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Buliński’s anthropological interpretation of literacy practices among the E’ñepá in Venezuelan Amazonia consists of four parts. First, he describes the ethnography of literacy practices among this regional ethnic group; second, he summarizes scholarly approaches dealing with writing among the indigenous people of Amazonia; third, he discusses autochtonous terminology used to describe writing, and fourth, he presents the image of writing as a practice that serves to communicate with other kinds of being.
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The aim of the paper was to present main factors influencing development of worldwide transporting food. We underlined problems of creating more and more complex food supply chains. Moreover, we pointed out food production regionalization as the reasons for the current trend of increasing the volume and length of food transport. As a summary, we presented possible solution to the problem of environmental effects of food transport which can be implemented by customers, producers and also transport companies.
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The problem of the origin of tukantsi, the first Bulgarian settlers in Budjak remains already for a long time a controversial question. The article, which is the result of a complex research of the authors, demonstrates that the inhabitants of the valleys between Stara planina and Sredna Gora called Karadza Dag (Sarnena Sredna Gora) are the earliest Bulgarian immigrants in Southern Bessarabia in modern times. The article is based on different sources: acts and statistics from the archival collections of modern Ukraine and Moldova and materials from field studies accomplished by the authors in the period between 2012 and 2014, in Budjak and Sredna gora (photo documents, oral and written narratives). The updated statistical documents, together with the narratives, the folklore, graphic and other types of sources not only allow to confirm the hypothesis of the South Bulgarian origin of the tukantsi from the region of Karadza Dag, but also reflect the direct continuity, the direct genetic link between Budjak and the Balkans during the nineteenth century.
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This paper will analyse the identity construction processes of the migrants’ communities in the context of the European Union. Based on the fieldwork developed with the Bulgarian community settled in Castile and Leon (Spain), this article will explore the strategies of identity management in order to succeed in the integration process. First of all, we will take into account the local strategies of community development consisted on the promotion of associations. Secondly, we will analyse the way the local population reassume the global discourses of Interculturalism promoted by the European Union. Thirdly, we will consider how far these facts affect the migrants’ communities. Bulgarian community developed a wise identity management strategy that enables them to be integrated in the local society without losing their own traditions.
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Tuszyńska confronts two seemingly distant notions, namely representation as an aesthetic category, and one type of phonography, namely musique concrète and the technology of open-air recording that goes with it. Thus she highlights a question that has been overlooked by theorists of representation as well as by musicologists. By confronting Michał Paweł Markowski’s models of representation with Pierre Schaeffer’s theory of musique concrète, Tuscyńska points to problems in representation that do not appear when we apply this concept to other artistic forms. This problem provides an impetus to examine musique concrète from a non-musicological perspective.
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Hejmej reflects on two fundamental questions: the first relates to sound (including voice) and the soundscape as a phenomenon that influences contemporary literature and its functioning in today’s media-dominated society; the second question, which builds on the first, explores the prospects of contemporary literary scholarship drawing on the anthropology of sound. Hejmej traces various scholars’ recent work in sound studies to highlight aural perception – ‘listening to culture,’ which leads him to argue for a new anthropology of the audiovisual – one that would build on analyses of both visual and acoustic space. Thus he analyses the new situation of a literature that, in today’s media-dominated world, relates to acoustic and acousmatic experiences. He proposes to treat literature not merely in terms of the written word (as accepted in traditional literary scholarship) but voice and scriptorality.
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Nasiłowska discusses encounters with the East as portrayed in late-nineteenth and early-twentieth-century Polish literature, focussing on Wacław Sieroszewski and Antoni Ferdynand Ossendowski. Experiences of forced settlement in Siberia, or of finding oneself in Asia as a consequence of historical circumstances, gave rise to a literary trope that anticipated such academic fields as cultural anthropology or international relations. As a rule, Polish writers did not identify with the Imperial (in this case mainly Russian) point of view. Their chances of survival depended on cooperation with various indigenous national and ethnic groups, and on accepting their own cultural difference. This is not to say that Polish culture was not Eurocentric, as is evident from incidents of anti-Chinese sentiment. Nonetheless, Polish writers painted a complex picture of Asia. Although the Russian Revolution hampered their curiosity and exploration, echoes of their earlier experiences were heard until the late 1920s.
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Focussing on the literature of the so-called Recovered Territories, i.e. the territories that were incorporated into Poland following the Yalta Conference, this article identifies the traits of settler narratives. Literary works describing settlers in the Western and Northern Territories were perceived as key to legitimizing Poland’s new postwar borders. Gieba discusses the fact that writers who tackled the motif were expected to reflect the cultural and political norms of the People’s Republic of Poland, and even to create a new national epic portraying the incorporated territories’ assimilation with the rest of the country – their heroic ‘re-polonization’. Having outlined how the epic was supposed to function as a founding narrative for the Recovered Territories, Gieba also explores the reasons for the project’s ultimate failure.
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In Gnawa music, the three-stringed lute called guembri plays a central role. According to Sum (2012, p. 52), “the guembri attracts the mluk (supernatural entities summoned in gnawa ceremonies) by sounding their musical identities, effectively sounding their names (...), (as well as) calling on the adept (...). Upon arrival of the spirit, the guembri, as the adept, becomes possessed.” The guembri is equipped with a detachable idiophone consisting of metal loops or rings fixed around the edges of a metal sheet, inserted into the neck. This device, called the sersera, is mostly audible during solo moments. It has been often noticed, or briefly described (Baldassarre 1999), but never analyzed in detail. However, it seems important for us to include the sersera in the analysis of the status, meaning and roles of the guembri timbre. Taking it into consideration will provide a new approach leading to better understanding of many facets of the instrument, including its cultural value. The sersera was used before and it is still made and carried by musicians, but nowadays it is barely employed either in Morocco or in Belgium. Through confrontation of the acoustical analysis and the information found in literature with the musicians’ experience, this paper tries to find the reasons of this obsolescence.
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The way in which the phenomenon of border determines the being and the cultural specifics of the population inhabiting the adjacent regions becomes nowadays increasingly the subject of scholarly research. The region close to the southern Bulgarian border around the town of Zlatograd provides for a field study of how local people interpret the border and how it affects their lifestyle over the years. The historical and cultural memory of the border population clearly reveals the influence of the dynamics or stability of the border lane as depending on the current political reality. From a freely crossable border in the multiethnic Ottoman Empire, it turned into part of the “Iron Curtain”. Today it is actaully an ambivalent reality and a “frontier in infinite globalization”. The turbulent history of Zlatograd Region unquestionably plays a key role in the formation of the local “frontier” identity of the nearby population. The combination, from the one hand, of the dual nature of the border as both separating and defining, and, on the other hand, the process of globalization and ethnocentrism turns the fieldwork in a very specific experience which needs particular addressing.
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In his groundbreaking book The Image of the City (1960), the American researcher Kevin Lynch, creator of the theory of mental maps, explores the urban dwellers’ mental images and the ways in which these images correspond to the material forms perceived in urban spaces. Bukowiecki argues that in the case of a city such as Warsaw, where the dramatic events of the twentieth century have completely reshaped the urban fabric, we must broaden the scope of our analyses of images of the city to include the social image of objects that are immaterial, imperceptible, or spectral. This approach to reading the city, which has much in common with grounded theory and which has been applied by architecture critics, literary scholars and ethnologists dealing with the space of Warsaw, can be described as an exercise in the haunted spatial imagination.
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The industrialization developed in the late XX century in Angara-Yenisei region promoted not only the territory development and the cities growth but also considerable sociocultural changes. In the cities of the region transition from traditional consciousness to the industrial one goes at an accelerated pace. The important role in this process was played by the large industrial enterprises of the Union value which had defined urban environment development parameters of that period of time. As a result of industrialization and urbanization of the region one can observe the transition from paternalism and collectivism to individualization, understanding of personality worthiness, material needs priority growth. These tendencies are of fragmentary and changeable character. Features of traditional, industrial and post-industrial society in the framework of the Soviet system are interwoven with polychromatic picture of sociocultural identity of a transition period. They gained the greatest expressiveness in the regional centers, the smallest level — in the peripheral not industrial cities.
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The article investigates the role and place of the industrial potential and heritage cities and regions of Russia with their branding and rebranding. The refinement of the concept of "brand" is given. The analysis of (post-) industrial resources in terms of a system approach is made. Industrial component of brand architecture is compared with other symbolic resources.
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The article is written as a reflection on the possibilities of brand development for Nizhny Tagil, a typical Ural industrial town. The author considers the positives and negatives of “industrial town” brand and the opportunities presented in this regard by traditional crafts – namely, Tagil painted trays, and also by natural resources, i.e. malachite. The two brand themes proposed here are already partially being realized in Tagil, but, in author’s opinion, they could benefit from more vigorous development: Tagil as a town of craftsmen (inventors, artists) and Tagil as a domain of Demidov family (the famous industrialists and philanthropists). This text provides justification of these two brands both from the historical point of view, and based on the realities of contemporary life. The conclusion is that, by complementing each other, these two themes will help to realize the main and obvious brand of Tagil as an industrial town, a factory town – by doing this on a substantially better, more positive, “humanized” level.
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The article presents the methodology and results of the oral history expeditions aimed at studying the urban and rural identities in the context of the research of the Northern Pryazovya citizens’ perception of peasant settlers and their place in the social structure of cities. Materials of these oral history expeditions give the opportunity to see through the eyes of the Northern Pryazovya inhabitants, of the first half of the twentieth century, the urbanization processes of this period; to make some observations about how deeply in the minds of the urban population of this region rooted myths and stereotypes about peasant-settlers and vice versa. The urbanization processes have been one of the most significant characteristics of the Northern Pryazovya history from the last quarter of the XVІII century. It is substantiated that the rural element played a prominent role in the urban colonization of the region; the character of perception by traditional rural population of Pryazovya of new settlements in a certain extent influenced the course of urbanization; the formation of «urban lifestyle» has undergone a significant impact on the part of the rural population life of the region; the categories «Own» -«Alien» were among the key in the perception by the peasant population of the region of the urban citizens; the cities since the time of their appearance played a role of outposts of policy of unification and centralization in the region, which was one of the reasons of the ambiguous attitude of the local peasants to the urban way of life.
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In this paper, the author compares aesthetic and stylistic attitude of two composers who worked in Jasna Góra Monastery at the turn of Baroque and Classical eras. The aim of this article is to capture the differences and similarities between the creative output of both artists by comparison of their pro processione pieces, which are a local variant of a church symphony. Collating complexive analysis, the author points characteristic solutions implemented by the composers, which gives rise to denotation their output as baroque or classical. In this way both composers were located on a stylistic timeline – Riepel as a baroque composer who already has implemented some classical elements into his style, and Żebrowski as a representant of galant style with baroque remainders. Outline of the compositional technique was depicted, what in the future can be a starting point for the further researches.
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Любой исторический город несет в себе те или иные следы своего прошлого. Это памятные места, архитектурные сооружения, старые названия и т.п. Но это могут быть и культурные коды, знаки, символы, образы. Н.П. Анциферов главным в понимании города считал познание его «души» на основе единства его исторического развития, природы, архитектурного пейзажа, духовной жизни. Душу города можно почувствовать через его «запахи, звуки, краски, формы, игру света и тени, пространство» . Признаем ограниченность восприятия города как «цельного культурно-исторического организма» иностранными посетителями, но одновременно это и «свежий» взгляд со стороны, подмечающий главное и необычное. Поэтому наблюдения иностранцев, несмотря на свойственные им недостатки, позволяют создать образ(ы) города.
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