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Padilla, Geraldine V., und Evelyn Perez. „Minorities and arthritis“. Arthritis Care & Research 8, Nr. 4 (Dezember 1995): 251–56. http://dx.doi.org/10.1002/art.1790080408.
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ARAKI, Natsumi. „The Potential of Minorities in Contemporary Art Expression“. TRENDS IN THE SCIENCES 22, Nr. 11 (2017): 11_47–11_51. http://dx.doi.org/10.5363/tits.22.11_47.
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Chatman, Larry. „A Bright Future Awaits Minorities in Art Education“. Art Education 46, Nr. 4 (Juli 1993): 21. http://dx.doi.org/10.2307/3193428.
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Dung, Nguyen Thi. „Some survey results about the change of gods in myths to gods in the fairy tales of Vietnamese ethnic minorities“. Science & Technology Development Journal - Social Sciences & Humanities 4, Nr. 4 (06.12.2020): First. http://dx.doi.org/10.32508/stdjssh.v4i4.601.
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Gods appear in a wide variety of myths and fairy tales around nations in the world. This is one of the central images, showing a multidimensional awareness of the ancients on the nature and society. Understanding the transformation of the system of god characters in a process of sequences, the system from the myths to the fairy tales of ethnic minorities in Vietnam, we will see the development of awareness levels in thinking, in the spiritual life of the society and of Vietnamese people. From there, we see the development in the thought process and artistic performances of the ancients which were romantic and high-soaring. We also see the similarities and differences in the art of character building in ethnic minorities' myths and legends. The research outcome is to understand the origin, the way to reflect the world, the people, the process of changing according to the thought and the art process of the divine character from myth to fairy tales of the Vietnamese ethnic minorities through the following steps: 1) Describing and surveying the divine characters in 181 myths of ethnic minorities in Vietnam; 2) Describing and surveying god characters in 150 fairy tales of typical Vietnamese ethnic minorities; and 3) Giving comment , evaluating the transformation of mythical characters from myths to fairy tales through the survey results.
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Zhang, Jingtong, und Yanchen Liu. „Research on Western Minorities Costume Culture and Innovative Development--Analysis Based on a Sample Questionnaire on Western Minorities National Costume“. Journal of Social Science Humanities and Literature 6, Nr. 6 (29.12.2023): 5–12. http://dx.doi.org/10.53469/jsshl.2023.06(06).02.
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Based on analyzing the questionnaire sample on Western Minorities national costumes, this paper comprehensively explores the development trend and innovative direction of Western Minorities costume culture. The study results show that in the context of globalization, traditional Western Minorities costumes are gradually welcomed by the younger generation as a fashion representative. At the same time, traditional Western Minorities costumes have been innovatively applied in modern costume design. In the questionnaire, we learned that more and more consumer groups are interested in Western Minorities national costumes, and we should learn to interpret Western Minorities culture from different perspectives and reflect it in our designs. Innovative development requires inheriting and protecting traditional skills and incorporating new technologies and techniques to improve their characteristics. In addition, innovation should maintain the characteristics of Western Minorities culture, satisfy the aesthetic needs of modern people, and focus on the real meaning of the dresses to be expressed and their relationship with art. The above research gives us a more comprehensive and in-depth understanding of Western Minorities dress culture and innovative development, an important reference value for the inheritance and development of Chinese traditional dress culture.
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Zongting, Bi. „The Excavation and Practical Significance of Folk Art Education Resources of Ethnic Minorities in Guangxi“. Journal of Educational Theory and Management 1, Nr. 1 (16.10.2017): 85. http://dx.doi.org/10.26549/jetm.v1i1.297.
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Guangxi minority folk art education resources is a valuable treasure trove of art, realistic signifcance to mining and utilization of Guangxi minority folk art education resources. The practice proves that Guangxi minority folk art education resource is a typical folk art "Encyclopedia", is a folk song "epic" glorious and resplendent that is a piece of precious folk art "living fossil". Guangxi minority folk art education resources mining and utilization, enrich the arts and culture in Guangxi, China the students' national consciousness, and show the rich geographical and cultural characteristics.
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Hong, Ming. „National Characteristics and Art Composition Characteristics of Tujia Brocade Art“. Journal of Educational Theory and Management 2, Nr. 1 (28.04.2018): 17. http://dx.doi.org/10.26549/jetm.v2i1.688.
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As one of China's national minorities, Tujia nationality has exerted an important role in the development course of modern national culture. In the development course of national culture of Tujia nationality, its brocade art inherited generation by generation has been extensively applied in art inheritance in modern society. It has also been applied in practical teaching to manifest the unique style and special artistic expression of Tujia brocade art. Under such a context, it is necessary to strengthen analysis on itsnational characteristics in the art development course and art composition characteristics. For this purpose, this paper makes special analysis on the national characteristics and art composition of Tujia brocade art in the sequence of analysis on the basic components of Tujia brocade art, analysis on its national characteristics and then detailed analysis on its composition characteristics. The author hopes to help people to understand the unique characteristics and results of Tujia brocade art after the analysis in this paper.
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Wang, Chong Lan, Wei Ping Hu und Xiao Ping Yang. „Analysis of the Textile Materials and Art Forms of Minorities in Yunnan“. Advanced Materials Research 739 (August 2013): 777–80. http://dx.doi.org/10.4028/www.scientific.net/amr.739.777.
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The minorities in Yunnan are quite skilled at weaving and embroidering techniques, and they boast the unique materials and special textile art form. With the plant material resources in Yunnan, they are able to create numerous kinds of patterns and drawings on the textile fabric, surrounded by the local rural flavor and intense ethnic characteristics. However, with the social and economic development, together with the opening to the outside world, this ethnic textile activity which reserves much of the primitive style and national characteristics has shrunk and stalled at this moment, turning into the modern manufacturing of commercialization. It is a necessity for the textile art design to embody distinctive nationality and local characteristics before opening to the world. At present, it is of great value to study the textile materials and art forms of the minorities in depth and figure out the whole process from the acquisition and preliminary processing of textile raw material to spinning, weaving, printing and dyeing.
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ZHANG, XIAOLI, und Anna Viktorovna Chernova. „Problems of studying the birch bark art of the Orochon people in China from the 1980s to the present“. Культура и искусство, Nr. 5 (Mai 2024): 122–38. http://dx.doi.org/10.7256/2454-0625.2024.5.69556.
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The subject of this research is decorative and applied art of the Orochon people living in the Northeast of China and the issues of its study in Chinese academic studies. Currently, the humanities in China are moving to a fundamentally new level in the study of ethnic traditions and cultures, which is associated not only with a relatively new policy of "reform and openness", but also with a deep understanding of the humanities and social studies about the value of local cultures. The birch bark art of the Orochon national minority in China is an important part of creativity, broadcasting the traditional culture and aesthetics of this people. In this work, an attempt is made to study and systematize information about the research of Chinese scientists on this art, as well as about the origin and naming of the Orochon ethnic group, its language, traditional culture and the dynamics of its changes. The number of studies that have been studying the Orochon people, their culture and art, since the 1980s, has become noticeably larger, and their overall level has increased significantly. This work examines scientific papers and articles collected on four aspects – history, culture, art and birch bark art of the Orochon people since the 1980s. The authors of the article conclude that the state of research on Orochon birch bark art is unbalanced, however, there are already prerequisites for a deeper study of it within the framework of art criticism in the areas of form, color and aesthetics, as well as cultural codes and connotations of works of art, allowing to clarify the features of the traditional culture of ethnic minorities of Northeast China and the changes taking place in it. With the constant attention of Chinese scientific and public circles to the Orochon people, combined with relevant ideological and cultural opportunities such as the revival of national rural areas and the construction of the "One Belt, One Road", the study of Orochon folk art will certainly deepen. The interaction and joint research of scientists from China and Russia in the direction of studying the cultures and art of ethnic minorities in the Far East, as well as the correlation of conclusions about the art of ethnic minorities in a previously unified territory, are also necessary and expected.
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Frederick, Jayde. „No Limits: Using Art to Inspire and Encourage Minorities to Pursue Careers in STEAM (STEM + Art)“. ACS Bio & Med Chem Au 2, Nr. 3 (15.06.2022): 171–72. http://dx.doi.org/10.1021/acsbiomedchemau.2c00028.
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Zhou, Liqing. „Research on The Fusion of Ethnic Music and Culture in Northern China“. International Journal of Education and Humanities 5, Nr. 1 (11.10.2022): 46–49. http://dx.doi.org/10.54097/ijeh.v5i1.1935.
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This article believes that only the national art culture is a kind of art universally accepted by the world. If there is no nationality, it is like a tree without roots and a river without a source. Music culture is the same development law. This paper aims to study the fusion of ethnic minority music cultures in northern China to study the history and future of the inclusive culture of Chinese Han residents and various ethnic minorities in northern China. In the history of China for five thousand years, the origin of the music culture of ethnic minorities in the vast land area of northern China has shown a trend of cultural integration and diversified development. Furthermore, the integration of music culture among various ethnic minorities not only effectively promotes the development of music culture but also lays a solid foundation for the colorful music culture system of the Chinese nation. This paper mainly studies the fusion of ethnic minority music culture in northern China and tries to find an effective way to further inherit and promote the ethnic minority music culture in northern China.
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Hong, Ming. „Aesthetic Characteristics Thinking of Minority Folk Art in Guizhou“. Journal of Educational Theory and Management 2, Nr. 2 (16.04.2018): 43. http://dx.doi.org/10.26549/jetm.v2i2.736.
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Guizhou, with a cluster of multiple ethnic groups, is located in the southwest of China. In the province, there is up to 49 ethnic minorities whose population occupies around 1/3 of the total. Thanks to this, the multi-ethnic region is endowed with various folk art and culture of distinctive minority styles. This paper briefly discusses the outline of minority folk art in Guizhou, including its development and features, analyzes the aesthetic expression ways and characteristics of the art, and finally, puts forward some further thoughts from fine art, dancing art and batik art. This paper aims to further facilitate the development and innovation of the minority folk art of Guizhou, and add lustre to the progress of our national minority cultures.
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Roussou, Angeliki. „Social Justice and Work in Art Institutions“. Journal of Curatorial Studies 10, Nr. 2 (01.10.2021): 178–200. http://dx.doi.org/10.1386/jcs_00042_1.
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Even though social justice struggles are often thematized in curatorial practice and discourse, their demands are rarely implemented in art-institutional policies and infrastructure. In investigating the anatomy of this conundrum, politically incisive redefinitions of institutional usership and participation, and analysis of their close relation to (issues of) work, would benefit strategies around diversity in the context of art-institutional participation. The theory of ‘instituent praxis’ and its insistence on inventive and cooperative rule-making can contribute to addressing curatorially absent/unjust regulation and its ensuing ethical/affective gaps in relation to under-represented or non-represented subjectivities or constituencies, such as ethnic minorities and displaced asylum seekers.
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Lowrie, Patricia M. „Tying Art and Science to Reality for Recruiting Minorities to Veterinary Medicine“. Journal of Veterinary Medical Education 36, Nr. 4 (Dezember 2009): 382–87. http://dx.doi.org/10.3138/jvme.36.4.382.
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McIlvane, Jessica M., Tamara A. Baker, Chivon A. Mingo und William E. Haley. „Are behavioral interventions for arthritis effective with minorities? Addressing racial and ethnic diversity in disability and rehabilitation“. Arthritis & Rheumatism 59, Nr. 10 (15.10.2008): 1512–18. http://dx.doi.org/10.1002/art.24117.
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Jim, Alice Ming Wai. „Mise en perspective chiasmique des histoires de l’art global au Canada“. Article cinq 9, Nr. 1 (17.10.2018): 97–111. http://dx.doi.org/10.7202/1052630ar.
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This article offers a critical perspective on the pedagogical direction of what I call “global art histories” in Canada by addressing the apparent impasse posed by the notion of what is euphemistically called “ethnocultural art” in this country. It examines different interpretations of the latter chiefly through a survey of course titles from art history programs in Canada and a course on the subject that I teach at Concordia University in Montreal. Generally speaking, the term “ethnocultural art” refers to what is more commonly understood as “ethnic minority arts” in the ostensibly more derisive discourses on Canadian multiculturalism and cultural diversity. The addition of the term “culture” emphasizes the voluntary self-definition involved in ethnic identification and makes the distinction with “racial minorities.” “Ethnocultural communities,” along with the moniker “cultural communities” (or “culturally diverse” communities), however, is still often understood to refer to immigrants (whether recent or long-standing), members of racialized minorities, and even First Nations, Inuit, and Métis peoples. Not surprisingly, courses on ethnocultural art histories tend to concentrate on the cultural production of visible minorities or ethnocultural groups. However, I also see teaching the subject as an opportunity to shift the classification of art according to particular geographic areas to consider a myriad of issues in myriad of issues in the visual field predicated on local senses of belonging shaped by migration histories and “first” contacts. As such, ethnocultural art histories call attention to, but not exclusively, the art of various diasporic becomings inexorably bound to histories of settler colonialism and Indigenous sovereignty. This leads me to reflect on some aspects of Quebec’s internal dynamics concerning nationalism and ethnocultural diversity that have affected the course of ethnocultural art histories in the province. I argue that the Eurocentric hegemonic hold of ethno-nationalist discourses on art and art history can be seen with particular clarity in this context. Moreover, I suggest that these discourses have hindered not only the awareness and study of art by so-called culturally diverse communities but also efforts to offer a more global, transnational, and heterogeneous (or chiastic) sense of the histories from which this art emerges. In today’s political climate, the project that is art history, now more than ever, needs to address and engage with the reverse parallelism that chiastic perspectives on the historiography of contemporary art entail. My critique is forcefully speculative and meant to bring together different critical vocabularies in the consideration of implications of the global and ethnic turns in art and art history for the understanding of the other. I engage in an aspect less covered in the literature on the global turn in contemporary art, namely the ways in which the mutual and dialectical relation between “cultural identity,” better described as a “localized sense of belonging” (Appadurai) and the contingency of place may shape, resist, or undermine the introduction of world or global art historical approaches in specific national institutional sites. I argue a more attentive politics of engagement is required within this pedagogical rapprochement to address how histories not only of so-called non-Western art but also diasporic and Indigenous art are transferred holistically as knowledge, if the objective is to shift understandings of the other by emphasizing points of practice in art history as a field, rather than simply the cultural productions themselves. I propose the term “global art histories” as a provisional rubric that slants the study of globalism in art history to more explicitly include these kinds of located intercultural negotiations.
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DIVAKARAN, R. V. M. „CULTURAL MINORITIES AND THE PANOPTIC GAZE: A STUDY OF THE (MIS)REPRESENTATION OF ETHNIC MINORITIES IN MALAYALAM FILMS“. Journal of Education Culture and Society 8, Nr. 2 (25.09.2017): 240–48. http://dx.doi.org/10.15503/jecs20172.240.248.
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This paper explores the patterns of the representation of Adivasis or aboriginals – known as ‘tribals’ in common parlance – in Malayalam language films. Film as a medium of representation is continuously engaged in constructing images and thus the process becomes an ideological enterprise contributing to the relentless practice of defining and redefining the society and its various components in terms of several binaries. The film industry of Kerala, a southern state of India, is affluent and more influential than other art forms and production. Though the tribal population of Kerala is around 400 thousand and they belong to as many as 43 subgroups, they are underrepresented in films and that too is in a stereotypical manner. These groups are considered to be largely distinct with each tribal group identifying themselves with their own mythologies, tales of origin, and distinctive religious and ritualistic practices. This paper critically analyses the politics of representation using the example of tribals in Malayalam films as it has evolved over the past decades and attempts to trace a whole gamut of aesthetic and ethical issues at stake.
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Franco, Bibiana Edivey Castro, und Jaime Alberto Carmona Parra. „Masculinity in Universities: State of the Art“. Masculinities & Social Change 10, Nr. 1 (21.02.2021): 77. http://dx.doi.org/10.17583/mcs.2021.5487.
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This article provides the result of a review of existing masculinity research within the university context. The objective of the present study was to determine the topics of analysis, characteristics, and tendencies of recent studies in this field. A search was performed in Scopus and Ebsco, using the search terms: masculinity and university students, which yielded 72 studies for analysis. The most commonly-explored topics among the investigations reviewed were as follows: the construction of masculinity, masculine social norms and gender stereotypes, romantic relationships, masculinity and health, attitudes toward sexual minorities and their effects, masculinity and violence, and masculinity and alcohol consumption. It was concluded that the shaping of masculinity in the university environment is a complex experience, influenced by the intermixing of traditional masculinity and vested with cultural, social, historical, and personal factors.
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Grażyna Kędzierska und Zbigniew Siemak. „Political crime in lubelskie voivodship in interwar Poland“. Archives of Criminology, Nr. XXXIV (01.01.2012): 603–27. http://dx.doi.org/10.7420/ak2012o.
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In the system of security organs of the Second Polish Republic fight with crime described as political belonged to the duties of National Police. The department of political Police was a secret specialized internal service of the National Police designed most of all to invigilate almost the whole of the political and social life of the country as well as to persecute perpetrators of crimes against the state, with particular focus on persons suspected of acts of subversion. Between the wars the political police underwent a complex reorganization four times each time under a different name: Defensywa Polityczna, Służba Informacyjna, Policja Poli-tyczna i Służba Śledcza (respectively: Political Defence, Information Service, Political Police, and Investigation Service) and with specialised units for fight with various forms of political crime. Illegal political activity, form the point of view of law then, was divided into activity against the state and espionage for other countries. Until 1926 political service in lubelskie voivodship conducted full operational observation of factions and political movements of communist character, of ethnic minorities, and of radical peasant activists. Political movements of bourgeois character were not of interest to political counterintelligence, still they were under discreet operational observation. After the May Coup in Poland, interest of the political police, apart from communists and national minorities, was extended also to the whole legal opposition against the government. Political police in lubelskie voivodship was occupied with revealing social tensions, antigovernment moods, subversive actions, and actions against the state (in particular those by communists and nationalists form national minorities), observation of legal political formations and parties, but also of trade unions and members of parliament. Until 1934 the police statistics included, for example, high treason, rebellion and resistance against the government, desertion, and other crimes against military power and the state. After 1934 the police statistics included high treason (articles 93, 94, 95, 96, 97, 98 of contemporary criminal code), insult to the government or its institution (art. 125, 127), individual and group resistance (art. 129, 131, and 169 in relation to art. 129), insult and assault of an official (art. 132, 133, and para. 4 of art. 256), insult to the nation and the state (art. 152, 153), incitement to crime (art. 154, 155, 156, 157, 158), incitement to crime (art. 165 – 167), riots (art. 163, 163). “Incitement to crime” in lubelskie voivodship was carried out mainly by offenders’ by “dis-playing flags and banners” of anti-state and subversive content (26,5 % of national overall) and “spreading communist pamphlets and appeals” (16,5%). Such acts as “high treason” (7,9%), “insult to the government or its institution” (6,9%), “group resistance” (11%) were above national average.
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Noah, Barbara A. „The Participation of Underrepresented Minorities in Clinical Research“. American Journal of Law & Medicine 29, Nr. 2-3 (2003): 221–45. http://dx.doi.org/10.1017/s0098858800002823.
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The past decade witnessed unprecedented growth in medical research involving human subjects, promising the development of new treatments that extend and improve the quality of life, as well as prevent disease. Recent biomedical breakthroughs such as the mapping of the human genome, improved understanding of pharmacokinetics and molecular biology, and novel theories about the mechanisms of diseases such as cancer have led to a proliferation of clinical trials. Such research provides the necessary bridge from scientific theory to practical medical application, and it is essential that these efforts benefit all persons who suffer from the studied diseases.In addition to the potential long-term pay-offs, clinical trials may offer immediate dividends to enrolled subjects. The opportunity to participate in medical research carries with it a variety of potential risks and benefits. Because clinical trial participation potentially results in significant individual benefits, including access to state-of-the-art care and improved disease monitoring, fairness demands equal opportunity for inclusion whenever scientifically appropriate.
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Suominen, Anniina, Tiina Pusa, Aapo Raudaskoski und Larissa Haggrén. „Centralizing queer in Finnish art education“. Policy Futures in Education 18, Nr. 3 (16.05.2019): 358–74. http://dx.doi.org/10.1177/1478210319837836.
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The article examines if and how gender diversity and queer are present in the policies guiding Finnish art education and how these documents might influence praxis. The authors explore relations between policy and practice through a close study and analysis of the Finnish national core curriculum for basic education as it relates to the broader Finnish culture of power and politics. The authors approach the topic using epistemic injustice as the framework, and suggest that current international and national policy and guidelines that define human rights, gender equality, the rights of gender and sexual minorities, and education have created a broad and deeply seated normative, binary mindset that not only impairs the actualization of equity in education but also makes it a paradox. To unpack the suggested epistemic injustice, the authors contextualize their arguments through a critical study of policies and guidelines for human rights and Finnish compulsory education and frame this with particular theories, the capability approach and feminist and critical pedagogy.
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Cloonan, William. „Une affaire politique: The Novel in 2022“. French Review 97, Nr. 1 (Oktober 2023): 17–29. http://dx.doi.org/10.1353/tfr.2023.a911319.
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Abstract: This essay approaches the novel through the optic of contemporary social controversies, be they the war in Ukraine, climate change, international and national terrorism, or abuse of ethnic or sexual minorities. It makes clear that even though novelists’ attitudes toward art and politics are constantly evolving, the issues themselves remain of constant concern.
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Leng, Xuebing, Shujia Liang, Yanling Ma, Yonghui Dong, Wei Kan, Daniel Goan, Jenny H. Hsi et al. „HIV virological failure and drug resistance among injecting drug users receiving first-line ART in China“. BMJ Open 4, Nr. 10 (Oktober 2014): e005886. http://dx.doi.org/10.1136/bmjopen-2014-005886.
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ObjectiveTo explore HIV virological failure and drug resistance among injecting drug users (IDUs) receiving first-line antiretroviral treatment (ART) in China.DesignA series of cross-sectional surveys from 2003 to 2012 from the Chinese National HIV Drug Resistance (HIVDR) Surveillance and Monitoring Network.SettingChina.ParticipantsData were analysed by the Chinese National (HIVDR) Surveillance and Monitoring Network from 2003 to 2012. Demographic, ART and laboratory data (CD4+ cell count, viral load and drug resistance) were included. Factors associated with virological failure were identified by logistic regression analysis.Results929 of the 8556 individuals in the Chinese HIVDR database were IDUs receiving first-line ART. For these 929 IDUs, the median duration of treatment was 14 months (IQR 6.0–17.8). 193 of the 929 IDUs (20.8%) experienced virological failure (HIV viral load ≥1000 copies/mL). The prevalence of HIVDR among patients with virological failure was 38.9% (68/175). The proportion of patients with drug resistance to non-nucleoside reverse transcriptase inhibitor (NNRTIs), nucleoside reverse transcriptase inhibitor (NRTIs) and protease inhibitors (PIs) was 52.9%, 76.5% and 4.4%, respectively. Factors independently associated with virological failure include: ethnic minorities, junior high school education or less, farmers, self-reported missing doses in the past month, CD4 cell count at survey from 200 to 349 cells/mm3 or from 0 to 199 cells/mm3, and residence of Guangxi and Yunnan provinces.ConclusionsThe proportion of virological failure was high among IDUs receiving first-line ART in China. However, better treatment outcomes were observed in Guangxi and Yunnan, which indicates the importance of ART education and adherence to intervention, especially for patients who are farmers, minorities or have a poor educational background.
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RUPASOV, Alexander. „THE PROTECTION OF NATIONAL MINORITIES IN THE BALTIC STATES IN SOVIET FOREIGN POLICY IN THE 1930s“. Nordic and Baltic Studies Review, Nr. 5 (Dezember 2020): 115–24. http://dx.doi.org/10.15393/j103.art.2020.1654.
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Long, TiMar. „Character Creation Diversity in Gaming Art“. International Journal of Role-Playing, Nr. 7 (02.12.2016): 23–29. http://dx.doi.org/10.33063/ijrp.vi7.254.
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The artwork for a role-playing game can be one of the most important aspects of the gaming experience. Artwork helps to give role-players an idea of what the world looks like in that game. It helps to inspire the kinds of characters players might want to create. Finally, art can serve as a method for determining what is and is not normal for a setting. Dungeons & Dragons was the first tabletop roleplaying game (RPG) created and as such serves as the foundation of the gaming hobby (Fine 1983; Tresca 2011; Peterson 2012). Is the artwork in Dungeons & Dragons racially imbalanced? How has the artwork changed since the beginning of the hobby? Wizards of the Coast is praised for the diversity of their new 5th Edition line, but is it truly diverse? This project seeks to find out by examining the artwork in the Players Handbook for each edition of the game. By using the theory of symbolic annihilation, I explore whether or not racial minorities are adequately represented in the artwork.
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Furu, Adél. „Representations of suppressed indigenous cultural memories: the communities of Sami of Finland and Kurdish of Turkey“. Romanian Journal for Baltic and Nordic Studies 7, Nr. 2 (15.12.2015): 167–75. http://dx.doi.org/10.53604/rjbns.v7i2_12.
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In my paper I intend to examine how the historical marginalization of Sami and Kurdish history and culture affects the cultural identity of these ethnic groups. I discuss how recent political discourses and state interventions have influenced the images of the past and identity politics in the Sami communities living in Finland and in the Kurdish society living in Turkey. Furthermore, I describe how these assimilated minorities have alienated from their own identity due to a damage of their collective memory caused by devastating historical events. The paper also focuses on the ways these two minorities give meaning to the past and strengthen their cultural identities through different forms of art. Both Samis and Kurds express their identities in several creative ways. Their historical realities, individual histories, memories of assimilation and common values are reflected in joiks, folk music and cinema. These are strong ways of remembering and expressions of identity in both cultures. Traditional songs, films, documentaries reveal histories, reproduce cultures and shape the memories of both Sami and Kurdish people. Therefore, I will discuss how the patterns of their cultural memory have an impact on the representation of their identities in the above art forms.
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Ostajewska, Marta. „„Nie ma już tam tam” – Urban Indians i współczesna sztuka rdzenna, wokół tożsamości i autentyczności w amerykańskiej popkulturze“. Literaturoznawstwo 1, Nr. 13 (30.04.2020): 19–31. http://dx.doi.org/10.25312/2451-1595.13/2019__02mo.
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“There is no there there” – Urban Indians and The New Contemporary in Indigenous American Art – around Identity and Authenticity in American Pop Culture Native American artists and writers are constantly reimagining their narratives, and addressing context, community, and intersection with others. Based on few examples: Tommy Orange (Cheyenne / Arapaho), James Luna (Payómkawichum / Ipi), Wendy Red Star (Apsáalooke (Crow)) and Steven Paul Judd (Choctaw / Kiowa) author of article examines how their art undermines the conventional view on a stereotypical image of Native Arts and how their strategies are opening a new view on Urban Indians. How does artistic work around their own identity is transforming a social perception of indigenous minorities. Kewords: Urban Indians, the New Contemporary, Indigenous American Art, American Pop Culture, Identity, Authenticity
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Aziz, Muhammad Abdul. „The Art of Moderation in Islamic Semantic Legal Theory: The Case of Yūsuf al-Qaraḍāwī’s Fiqh al-Aqalliyyāt“. International Journal Ihya' 'Ulum al-Din 26, Nr. 1 (20.06.2024): 156–72. http://dx.doi.org/10.21580/ihya.26.1.20396.
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Abundant studies on Islamic art have been written, ranging from those based on the dimensions of universality, philosophy, and legal aspects. Yet, how it represents a sense of moderation, which can be found in Islamic semantic legal theory is something underdeveloped. The present research hence aims to reveal this aesthetic dimension examined in the context of Yūsuf al-Qaraḍāwī's jurisprudence for Muslim minorities (fiqh al-aqalliyyāt). Apart from the descriptive analysis, this qualitative research will employ a content analysis method to figure out al-Qaraḍāwī's paradigm in Islamic art, moderation, and fiqh al-aqalliyyāt inherent in his multiple works and interrelate to each other. This study concluded that the aesthetic moderation of the Islamic semantic legal theory lies in the four terms falling under the theory of meaning clarity (naẓariyyat al-wāḍiḥ al-dilālah), i.e., manifest (al-ẓāhir), explicit (al-naṣṣ), unequivocal (al-mufassar), and perspicuous (al-muḥkam). The terms produce beautiful meanings, moving gradually from particularity to universality and corresponding to characters of perfection (symmetrical) and elasticity (asymmetrical). In al-Qaraḍāwī's fiqh al-aqalliyyāt's issues like religious pluralism, greeting other religions' festivals, and democracy, the beauty crystallizes in a thesis that every Muslim must have perfect faith and, at the same time, elastic social association with people of other religions. These findings are expected not only to provide new avenues for the discourse of Muslim minorities but also of Islamic art and semantic law.
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Iacobuţe, Petronela-Ramona. „Independent Theatre as a Manifestation of Identity. Study Case: Minorities’ Theatre“. Theatrical Colloquia 9, Nr. 1 (01.06.2019): 221–34. http://dx.doi.org/10.2478/tco-2019-0008.
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Abstract Theatre as an institution and form of contemporary art encourages freedom and creativity, attracts free spirits and visions and it should be a physical and spiritual space in which you can find and express your identity at the same time. If in the state system decisions on the budget are taken at a political level and those on the repertoire have to take into account a whole organizational scheme and a large audience, in the independent space, tolerance, acceptance of differences, encouragement of minorities of any kind to express themselves through art, as long as there are talent and ideas that can be transposed in a scenic way, the debate of the taboo subjects for the society should be a priority. Even if financially the independent artists are working on truly desirable projects and with funding that sometimes comes from the state, the constraints that are reflected on the final product are not as large as in the state system, there is no repertoire to be respected. Of course, the productions in the independent environment have to attract audiences, but performances and experiments are getting faster to the public. In Romania, political theatre, community theatre, the theatre that militates for important causes needs courageous artists, artists who use their imagination, their creativity, their critical voice for causes that few believe in. The intimacy that independent spaces can offer to the artists and to the public to create a bond and to reveal their existential fears, aesthetical and ethical principles to which they adhere, makes these spaces a fertile ground for original artistic projects such as Giuvlipen.
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Kumar, Danila Zuljan. „Identity Changes in the Slovenian and Friulian Linguistic Communities in the Province of Udine, Friuli-Venezia Giulia, Italy“. European Countryside 10, Nr. 1 (01.03.2018): 141–57. http://dx.doi.org/10.2478/euco-2018-0009.
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AbstractThe paper discusses the intertwined relationship between identity construction, language practices and language ideologies of Slovenes and Friulians in the Province of Udine, Friuli Venezia Giulia, Italy. We are dealing with two indigenous linguistic minorities whose native language was historically restricted to the private sphere of life. However, due to altered social conditions of decentralization and globalization, the ever-increasing use of these languages outside private sphere has been noticed. The phenomenon will be illuminated by the statements of the members of both linguistic minorities. The final part of the paper will present the reawakening of a dying culture and language of the village of Topolove through an art festival, called Postaja Topolove/Stazione Topolò, whose basic concept is to avoid folklorism and create the most advanced artwork search.
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Uno, Kei. „Consuming the Tower of Babel and Japanese Public Art Museums—The Exhibition of Bruegel’s “The Tower of Babel” and the Babel-mori Project“. Religions 10, Nr. 3 (05.03.2019): 158. http://dx.doi.org/10.3390/rel10030158.
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Two Japanese public art museums, the Tokyo Metropolitan Art Gallery and the National Art Museum of Osaka, hosted Project Babel, which included the Babel-mori (Heaping plate of food items imitating the Tower of Babel) project. This was part of an advertising campaign for the traveling exhibition “BABEL Collection of Museum Boijmans Van Beuningen: Bruegel’s ‘The Tower of Babel’ and Great 16th Century Masters” in 2017. However, Babel-mori completely misconstrued the meaning of the Tower of Babel in Genesis 11:1–9. I explore the opinions of the curators at the art museums who hosted it and the university students who took my interview on this issue. I will also discuss the treatment of artwork with religious connotations in light of education in Japan. These exhibitions of Christian artwork provide important evidence on the contemporary reception of Christianity in Japan and, more broadly, on Japanese attitudes toward religious minorities.
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Hwang, A.-Ram. „An Analysis of Trends in Korean Theatre from the Perspective of Cultural Diversity Policies“. Korean Society of Culture and Convergence 45, Nr. 2 (28.02.2023): 545–56. http://dx.doi.org/10.33645/cnc.2023.02.45.02.545.
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This study aimed to figure out the trends of Korean theatre from the perspective of cultural diversity policies. The cultural diversity policies have mainly focused on the social minorities' culture and art activities and participation in Korea, which means that there is a relative shortage of discussion about the diversity of art. The study analyzed the achievements and limitations of cultural diversity policies in South Korea, and distinguished the diversity of art according to intrinsic and extrinsic criteria. Also analyzed in the study were reviews published in Critiques of Theatre for the last six years(2015~2020) based on the criteria of artistic diversity. The analysis results show that the diversity of art in the field not only accepted extrinsic diversity including the nationality, gender, and regional diversity of those who participated and enjoyed, but also realized the values of diversity including the content and formal diversity of artistic works.
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Purlyte, Gabija. „Representations of the Soviet Period and Its Traces in the Works of Contemporary Artists from the Baltic States“. History of Communism in Europe 10 (2019): 145–67. http://dx.doi.org/10.5840/hce2019107.
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This paper examines how Soviet and post‑Soviet history is presented and reflected upon in select works of contemporary artists from Estonia, Latvia and Lithuania. As the contemporary art scenes of these newly independent states developed and joined the global contemporary art circuit, a number of Baltic artists have participated in the recent “historiographic turn” in art. Through the analysis of examples, we look at four approaches employed by these artists when tackling the subject of history seen through personal narratives; history told from the point of view of ethnic/linguistic minorities; a focus on women’s experiences; and a debate on the preservation, removal, and building of commemorative monuments. This paper aims to show how these artists integrate reflections of the Soviet and post‑Soviet experience into the building of complex, inclusive, positive post‑Soviet identities.
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Guadalupi, Francesca. „Progetto Aumentiamo la realtà con il QR-code“. Media Education 12, Nr. 2 (29.11.2021): 93–97. http://dx.doi.org/10.36253/me-10495.
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With reference to art. 9 of our Constitution “The Republic promotes development and scientific and technical research. Protects the landscape and the historical and artistic heritage of the nation “and art. 6 “The Republic protects linguistic minorities with special rules”, the project “Let’s increase reality with the qr-code” wanted to enhance the school as a community open to the territory in which it operates and develop skills in the field of active and democratic citizenship. Two paths have been taken: researching historical sources to learn about the country’s past and experimenting with the use of a Quick Response Code to combine the past with the present and leave a trace in the future.
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Ward, Michael M. „Education level and mortality in systemic lupus erythematosus (SLE): Evidence of underascertainment of deaths due to SLE in ethnic minorities with low education levels“. Arthritis Care & Research 51, Nr. 4 (05.08.2004): 616–24. http://dx.doi.org/10.1002/art.20526.
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Fürst, Rudolf. „Cultivating the Art of Anxiety: Securitising Culture in China“. China Report 57, Nr. 4 (19.10.2021): 433–50. http://dx.doi.org/10.1177/00094455211047079.
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Deepening globalisation and worldwide availability of free information and ideas raise concerns of the communist China’s political leadership about the stability of the regime and the sustainability of the state ideological orthodoxy. Therefore, the state’s tightening control of the public communication to curtail the domestic criticism and occasional public discontent is becoming framed and legitimised in terms of cultural security as a non-traditional security concern. This study argues that the restrictive impacts of the politicisation of culture in the centralised agenda of President Xi Jinping reinvigorate China’s anti-Western narratives and attitudes. The research focuses on the state’s cultural security-related and applicable strategy in the political and institutional agenda and media. Moreover, the study also traces the state cultural security policy in the field of the civic and non-governmental sector, religious and ethnic minorities policy, literature, film and audiovisual sectors. The findings assess the concern that the intellectually anachronistic, self-restraining and internationally hostile policy devaluates China’s cultural potential and complexity.
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Todak, Natalie, und Katharine Brown. „Policewomen of color: a state-of-the-art review“. Policing: An International Journal 42, Nr. 6 (21.11.2019): 1052–62. http://dx.doi.org/10.1108/pijpsm-07-2019-0111.
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Purpose The purpose of this paper is to offer a state-of-the-art review of the research on women of color in American policing. Directions for future research are also highlighted. Design/methodology/approach Using several online databases, a literature search was performed to collect all relevant empirical studies on the topic. The review includes only studies that examined research questions about minority women officers in their own right. Findings The review identified 12 studies focused on recruitment, hiring, retention and the on-the-job experiences of this population. Most studies focused on black policewomen. All data analyzed in these studies are at least 20 years old. Originality/value Research on minorities in policing tends to concentrate on either black men or white women. For decades, scholars have called for more research on policewomen of color, yet little progress has been made. The current study takes stock of the existing research and provides a much-needed agenda to fill this research gap.
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Li, Peter S. „A world apart: The multicultural world of visible minorities and the art world of Canada“. Canadian Review of Sociology/Revue canadienne de sociologie 31, Nr. 4 (14.07.2008): 365–91. http://dx.doi.org/10.1111/j.1755-618x.1994.tb00827.x.
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ZHANG, XIAOLI. „Study of birch bark handicrafts of the Oroqen people in China“. Культура и искусство, Nr. 9 (September 2023): 69–76. http://dx.doi.org/10.7256/2454-0625.2023.9.40957.
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The aim of this paper is to characterise the characteristics of birch bark crafts of one of the ethnic minority groups, the Oroqen people who live in north-eastern China. The following research methods were used: description, synthesis and classification. The paper examines the characteristics of the handicrafts of the Oroqen people, namely forms, patterns and cultural connotations of ethnic birch bark art. including the cultural component, historical evolution of art and its distribution.Research objectives: to study the characteristic features of traditional fine arts of ethnic minority Oroqen people, classification of traditional art, analysis of the production technology, analysis of the general characteristics of traditional art. Scientific novelty of the study: The art of ethnic minorities in Northeast China has a long history and diversity of types, has a deep cultural connotation, while the Oroqen people have a diverse heritage of folk arts, and birch bark craftsmanship is one of the most important elements. This fact determines the scientific novelty of this study. Conclusions: The paper concludes that the ethnic birchbark art of the Oroqen people has been influenced by the following factors: lifestyle, religion and cultural heritage.The art of the people is determined by their style and standard of living, religion and cultural heritage.
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Bradley, Mónica. „Illustrations and (l) imitations in Western art and Science: A critical biography of intersections in the co-creation of liberal humanism“. Káñina 45, Nr. 2 (23.08.2021): 213–47. http://dx.doi.org/10.15517/rk.v45i2.48184.
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This paper offers a critical biography revealing certain historical intersections and divisions between Western art and science and points to specific moments where they have worked together through an exclusionary version of liberal humanism. This version of liberal humanism was often constructed through the dehumanization of women, people of color, people with disabilities and sexual minorities who were relegated to the non-human, the almost human, the animal or the monstrous. As part of the methods, it offers a critical genealogy, sifting through the cultural vestiges of art, science, philosophy, medicine, atlases, illustrations, colonial and eugenic discourses, feminist, queer, and postcolonial theories, and visual culture in order to recover and reconstruct specific connections between art and science in different historical periods (from the late 1400so the present). By drawing attention to the fact that “the human” has been a shifting and unstable signifier, this paper concludes that both Western art and science have the ability to help co-construct humanity by formulating new more equitable assemblages or the power to magnify already existing power disparities.
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Zhu, Jia, und Zhonghua Pan. „A Brief Discussion on the Art Education of the Qing Imperial Family“. Communications in Humanities Research 16, Nr. 1 (28.11.2023): 46–53. http://dx.doi.org/10.54254/2753-7064/16/20230083.
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Throughout the history of the Qing Dynasty, its rulers showed great enthusiasm for literary and artistic pursuits, leading to the emergence of numerous imperial family members with talent in painting and calligraphy. This phenomenon holds significant importance for dynasties governed by ethnic minorities, making it a subject worthy of study. In this paper, the author explores the educational institution for imperial princesthe "Shangshufang" (the Imperial Study) to understand the curriculum they studied. Furthermore, the focus shifts to the art education, as not all imperial princes were required to study painting and calligraphy. However, mastering these art forms not only nurtured their characters but also brought them closer to literati, enabling their integration into the social circle of the Han Chinese. This, in turn, facilitated better communication and cultural blending between the Manchu and Han ethnicities.
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Fan, Siyu. „One Way to Subjectivity: Bell hooks on Postmodernism Blackness“. SHS Web of Conferences 174 (2023): 02017. http://dx.doi.org/10.1051/shsconf/202317402017.
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Postmodernism is a new style that emerged in American culture after World War II, characterized by formalization, decentralization and commercialization. Bell hooks’ Postmodernism Blackness argues that there is an antagonistic relationship between whites and minorities. In turn, postmodern art is an important way for minorities to challenge white hegemony and build subjectivity. The author takes Captivity by Sherman Alexie, a postmodernist writing on the Other as an example to explore the validity of this theory. On the acknowledgement of the Anglo world’s long-standing oppression of Indian ethnicity, Captivity deconstructs the white imagination of Indian ethnicity and reconstructs a narrative about white, Native American as well their relationship from an Indian perspective. At the same time, the protagonist of Indian ethnicity in Captivity has an ambiguous relationship with the white character and presents an image that conforms to white stereotypes, reflecting the author Alexie’s oscillating emotional position between whiteness and Indianness, which is rooted in his specific individual experience. Through an analysis of the context as well the text, it can be seen that bell hooks successfully portray the merging of postmodernist claims of decentrality and minority liberation demands, reflecting the significance of postmodernism for minority construction of subjectivity, but simplifies the issue of identity, ignores the complexity of identity in the real situation, and thus sees national liberation as the only way out for the ethnic minorities.
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Godley, Bria Adimora, Diana Dayal, Elizabeth Manekin und Sue E. Estroff. „Toward an Anti-Racist Curriculum: Incorporating Art into Medical Education to Improve Empathy and Structural Competency“. Journal of Medical Education and Curricular Development 7 (Januar 2020): 238212052096524. http://dx.doi.org/10.1177/2382120520965246.
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Background: There is an urgent need for medical school curricula that address the effects of structural influences, particularly racism, on health, healthcare access, and the quality of care for people of color. Underrepresented racial minorities in the United States receive worse health care relative to their White counterparts. Structural competency, a framework for recognizing and understanding social influences on health, provides a means for understanding the structural violence that results from and perpetuates racism in classroom and clinical education. Some medical schools have incorporated art into their curricula to increase empathy generally, yet few programs use art to address racial disparities in medicine specifically. Objective: “Can We Talk About Race?” (CWTAR) aims to increase medical students’ empathy for racial minorities and increase the ease and ability of students to address racial issues. CWTAR also provides a unique context for ongoing conversations about racism and structural inequality within the health care system. Methods: Sixty-four first-year medical students were randomly selected to participate in CWTAR. The on-campus Ackland Art Museum staff and trained student facilitators lead small group discussions on selected artworks. A course evaluation was sent to all participants consisting of 4 questions: (1) Likert scale rating the quality of the program, (2) the most important thing learned from the program, (3) any differences between discussion at this program versus other conversations around race, and (4) suggestions for changes to the program. Free text responses were content coded and analyzed to reveal common themes. Results: Out of 64 students, 63 (98%) responded to at least one course evaluation question. The majority (89%) of participants rated the program quality as either “Very Good” or “Excellent.” Of the 37 students who responded to the free text question regarding the most important thing they learned from the program, 16 (44%) responses revealed students felt that they were exposed to perspectives that differed from their own, and 19% of respondents reported actively viewing a subject through another’s perspective. Of the 33 students who responded to the free text question regarding any differences between discussion at this program versus other conversations around race, 48% noted an increased comfort level discussing race during the program. A common theme in responses to the question regarding suggested changes to the program was a more explicit connection to medicine in the discussion around race. Conclusions: Student responses to CWTAR suggest that the program is effective in engaging students in discussions of racial issues. More investigation is needed to determine whether this methodology increases empathy among medical students for racial minorities specifically.
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Dan, Lv, Fu Hongtao und Wu Hao. „STUDY OF THE COMMUNICATION STRATEGY OF THE INTANGIBLE CULTURAL HERITAGE OF ETHNIC MINORITIES IN THE ERA OF NEW MEDIA“. Russian Studies in Culture and Society 7, Nr. 1 (31.03.2023): 144–56. http://dx.doi.org/10.12731/2576-9782-2023-1-144-156.
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Project description. This article is the result of the research project in the field of art of Heilongjiang Province "Research on the spread of non-material culture of Heilongjiang Province, bordering Russia, within the framework of the One Belt, One Road Initiative" (No. 20180028).
With the rapid development of the economy, the preservation of national and local cultural heritage acquires new features. The era of new media provides new opportunities for the dissemination of the intangible cultural heritage of ethnic minorities.
This article explores the strategy for disseminating the intangible cultural heritage of ethnic minorities in the era of new media from the point of view of the subjects of communication, the platform of communication and the content of communication, in order to transfer experience in the preservation, updating and promotion of the intangible cultural heritage to ethnic minority areas.
Relevance. Nowadays in the era of globalization of all aspects of the life of countries and peoples, it is very important to preserve their national roots, not to lose their culture and identity. Therefore, intangible cultural heritage is a powerful evidence of the development of Chinese history.
The task is to analyze the strategies for disseminating the intangible cultural heritage of ethnic minorities in the era of modern media.
The scientific novelty of this work lies in the dissemination of intangible cultural heritage in the era of modern media and their transfer to the future generation.
China and Russia have centuries-old history and excellent intangible cultural heritage. Each country has its own unique national culture. Cultural ties between Russia and China today have reached a new level, are actively developing, covering almost all areas: science, tourism, education, art, etc. Russians and Chinese have a growing interest in all spheres of life of each other's peoples. The fascination of Russian contemporaries (especially young people) with the cultural traditions of the Chinese is associated with the process of globalization of culture and the consequences of national identity.
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Fairfield, Joy Brooke, Krista Knight und Barry Brinegar. „The future of musical theatre: An animation of a video call between collaborators, 30 September 2020“. Studies in Musical Theatre 15, Nr. 1 (01.04.2021): 25–40. http://dx.doi.org/10.1386/smt_00053_1.
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In the first autumn of the COVID-19 pandemic, long-time theatre collaborators in two different cities in the US South discuss the future of an art form that has currently gone dark. Influenced by punk culture, twenty-first-century internet aesthetics, social justice movements and their pets, this decade-strong creative team reflects in a multimedia format on their past work and enumerates their priorities for the future of musical theatre: cheap, remote, inexperienced, local, radical and full of women and sexual/gender minorities.
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Crowe, Edith L. „Research outside the mainstream“. Art Libraries Journal 13, Nr. 3 (1988): 5–9. http://dx.doi.org/10.1017/s0307472200005745.
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Needlework with a political theme is an example of the kind of art ‘outside the mainstream’ which tends to be documented inadequately or not at all. Information is likely to be unpublished, ephemeral, or not indexed. In supposedly free societies, this can be the result of a cultural conspiracy which allows, while ‘ignoring, condemning, or belittling’, the creative activities of women and of racial, ethnic, or class minorities. Librarians should ensure that library collections do not merely reflect the ‘mainstream’, in spite of the problems of collecting non-mainstream material and of making it accessible. In addition, librarians should be prepared to argue the case for acquiring such material, and should be active in promoting it. Librarians are in a unique position to help redefine art and culture.
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Maciejewski, Marek. „Prawne aspekty położenia mniejszości narodowych na Górnym Śląsku w latach 1918-1939“. Czasopismo Prawno-Historyczne 65, Nr. 1 (02.11.2018): 249–69. http://dx.doi.org/10.14746/cph.2013.65.1.10.
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This paper discusses the legal situation of German and Polish ethnic minorities in Upper Silesia, which was divided between Germany and Poland in the wake of uprisings (1919-1921) and the plebiscite of March 1921. The discussion concentrates on the provisions of the Upper Silesia Convention (known also as the Geneva Convention) concluded by the German Reich and the Republic of Poland for fi fteen years under the auspices of the League of Nations in May 1922. Emphasis is laid on the main provisions, including the so-called fundamental rights of minorities (Art. 64-68), which were meant to ensure equal treatment and free development in the spheres of language, education, religion, etc. to ethnic minorities. The discussion also touches upon other issues – which were not fully regulated by the Convention – concerning the interpretation of the term ‘ethnic minority’ at the League of Nations and other organisations and institutions (Inter-Allied Mixed Commission for Upper Silesia), as well as in the prevailing legal opinions in Germany and Poland at that time. On the example of the views of such jurists as Bruns, Flachtbarth, Walz, Cybichowski, Kierski and Kostanecki, arguments and controversies are shown which surrounded the criteria for defi ning ethnic minorities. Over this matter two views clashed. The fi rst and more popular held a person to be member of an ethnic minority if he or she expressed their bona fi de will to be counted as one (subjective criterion). The second was based on the assumption of objective membership in an ethnic minority (criteria of language, religion, culture and tradition). In the author’s opinion, the Upper Silesia Convention contributed to the reduction of ethnic tensions in the area where it was enforced.
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Mahabamunuge, Jasmin, und David B. Seifer. „Moving toward Narrowing the United States Gap in Assisted Reproductive Technology (ART) Racial and Ethnic Disparities in the Next Decade“. Journal of Clinical Medicine 13, Nr. 8 (11.04.2024): 2224. http://dx.doi.org/10.3390/jcm13082224.
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The Disparities in Assisted Reproductive Technology (DART) hypothesis, initially described in 2013 and further modified in 2022, is a conceptual framework to examine the scope and depth of underlying contributing factors to the differences in access and treatment outcomes for racial and ethnic minorities undergoing ART in the United States. In 2009, the World Health Organization defined infertility as a disease of the reproductive system, thus recognizing it as a medical problem warranting treatment. Now, infertility care is largely recognized as a human right. However, disparities in Reproductive Endocrinology and Infertility (REI) care in the US persist today. While several studies and review articles have suggested possible solutions to racial and ethnic disparities in access and outcomes in ART, few have accounted for and addressed the multiple complex factors contributing to these disparities on a systemic level. This review aims to acknowledge and address the myriad of contributing factors through the DART hypothesis which converge in racial/ethnic disparities in ART and considers possible solutions to effect large scale societal change by narrowing these gaps within the next decade.
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Labeija, Kia. „Rebirth“. TDR/The Drama Review 60, Nr. 4 (Dezember 2016): 2–3. http://dx.doi.org/10.1162/dram_a_00589.
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Kia Labeija was born and raised in the heart of New York City’s theatre district, Hellz Kitchen. Her multidisciplinary practice explores the intersections of community, politics, fine arts, and activism. Her digital portraits offer theatrical and cinematic re-imaginings of nonfictional events. As a member of the iconic House of Labeija and an active member of NYC’s ballroom scene, she offers the art of Voguing as both a performance and community-based practice. Labeija speaks publicly on the subject of HIV/AIDS as an advocate for the underrepresented living with HIV, including long-term survivors, women, minorities, and children born with the virus.
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Kan, Wei, Tao Teng, Shujia Liang, Yanling Ma, Heng Tang, Tuerdi Zuohela, Guoqing Sun et al. „Predictors of HIV virological failure and drug resistance in Chinese patients after 48 months of antiretroviral treatment, 2008–2012: a prospective cohort study“. BMJ Open 7, Nr. 9 (September 2017): e016012. http://dx.doi.org/10.1136/bmjopen-2017-016012.
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ObjectiveTo explore factors associated with HIV virological failure (VF) and HIV drug resistance (HIVDR) among HIV-positive Chinese individuals 4 years after initiating first-line lamivudine-based antiretroviral treatment (ART) in 2008 at five sentinel sites.DesignFirst-line ART initiators who were previously treatment naïve were selected using consecutive ID numbers from the 2008 National Surveillance Database into a prospective cohort study. Questionnaires and blood samples were collected in 2011 and 2012 to assess the outcomes of interest: VF (defined as viral load ≥1000 copies/mL) and HIVDR (defined as VF with genetic drug-resistant mutations). Questionnaires and data from National Surveillance Database assessed demographics and drug adherence data.Results536 individuals with HIV were analysed; the 4-year risk of VF was 63 (11.8%) and HIVDR was 27 (5.0%). Female participants initiating stavudine (D4T)-based regimens were more susceptible to both VF (adjusted OR (aOR)=2.5, 95% CI 1 to 6.1, p=0.04) and HIVDR (aOR=3.6, 95% CI 1 to 12.6, p=0.05) versus zidovudine-based regimens. Male participants missing doses in past month were more susceptible to both VF (aOR=2.8, 95% CI 1.1 to 7, p=0.03) and HIVDR (aOR=9.7, 95% CI 2.1 to 44.1, p<0.01). Participants of non-Han nationality were of increased risk for HIVDR (aOR from 4.8 to 12.2, p<0.05) and non-Han men were at increased risk for VF (aOR=2.9, 95% CI 1.1 to 7.3, p=0.02). All 27 participants detected with HIVDR had non-nucleoside reverse-transcriptase inhibitor mutations, 21 (77.8%) also had nucleoside reverse-transcriptase inhibitor mutations, and no protease inhibitor mutations were detected.ConclusionsOur findings suggest successful treatment outcomes at 4 years for roughly 90% of patients. We suggest conducting further study on whether and when to change ART regimen for women initiated with D4T-based regimen, and reinforcing adherence counselling for men. Increased VF and HIVDR risk among non-Han minorities warrants further exploration, and ethnic minorities may be an important group to tailor adherence-focused interventions.