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Nabok, Maryna. „Ukrainian National Dumas: National Perceptions in the Process of Intercultural Communication“. PSYCHOLINGUISTICS 24, Nr. 2 (03.10.2018): 198–217. http://dx.doi.org/10.31470/2309-1797-2018-24-2-198-217.
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The article presents the results of empirical research on ethnopsychological groups of people living in different regions of Ukraine in the context of intercultural ideological systems. In particular, residents of Ukraine and foreign students from Africa and Middle East, which study at Sumy State University, were invited to share their impressions from the listened dumas, performed by Canadian bandurist Victor Mishalow during his concert tour in Ukraine. They also watched and listened to video recordings of such folk dumas as «Cossack Golota», «Marusya Boguslavka» performed by kobzar Mykola Budnyk and bandura player Fedir Zharko. Students analyzed the characters’ images, expressed their understanding and attitude to characters’ actions and compared them with the national heroes of their own countries.
The national peculiarities of the worldview of Ukrainians, representatives of Africa and the Middle East expressed in their language are defined. The language itself is the core of people’s psyche, way of thinking, and identity of ethnic group’s moral and ethical norms of life. The analysis of folk art helps to emphasize the peculiarity of foreign students’ perception of words, rhythm, music, and the symbolic system of folk poetic works. Author notes that the psychological of figurative system of Ukrainian dumas and folk songs of the mentioned peoples has a purely national color: it is a category of national outlook and at the same time is a artistic and aesthetic category.
The solution of these problems forms an understanding of the specific of national characters and the national world in folk poetic works of the peoples of Africa, the Middle East and Ukrainian folk dumas, which is the main purpose of the study and its novelty, because such typological comparisons are investigated for the first time.
These experimental studies, the development of the ideas of dumas studies and studies on a national character, the peculiarities of a national world perception, world outlook and world expression have substantiated the need for a deeper study of Ukrainian dumas’ role in the formation of the national personality during intercultural communication.
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Rumyantsev, V. P. „The Six-Day War of 1967: Folk Myths and “Battles of Historians”“. Izvestiya of Altai State University, Nr. 6(116) (18.12.2020): 57–61. http://dx.doi.org/10.14258/izvasu(2020)6-09.
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The article analyzes the role and influence of folk and historical myths on the process of forming the historical memory towards the Arab-Israeli war of 1967, which was one of the most significant events in international life in the Middle East. The disputes of historians about the causes, nature and consequences of this war create their own field of discussion. When the wars waged by the armies cease, other wars waged by historians begin. These wars are directly related to the creation of national identity and the formation of historical memory. The disputes of historians about the Six-Day War are actually not only about the past. They affect the present and future of the Middle East region and its chances for peace. On the one hand, some historians view Israel as a stronghold of the Western democracy surrounded by a hostile Arab world. Therefore they believe that the Israeli attack on Arab countries in 1967 was a justified act of self-defense. On the other hand, some historians believe that Arab-Israeli coexistence and cooperation are possible, so they are trying to prove that the war in 1967 could have been avoided by using the chances of a diplomatic resolution to the crisis. Those who tend to demonize the policy of the Russian Federation in the Middle East in the 21st century still see the insidious “hidden hand of Moscow” in the events occurred 50 years ago.
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Zh.D., Ramadanova. „Art as a reflection of the genetic cultural code (on the example of Kazakh folk dance)“. Bulletin of the Karaganda university History.Philosophy series 107, Nr. 3 (30.09.2022): 169–81. http://dx.doi.org/10.31489/2022hph3/169-181.
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This article presents the results of the study of the genetic cultural code, reflecting the spiritual values of the people on the example of the traditional dance-plastic art of the Ka- zakhs. As a research method, the author uses a semiotic analysis of movements and pos- tures of traditional Kazakh dance, which is part of the Turkic culture. The article provides definitions and functions of such terms as «art», «figurative language in art», «arche- type», «semantics», «semiotics». It also gives an analysis of the art of dance as a semiotic system, based on the fact that the language of dance, expressed by body movements, is non-verbal, containing signs and symbols that reflect, among other things, the subcon- scious thoughts and feelings of the dancer. The author, based on the symbols of sacred geometry and sign language, compares Kazakh national patterns and movements of Kazakh dance with similar names with the interpretation of the meaning of symbolic forms reflecting the cultural code of the people. In comparison, the author relies on the fact that the basis of the Kazakh ornament is made up of signs-symbols, for the development of which the folk masters are the source of the phenomena and objects of the surrounding world. As a result, elements of Kazakh dance are identified, which are common not only for the eastern peoples but also for the dances of the peoples of the Middle East and Egypt, which is indirect evidence of the common roots of the above cultures. The conclusions are partially confirmed by research works in the DNA genealogy of mankind, as well as by the works of a number of Türkologists
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Abdullayeva, Sevda, und Samira Gasimova. „XVII century Azerbaijani culture through the eyes of european travelers“. Grani 24, Nr. 2 (28.02.2021): 41–45. http://dx.doi.org/10.15421/172113.
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At the beginning of the 16th century, due to the establishment of the Safavid Empire of Azerbaijan, the culture of the people also developed significantly, especially due to the strengthening of the centralized political structure. “Language commonality, which is one of the factors of the national stage of public unity” was a reality that closely united the people of Azerbaijan in the 17th century.In the 17th century, Azerbaijan was remaining one of the most important cultural centers of the Near and Middle East. The ongoing Safavid-Ottoman wars at that time dealt a crushing blow to the cultural development of the people. Many famous Azerbaijani scientists were captivated and taken to Istanbul, and some were transferred to Qazvin and Isfahan. Only in the middle of the 17th century there was a certain revival in the development of science and education in Azerbaijan. There were various educational institutions in the cities of the country, which were the centers of crafts, trade and culture. In the Middle Ages, all educational institutions, including madrassas, neighbour schools, tekyehs, were, of course, religious in nature.A careful analysis of the information provided by medieval historians and travelers leads to the conclusion that book printing was not only known in Azerbaijan in the middle of the 17th century, but even a printing press was brought here. The French traveler Chardin writes that the Safavid Empire, aware of the benefits of printing, was in favor of bringing it to Iran.Generally, the history of Azerbaijan in the Middle Ages (as well as in the XVII century) had the character of a scientific chronicle. However, even the mere recording of real events served to develop the historical thinking of the people, to ensure the connection of inheritance. The expansion of folk art, the spread of cultural potential in the Near and Middle East was one of the features of the development of Azerbaijani culture in the 17th century. Unfavorable socio-economic and political processes had a negative impact on the development of culture in the country.
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Magomedov, Amirbek J., und Madina A. Omarkadieva. „TRADITIONAL CRAFTS OF DAGESTAN IN THE CONTEXT OF HISTORICAL AND CULTURAL RELATIONS WITH THE REGIONS OF RUSSIA, COUNTRIES OF THE CAUCASUS AND THE MIDDLE EAST“. History, Archeology and Ethnography of the Caucasus 18, Nr. 2 (23.06.2022): 284–305. http://dx.doi.org/10.32653/ch182284-305.
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The present study examines the formation and mass development of artistic crafts in Dagestan for the past millennium. The evolution of traditional arts and crafts of Dagestan can be seen through the history of their formation, contacts of the inhabitants with foreign cultures. The leading approach in the study of the problem that combines historical-cultural, historical-comparative and artistic-descriptive methods, which allow for a comprehensive consideration of the cultural influences of neighboring (Transcaucasia, Russia) and the Middle Eastern countries on the development of arts and crafts in Dagestan over the past millennium. The article shows that the spread of Islam, close contacts of Dagestan with the peoples of Transcaucasia, Iran, the Middle East, the accession of Dagestan to Russia, foreign cultural influences of the Soviet era provided prerequisites for the development of professional and folk arts and crafts in Dagestan. At the same time, the craftsmen of Dagestan not only borrowed, but also redesigned many other cultural and ethnic traditions, creating new artistic forms and phenomena, often of a world and regional level. The historical development of Dagestan, associated with the spread of Islam, the influence of the Transcaucasian, Iranian, Middle Eastern, Russian-European, Soviet traditions of artistic culture, contributed to the formation in Dagestan of the traditions of religious architecture, ordinary, glazed and painted ceramics, carpet weaving, weapons, jewelry, coppersmithing, decorative stone and wood carvings, embroidery with gold and silk thread, etc. The provided material is of great scientific value for historians of culture and art, ethnographers, practitioners of arts and crafts and fine arts, for specialists engaged in educational practice in schools and universities.
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Norris, H. T. „The Near and Middle East - Ann Parker and Avon Neal: Hajj paintings: folk art of the great pilgrimage. xxvii, 164 pp. Washington and London: Smithsonian Institution Press, 1995. £38.95.“ Bulletin of the School of Oriental and African Studies 60, Nr. 3 (Oktober 1997): 553–54. http://dx.doi.org/10.1017/s0041977x00032699.
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Koudal, Jens Henrik. „Musikkens betydning på en større gård i mellemkrigstiden“. Kulturstudier 4, Nr. 1 (29.05.2013): 6. http://dx.doi.org/10.7146/ks.v4i1.8138.
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The meaning of music at a large farm during the inter-war periodThis article investigates music as culture from a historical, ethno-musicological perspective. Jens Henrik Koudal bases his work on the preserved music collection and large private archives of Christian Olsen (1881–1968), who was born and spent most of his life on the farm Torpelund in Zealand, Denmark. From Olsen’s collection, it is possible to make a historical reconstruction of the rich musical life that took place on the farm, and the purpose of the article is to examine what the musical activities meant to the Olsen family’s social and cultural identity; i.e., both their self-conceptualisation and their marking of identity towards their surroundings. The article’s method is rooted in a ‘broad’ concept of culture, along with Christopher Small’s concept ‘musicking’ and new musicology’s tendency to focus on the practice of music-making rather than on ‘great’ composers and books of music. Torpelund is compared to similar settings in England (e.g., East Suffolk around 1900, according to Carole Pegg) and Western concert halls (around 1980, according to Christopher Small).During the inter-war period, the Olsen family gathered together a circle of diverse people, including relatives, friends, business connections and other musicians, who all participated in the “musicking” as equals. Their repertoire consisted of classical and romantic art music from c. 1780–1890, plus the family’s old folk-dancing music (arranged by members of the family). In its own opinion, the circle’s music-making was a ‘higher’ kind of music that established clear distinctions towards lower social classes, towards other races (e.g., blacks with their ragtime and jazz) and towards modern music (e.g., art music and popular music). Specific to Torpelund are three concepts, which also characterise the social and cultural identity of the Olsen family: conservatism, privacy and exclusivity. The musical practices of the Olsens at Torpelund indicate that, during the inter-war period, the family represented a particular amalgamation of the peasant family, the part of the country (northwestern Zealand) and an international, middle-class education.
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Jawad, Rana, Daniel Béland und Emmanuele Pavolini. „State of the Art: ‘The People’ and Their Social Rights: What Is Distinctive About the Populism-Religion-Social Policy Nexus?“ Social Policy and Society 20, Nr. 2 (11.01.2021): 267–81. http://dx.doi.org/10.1017/s1474746420000664.
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The aims of this review article are two-fold: (1) to set out the key theoretical trends in the study of religion, populism and social policy as antithetical concepts that also share common concerns; (2) to re-assert the relevance of social policy to the social and political sciences by making the case for studying outlier or indeed rival topics together – in this case populism and religion. Social policy scholars do not necessarily associate these two topics with modern social policy, yet they have a long history of influence on societies all over the world; populism is also especially timely in our current era. The article contributes to the literature by: (a) helping social policy better understand its diverse and at times contradictory constituencies; (b) contributing to a more complex and inclusive understanding of social policy and, therefore, social welfare. In setting out the state-of-the-art, the article also draws upon research on social policy which spans various continents (North America, Europe, the Middle East and North Africa and Latin America) and a preceding paper collaboration by the authors on religion and social policy (Pavolini et al., 2017).
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Akritidis, Dimitris, Andrea Pozzer und Prodromos Zanis. „On the impact of future climate change on tropopause folds and tropospheric ozone“. Atmospheric Chemistry and Physics 19, Nr. 22 (28.11.2019): 14387–401. http://dx.doi.org/10.5194/acp-19-14387-2019.
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Abstract. Using a transient simulation for the period 1960–2100 with the state-of-the-art ECHAM5/MESSy Atmospheric Chemistry (EMAC) global model and a tropopause fold identification algorithm, we explore the future projected changes in tropopause folds, stratosphere-to-troposphere transport (STT) of ozone, and tropospheric ozone under the RCP6.0 scenario. Statistically significant changes in tropopause fold frequencies from 1970–1999 to 2070–2099 are identified in both hemispheres, regionally exceeding 3 %, and are associated with the projected changes in the position and intensity of the subtropical jet streams. A strengthening of ozone STT is projected for the future in both hemispheres, with an induced increase in transported stratospheric ozone tracer throughout the whole troposphere, reaching up to 10 nmol mol−1 in the upper troposphere, 8 nmol mol−1 in the middle troposphere, and 3 nmol mol−1 near the surface. Notably, the regions exhibiting the largest changes of ozone STT at 400 hPa coincide with those with the highest fold frequency changes, highlighting the role of the tropopause folding mechanism in STT processes under a changing climate. For both the eastern Mediterranean and Middle East (EMME) and Afghanistan (AFG) regions, which are known as hotspots of fold activity and ozone STT during the summer period, the year-to-year variability of middle-tropospheric ozone with stratospheric origin is largely explained by the short-term variations in ozone at 150 hPa and tropopause fold frequency. Finally, ozone in the lower troposphere is projected to decrease under the RCP6.0 scenario during MAM (March, April, and May) and JJA (June, July, and August) in the Northern Hemisphere and during DJF (December, January, and February) in the Southern Hemisphere, due to the decline of ozone precursor emissions and the enhanced ozone loss from higher water vapour abundances, while in the rest of the troposphere ozone shows a remarkable increase owing mainly to the STT strengthening and the stratospheric ozone recovery.
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Zavidovskaia, Ekaterina Alexandrovna, und Polina V. Rud. „Popular Religion in Early Republican China Based on Vasilii Alekseev’s Materials from to the Peter the Great Museum of Anthropology and Ethnography RAS (fund No. 2054)“. Written Monuments of the Orient 6, Nr. 2 (09.02.2021): 3–21. http://dx.doi.org/10.17816/wmo56798.
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One of the founding fathers of Russian sinology Vasiliy Mikhailovich Alekseev (18811951) had acquired an impressive collection during his ethnographic expedition to the southern regions of China (May 4 August 19, 1912), which was organized by the Russian Committee for Middle and East Asia Exploration and initiated by the Committee`s head, founder academician Vasilii Vasilievich Radlov (18371918). Alekseevs expedition stated from Vladivostok and passed through Harbin, Shanghai, Ningbo, Putuoshan, Fuzhou, Xiamen, Shantou, Guangzhou and ended up in Hong Kong. Alekseev has collected about 1083 artifacts making up a collection exclusively on popular Buddhist and Daoist religion, items of household usage, daily life and cult, as well as revolutionary leaflets and posters of 1912, now this collection is kept at the Peter the Great Museum of Anthropology and Ethnography of the Russian Academy of Sciences (MAE, RAS) with registration No.2054. During his earlier studies in China in 19061909 Alekseev acquired large collections of ethnographic materials and folk art (mainly popular woodblock prints nianhua 年畫) from the northern regions of China, which had later for the most part entered collections of the State Hermitage and the State Museum of the History of Religion (GMIR) in St.Petersburg. For his expedition of 1912 Alekseev had lined out a plan based on his observations of northern religious practices, e.g. he was particularly interested in the worship of City God chenghuang, child giving goddesses niangniang and God of Wealth caishen, but he quickly realized how different was the southern religious terrain and focused on local specifics.
This paper discusses a large portion of printed ritual texts used for religious purposes in Fujian and Guangdong provinces and dated by the early 20thc. Our survey of several dozens of printed materials from fund No.2054 reveals prevalence of documents used by ritual specialists Daoists for funerary rituals and ancestor worship, funeral various types of talismans occupy a central place. Apparently, the form and content of these texts have been preserved in the local religious practice up to present days.
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Koudal, Jens Henrik. „Musikkens betydning på en større gård i mellemkrigstiden“. Kulturstudier 4, Nr. 1 (29.05.2013): 6. http://dx.doi.org/10.7146/ks.v4i1.8136.
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The meaning of music at a large farm during the inter-war period This article investigates music as culture from a historical, ethno-musicological perspective. Jens Henrik Koudal bases his work on the preserved music collection and large private archives of Christian Olsen (1881–1968), who was born and spent most of his life on the farm Torpelund in Zealand, Denmark. From Olsen’s collection, it is possible to make a historical reconstruction of the rich musical life that took place on the farm, and the purpose of the article is to examine what the musical activities meant to the Olsen family’s social and cultural identity; i.e., both their self-conceptualisation and their marking of identity towards their surroundings. The article’s method is rooted in a ‘broad’ concept of culture, along with Christopher Small’s concept ‘musicking’ and new musicology’s tendency to focus on the practice of music-making rather than on ‘great’ composers and books of music. Torpelund is compared to similar settings in England (e.g., East Suffolk around 1900, according to Carole Pegg) and Western concert halls (around 1980, according to Christopher Small). During the inter-war period, the Olsen family gathered together a circle of diverse people, including relatives, friends, business connections and other musicians, who all participated in the “musicking” as equals. Their repertoire consisted of classical and romantic Viennese music from c. 1780–1890, plus the family’s old folk-dancing music (arranged by members of the family). In its own opinion, the circle’s music-making was a ‘higher’ kind of music that established clear distinctions towards lower social classes, towards other races (e.g., blacks with their ragtime and jazz) and towards modern music (e.g., art music and popular music). Specific to Torpelund are three concepts, which also characterise the social and cultural identity of the Olsen family: conservatism, privacy and exclusivity. The musical practices of the Olsens at Torpelund indicate that, during the inter-war period, the family can be seen as a particular amalgamation of the peasant family, the part of the country (northwestern Zealand) and an international, middle-class education.
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Rodov, Ilia. „What is “Folk” about Synagogue Art?“ Images 9, Nr. 1 (22.05.2016): 49–63. http://dx.doi.org/10.1163/18718000-12340052.
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This publication is a tribute to the memory of the outstanding folklorist and ethnographer Dov Noy, who passed away in 2013. In the scholarly discourse that classifies folklore by modes and media of transmission, synagogue art—as distinct from folk narrative and behavioral lore—is commonly categorized as “visual folklore.” This paper examines the approach of classifying murals and sculptural decoration in east and central European synagogues from the late seventeenth century until the Holocaust as “folk creations.” It suggests a revision of pre-established definitions in the field, in general, and in the analysis of representative folk narratives relating to synagogues, in particular. The position of academic research into traditional Jewish visual culture, at the seam of art history and folkloristics, challenges predefined divisions of this integral cultural phenomenon into the conventional categories of separate disciplines. In the discourse classifying folklore according to the ways and media of its transmission, synagogue art—in distinction to folk narratives and behavioral lore—commonly falls into the category of “visual folklore,” defined as the visual domain of folk art and material culture. Jewish “folk art” is often attributed generally to “folk artists” and “craftsmen,” without a clear distinction between the two groups. This paper holistically examines the approaches to the murals and sculptural decoration in east and central European synagogues from the late seventeenth century until the Holocaust as visual folklore, craftsmanship, and artistic work, and outlines the part of oral lore in the programming and interpretation of synagogue art. Finally, it proposes to re-approach folk synagogue art as a medium that creates a visual environment for liturgical activity and predicates its viewers’ responses to the challenges, trials, and tribulations of daily life.
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Moody, Ivan. „East and West, folk and art, new and old“. Early Music 42, Nr. 3 (15.07.2014): 499–501. http://dx.doi.org/10.1093/em/cau054.
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TANNER, STEPHANIE COTELA. „Contemporary Art in the Middle East“. Art Book 16, Nr. 4 (November 2009): 15–16. http://dx.doi.org/10.1111/j.1467-8357.2009.01057.x.
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He, Wei, Yan Yue Luo, Su Shan Zhang und Xian Jun Hu. „The Value of Research, Inheritance and Development of East Hunan Folk House“. Advanced Materials Research 639-640 (Januar 2013): 752–56. http://dx.doi.org/10.4028/www.scientific.net/amr.639-640.752.
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The folk house of Zhuzhou, Liling, Youxian and Liuyang situated on the east Hunan is taken shape by two varieties of historical culture in Hunan and JiangXi province. The folk house has great value of research in history, culture, environment, architectural space and art. This paper aims to discuss about the research value of the folk house, and the methods of inheritance and development.
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Sherbayevna, Shukurova Lobar. „Bukhara Applied Art In Middle Of XVIII - Early XX Century, During The Mangit Dynasty“. American Journal of Applied sciences 02, Nr. 12 (31.12.2020): 156–59. http://dx.doi.org/10.37547/tajas/volume02issue12-24.
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In the article stressed about some features of Bukhara's applied art in the middle of the 18th - early 20th centuries. Art historians and historians have cited the scientific views of some scholars on the development of folk applied art in these periods.
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Razzakova, Guzal. „PLACE OF A WOMEN-EXECUTOR - HALFA BOOK IN KHOREZM OASIS“. JOURNAL OF LOOK TO THE PAST 4, Nr. 3 (30.04.2020): 89–95. http://dx.doi.org/10.26739/2181-9599-2020-4-10.
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The article says that, in the Khorezm region of Uzbekistan, the performer of folk songs and folk epic tales, as well as excerpts from dastans and their songs, are called half. Khalfachilik - the art of half was formed and developed in Khorezm in the Middle Ages.In the nineteenth and twentieth centuries, this art acquires its status and form of performance, which was functioned by women in the female half of the Ichkari.
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Turanov, Bakhit Gurbanbaevich, und Salamat Kudaybergenovich Allambergenov. „IMAGE OF BIRDS IN KHOREZM ART CRAFTS (BASED ON ARCHAEOLOGICAL MATERIALS)“. CURRENT RESEARCH JOURNAL OF HISTORY 02, Nr. 07 (30.07.2021): 21–25. http://dx.doi.org/10.37547/history-crjh-02-07-05.
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The article is devoted to the research of archeological findings of art of khorezm people in ancient and middle-aged period of time the image of birds in the examples of art items. That time in the mythological ideas of khorezm folk art the image of birds was mighty and superficial symbol.
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Safonova, Nataliya V. „Specific Features of Middle Eastern Street-Art“. Oriental Courier, Nr. 3-4 (2021): 275. http://dx.doi.org/10.18254/s268684310018032-3.
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The article focuses on the distinctive features of street-art, presented by artists from the Middle East. The origin and development of this artform in the Middle East differs from the Western one. In European countries and the United States (within the framework of Western culture) street-art was originally a way of personal self-expression, of saying «I was here», the possibility of individual opposition to the system and even its conceptual destruction. On the contrary, in the East, graffiti is characterized by a collective or communal character. It became a type of a mirror reflecting the city’s life and its inhabitants. It is believed that the first graffiti, as means of communication, an exchange of current news, appeared in Palestine. But the tradition of graffiti on walls has existed in the Middle East before. Today, many artists have been influenced by Western aesthetics and one of the modern trends in the development of street art is English-language graffiti. In this article, special attention is paid to the origins and development of Middle Eastern street-art, its message, tasks and goals, and what conceptually distinguishes it from similar art in the West. Particular emphasis is placed on one type of the street art — graffiti.
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NOYES PLATT, SUSAN. „Contemporary Art in the Middle East: New Perspectives“. Art Book 14, Nr. 2 (Mai 2007): 9–10. http://dx.doi.org/10.1111/j.1467-8357.2007.00790.x.
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Tripp, Charles. „THE ART OF RESISTANCE IN THE MIDDLE EAST“. Asian Affairs 43, Nr. 3 (November 2012): 393–409. http://dx.doi.org/10.1080/03068374.2012.720061.
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Jason, Heda. „Indexing of Folk and Oral Literature in the Islamdominated Cultural Area“. Bulletin of the School of Oriental and African Studies 59, Nr. 1 (Februar 1996): 102–16. http://dx.doi.org/10.1017/s0041977x00028573.
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Galland's translation of the Arabian Nights in the eighteenth century brought to the wider European readership an awareness of the wealth of written folk literature of medieval provenance in the Near and Middle East. During the Romantic movement, popular translations or rewritings from Arabic, Turkish and Persian medieval folk literatures proliferated (see Appendix 1 below, Chauvin, no. 6; Marzolph, no. 10).
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Kurakina, Irina I. „Initial Stages and Origins of the Theory of Folk Art“. Observatory of Culture 18, Nr. 5 (29.10.2021): 538–48. http://dx.doi.org/10.25281/2072-3156-2021-18-5-538-548.
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The article is devoted to understanding the origins of the formation and development of the theory of folk art. The relevance of the topic is determined by the existing contradiction: on the one hand, the positioning of folk art and traditional folk art crafts as an important part of the national artistic culture, an independent field of art criticism, which can be seen in legal documents, popular science literature and scientific works of the 20th century, and, on the other hand, the limited range of modern research in this area, insufficient development of the theoretical aspect of this issue.Based on the analysis of a wide range of sources, the author identifies five stages of the formation of the theory of folk art (the beginning of the 18th century — 1870s; 1870—1910s; 1917—1930s; 1930—1990s; 1990—2020s), gives a brief description of them, and names the main results of studying each of the periods. The provisions of the theory of folk art were most fully and systematically formulated and justified by M.A. Nekrasova in the 1980s.The article considers the process of forming interest in works of folk art in the middle of the 18th — the last third of the 19th century, and in the next period of “initial accumulation of facts” (until the 1910s), as the first experience of developing scientific approaches to the analysis of the specifics of folk art. The author reveals the significance of Peter the Great’s transformations in the field of culture for the formation of public interest in the traditions of Russian culture; defines the Russian folklore researchers’ contribution (songs, rituals, fairy tales) to drawing attention to the problems of preserving national features of Russian culture and their interpretation in works of literature; describes the activities of artists, critics, and public figures in creating the first collections of folk art, their analysis and description from a scientific point of view.
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El Enshasy, Hesham, Elsayed A. Elsayed, Ramlan Aziz und Mohamad A. Wadaan. „Mushrooms and Truffles: Historical Biofactories for Complementary Medicine in Africa and in the Middle East“. Evidence-Based Complementary and Alternative Medicine 2013 (2013): 1–10. http://dx.doi.org/10.1155/2013/620451.
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The ethnopharmaceutical approach is important for the discovery and development of natural product research and requires a deep understanding not only of biometabolites discovery and profiling but also of cultural and social science. For millennia, epigeous macrofungi (mushrooms) and hypogeous macrofungi (truffles) were considered as precious food in many cultures based on their high nutritional value and characterized pleasant aroma. In African and Middle Eastern cultures, macrofungi have long history as high nutritional food and were widely applied in folk medicine. The purpose of this review is to summarize the available information related to the nutritional and medicinal value of African and Middle Eastern macrofungi and to highlight their application in complementary folk medicine in this part of the world.
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Bedirkhanov, Seyfeddin Anver ogly. „THE SONG GENRE OF VERBAL ART OF LEZGHIN PEOPLE OF THE MIDDLE AGES: GENDER PEСULIARITIES“. Herald of the G. Tsadasa Institute of Language, Literature and Art, Nr. 25 (30.04.2021): 39–43. http://dx.doi.org/10.31029/vestiyali25/7.
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The article deals with the Lezghin female poetry of the Middle Ages. Based on the analysis of the works, the natural, irrational, emotional, sensual principles in the song traditions of oral folk art are determined.
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Hayashi, Isao. „Folk Performing Art in the Aftermath of the Great East Japan Earthquake“. Asian Anthropology 11, Nr. 1 (Januar 2012): 75–87. http://dx.doi.org/10.1080/1683478x.2012.10600857.
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Liu, Xin, und Young Chun Ko. „Analysis of the Influence of Geographical Environment on Chinese Ethnic Folk Dance, Taking the Development of Dance Curriculum in Huaihua No. 1 Middle School as an Example“. Journal of Environmental and Public Health 2022 (29.08.2022): 1–8. http://dx.doi.org/10.1155/2022/9692803.
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Among the treasures of Chinese art, ethnic dance is an important part. As a key form of expression of national art and emotion, dance has strong regional and gender characteristics for those affected by different ethnic groups and regions. The unique characteristics of the region are the driving force for the masses of all ethnic groups in China to continuously promote the prosperity and development of ethnic and folk dances living alone in different living conditions and living environments. In the analysis of ethnic and folk dances, environmental elements have a profound impact on the rapid development of dance. The main reason for folk dance is the relationship between the costumes of the dance, the connotation of the dance, and the laws of nature, resulting in the derivation of the environment. The article will also focus on a more in-depth discussion and analysis of the characteristics of Chinese folk dance. Scientific research on the regionality of ethnic dance plays a vital role in understanding and inheriting ethnic and folk dances.
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Baker, Phil. „PALACE AND MOSQUE: ISLAMIC ART FROM THE MIDDLE EAST“. Art Book 12, Nr. 2 (10.05.2005): 62. http://dx.doi.org/10.1111/j.1467-8357.2005.555_8.x.
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Yücel, Şebnem. „Art Museums and the Middle East: A Contested Territory“. International Journal of Islamic Architecture 9, Nr. 1 (01.03.2020): 231–44. http://dx.doi.org/10.1386/ijia_00012_1.
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واكفيلد, يوفون. „In Art and Application: Pomegranates in the Middle East.“ المجلة العربية للعلوم الإنسانية 28, Nr. 111 (07.07.2010): 259–77. http://dx.doi.org/10.34120/ajh.v28i111.2211.
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يعد (الرمان) في ثقافة بلدان الشرق الأوسط كما هو (التفاح) بالنسبة لأمريكا الشمالية، وفير و مرتبط بمفاهيم متعددة ومستخدم لأغراض عديدة. إن كلاً من (الرمان) و (التفاح) يشيران إلى رموز مختلفة في الكتاب المقدس والفن والثقافة الأوروبية، ويحملان معاني ومدلولات رمزية كثيرة وهامة، وكذلك لم تخل منهما أساطير كثير من الثقافات الأخرى كما لامست الحياة المعيشية فيها. ومع ذلك فإن موقع (الرمان) في الفن - والثقافة الشرق أوسطية تحديداً - هو الملهم لهذا التحقيق و الدراسة الجغرافية- الجرافيكية (التصويرية)، حيث تشكل المجموعة الأولى من اللوحات الفنية محور هذا البحث، وأما المجموعتان الأخريان فبينما كانت إحداها وسيلة حاولت من خلالها خلق توازن فني ومحاكاة للثقافة الجديدة التي أعيش في خضمها الآن، كانت الأخرى بمثابة بحث استوحيته من مقابلات أجريتها مع جملة من الأفراد تتراوح أعمارهم بين 25 إلى 80 عاماً من كل من دولة الكويت، وسورية، وإيران، ومصر، وفلسطين، ولبنان، والسعودية، والأردن، والإمارات، والعراق. وتمثل هذه المجموعات الثلاث من اللوحات الفنية مجتمعة أدباً مرئياً فريداً من نوعه ووسيلة للبحث حول ثمرة تتشاركها الثقافات فيما بينها وتتعدد المعتقدات المرتبطة بها.
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Stillman, Yedida K., und Nancy Micklewright. „Costume in the Middle East“. Middle East Studies Association Bulletin 26, Nr. 1 (Juli 1992): 13–38. http://dx.doi.org/10.1017/s0026318400025025.
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Clothing constitutes a cultural statement. It is a manifestation of culture, no less than art, architecture, literature, and music. Like all cultural phenomena, it communicates a great deal of information both on the physical and symbolic level about the society in which it is found. Fashions, or modes of dress, reflect not only the æsthetics of a particular society (what might be called the “adornment factor”), but also its social mores and values (the “modesty/immodesty factor,” or “reveal/conceal factor”). Furthermore, dress is often a clear economic indicator. The fabric, quality of cut, and ornamentation of a garment are commonly badges of socioeconomic status. More subtly and often symbolically, clothing reflects religious and political norms. In Islamic society, clothing has historically been intimately connected with notions of purity and impurity (tahāra and najas), ritual behavior (sunna), and the differentiation of the believer from the unbeliever (ghiyār), as well as the separation of the genders (hijāb). Thus, within Islamic society clothing constitutes a cultural complex, or what Roland Barthes has dubbed a “vestimentary system.” (Barthes 1957).
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Manjit Kumar Shah. „Mukha Shilpa (Mask Making) is the Artefact form of Assam“. International Journal for Multidimensional Research Perspectives 2, Nr. 6 (16.06.2024): 58–64. http://dx.doi.org/10.61877/ijmrp.v2i6.157.
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The north-eastern state of Assam is very rich in terms of diverse arts. Revolutionary great men in Assamese literature, culture, society and spiritual life The contribution of Shrimant Shankardev is unforgettable. His great works made this Strengthened the feeling of social and cultural unity in the area. He wrote Ramayana and translated Shrimad Bhagwat into Brajavali language.Vaishnavism in the North-East for propagation, Shankardev started Bargeet, Kirtan, Ankiya Naat (Bhaona) etc. Composed. There are two main forms of dance here – Bihu dance and Satriya dance. bihu dance The identity of Assam has become. All children and elders participate in this. Bihu dance is performed on the occasion of the festival. Bihu song also on this occasion are sung. The central theme of Bihu songs is love. Apart from this, in Assam many folk dances are prevalent. There are many art forms here in the form of songs, dance, drama etc. are present. Shankardev gave birth to many art forms, including dramatic art and mask art was prominent. Folk plays played an important role in the background of the Neovaishnav movement and its propagation. Folk theaters performed by women are also popular in Assam. Women express their feelings through these folk dramas. Assam also has a rich tradition of folk songs. Bihu is the representative folklore in this region. Through which the common people's passion, hope, Aspirations, joys and troubles take shape. The folk song 'Haidang' of Sonowal Kachari tribe is sung only by men. Various body movements and dance along with songs are the specialty of Haidang. Rabha community of Assam is very rich in terms of folk songs. The folk songs of Miri or Mising tribe are called 'Oi Neetom'.The life and culture of the people of this community has developed in the valley of Brahmaputra and Subansiri rivers. The communities here have a rich heritage of folklore. The folk tales here are full of supernatural incidents. Assam has been considered the center of Tantra-Mantra, witchcraft and spirituality. Therefore, Tantra-Mantras are included in folk tales. Apart from this, idioms and proverbs are also available in abundance.
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Khalilov, Ilhom Isroiljonovich. „Development Of Oriental Art“. American Journal of Social Science and Education Innovations 03, Nr. 02 (12.02.2021): 8–12. http://dx.doi.org/10.37547/tajssei/volume03issue02-02.
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The article examines the early and middle periods of the visual arts of the East. First of all, these are monumental works of art from ancient times, including frescoes found near Samarkand and Dalvarzintep, as well as the works of the great artist Kamoliddin Behzod.
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Sentevska, Irena. „All that turban-folk: Orientalism and neo-folk music in Serbia“. Bulletin de l'Institut etnographique 68, Nr. 3 (2020): 641–60. http://dx.doi.org/10.2298/gei2003641s.
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In this paper I look at the ?oriental controversy? of the neo-folk music in Serbia, focusing on the changes in the perception of the longstanding Serbian-Bosnian ensemble Juzni vetar (Southern Wind) in the academic circles, media and various segments of the music industry. The affirmative attitude towards the performers and music legacy of Juzni vetar, which has in recent years gradually entered the media from the alternative (non-commercial) music and art circles, may be observed in the context of the contemporary globalized music industry which constantly challenges orientalist assumptions and divisions between East and West. The key turning point in this process is the newly-embraced understanding of Juzni vetar (and ?turban-folk? in general) as part of Serbia?s cultural heritage. Using a representative sample of academic and media comments, in this paper I shed some light on the shifts in the reception of Juzni vetar primarily as an indication of the wider changes in the reception of the Ottoman legacy and contemporary influences of the ?Orient? in the contemporary Serbian culture, not excluding the wider context of Southeastern Europe.
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Fedorchuk, Olena, und Romana Motyl. „Tradition of Beaded Decoration in the Ukrainian Folk Costume: Reconstruction of the Second Stage (Based on the Materials of Western Regions of Ukraine)“. Arta 32, Nr. 1 (September 2023): 124–31. http://dx.doi.org/10.52603/arta.2023.32-1.17.
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The article continues the previously started reconstruction of ethnic artistic tradition of beaded decoration in the Ukrainian folk costume. The authors’ vision of the second stage of development of this tradition (the end of the 19th– the middle of the 20th centuries) is presented. It was found that at the second stage of its development, the tradition of beaded decoration in the Ukrainian folk costume went through the phase of creative uplift. Ukrainian folk craftsmen considerably expanded the arsenal of technical as well as artistic and stylistic means of their creative works. The following techniques were used: typesetting, sewing “v prykrip“, stringing, weaving, embroidery, etc. The typology of beaded components of the folk costume expanded significantly. Alongside with overhead jewelry and headdresses, the beaded decoration emerged in the structure of several old and new components of clothes and accessories. By virtue of the implementation of the techniques of weaving and embroidery, artistic stylistics developed further. In the compositions of beaded components of the costume, apart from the motifs of geometric shapes, the motifs of geometrised shapes appeared, as well as the national symbols. The colouring of beaded artworks was significantly enriched. Successful development of all-Ukrainian and local features of folk art continued. The knowledge, accumulated by the authors, will be of a great interest to ethnologists, art historians as well as modern folk craftsmen of beaded artworks.
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AVDEEV, ALEXANDER. „THE RUSSIAN FOLK “EGYPTOLOGY”“. Культурный код, Nr. 2024-1 (2024): 120–34. http://dx.doi.org/10.36945/2658-3852-2024-1-120-134.
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The paper deals with Russian folk legends about “pharaohs” - mythical creatures with a human torso and a fish tail, who inhabited the water element. The legends reflected the oldest layer of folk knowledge about the ancient Egyptian history. These ideas go back to the biblical story about Pharaoh's army that drowned in the Red Sea during the exodus of the Jews from Egypt. In Old Russia, the title “Pharaoh” became a symbol of a proud and wicked ruler. The legend about the mythical water people was first recorded by Vasily Poznyakov, who travelled to Egypt in 1558. At the end of the 16th century, his story was used by Trifon Korobeynikov, who was on a pilgrimage to the East. Thanks to this work, “pharaohs” and “pharaonic women” were formed as negative characters of the Christian legend and in the 18th - 19th centuries were firmly incorporated into Russian folklore, while the image of the mythical people itself received an eschatological sound. Images of these creatures became one of the motifs of folk decorative art in Nizhny Novgorod province and neighboring counties of Kostroma province. It had a negative meaning, which derived from the “negativity” of the Old Testament character of the same name and was projected onto one of the repulsive features of the local character.
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Narzikulova, Manzura. „Folklore Motifs In Alisher Navoi’s Epic “Sabai Sayyar“. American Journal of Social Science and Education Innovations 03, Nr. 06 (30.06.2021): 249–57. http://dx.doi.org/10.37547/tajssei/volume03issue06-42.
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The article deals with the traditions of folklore in the works of Alisher Navoi, the role of mythology and folk art in the epic “Sabai Sayyar”, the plot of the epic in folklore, the connection of the main motives with folklore; folklore traditions in the interpretation of the composition and image system of the epic “Sabai Sayyar”; the sources of the plot of the epic “Sabai Sayyar” in the folklore of the peoples of the East and the artistic evolution of the epic plot are analyzed. The plot of the epic “Sabai Sayyar” is clarified in connection with the traditions of Uzbek folk epics.
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Rakhimova, Gavkhar, Sayfuddin Rakhimov und Manzura Abdurakhmonova. „Amazing Musical Instruments of Uzbekistan and the Middle East“. International Journal of Multicultural and Multireligious Understanding 10, Nr. 3 (15.03.2023): 188. http://dx.doi.org/10.18415/ijmmu.v10i3.4555.
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Each nation has its own national art, traditions and literature, which are valued from generation to generation as a national treasure. As part of the article, we tried to show the similarity of the Far Eastern countries such as Chinese and Japanese national musical instruments with Uzbek national musical instruments.
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Dewi Tukan, Maria Klara Amarilis Citra Sinta. „”DOLO-DOLO” SEBAGAI BENTUK MUSIK, TARI DAN SASTRA MASYARAKAT FLORES TIMUR (LAMAHOLOT), NTT“. JURNAL HARMONI 13, Nr. 2 (29.10.2023): 199–215. http://dx.doi.org/10.26618/jh.v13i2.12886.
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: Dolo-dolo as a Kind of Music, Dance and Literary Community in East Flores (Lamaholot), NTT. Dolo-dolo is a kind of folk art that consist of music, dance and literature that comes from the East Flores (Lamaholot), NTT. There are many other similar arts can be found in every province from NTT that has the same elements. The art like this usually have the shape of ritual and entertainment by the performance art. Dolo-dolo is a kind of art from NTT that packaged in one complete presentation which has third of the art elements in a show. Such as in the form of dance, which is not only the dance that contained in the serving, but rather the elements of music and literature also very important in it. Based on its history and its development, Dolo-dolo has value and functionality in the local area connection that does not even have separated from Western culture. This became the basis of a mix of acculturation and inculturation are very complete.
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Demchenko, Aleksandr Ivanovich. „The Middle Ages: From the Birth of Christ to the 13th century. The East and the West“. Pan-Art 4, Nr. 1 (16.01.2024): 1–14. http://dx.doi.org/10.30853/pa20240001.
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The essay provides a summary overview of the main phenomena of artistic culture during the Middle Ages in the West and the East (from the Birth of Christ to the 13th century). The paper covers the global art culture of the medieval period both from the point of view of the general historical process and in the consideration of individual types of art (sculpture, architecture, painting, literature, music). The author examines the achievements of medieval authors in these types of creativity: the increasing trends towards simplification in depiction of man and mythological creatures in Western art, the progressive development of art in the East (the rise of architecture and urban planning, the development of fine art). There is a turn towards the acquisition of civilizational forms of existence in Western art under the influence of feudalism and monotheistic religion. Special attention is paid to understanding the category of the universe in the medieval period, the construction of fortifications as reflections of the militant mood of the Middle Ages, manifestations of lyrical imagery in the artistic culture of the West and the East. As a result, the author concludes that medieval art represents a huge, richest layer of the artistic culture of mankind, the most important stage for the creation of artistic classics in the East and later in Russia.
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Indyk, Martin. „Reagan and the Middle East: Learning the Art of the Possible“. SAIS Review 7, Nr. 1 (1987): 111–38. http://dx.doi.org/10.1353/sais.1987.0032.
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Safieh, Afif. „Diplomacy in the Middle East: The Art of delaying the inevitable“. RUSI Journal 146, Nr. 4 (August 2001): 28–32. http://dx.doi.org/10.1080/03071840108446671.
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Skeates, Robin. „Visual Culture in Prehistoric South-east Italy“. Proceedings of the Prehistoric Society 68 (2002): 165–83. http://dx.doi.org/10.1017/s0079497x00001493.
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Using the approach of visual culture, which highlights the embeddedness of art in dynamic human processes, this paper examines the prehistoric archaeology of the Lecce province in south-east Italy, in order to provide a history of successive visual cultures in that area, between the Middle Palaeolithic and the Bronze Age. It is argued that art may have helped human groups to deal with problems in subsistence and society, including environmental changes affecting the cultural landscape and its resources, the breaking up of old social relations and the establishment and maintenance of new ones. More specifically, art appears to have become increasingly related to the expression of religious and even mythical beliefs, and in particular to the performance of ceremonies and rituals in selected spaces such as caves. This may reflect the existence of a long-term tradition of performance art in prehistory, involving performers and viewers, in which art helped to structure and heighten the sensual and social impact of the acting human body.
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Hamedi, Mehdi, Mohammadrza Moridi und Behnam Kamrani. „Middle Eastern Art in the Transmodern Paradigm: The Study of Three Movements in the Contemporary Art of the Middle East“. Motaleat-e Tatbiqi-e Honar 11, Nr. 22 (01.03.2022): 1–16. http://dx.doi.org/10.61186/mth.11.22.1.
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徐, 瑞阳. „Functional Difference and Transmutation of Opera and Folk Art Clown between East and West Cultures“. World Literature Studies 02, Nr. 03 (2014): 41–46. http://dx.doi.org/10.12677/wls.2014.23007.
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Hamid, Shadi. „Islam and Democracy in the Middle East“. American Journal of Islam and Society 22, Nr. 3 (01.07.2005): 128–31. http://dx.doi.org/10.35632/ajis.v22i3.1685.
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This collection of essays edited by Larry Diamond, Marc F. Plattner, andDaniel Brumberg, is one that everyone interested in future of the Middle East should read carefully. All of the essays here, in one way or another,seek to address that most perplexing of questions: Why has the Middle Eastso stubbornly resisted the sweeping reach of democracy? The answers presentedare sometimes illuminating and, even in the weaker sections, almostalways thought provoking.All of the authors in this volume come from the basic and – I hope –fairly self-evident assumption that sustained democratic change is now animperative of the highest order. What is so interesting about this collectionis the diversity of viewpoints and the alternating currents of pessimism andoptimism that run through it. For the most part, the authors rarely delve intothe kind of neo-conservative posturing that obscures a nuanced understandingof the interplay between political Islam and democratization.There are some unfortunate exceptions, such as Ladan and RoyaBoroumand’s embarrassing assertion that Hassan al-Banna “borrowed theidea of heroic death as a political art form,” while Emmanuel Sivan commitsa surprising factual error when he posits that the Sudanese Islamistregime is an example of “one man, one vote, one time.” ...
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Abu-Hamdi, Eliana. „Forms of Protest: Political Art in the Digital and Urban Realm“. International Journal of Islamic Architecture 13, Nr. 1 (01.01.2024): 23–37. http://dx.doi.org/10.1386/ijia_00128_7.
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IJIA’s Dialogues series brings together scholars and practitioners from across varied disciplines for a discussion of critical contemporary issues that interrogate the boundaries between architecture, art, anthropology, archaeology, and history. This session, the third instalment, was held as a webinar in February 2023 and hosted by IJIA Assistant Editor Eliana Abu-Hamdi, featuring Middle East scholars Jillian Schwedler, Deen Sharp, and Kyle Craig. Their conversation addressed the intersection of art, urban politics, and protest in the Middle East, broadly defined, in the form of public displays of sculpture and visual art (graffiti), especially as they are related to issues of displacement, dispossession, diaspora, and national identity. The conversation also extended to digital media and hashtag culture/activism, and to virtual identities. This is an edited excerpt from the original discussion.
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Khajehi, Yassaman. „A Fearless Hero: The Puppet in the Socio-political Context of the Middle East“. AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 4, Nr. 2 (30.12.2023): 149–71. http://dx.doi.org/10.54103/2724-3346/22204.
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Since the beginning of the 21st century, the countries of the Middle East have experienced several episodes of revolt and revolution. Art in general has both been affected by and has influenced these events. With this in mind, my essay examines the art of puppet theatre as an epic narrative approach in the sense of both epic-political and epic-adventurous. To explore this phenomenon in historical context, I first trace puppetry’s past in the Middle East and then discuss in more detail its important contemporary role. My contention is that the Middle Eastern puppet becomes a narrative schema of the socio-political field, going beyond the limits imposed on the rest of society with skill, like a hero who acts to save his beloved at the end of the story.
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Pavlova, N. V. „Traditional formulas in Yakut folk songs recorded S. I. Bolo and A. A. Savvin“. Languages and Folklore of Indigenous Peoples of Siberia, Nr. 40 (2020): 38–49. http://dx.doi.org/10.25205/2312-6337-2020-2-38-49.
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The paper presents the results of the study of Yakut folk songs, with the principle of classification of traditional formulas of folk tales applied. The study focused on the songs included in the manuscript of the volume “Yakut folk songs” 2012 of the series “Monuments of folklore of the peoples of Siberia and the Far East”. The author draws several conclusions. All the songs under consideration contain some categories of medial formulas. Besides having the categories of medial formulas, the songs with their own plot contain some groups of initial formulas (“Song of the broom”, “Sippie”, “Ann with candy”). Three songs lack categories of initial formulas (“The song about cuckoo”, “The bull’s Song”, “The pedestrian’s Song”), all of them having only the categories of medial formulas. All these songs have the following medial formulas: formulas defining the characters’ image, formulas describing the characters’ actions, formulas included in the dialogue (typical characters’ phrases). There are no categories of final formulas in these songs. Whi le the categories of initial formulas in Yakut folk tales are used once, in folk songs, as in Olonkho, they can be repeated several times. Whereas the medial formulas in folk tales are found in the middle of the story, in folk songs, they can be found in all parts of the text.
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Zhang, Jiwen. „An Exploration of the Differences between Chinese and Western Costumes in the Archaeological Archaeology of Clothing Culture in Different Periods of Agriculture“. Journal of Environmental and Public Health 2022 (15.06.2022): 1–12. http://dx.doi.org/10.1155/2022/2491990.
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Countries around the world have different historical development processes in different periods of agricultural economic environment, and have formed different costume culture characteristics. This study analyzes the differences in aesthetic standards in Chinese and Western clothing cultures, as well as the differences between Chinese and Western costumes in color design, structural design, and dress methods, and elaborates the main reasons for the differences between Chinese and Western clothing cultures. The study focuses on the characteristics and differences of traditional clothing art culture in various places, but because of the differences in historical conditions, lifestyles, psychological qualities, and traditional ideas and cultural concepts, there are great differences between the traditional costume art culture concepts in China and the West. Based on this, the study specifically explains the difference between the two through the comparison of the aesthetic characteristics of the traditional costume art culture concepts in the Middle East and the West, and the difference in the expression of the Middle East and Western clothing art.