in spite of economic and political transformations. The subsidies enable to develop varied local activities for instance: education, artistic, publishing activities. Every association has its own achievements as far as the forming of the region culture is concerned. The associations have great influence on the culture increase in Piotrków Trybunalski. Therefore, they should be supported in conducting their animation.
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The article points out the significant increase of the scope of studies on security, in both subject (including subjects other than countries, e.g. individuals) and object level. It can is shown by the shift of the emphasis from the military and political level of security on other levels, including the cultural and humanitarian ones. The discussion on the cultural challenges and threats, as well as the opportunities for security, has increased especially since the end of the Cold War. The increase of the military and political security, which took place at that time, facilitated opening for the international, including cultural, exchange. The spreading of the Western model of a liberal democracy, together with the free market rules and the protection of human rights and freedoms, made easier the process of international communication and strengthened the interdependence and internationalisation. In spite of these positive, freedom-oriented changes, however, the world is now facing challenges caused by the cultural progress, which in the process of globalisation and universalisation often results in negative phenomena such as the uniformisation of culture or the fading of cultural differences. The cultural security and the culture of safety, considered in this article, gain importance especially in the light of the visible need to strengthen the cultural identity of societies participating in the big international processes, which are taking place today, such as integration and globalisation. This importance of the cultural identity is now becoming even greater than the priority of protecting the sovereignty of countries. We can therefore assume that taking the cultural issues into consideration in the studies on security can contribute to a fuller understanding of the conditionings and mechanisms of both international politics and the principles of operation of the international system.
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The paper wants to present basic attitudes to the reality of confrontation of cultures in present-day Europe. The principal theme is a transcultural communication and anthropology. It is primarily about the perception of the individual and the culture, the position of the individual in a particular culture and his relationship to other cultures. The text touches on topical issues such as migration. In this context, it also wants to look for common intersections of societies and cultures so that, despite their diversity, they can peacefully coexist. It seems that there will be a great movement of nations in Europe and we need to be prepared mentally. This study also wants to be helpful to this process.
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What have been the conditions of production for a political theatre to appear in post-1990s Romania? How and why contemporary theatre in Romania ended up ignoring or dismissing the leftwing, engaged or militant theatrical movements active before 1945? Why local theatre history and theory entirely obliterated, also, the politically-engaged theatre forms active during communism itself? What kind of tradition forms the contemporary political theatre, what is the politics that informs their working practices and collaborations, how do the artists engage with the groups they choose to give voice and with the audience? Using a broad and on-purpose multi-faceted definition of political theatre, the article focuses on theatre artists, practices and performances that question capitalism as a social and power structure, sometimes from an intersectional perspective, but always framing this criticism in a class approach. Largely a practice-based analysis, the text gives a comprehensive on-going history of a strong performative movement and its challenges, from the representational strategies and the financial and positioning issues to the scarcity of critical covering and reviewing and the extending of an (opposite) political engagement in the mainstream theatre in Romania.
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The paper is an ethnography of cultural workers from the contemporary art centre from Cluj-Napoca, Romania – The Paintbrush Factory. The one-decade existence of the alternative space contributed to a range of changes in the local cultural scene and evolved from a physical space into a resource for the city’s culture-led development strategy. It also became affected and reshaped by wider changes in terms of applied cultural policies. Cultural workers’ perspective, their precarity and their involvement in the local art scene influenced the current commodification and entrepreneurialisation of the cultural offer. The Paintbrush Factory’s expansion and contraction are vividly presented through the reflexive lenses of the cultural workers and managers, whose case-study could easily be regarded as a signal and a symbol of the deficient cultural policies mostly oriented to profit and lacking any local and long term-vision.
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This paper aims to explore Danilevsky’s theory of cultural-historical types. The authors used hermeneutic, cultural-historical, and integrative approaches. Denying the understanding of the history of humankind as the linear reality for the formation of the socio-cultural system of universalism, Danilevsky relies on the multivariate historical development and elaborates a methodology of civilizational discreteness that takes into account the originality and integrity of each particular cultural-historical type. The thinker emphasizes that the core of any cultural-historical type is a certain ethnos with its specific set of attitudes and values. Although this approach can not explain global integration tendencies, it allows to take into account the multidimensional vectors of human cultural space and the unique experience of different civilizations. Danilevsky introduced into the scientific discourse the idea of the integrity and self-sufficiency of each cultural-historical type. This idea was developed by a German historian, representative of the philosophy of life O. Spengler in his book “The Decline of the West”, in which the theory of local civilizations was enriched with morphological studies of history, and a British historian, philosopher of history, sociologist A. Toynbee, who laid out his universalist philosophy of history in the twelve-volume work “The Study of History”.
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An absentee from the Western culture, the phenomenon of menstruation is an unlikely theme to be found in the British and American media and literature. Historically and culturally the Menstrual blood was considered impure and maudit, thus positioning the menstruating women at the bottom of the power hierarchies, and asserting the social status-quo of the male dominance. Menstruation is also subjected to capitalization which has been shaping the Menstrual attitudes and practices.The aim of the article is to draw a sketch of what menstruating means in the British and American cultures, as well as to reflect on its frequent absence from the cultural deliberations.
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It is still common for video games to be classified as a predominantly male pastime. Five years after GamerGate, women and non-binary people still meet with the harassment, sexism, and aggressive behavior (Fox and Tang 2017). On the other hand those games that target women specifically — sometimes called “pink games” — mostly include stereotypes, concentrating their themes around chores, cooking, and fashion. Furthermore, in mainstream games, the male representation of the main characters still overshadows the number of female playable characters. While the non-binary and transgender characters are hardly ever present, women characters are often pigeonholed as a narrative tool, mostly as a trope of “damsel in distress”, victim whose death is to be avenged, or the heterosexual love interest (Ivory 2006, Beck at al. 2012, Huntemann 2014). The parallels can be drawn between the over-sexualization of the playable action protagonists in digital games (Behm-Morawitz and Mastro 2009) and the disagreement to overt expressions of female masculinity in the society (Halberstam 1998). Drawing on Halberstam’s work and I will offer an analysis of Fetch, a protagonist of Infamous First Light (2014) — the standalone additional content to a series of video games developed by Sucker Punch Productions.
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This article, as a symbol, pointed to the historical and cultural foundations of the Sun and it has been researched in order to make sense of the many behaviors and beliefs that take place today. It will not be correct to classify concepts that are difficult to classify as symbols and cultures. Before the writing as a means of communication, the expression tool was the picture. Each society has a culture that is appropriate to its own level of development. With its dynamic structure open to development, culture necessitates interaction with other cultures. They worked on abstraction of geometrical forms by abstracting their forms and meanings. Even in the totems that develop in independent societies, the symbols that give the same meaning appear. Explaining an indirect way through a symbol requires an orientation towards abstract forms. While the circle form tells the sun, it is in the world of geometry, astrology and belief. The fear, magic and belief that the first people experienced in the emergence of rituals were influential. The first realistic drawings based on nature formed the basis of symbols like sun, tree and animal. wars, worship, objects, beliefs and myths are some of the many factors that make up the culture of the community.
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The hybridization process in art took place in a historical process like other cultural hybridizations such as language, religion and race. The colonialist period specially can be described as the peak of hybridization in European art. The hybridization process of contemporary balkan art has been shaped historically in relation to social periods and concepts such as colonialism, culturalism and multiculturalism. Balkan artists approached this process through the concepts of language, identity and ethnicity and emphasized the notions of being european - not being european and marginalizing. In this context the purpose of the study is discussing the hybridisation process between Contemporary Balkan Art and the Europan based art and the results of this process over discussing the notion of the hybridisation itself and to examine the effects of this process on selected examples of Contemporary Balkan art.
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The Art Deco style, which emerged in the 1920s and was influential in Europe and America until the mid-1940s, is a style that spread throughout the world, especially between the First and Second World War. It was named in 1925 from the Exposition Internationale des Arts de France Modern Industriels (International Exhibition of Decorative and Industrial Arts) in France. The Art Deco style bears traces from many art movements, especially Art Nouveau. This style is also inspired by the cultures of Ancient Egypt, Aztec and Mexico; architecture, interior design, furniture, fine arts, textiles and fashion.In this study, the subject of which was determined as Dec Reflections of Art Deco Style on Textile Designs, it was aimed to determine the characteristics of Art Deco textiles and to reveal their reflections on today's interior textile designs. The lack of design proposals for interior textiles in previous studies makes the issue important.Qualitative research method was used in the study. For the conceptual framework, literature was searched on the subject, and in the following process, the most commonly used motifs in the Art Deco art movement and the architectural structures located in Miami, USA were designed and seven upholstery fabric designs were made and these designs were also included in the study
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The “golden age” of science fiction has lasted since the 90s, mostly due to the fact that science fiction has become a means for writers to express everything what the so-called pure literature was unable to express, and to comment on the ever-changing present reality. In this article, a short novella written by an author representing New Generation of Chinese science fiction Hao Jingfang — “Folding Beijing” — which won the Hugo prize in 2016, is analyzed. Created with the use of methods typical for science fiction, as well as space-metaphor, the vision of a future Beijing becomes a commentary on modern-day problems such as the impassable social barriers, the petrificated social class structure, or the technological development, which renders people useless. The novella may be understood as a utopian science fiction parable, which thanks to the elaborate metaphor of the class-ridden society trapped both in the state of never-ending change and a faceless monstrous metropolis, warns about the possibility of a grim future, but above all else expresses anxieties and insecurities of a modern human facing the ever-changing postmodern reality and advanced technology.
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The author of this article compares three visions of modern thinkers who, observing the present world, see in it the threat of the coming apocalypse, in understanding the end of humanity in its traditional form. An uprooted and lost man not knowing his own culture faces the question: who is he? In the impossibility of answering, he becomes like unaware children who, living in ignorance, remain beyond the possibility of both condemnation and salvation. However, these children are in the process of growing up. When they reach maturity, they look for themselves, trying to become like others, but those others are in the same situation as them. Hence, a society of indefinite citizens, who, in danger, accuse one another, so that everyone becomes a scapegoat of which should be sacrificed to save the majority. Then everyone becomes the so-called homo sacer, a victim who has no right, not even the right to live. To prevent this, the three thinkers call for a return to forms of culture, where humanity is presented in a holistic form and by depicting it, modern man can create his identity.
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According to ancient Oguz traditions, the government has a binary organization or structure. This organization or structure mostly appears in the form of right-left and east-west; hawever, it can alsa be described as inner-outer and white-black. Depending on this tradition, the Oguz tribe was divided into the two branches called Boz-ok and Üç-ok, each of which had twelve tribes. The Ottoman belongs to the Kayı tribe among these twenty-four tribes. According to our research, the Karakeçili tribe, which Ertuğrul Gazi is considered to be a member of, show themselves as the founder of the empire together with the Kayı tribe.This research aims to mention Turkishness, Turkish migrations, a brief history of Karakeçili tribe, Karakeçili wedding traditions, rivals and finally beliesfs of Karakeçili tribe.
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