Journal articles: 'Costume – social aspects'

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Hariana, Hariana, G. R. Lono Lastoro Simatupang, Timbul Haryono, and SP Gustami. "ASPECTS UNDERLYING THE MODIFICATION OF BRIDAL COSTUME IN GORONTALO AT THE WEDDING RECEPTION." Jurnal Kawistara 7, no. 3 (July 22, 2018): 297. http://dx.doi.org/10.22146/kawistara.33951.

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The visualization of the Gorontalonese bridal costume worn at the wedding reception is increasingly diverse in terms of the modification forms. The modification can be seen in the design elements including shape, texture, color, material, and accessory. Furthermore, the modification of the current costume makes the functional value of the bridal costume different from the already patterned one, which can be seen from its social, symbolic, and economic values of the Gorontalo community. The data in this study was collected through the review of books and previous studies related to the wedding clothing, the interviews, and the observation of bridal costumes and analyzed using the qualitative data analysis approach. The observation of unmodified bridal costume objects was done at the Dulahopa Traditional House in Gorontalo, while that of modified bridal costume objects was conducted on the widely used bridal costumes within the last two years in Gorontalo. The purpose of this study was to find out the aspects underlying the modification of bridal costume in Gorontalo. The results show that Gorontalo people tend to choose modified wedding dresses in the wedding party. Moreover, this study suggests that the bridal costume modification is influenced by the family’s social status in Gorontalonese community, migratory Gorontalonese people (staying outside the area of origin), and technological advancement.

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Yang, XiaoMing, and XiangMin Hu. "The Social and Cultural Characteristics of Shanxi Ancient Drama Costumes." Asian Social Science 16, no. 3 (February 27, 2020): 43. http://dx.doi.org/10.5539/ass.v16n3p43.

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The main research subject of this paper is the costume of Shanxi ancient drama, which is used to decorate the role in the form of drama performing art that spread in Ancient Shanxi. Drama costume is a kind of special performance costume which combines decoration, acting and symbolism. It is quite different from the traditional costume in aesthetic and functional aspects. The social and cultural factors that influence the costume of Shanxi ancient drama mainly include the system and rules of Chinese ancient costume, the subtle influence of Buddhist culture and Taoist culture, as well as the profound influence of loyalty culture.

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Kjellmer, Viveka. "Indra’s Daughter and the modernist body: Costume and the fashioned body as scenography in A Dream Play (1915‐18)." Studies in Costume & Performance 4, no. 2 (December 1, 2019): 179–91. http://dx.doi.org/10.1386/scp_00003_1.

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In this article I analyse Swedish scenographer Knut Ström’s costume and set design sketches, made in Germany in 1915‐18, for his production of August Strindberg’s A Dream Play. I focus on the costume sketches for the main character, Indra’s daughter, and discuss how the act of costuming is more than just dressing up a body onstage; it also produces the body and makes it meaningful in relation to the scenographic whole. The modernist female body could, among other aspects, be understood as a body with agency, a clothed body in motion where clothing, staging and patterns of movement all helped create a new, slim silhouette. This view of the female fashioned body, I argue, leaves an imprint on Knut Ström’s visual thinking in the sketch material where Indra’s Daughter emerges in corsetless, straight dresses. Ström’s staging of Indra’s daughter as a modernist woman not only anchors her in the process of social change; it also underlines the ‘othering’ qualities of costume and serves to distinguish her as an outsider in the play. As pointed out by Barbieri, costume can communicate with the spectators both metaphorically and viscerally. In the case of Indra’s Daughter, Ström could be said to use the modernist costuming of Indra’s Daughter metaphorically to set her apart from the other actors in more traditional costumes, and physically, with colours and shapes of her costumes that visibly stand out from the scenographic landscape. Ström’s creative work with the sketches for A Dream Play shows how he understood the power of the costumed body as a vital part of the scenographic whole.

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Yan, Jing, Liang Yu Chen, and Xue Rong Fan. "Traditional Costume Culture of She Ethnic Group from Ecological Perspective." Advanced Materials Research 796 (September 2013): 554–57. http://dx.doi.org/10.4028/www.scientific.net/amr.796.554.

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She's traditional costumes are both tangible and intangible cultural heritage, which do not only have a high aesthetic value, but also embody She's enduring beliefs and characters. However, with the economic development, social progress, especially technology updates and promotion of the traffic and media, the protective barrier of She's original cultural environment formed naturally by the geographical environment in the past have gradually disappeared. She's traditional culture, including costume culture, is rapidly weakening and lost. Based on the fieldwork of She ethnic minority areas in Zhejiang, Fujian, Jiangxi Provinces of the East China, as well as the costumes and their cultural background information, this article analyzes three aspects of She's ecological concepts shown in costumes, as "Harmony between Man and Nature" - the Understanding of Environment, "Make the best use of things" - the understanding of the finiteness of natural resources, and ¡°Survival of the Fittest¡± - the Relationship between Ecosystem and Costume. She's costumes reflect a natural living environment, as well as a mode of the production and technical status of the She people. At the meantime, they reflect the national consciousness, the religious conceptions, the social attitudes, and aesthetic tendencies state of the She people, which embody the mutual relations and interactions of natural ecosystems and human cultural ecosystem.

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Södergren, Jonatan. "From aura to jargon: the social life of authentication." Arts and the Market 9, no. 2 (December 9, 2019): 115–31. http://dx.doi.org/10.1108/aam-05-2019-0020.

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Purpose Authenticity has emerged as a prevailing purchase criterion that seems to include both real and stylised versions of the truth. The purpose of this paper is to address the negotiation of authenticity by examining the means by which costume designers draw on cues such as historical correctness and imagination to authenticate re-enactments of historical epochs in cinematic artwork. Design/methodology/approach To understand and analyse how different epochs were re-enacted required interviewing costume designers who have brought reimagined epochs into being. The questions were aimed towards acknowledging the socio-cultural circulation of images that practitioners draw from in order to project authenticity. This study was conducted during a seven-week internship at a costume store called Independent Costume in Stockholm as part of a doctoral course in cultural production. Findings Authenticity could be found in citations that neither had nor resembled something with an indexical link to the original referent as long as the audience could make a connection to the historical epoch sought to re-enact. As such, it would seem that imagination and historical correctness interplay in impressions of authenticity. Findings suggest that performances of authentication are influenced by socially instituted discursive practices (i.e. jargons) and collective imagination. Originality/value This paper contributes to the literature on social and performative aspects of authentication as well as its implications for brands in the arts and culture sector.

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Worman, Nancy. "The Ties that Bind: Transformations of Costume and Connection in Euripides' Heracles." Ramus 28, no. 2 (1999): 89–107. http://dx.doi.org/10.1017/s0048671x00001739.

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Cependant, elle, qui croyait bien connaître Jacques, s'étonnait. Il avait sa tête ronde de beau garçon, ses cheveux frisés, ses moustaches très noires, ses yeux bruns diamantés d'or, mais sa mâchoire inférieure avançait tellement, dans une sôrte de coup de geule, qu'il s'en trouvait défiguré.Zola, La Bête HumaineIt may seem banal to note that in its original conception Greek tragedy depended for much of its force on costume and visual effect. The dramas themselves often make clear, however, that costume, as a central feature of a character's visible type, communicates essential aspects of how she is situated both literally and figuratively. Not only do characters often enter in heroic or royal regalia, but the more elaborate or bedraggled one's appearance, the more likely it is that other characters comment upon it and thereby give it some overarching significance. As historians of Athenian drama have noted, the plays themselves do not provide very detailed evidence about the actual costumes that actors wore. Nor do vase paintings of particular stories always supplement the dramas with sufficiently detailed images of characters; and die written sources are too late to be definitive. I would nevertheless suggest that in Sophocles and especially in Euripides the plays draw attention to differentiations among the appearances of characters when the character's visible type contributes importantly to understanding her place in the social and symbolic structure of the play.

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Mainy, Shenne B., and Maria S. Kukhta. "SACRED SEMANTICS OF TUVAN TRADITIONAL COSTUME." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 242–49. http://dx.doi.org/10.17223/22220836/40/22.

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The relevance of the work is due to the need to study the features of the cut and decoration of the Tuvan costume, which are, on the one hand, a bright unique ethnic image, and on the other hand, carry the universal laws of the Universe inherent in the cultures of all the peoples of the Earth. The traditional costume is included in the “cultural core” of the Tuvan people and contributes to the preservation of its national identity. The aim of the work is to study the sacred semantics of a traditional costume. The object of research is the Tuvan folk costume, the subject is the sign-symbolic nature of the traditional Tuvan costume. The study uses a cultural-historical analysis that reveals the specifics of the Tuvan national clothing and its types, as well as the structural-semiotic method, which allows you to explore the features of the symbolic and symbolic nature of national clothing. National clothing is a complex structure that includes numerous types of upper and lower clothes, hats, shoes, jewelry, personal items and hairstyles. Tuvan clothes are classified according to their age and sex and eight traditional types are distinguished: children’s, girls’s suits, boys’s suits, bridesmaids suits, women’s suits, men's suits, and older’s suits. The traditional costume of Tuvans is a ritual object that has rich sacred semantics. The Tuvan costume is considered not only as a thing, but also as a symbolic sacred form, a sign in the context of culture. This semantic status of folk clothes was to be read and understood both by its owner and other members of traditional cultural communities, as a “sign (symbol, code, artistic image), composed of clothing, shoes, accessories, external behaviors, characteristics of the figure and human personality. The costume language is an image of the real world, the accumulated spiritual experience of people, the practical and aesthetic values of previous generations. Each element of the traditional costume had both functional significance and sacred semantics. The forms of cut and elements of the traditional Tuvan costume acquired particular semantic significance and translated the unity of the “earthly” and “sacred” worlds of mythological consciousness. The traditional Tuvan costume as the most important element of the material culture of the Tuvan people is a “mirror of myth”, reflecting various spheres of life, both material and spiritual. The traditional costume captures the diversity of all aspects of human life, the complexity of social relations and human behavior patterns in material embodiment. The entire costume complex is an integral system of ordered and interconnected signs and symbols, through which the accumulation, organization and transfer of cultural experience is carried out. The result of the study is the systematization of the cultural types of costume and the identification of their symbolic sound in a specific material expression (form, cut, decoration elements).

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Mykhailova, Tetiana. "The relevance of study of visual identification of the Olympic ceremonial costume of the national team of Ukraine: the question of cultural expansion." Culturology Ideas, no. 24 (2'2023) (2023): 170–78. http://dx.doi.org/10.37627/2311-9489-24-2023-2.170-178.

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The issue of national identity, in particular visual identification, requires considerable attention in the direction of the conformity of the declared sign or their combinations. Certain signs and their compositions influence the social perception of the information consumer, correcting the already existing opinion about the communicator at the stage of his or her development of relations with the recipients. Vestimentary code of ceremonial costume in projects of international cooperation is a component of illustrative representation of states, peoples or nations. These and other specified reasons determine the importance of scientific and applied research on the Olympic ceremonial costume of the national team of Ukraine, that is, a versatile study of the relay of cultural codes, meanings and ideas of a nation that participates in competitions covering millions of audiences of various representations. Within the framework of the study of the Olympic ceremonial parade costume of the national team of Ukraine 1994– 2022, its symbolic system and aspects of the transformation of the determinants of artistic and informational identification are comprehensively studied in accordance with the semiotics of design, national constructs, globalization requirements and the provisions of the Olympic Charter. This work determines the relevance of the study of the visual identification of the Olympic ceremonial costume of the Ukrainian national team and the role of the cultural expansion of russia, which was the result of the symbolic uncertainty of identification at world competitions.

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Skachkova, Elena Yu. "Wedding Ceremonial Clothing as a Phenomenon of Russia Village Spiritual Culture in the Late 19th – First Half of the 20th Centuries: Semiotic Aspect." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023): 118–34. http://dx.doi.org/10.37816/2073-9567-2023-68-118-134.

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Traditional clothing was an integral attribute of the spiritual and cultural space of a Russian village until the 20th century. In connection with the destruction of traditional and the subsequent resemanticisation of folk clothing in the 19th – 21th centuries, there was a need to clarify the main spiritual and cultural content of a traditional costume. Wedding ceremonial clothing was chosen as the object of research due to its high semiotic status and good preservation, which provides extensive research field. The empirical basis of the work consists of ethnographic descriptions of the studied origin regions of wedding suit, private collections, museum funds and the photo archive of the author, formed as a result of expeditions 2018–2019. The article considers the totality of all wedding sets of bride's clothes as a unified semiotic system. The context of this phenomenon is an entire syntagmatic sequence of wedding ceremonies, starting from matchmaking and ending with the last day of a wedding. The wedding in this case is considered as a rite of passage of a life cycle, the main leitmotif of which is the process of “dying-death-rebirth”. Special costume sets mark all stages of the passage (preliminary, liminary, postliminary): “sad” and “grief” clothes are gradually replaced by “kind”, “cheerful”, white and dark shades are replaced by bright, often in red, and, in general, the semantics of death is replaced by the semantics of life. The study also shows that wedding cultures of different villages represent different semiotic systems that function on the basis of a single principle of passage, but some of its aspects and symbolization may be different. At the same time, a complex relationship between the social and spiritual levels of passage is realized, the markers of which may be different characteristics of the same costume complex. In general, the semiotics of wedding ceremonial clothing testifies to the unity of the spiritual and social spheres of a Russian village in the 19th – 20th centuries.

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Keblusek, Maria. "A Paper World." Early Modern Low Countries 6, no. 1 (June 29, 2022): 14–35. http://dx.doi.org/10.51750/emlc12169.

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This essay examines early modern alba amicorum as collections of social and intellectual networks, personal memories, and other textual and visual materials. In what way are these ‘paper worlds’ related to collections of objects, and to networks of connections? How do they interact with other book and manuscript genres, such as the emblem and the costume book? Taking the album of the Dutch collector Bernardus Paludanus (1550-1633) as a case study, an argument will be made regarding the conceptual and material kinship of alba with other forms of manuscript and print collections. The intermediality and materiality of friendship books will be shown to be crucial aspects for understanding how this medium functioned within early modern cultures of collecting and the communal production of memory and knowledge.

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McNEILL, KAREN. "Julia Morgan: Gender, Architecture, and Professional Style." Pacific Historical Review 76, no. 2 (May 1, 2007): 229–68. http://dx.doi.org/10.1525/phr.2007.76.2.229.

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Architect Julia Morgan (1872-1957) cultivated a professional style that enabled her to exert authority in a male-dominated profession. This article focuses on three aspects of that style: her costume, her relationship to the media, and her downtown San Francisco offi ce. Rather than a shy woman who sought anonymity, Morgan was a savvy professional with a strong gender consciousness who actively sought success and shaped her own destiny. Her story provides insight into the history of women in the professions and the gendered landscape of the Progressive Era city. Since Julia Morgan left behind few words regarding her social views, professional intentions, or architectural philosophy, this article is also an interdisciplinary exercise that investigates the intersection of biography, material culture, gender, and the built environment.

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Pamuji, Kukuh. "Fenomena Seni Pertunjukan Sintren Pesisiran dan Pemberdayaan Masyarakat melalui Pedekatan Antropologis." Abdi Seni 13, no. 1 (June 9, 2022): 54–64. http://dx.doi.org/10.33153/abdiseni.v13i1.4220.

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The phenomenon of coastal sintren performing arts in the border areas of West Java (Cirebon and Indramayu) and Central Java (Brebes, Tegal, Pemalang) which has local genius by carrying out cultural transformations between traditions and mystical traditional arts transforming with modern culture as an effect of urban culture, finally with the transformation of culture will be transformed into urban culture. The problems that exist in the Sintren Pesisitran art community include: (1) the lack of support for the development and preservation of coastal traditional arts, (2) How the art of performing the Coastal Sintren can holistically rediscover the essence of aspects of cultural expression and the development of other creative aspects. This empowerment program is carried out through various mentoring programs including; (1) empowering creative human resources, (2) choreography training, musical instruments, (3) costume assistance for several Sintren Pesisiran communities. The results of community empowerment assistance, including: The performing arts of coastal sintren can be studied holistically, aspects of art as expression, art as pragmatics, anthropological and sociological studies. Pragmatically, this typical coastal art performs practical activities for various aspects of interest. It was then realized by the performing arts community that their creative activities are not just expressions. Social aspects are also interpreted more broadly when we look at the educational aspect, of course with multidimensional and multi-interpreted discourses.

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Seregin, N. N., and N. F. Stepanova. "Early Medieval Single Burial with Horse Equipment from Northern Altai." Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 27 (2021): 642–49. http://dx.doi.org/10.17746/2658-6193.2021.27.0642-0649.

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The article presents the publication and diverse interpretation of materials from the excavations of grave 24 of the Gorny-10 necropolis. This site located in the Krasnogorsk District of the Altai Territory was investigated in 2000-2003. Currently, it may be considered as a basic complex for the study ofvarious aspects of the history of population of southwestern Siberia of the early Medieval Ages. The published complex is a single burial of an adult male with a fairly representative set of items, including weapons, jewelry and costume elements, as well as horse equipment. The analysis of the finds and their comparison with known materials from the sites of Northern and Central Asia made it possible to date the burial to the 7th century AD. The revealed set of items testifies to the rather high lifetime status of the deceased person. It was found that a similar situation is generally characteristic of single burials in the region of the Great Migration period and the beginning of the early Middle Ages, some of which reflected the peculiarities of the material culture of the social elite. There are grounds for asserting that elements of horse equipment, and not only rare toreutics (bridle decorations), but also standard functional items, were social markers of various levels in the ritual practice of the population of the forest-steppe Altai of the period under consideration. Further systematic analysis of materials from already known sites as well as expanding the available data through excavations will allow for a more detailed consideration of various aspects of the social history of population of the southwestern Siberia.

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Shigurova, Tat'yana Alekseevna. "Nakosnik puloker as a component of the Moksha national Costume: on the problem of genesis and ethno-cultural meanings." Человек и культура, no. 3 (March 2023): 69–88. http://dx.doi.org/10.25136/2409-8744.2023.3.40553.

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This article presents the experience of studying the unique nakosnik of Moksha puloker women, which existed from the VIII to the XVIII centuries in a traditional women's costume as an ethnic symbol of the people. The most important aspects of the characteristics of the hairpiece associated with determining the cause of the appearance of this artifact, revealing the general attitude to hair in traditional culture, in particular in the heroic epic of the Mordovian people "Mastorava", which reflects the events of the medieval history of the ethnos; the nature of the era that caused the appearance of new elements in the folk costume. Both general scientific methods and systematic, comparative-historical and structural-semiotic approaches were used in the study. The role of the crisis factor in the culture of the Mordovian tribes of the second half of the I millennium A.D. was revealed, manifested in the activation of human activity aimed at adaptation in conditions of rapid changes and intercultural contacts. It is established that the result of the creative work of women, forcibly limited by the space of the family and home (possibly due to the appearance of a small family), was the development of socio-economic and cultural processes related to the ritual sphere, which required the segregation of the married woman's social group and a new element of the headdress, which emphasized the status of the hostess of the house. The novelty of the research is determined by the conclusions about the values of culture embodied in the materialization of the goals of collective activity in the form of an artificially created form of decoration, as well as in the justification of the significant influence of the Turkic peoples on the development of culture in the period under consideration.

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Raud, Inna. "The collection The Folk Costumes of Mulgimaa in the context of the literature on Estonian national costume from the viewpoint of a researcher and craftsman." Studia Vernacula 8 (November 13, 2017): 229–35. http://dx.doi.org/10.12697/sv.2017.8.229-235.

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Estonian folk costumes were foregrounded as a cultural phenomenon in the records written by the leaders of the Estonian national awakening already in the late 19th century. The statements made by them emphasised the importance of wearing and preserving folk costumes. The main research activity based on museum collections has historically been centred primarily on artefacts, with the aim of the reconstruction of the historical development of each type, taking the origin of the artefacts found in the collections into account. Approaching the subject matter by focusing on the artefacts and classifying them into certain types does help one to gain an understanding of regional specificities, but not of an outfit as a whole. As a researcher and seamstress of folk costumes, I recognise the need for both artefact-centred studies and regional studies. Estonian folk costumes have previously been treated in three nationwide monographs that have focused on different regions. In addition to instructions on how to make folk costumes, the monographs also contain a selection of technical instructions and illustrations showing the cuts and patterns of sample outfits. At present, there is a need for conducting an in-depth research that would concentrate on each parish separately. The greatest value of Tiina Jürgen’s book The Folk costumes of Mulgimaa (2015) is the presentation of the variations between the five parishes, together with stories and legends through which we understand people’s relationship to clothing. In addition to such formal aspects, the book also pays attention to clothing as a social phenomenon. It would make sense to use the book for the purpose of putting together an outfit. After mentioning the component parts of the costumes by concentrating on each parish separately, detailed descriptions of the artefacts are presented in chronological order. Although the repetitions may at first glance appear superfluous, they are needed for those readers who are only interested in their own region. Lively photographs and illustrations, which, for example, depict clearly the ways of tying a headscarf, wrapping girdles, and attaching wide textile girdles, allow us to visualise the outfits as process. The foregrounding of both summer and winter clothing is commendable. Children’s clothing has unfortunately been disregarded, although it certainly deserves special attention with the Estonian Song and Dance Festival in mind. In addition to mentioning certain techniques, the process of making folk costumes requires exact descriptions of the materials, cuts, and patterns involved. The most precise information craftsmen can find in this book is related to girdles and edges, but at times questions remain over the nuances of craftwork. Although it is well-known that it is difficult to create faithful reproductions of old pieces of clothing with modern materials, creating a piece that resembles the original as much as possible is more and more often the goal.

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Raud, Inna. "The collection The Folk Costumes of Mulgimaa in the context of the literature on Estonian national costume from the viewpoint of a researcher and craftsman." Studia Vernacula 8 (November 13, 2017): 229–35. http://dx.doi.org/10.12697/sv.2017.8.229-235.

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Estonian folk costumes were foregrounded as a cultural phenomenon in the records written by the leaders of the Estonian national awakening already in the late 19th century. The statements made by them emphasised the importance of wearing and preserving folk costumes. The main research activity based on museum collections has historically been centred primarily on artefacts, with the aim of the reconstruction of the historical development of each type, taking the origin of the artefacts found in the collections into account. Approaching the subject matter by focusing on the artefacts and classifying them into certain types does help one to gain an understanding of regional specificities, but not of an outfit as a whole. As a researcher and seamstress of folk costumes, I recognise the need for both artefact-centred studies and regional studies. Estonian folk costumes have previously been treated in three nationwide monographs that have focused on different regions. In addition to instructions on how to make folk costumes, the monographs also contain a selection of technical instructions and illustrations showing the cuts and patterns of sample outfits. At present, there is a need for conducting an in-depth research that would concentrate on each parish separately. The greatest value of Tiina Jürgen’s book The Folk costumes of Mulgimaa (2015) is the presentation of the variations between the five parishes, together with stories and legends through which we understand people’s relationship to clothing. In addition to such formal aspects, the book also pays attention to clothing as a social phenomenon. It would make sense to use the book for the purpose of putting together an outfit. After mentioning the component parts of the costumes by concentrating on each parish separately, detailed descriptions of the artefacts are presented in chronological order. Although the repetitions may at first glance appear superfluous, they are needed for those readers who are only interested in their own region. Lively photographs and illustrations, which, for example, depict clearly the ways of tying a headscarf, wrapping girdles, and attaching wide textile girdles, allow us to visualise the outfits as process. The foregrounding of both summer and winter clothing is commendable. Children’s clothing has unfortunately been disregarded, although it certainly deserves special attention with the Estonian Song and Dance Festival in mind. In addition to mentioning certain techniques, the process of making folk costumes requires exact descriptions of the materials, cuts, and patterns involved. The most precise information craftsmen can find in this book is related to girdles and edges, but at times questions remain over the nuances of craftwork. Although it is well-known that it is difficult to create faithful reproductions of old pieces of clothing with modern materials, creating a piece that resembles the original as much as possible is more and more often the goal.

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Rustoiu, Aurel. "The “Dacian” silver hoards from Moesia superior. Transdanubian cultural connections in the iron gates region from Augustus to Trajan." Starinar, no. 72 (2022): 109–31. http://dx.doi.org/10.2298/sta2272109r.

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The aim of this paper is to discuss some aspects concerning the ?Tekija-Bare hoards horizon?: their ?Dacian? origin, their significance, and the manner in which this phenomenon emerged after the practice of burying assemblages of silver body ornaments had ceased to the north of the Danube one or two generations earlier. The so-called Tekija-Bare group of hoards originates from the northern Danubian hoards containing silver body ornaments. This is demonstrated by the typology of some silver costume accessories and the tradition of burying them together with silver coins and metal or ceramic vessels. The appearance of these hoards south along the Danube in the second half of the 1st century AD was the result of the revival of some northern Danubian ritual practices. This revival can be ascribed to the ?Getae? who were moved to the south of the river by Aelius Catus at the beginning of the 1st century AD and were later known as Moesi, according to Strabo (VII.3.10). The displacement of a large number of people, including entire communities, resulted in the transfer of a number of ritual practices and beliefs from one territory to another. However, these were transformed and adapted according to the new social conditions from Roman Moesia.

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Hall, Lynda. "Bodies in Sight: Shawna Dempsey (Re)Configures Desire." Canadian Theatre Review 92 (September 1997): 10–16. http://dx.doi.org/10.3138/ctr.92.002.

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Solo performance artist Shawna Dempsey (together with her collaborator, Lorri Millan) uses performance in an innovative way - one that exposes, bare(s) witness, and intervenes in the social “performance” of gender roles and also stages lesbian presence. Revealing how misogynist, heterosexist culture is re-produced, and therefore how it can be altered, she states, “in the self-created world of the performance space, our personas have the freedom to make their own self-definitions” (Bennett 9). Dempsey has collaborated with Lorri Millan on the creation of feminist, costume-based performance art since 1989. Her worldwide performances and Dempsey and Millan’s film and video productions critique cultural scripts for “femininity” and the appropriately performed, properly gendered body. Exemplifying Judith Butler’s claim that gender is “real only to the extent that it is performed” (278), Dempsey invites awareness of the performative aspects that produce gender in an ongoing process of cultural construction, including dress, stance, gestures, looks, and voice. Significantly, whether on the stage or in the street, her body and looks are very feminine, her body has the shape that culture tells women to strive for, and her age is within the range where women are provoked to show their bodies.

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Bedikian, Sonia A. "The Death of Mourning: From Victorian Crepe to the Little Black Dress." OMEGA - Journal of Death and Dying 57, no. 1 (August 2008): 35–52. http://dx.doi.org/10.2190/om.57.1.c.

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Mourning is a natural response to loss. In the late eighteenth century and throughout the nineteenth century, in England and France, the bereaved was expected to follow a complex set of rules, particularly among the upper classes, with women more bound to adhere to these customs than men. Such customs involved wearing heavy, concealing, black costume and the use of black crepe veils. Special black caps and bonnets were worn with these ensembles. Widows were expected to wear these clothes up to four years after their loss to show their grief. Jewelry often made of dark black jet or the hair of the deceased was used. To remove the costume earlier was thought disrespectful to the deceased. Formal mourning culminated during the reign of Queen Victoria. Her prolonged grief over the death of her husband, Prince Albert, had much to do with the practice. During the succeeding Edwardian rule, the fashions began to be more functional and less restrictive, but the dress protocol for men and women, including that for the period of mourning, was still rigidly adhered to. When World War I began, many women joined the workforce. Most widows attempted to maintain the traditional conventions of mourning, but with an increase in the number of casualties, it became impractical for them to interrupt their work in order to observe the seclusion called for by formal mourning etiquette. Never had the code of mourning been less strictly applied than during this period. The mourning outfits of the time were modest and made of practical materials. Little jewelry and few other accessories were used. Certain aspects of traditional mourning were still followed, such as the use of jet beading, crepe trim, and widows' caps. However, the hemlines fell above the ankle, the veil was used to frame the face instead of cover it, and the v-neckline left the chest and neck bare. During the following decades, gradually the rules were relaxed further and it became acceptable for both sexes to dress in dark colors for up to a year after a death in the family.

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Muliana, Yosi, and Herlinda Mansyur. "KOREOGRAFI TARI URAKLAH SIMPUAH DI SANGGAR TAK KONDAI NAGARI PASIR TALANG KECAMATAN SUNGAI PAGU KABUPATEN SOLOK SELATAN." Jurnal Sendratasik 9, no. 4 (December 5, 2020): 157. http://dx.doi.org/10.24036/jsu.v9i1.109566.

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This is a descriptive qualitative research using a descriptive analysis method. The main instrument in this study was the researcher itself and was assisted by supporting instruments such as writing instruments and cellphones. The data used where primary and secondary data. The data were collected through literature study, observation, interview, and documentation. The data analysis was conducted through data collection, data reduction, data presentation, and conclusion making. The results of this study show that the Uraklah Simpuah Dance is cultivated from social condition which is not in accordance with the customs in the village. The situation meant isgetting around done by Minangkabau women. In the form aspect, there is a floor design used in Uraklah Simpuah dance. It is a straight floor design which is lined and curved in a circle. It uses large group composition (unison). The music instrument used in this dance is a drum namely gandang tambua. In addition, it uses the distinctive strains of songs to accompany the dance.The costume worn is a basic black velvet shirt paired with songket and a red to orange head cover. This dance also uses metal plates and resins as the sounds. Thus, it is concluded that the Uraklah Simpuah dance is a traditional dance which already has choreographic aspects so that it can be researched using choreography.Keywords: Choreography, Uraklah Simpuah Dance, Tak Kondai Studio

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Saraswati, Sri. "STRATEGI CAMP DALAM NOVEL HIDING MY CANDY KARYA LADY CHABLIS." Jurnal POETIKA 4, no. 1 (July 1, 2016): 10. http://dx.doi.org/10.22146/poetika.13311.

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This study aims at discussing about the forms of Camp strategies as well as elaborating the purpose of its application in Lady Chablis’ Hiding My Candy. Hiding My Candy tells a story of a transgender name The Doll who fights for her survival among patriarchal community. To answer the objectives of the research, Moe Meyer’s Camp theor y will be applied. In the book of the Politics and Poetics of Camp, Meyer defines Camp as the total body of performative practices and strategies used to enact a queer identity, with enactment defined as the production of social visibility. The emergence of Camp as a survival strategy appears due to the challenge of transgender discrimination resulted by heteronormativity restraint. The study result shows that transgender survival can be divided into three aspects i.e. social visibility, alternative normative and transgender empowerment. Those transgender survival’s aspects can be achieved by applying the Camp strategies. Those strategies include parody Camp strategy, humor Camp strategy, strategy of posing (costume, gesture and speech act) and strategy of life in performance.Penelitian ini dilakukan untuk mengulik bentuk-bentuk strategi Camp dan tujuan penerapannya melalui novel Hiding My Candy karya Lady Chablis. Hiding My Candy merupakan sebuah novel yang merepresentasikan upaya kebertahanan transgender yang dilakukan oleh tokoh The Doll. Adapun pendekatan yang akan digunakan dalam penelitian ini adalah teori Camp oleh Moe Meyer. Dalambuku the Politics and Poetics of Camp, Moe Meyer mendefinisikan istilah Camp sebagai total keseluruhan praktik dan strategi untuk menunjukkan identitas queer kaum marjinal, dalam hal ini transgender, kepada masyarakat (visibilitas sosial). Lazimnya, masyarakat heteronormatif menganggap transgender sebagai liyan sehingga keberadaan mereka seringkali terpinggirkan. Maka, tujuan dari penerapan strategi Camp adalah untuk menjamin kebertahanan kaum transgender dalam masyarakat. Muatan kritik terhadap heteronormativitas juga tampak nyata dalam penerapan strategi Camp . Sasaran kritik tersebut adalah pemapanan konstruksi gender normatif serta eksklusifitas kaum heteroseksual yang menjadikan kaum marginal seperti transgender tersisihkan. Berdasarkan hasil penelitian ditemukan bahwa bentuk-bentuk strategi Camp dapat dirinci sebagai berikut; strategi parodi Camp, strategi humor Camp, strategy of posing (kostum, gestur dan gaya bicara) serta strategi hidup dalam pertunjukkan.Penerapan strategi Camp tersebut ditujukan sebagai upaya untuk meraih kebertahanan transgender. Selanjutnya, kebertahanan transgender dapat dicerminkan melalui visibilitas sosial, terbentuknya wacana normalitas alternatif dan pemberdayaan transgender

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Saraswati, Sri. "STRATEGI CAMP DALAM NOVEL HIDING MY CANDY KARYA LADY CHABLIS." Poetika 4, no. 1 (July 1, 2016): 10. http://dx.doi.org/10.22146/poetika.v4i1.13311.

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This study aims at discussing about the forms of Camp strategies as well as elaborating the purpose of its application in Lady Chablis’ Hiding My Candy. Hiding My Candy tells a story of a transgender name The Doll who fights for her survival among patriarchal community. To answer the objectives of the research, Moe Meyer’s Camp theor y will be applied. In the book of the Politics and Poetics of Camp, Meyer defines Camp as the total body of performative practices and strategies used to enact a queer identity, with enactment defined as the production of social visibility. The emergence of Camp as a survival strategy appears due to the challenge of transgender discrimination resulted by heteronormativity restraint. The study result shows that transgender survival can be divided into three aspects i.e. social visibility, alternative normative and transgender empowerment. Those transgender survival’s aspects can be achieved by applying the Camp strategies. Those strategies include parody Camp strategy, humor Camp strategy, strategy of posing (costume, gesture and speech act) and strategy of life in performance.Penelitian ini dilakukan untuk mengulik bentuk-bentuk strategi Camp dan tujuan penerapannya melalui novel Hiding My Candy karya Lady Chablis. Hiding My Candy merupakan sebuah novel yang merepresentasikan upaya kebertahanan transgender yang dilakukan oleh tokoh The Doll. Adapun pendekatan yang akan digunakan dalam penelitian ini adalah teori Camp oleh Moe Meyer. Dalambuku the Politics and Poetics of Camp, Moe Meyer mendefinisikan istilah Camp sebagai total keseluruhan praktik dan strategi untuk menunjukkan identitas queer kaum marjinal, dalam hal ini transgender, kepada masyarakat (visibilitas sosial). Lazimnya, masyarakat heteronormatif menganggap transgender sebagai liyan sehingga keberadaan mereka seringkali terpinggirkan. Maka, tujuan dari penerapan strategi Camp adalah untuk menjamin kebertahanan kaum transgender dalam masyarakat. Muatan kritik terhadap heteronormativitas juga tampak nyata dalam penerapan strategi Camp . Sasaran kritik tersebut adalah pemapanan konstruksi gender normatif serta eksklusifitas kaum heteroseksual yang menjadikan kaum marginal seperti transgender tersisihkan. Berdasarkan hasil penelitian ditemukan bahwa bentuk-bentuk strategi Camp dapat dirinci sebagai berikut; strategi parodi Camp, strategi humor Camp, strategy of posing (kostum, gestur dan gaya bicara) serta strategi hidup dalam pertunjukkan.Penerapan strategi Camp tersebut ditujukan sebagai upaya untuk meraih kebertahanan transgender. Selanjutnya, kebertahanan transgender dapat dicerminkan melalui visibilitas sosial, terbentuknya wacana normalitas alternatif dan pemberdayaan transgender

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Monroy, Silvia. "De gota em gota: violência, tempo e troca em Urabá, Colômbia." Mana 20, no. 3 (December 2014): 519–44. http://dx.doi.org/10.1590/s0104-93132014000300004.

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Comparo, neste texto, a modalidade de empréstimo de dinheiro imposta pelos "gota a gota" com a minha experiência como voluntária no Banco de la Esperanza,em Urabá, considerada uma das regiões mais violentas da Colômbia durante, pelo menos, quatro décadas. Mediante este contraste, passo a analisar a relação entre o que denomino "presente permanente" e determinados aspectos da troca, a saber: "o costume de ficar devendo", "a necessidade de pedir emprestado", e o imperativo de que "tudo deve ser dado". No caso estudado, tais efeitos são aspectos primordiais da vida coletiva e da reprodução social. Busco, em particular, explorar a relação entre violência e "economia", vínculo que costuma ser relegado ao campo da ilegalidade.

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Feldman, Walter Zev. "Klezmer Music in the Context of East European Musical Culture." Judaic-Slavic Journal, no. 1 (3) (2020): 231–70. http://dx.doi.org/10.31168/2658-3364.2020.1.11.

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The repertoire and social role of the klezmer musician in Eastern Europe can be best appreciated within the context of the broader “traditional” musical life of East European Jews. From the early seventeenth century onward the emphasis on the “Jewishness” and halakhic validity of all aspects of life now became fixed and part of local custom (minhag). This merging of the sacred and the secular came to affect music and dance just as it did costume, through the internal action of the Jewish community, not pressure from external sources. The instrumental klezmer music and the accompanying profession of badkhones (wedding orator) displayed both the fusion of the religious and secular in Jewish life, and a continuing tension between secular and religious allusions, moods, and techniques. The “Jewishness” in musical style – especially in instrumental klezmer music but also in Hasidic niggunim and to some extent in Yiddish song – grew by a process of cultural differentiation.This process involved both the preservation and development of ancient features, and the reinterpretation of borrowed musical material to suit principles alien to the original source.This chapter briefly characterizes the system of repertoires and genres of the East European Jews, beginning with the music of prayer, through the various paraliturgical songs, to the music of Hasidism, and the many sub-genres of religious, secular and professional song in the Yiddish language. The chapter concludes with a presentation of the two established musical professionals in traditional East European Jewish life – the khazn (cantor) and the klezmer.

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Grinina, E. A., and T. M. Balmatova. "On the Question of the Relationship of Collective and Individual Principles in the Flamenco Culture (mid-XVIII — first quarter of the XX century)." Concept: philosophy, religion, culture 5, no. 1 (April 1, 2021): 178–92. http://dx.doi.org/10.24833/2541-8831-2021-1-17-178-192.

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The flamenco culture, an original composition of music, poetry, dance and costume, was born in Andalusia, over time has become one of Spain’s «brands», and has now spread well beyond the Iberian Peninsula. Flamenco is full of contradictions that’s why flamenco studies and cultural studies researchers have been working on it for centuries, both in its homeland and abroad. The purpose of this article is to study the relationship between individual and collective elements in the flamenco culture and to analyze various aspects of its formation and existence basing on the literary and historical sources, works on the history of culture, in general, and flamenco, in particular. The Russian segment of flamenco studies research is dominated by works devoted to individual components of flamenco culture — dance, music, history and mythology or particular styles. At the same time, there are no works that attempt to understand the functioning of internal mechanisms and their role in the formation and development of this art. It seems relevant to conduct research from these positions, and the possibility of identifying objective patterns of interaction between the individual and the collective elements determines the scientific novelty of the proposed article. The authors come to the conclusion that, combining elements of rural and urban folklore, flamenco is a popular culture that performs a communicative function both within one social layer and between different layers of urban society. The collective and individual principles in this culture find expression at different levels of social interaction, historical ties, and interpersonal communication; they are not parallel, but interconnected and mutually intertwined. At the level of the text, the collective principle serves as a source of topics, each of which a particular author gives an individual interpretation. At the level of performance and perception, the author transmits to the listener a message containing information about the collective (the memory and experience of previous generations or the current situation for a certain part of society); shares his own experiences or assessments. The listener, perceiving information, on the one hand, joins the collective, and on the other, individualizes it by relating it to his own picture of the world. The presence of contrasts in the flamenco culture is due to the social environment of its formation and existence, the presence of a commercial component and the focus of the performer on the tastes and needs of the audience. The need to attract, surprise and interest the audience at different stages of the development of flamenco influenced all components of this art, and the competition factor encouraged performers to look for new forms and develop new styles. And in general, the presence of opposite vectors provided this culture with the potential that allowed it to go beyond the narrow social stratum, to develop and gain popularity not only in Spain, but also far beyond its borders.

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Mahali, Samu. "IMPACT OF COPPER MINES ON TRIBAL LAND USE PATTERN AND SOCIO-ECONOMIC ACTIVITIES AT MUSABONI AND SURROUNDING AREA." EPH - International Journal of Humanities and Social Science 2, no. 4 (October 2, 2017): 1–7. http://dx.doi.org/10.53555/eijhss.v2i4.23.

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The process of population growth in the urban area along with the article deals with the study of changes of land use pattern Socio-economic activities of tribes as a result of rapid urbanization. It encompasses an extensive survey of the tribes’ dwelling places in urban, fringe and the rural settlements. The salient features include exploration of the physical and cultural background in the case study area. Composition of tribe families in 1931, Tribal population growth rate during 1931 to 2011, Urban to Rural Tribal population ratio, the proportion of Tribal people affected by urbanization and rapid populating in the study area i.e. change of their tradition and culture after the urbanization etc. Major findings include: Perceptible changes occurred in Socio cultural system of tribes like birth, funeral, religion etc. Land use pattern, Majhi- Pargana system, tendency to change surnames, erosion of mother tongue, advent of dowry system, hunting system in forests, vanishing forefather’s name. Use of modern costume, musical instruments, dances in place of their traditional ones, etc. Pull factors i.e. Urbanization and urban development is started in the East Singhbhum the commercial, industrial and transport preferment has favored the recent urban development throughout the areas. These have been accelerated with the overwhelming growth of population in urban areas through migration at acceleration and natural growth. These have given rise to systems of central places, problems of slums and squatter settlements besides enhancing the linkages of industrial centers thereby increasing the entropy of urban places. All these have forced the Governments to think about change in the urban policies, population policies and planning prospects. In the East Singhbhum District process of rapid population growth started from the establishment of Tata Iron and Steel Company in 1907 as well as copper mines at Mosaboni and Ghatshila in 1927. This development changed the socio cultural life style of tribes. Though their Living standard, Educational and Economic condition had changed, they stand developed in all aspects but as a trade-off lost their socio-cultural composition a great deal. They must continue their positive traditional cultures and social traits and may do away with the negative sides like excessive drinking habits of the traditional brew etc. to avoid the extinction in the long run from the memory of the future generations. It is possible only by the awareness to them. Aboriginal culture has many important things, which need to be preserved and have to continue as Indian culture in the context of sustaining beautiful diversity of Indian culture landscape.

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Guerrero, María Angustias. "Costureras y producción mercantil en la sociedad dominicana : los orígenes." Ciencia y Sociedad 16, no. 1 (March 1, 1991): 21–34. http://dx.doi.org/10.22206/cys.1991.v16i1.pp21-34.

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En este artículo se examinan lsa condiciones iniciales de la incorporación de la mujer en el mercado de trabajo de la costura en la República Dominicana. Se evalúan aspectos cuantitativos de sus presencia en el mundo del trabajo, así como los factores que incidieron en la expansión de este sector de trabajadoras. El aspecto más relevante de esta evaluación se refiere a la condición social del nuevo sector de mujeres obreras en la dinámica del capitalismo dominicano incipiente.

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Araújo, Jorge. "Fidalgos e vaqueiros: de monumento antropológico a ode do universo agropastoril." Revista Légua & Meia 5, no. 1 (October 8, 2017): 07. http://dx.doi.org/10.13102/lm.v5i1.2016.

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Estudo da obra ensaística de Eurico Alves Boaventura que se perfila entre a historiografia dos costumes sertanejos, a antropologia social e suas vinculações com as matrizes sociológicas da civilização do couro, cujos aspectos memorialísticos se cotejam e representam na microrregião encabeçada por Feira de Santana.

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Bere Semeredi, Iudit, Cristina Borca, Anca Draghici, Larisa Ivascu, and Dana Fatol. "A longitudinal study developed to characterize costumers’ perceptions on social responsibility." MATEC Web of Conferences 342 (2021): 03019. http://dx.doi.org/10.1051/matecconf/202134203019.

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The descriptive analysis (based on a longitudinal analysis of the available data from four surveys developed in 2009-2019) aims characterize the customers’ perception on social responsibility dimensions in the case of the water company Aquatim of Timisoara, Romania. This is the basis for the communication strategy definition for its efficiency increasing from both perspectives: (1) customers, community, and (2) company. The theoretical and experimental approach characterizes aspects of customers’ ecological awareness and satisfaction that have impact on redefining social responsibility policies of the company.

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Bardone, Ester, Maarja Kaaristo, Kristi Jõesalu, and Ene Kõresaar. "Mõtestades materiaalset kultuuri / Making sense of the material culture." Studia Vernacula 10 (November 5, 2019): 12–45. http://dx.doi.org/10.12697/sv.2019.10.12-45.

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People live amidst objects, things, articles, items, artefacts, materials, substances, and stuff – described in social sciences and humanities as material culture, which denotes both natural and human-made entities, which form our physical environment. We, humans, relate to this environment by using, depicting, interacting with or thinking about various material objects or their representations. In other words, material culture is never just about things in themselves, it is also about various ideas, representations, experiences, practices and relations. In contemporary theorising about material culture, the watershed between the tangible and intangible has started to disappear as all the objects have multiple meanings. This paper theorises objects mostly in terms of contemporary socio-cultural anthropology and ethnology by first giving an overview of the development of the material culture studies and then focusing upon consumption studies, material agency, practice theory and the methods for studying material culture. Both anthropology and ethnology in the beginning of the 20th century were dealing mostly with ‘saving’; that is, collecting the ethnographical objects from various cultures for future preservation as societies modernised. The collecting of the everyday items of rural Estonians, which had begun in the 19th century during the period of national awakening, gained its full momentum after the establishment of the Estonian National Museum in 1909. During the museum’s first ten years, 20,000 objects were collected (Õunapuu 2007). First, the focus was on the identification of the historical-geographical typologies of the collected artefacts. In 1919, the first Estonian with a degree in ethnology, Helmi Reiman-Neggo (2013) stressed the need for ethnographical descriptions of the collected items and the theoretical planning of the museum collections. The resulting vast ethnographical collection of the Estonian National Museum (currently about 140,000 items) has also largely influenced ethnology and anthropology as academic disciplines in Estonia (Pärdi 1993). Even though in the first half of the 20th century the focus lay in the systematic collection and comparative analysis of everyday items and folk art, there were studies that centred on meaning already at the end of 19th century. Austrianethnologist Rudolf Meringer suggested in 1891 that a house should be studied as a cultural individual and analysed within the context of its functions and in relation to its inhabitants. Similarly, the 1920s and 1930s saw studies on the roles of artefacts that were not influenced by Anglo-American functionalism: Mathilde Hain (1936) studied how folk costumes contribute to the harmonious functioning of a ‘small community’, and Petr Bogatyrev (1971) published his study on Moravian costumes in 1937. This study, determining the three main functions – instrumental, aesthetic and symbolic – of the folk costume, and translated into English 30 years after first publication, had a substantial influence on the development of material culture studies. The 1970s saw the focus of material culture studies in Western and Northern Europe shifting mainly from the examination of (historical) rural artefacts to the topics surrounding contemporary culture, such as consumption. In Soviet Estonian ethnology, however, the focus on the 19th century ethnographic items was prevalent until the 1980s as the topic was also partially perceived as a protest against the direction of Soviet academia (see Annist and Kaaristo 2013 for a thorough overview). There were, of course, exceptions, as for instance Arved Luts’s (1962) studies on everyday life on collective farms. Meanwhile, however, the communicative and semiotic turn of the 1970s turned European ethnology’s focus to the idea of representation and objects as markers of identity as well as means of materialising the otherwise intangible and immaterial relationships and relations. The theory of cultural communication was established in Scandinavian ethnology and numerous studies on clothing, housing and everyday items as material expressions of social structures, hierarchies, values and ideologies emerged (Lönnqvist 1979, Gustavsson 1991). The Scandinavian influences on Estonia are also reflected in Ants Viires’s (1990) suggestion that ethnologists should study clothing (including contemporary clothing) in general and not just folk costumes, by using a semiotic approach. Löfgren’s (1997) clarion call to bring more ‘flesh and blood’ to the study of material culture was a certain reaction to the above focus. Researchers had for too long focused exclusively upon the meaning and, as Löfgren brought forth, they still did not have enough understanding of what exactly it was that people were actually and practically doing with their things. Ingold’s (2013) criticism on the studies focusing on symbolism, and the lack of studies on the tangible materiality of the materials and their properties, takes a similar position. In the 1990s, there was a turn toward the examination of material-cultural and those studies that were written within the framework of ‘new materialism’ (Hicks 2010, Coole and Frost 2010) started to pay attention to objects as embodied and agentive (Latour 1999, Tilley et al 2006). Nevertheless, as Olsen (2017) notes, all materialities are not created equal in contemporary academic research: while items like prostheses, Boyle’s air pumps or virtual realities enjoy increased attention, objects such as wooden houses, fireplaces, rakes and simple wooden chairs are still largely unexamined. The traditional material culture therefore needs new studying in the light of these post-humanist theories. Where does this leave Estonian ethnology? In the light of the theoretical developments discussed above, we could ask, whether and how has the material Making sense of the material culture turn affected research in Estonia? Here we must first note that for a significant part of the 20th century, Estonian ethnology (or ethnography as the discipline was called before 1990s) has mostly been centred on the material culture (see the overview of the main topics from vehicles to folk costumes in Viires and Vunder 2008). Partly because of this aspect of the discipline’s history, many researchers actually felt the need to somewhat distance themselves from these topics in the 1990s (Pärdi 1998). Compared to topics like religion, identity, memory, oral history and intangible heritage, study of material culture has largely stayed in the background. There are of course notable exceptions such as Vunder’s (1992) study on the history of style, which includes analysis of theirsymbolic aspects. It is also interesting to note that in the 1990s Estonian ethnology, the term ‘material culture’ (‘materiaalne kultuur’) – then seen as incorporating the dualism between material and immaterial – was actually replaced with the Estonian translation of German ‘Sachkultur’ (‘esemekultuur’, literally ‘artefact culture’). Nevertheless, it was soon realised that this was actually a too narrow term (with its exclusion of natural objects and phenomena as well as the intangible and social aspects of culture), slowly fell out of general usage, and was replaced with ‘material culture’ once again. Within the past three decades, studies dealing with material culture have discussed a wide variety of topics from the vernacular interior design (Kannike 2000, 2002, 2012), everyday commodities (Kõresaar 1999b) and spiritual objects (Teidearu 2019), traditional rural architecture (Pärdi 2012, Kask 2012, 2015), museum artefacts (Leete 1996), clothing, textiles and jewellery (Kõresaar 1999a; Järs 2004; Summatavet 2005; Jõeste 2012; Araste and Ventsel 2015), food culture (Piiri 2006; Bardone 2016; Kannike and Bardone 2017), to soviet consumer culture (Ruusmann 2006, Rattus 2013) and its implications in life histories (Kõresaar 1998, Jõesalu and Nugin 2017). All of these these studies deal with how people interpret, remember and use objects. The main keywords of the studies of European material culture have been home, identity and consumption (but also museology and tangible heritage, which have not been covered in this article). Material culture studies are an important part of the studies of everyday life and here social and cultural histories are still important (even though they have been criticised for focusing too much on symbols and representation). Therefore, those studies focusing on physical materials and materialites, sensory experiences, embodiment, and material agency have recently become more and more important. This article has given an overview of the three most prevalent thematic and theoretical strands of the study of material culture: objects as symbols especially in the consumer culture, material agency and practice theory as well as discussing some methodological suggestions for the material culture studies. To conclude, even though on the one hand we could argue that when it comes to the study of material culture there indeed exists a certain hierarchy of „old“ topics that relate to museums or traditional crafts and „new“ and modern materialities, such as smart phones or genetically modified organisms. However, dichotomies like this are often artificial and do not show the whole picture: contemporary children are often as proficient in playing cat’s cradle as they are with video games (Jackson 2016). Thus, studying various (everyday) material objects and entities is still topical and the various theories discussed in this article can help to build both theoretical and empirical bridge between different approaches. Therefore, there is still a lot to do in this regard and we invite researchers to study objects form all branches of material culture, be they 19th century beer mugs in the collections of the Estonian National Museum that can help us to better give meaning to our past, or the digital and virtual design solutions that can give our academic research an applied direction. Keywords: material culture, artefacts, consumption, practice, agency, research methods

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Spaziante, Ermenegildo. "L’aborto provocato: dimensioni planetarie del fenomeno." Medicina e Morale 45, no. 6 (December 31, 1996): 1083–134. http://dx.doi.org/10.4081/mem.1996.893.

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La concentrazione del dibattito sulla liceità etica dell’aborto terapeutico espone al rischio di trascurare la realtà molto più consistente e diffusa dell’abortività provocata volontariamente e legalmente non per ragioni mediche, ma per libera opzione personale (aborto volontario), o per il controllo demografico delle nascite (aborto sociale). L’autore con questo studio si propone di fornire una visione globale del fenomeno abortivo su basi essenzialmente statistiche che consenta una migliore conoscenza delle dimensioni epidemiologiche e dell’estensione planetaria dell’abortività provocata così da evidenziarne il rapporto sia con l’evoluzione demografica sia con le prospettive di contenimento e prevenzione. La pratica abortiva è di fatto una acquisizione del costume corrente in ampi strati della popolazione in molti Paesi, mentre è sovente coperta in altri Paesi da un silenzio ingiustificato, ma significativo. Con ogni probabilità - ritiene l’autore - l’evoluzione culturale porterà ad evidenziare sempre più il carattere rozzo e disumano dell’aborto, come si è verificato per altri problemi sociali. La conoscenza oggettiva del problema medico e sociale dell’aborto indotto è auspicabile che solleciti normative e programmi tesi al suo massimo contenimento ed alla sua eliminazione; ma si tratterà di un’evoluzione lenta, progressiva e determinata ancor prima che dalle norme di legge emanate, dalla maturazione della coscienza civile, morale e sanitaria delle popolazioni.

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Orrú, Sílvia Ester. "Síndrome de Asperger: aspectos científicos e educacionais." Revista Iberoamericana de Educación 53, no. 7 (October 10, 2010): 1–14. http://dx.doi.org/10.35362/rie5371698.

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O presente artigo trata a respeito de aspectos científicos e educacionais sobre a Síndrome de Asperger descrita por Hans Asperger na década de 1940. As informações contidas são próprias da literatura científica existente no presente momento. A Síndrome de Asperger tem seus critérios diagnósticos descritos no DSM IV e CID 10 se apresentando como inerente aos transtornos globais do desenvolvimento. Suas características principais apontam para problemas na interação social, porém com cognitivo preservado, além de apresentarem habilidades especiais que devem ser descobertas e desenvolvidas. Apresentamos também a abordagem histórico cultural de Vigotski e suas colaborações que podem ser desenvolvidas pelos professores em sala de aula primando pela interação social com os demais colegas. Ele privilegia a interação social ao invés da segregação do indivíduo em instituições especializadas que costumam privar o mesmo de experiências sociais que contribuem para seu pleno desenvolvimento global.

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Amin, Valéria, and Lismar Lucas Santos dos Reis. "RESISTÊNCIA, CONFLITOS E COSTUMES NA BAHIA ESCRAVISTA SOB O OLHAR DA HISTORIA SOCIAL." Sankofa (São Paulo) 12, no. 23 (August 8, 2019): 104–20. http://dx.doi.org/10.11606/issn.1983-6023.sank.2019.169150.

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Objetiva-se discutir questões relacionadas ao negro e seus processos de resistência na Bahia do Século XIX, apresentadas sob a ótica da recente historiografia brasileira, uma vez que a escravidão marcou expressivamente os contornos da sociedade colonial e é refletida hoje de inúmeras maneiras por meio das relações raciais, desigualdades sociais e culturais. Com isso pretende-se refletir sobre aspectos do cotidiano da população escravizada, sua capacidade de negociar, de se mobilizar e de se expressar segundo seus valores religiosos e culturais. Utilizando-se de fragmentos de algumas obras de historiadores como Stuart Schwartz, João Reis, entre outros, buscou- se descrever algumas características fundamentais que são perceptíveis sob a ótica da história vista “de baixo” ao analisar, em específico, os desdobramentos históricos de duas regiões: o Sul da Bahia e Salvador, apontando uma perspectiva de compreensão mais ampla da história do Brasil em resposta às consequências teóricas e sistêmicas trazidas pela escravidão.

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Lindo, Luís Antônio. "Modos da paixão em trovadores e modernos." Língua e Literatura, no. 27 (October 15, 2003): 13. http://dx.doi.org/10.11606/issn.2594-5963.lilit.2003.105437.

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A poesia provençal, no seu culto ao amor, fez da paixão aexpressão cultural dum grupo entusiasmado de amantes e aficionados.Praticando a limitação do ato libidinoso na relação amorosa, ostrovadores colocaram a paixão acima da ação e inovaram em matériade costumes. Neste aspecto podem ser considerados precursores domoderno pensamento social que, igualmente destacando o papel dapaixão na moralidade, privilegia os direitos sobre os deveres.

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Rinaldo, Afrizal. "Peran Mise-En-Scene terhadap Proses Efikasi Diri Tokoh Chiron dalam Film Moonlight." Syntax Idea 4, no. 5 (May 20, 2022): 871–83. http://dx.doi.org/10.46799/syntax-idea.v4i5.1833.

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This research discusses the role of mise-en-scene in the process of self-efficacy of Chiron's character in Moonlight. The purpose of this research is to describe the role of the mise-en-scene in the visual aspect of Chiron's self-efficacy process. The data of this study were studied using Bordwell and Thompson's mise-en-scene theory, as well as Albert Bandura's observational learning which focuses on aspects of mise-en-scene (settings, costumes and make-up, lighting, as well as characthers and their movements) and the four forming factors of selff efficacy (mastery of experience, social modeling, social persuasion, and physical and emotional conditions). The results of the data analysis conclude that there are eleven scenes with mise-en-scene aspects that support the formation of the chiron character's self-efficacy process in the three story stages. Social modeling, social persuasion, and physical and emotional conditions occur in the first to third stages, while mastery of experience only occurs in the third stage.

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Moura, Milton Araújo. "O CÓDIGO DO GOVERNADOR DON JOAQUÍN DE CAÑABERAL Y PONCE NA CARTAGENA DE ÍNDIAS DE 1789: UMA ESTRATÉGIA DE CONTROLE SOBRE OS COSTUMES DE UMA COLÔNIA NO CARIBE." Revista Contemporânea 3, no. 6 (June 27, 2023): 7093–120. http://dx.doi.org/10.56083/rcv3n6-127.

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Trata-se da estratégia de controlar os costumes na cidade portuária de Cartagena de Indias, uma das mais importantes do Império Espanhol, no final do século XVIII, tal como formulado no Código do Governador Cañaberal y Ponce. O documento se refere a aspectos da vida privada, comunitária e política. Pode-se perceber aí como o domínio da capilaridade social e cultural era importante no contexto da dominação colonial.

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Bueno, Maria Lucia. "Moda, gênero e ascensão social. As mulheres da altacostura: de artesãs a profissionais de prestígio." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 11, no. 24 (December 5, 2018): 101–30. http://dx.doi.org/10.26563/dobras.v11i24.776.

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O modernização da moda feminina, que ocorreu no interior da alta-costura francesa nas primeiras décadas do século XX, foi responsável pela projeção internacional e econômica do setor, assim como pela ascensão social e profissional de um grupo de mulheres que esteve na liderança desse processo. O objetivo dessa reflexão é abordar alguns aspectos desse movimento, tendo a questão de gênero como uma das perspectivas.

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Latuapo, Abdullah. "Cakalele Dance: Religious and Social Ethics in Islamic and Environmental Education." Al-Albab 12, no. 1 (July 31, 2023): 133–50. http://dx.doi.org/10.24260/alalbab.v12i1.2758.

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The Cakalele dance is widely recognized as a “war dance” deeply rooted in Maluku culture. It involves dynamic movements such as jumping, turning, stomping, and sword-slashing, reflecting its historical significance in war strategies. However, Cakalele in Banda showcases its distinctiveness. From the elaborate costumes to the formation of the dancers, and the specific dance movements, it conveys a profound connection to Islamic religiosity and ethical values prevalent within the Banda coastal community. This study used a qualitative analysis approach with a phenomenological perspective, focusing on the Cakalele dancers and their characteristics, movements, and performances in the traditional village of Namasawar, Banda Naira Sub-District. The research reveals that the traditional Cakalele dance incorporates essential Islamic educational values, including aspects of Sharia and ritual worship. In addition, it also emphasizes environmental ethics, promoting harmony between humans and the coastal and sea environment. Through this research, it becomes evident that the Cakalele dance carries a strong message regarding Islamic education, social ethics, and the preservation of the environment.

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Khemais, Jouini. "El vestuario en El tiempo entre costuras de María Dueñas: aproximación semiológica." Traduction et Langues 21, no. 2 (December 31, 2022): 10–37. http://dx.doi.org/10.52919/translang.v21i2.903.

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The Wardrobe in The Time in Between Seams by María Dueñas: Semiological Approach El tiempo entre costuras (2009) by the Spanish novelist María Dueñas quickly became one of the best-selling novels in Spain in recent years, even more so after its television adaptation. With the adaptation-transposition of the novel, we witness a kind of "transformation-translation", or what we call an inter-semiotic translation. In this case, the literary text and the audiovisual text are formed by different semiotic systems, with a verbal basis for the first and a visual basis for the second. The analysis will address the divergences and / or coincidences between the literary text and its television transposition as two autonomous works of art with their respective semiological systems of expression. The novel represents an opportunity to explore how clothing accompanies the changes that the protagonist undergoes in her growth and maturity, thus constituting the most extensive, most conventional means of defining the human individual and his environment. The dress thus suffers a loss of its primary function of covering and protecting the human body. The objective of semiology is to observe the significance and the process of communication that is behind all those elements with which we live daily, that is, all the systems of signs, whatever the substance and limits of these systems. In this aspect, semiology has given a new perspective to the study of dress as a communicative element, since it allows us to read in depth the signs that are hidden in the outfits. Barthes studies, specifically, the written dress or rather what is described, transformed into language, i.e. the written dress expressed by language that is nothing more than the translation of clothing into language whose materials are the words governed by a syntactic relationship of verbal structure, unlike the dress-image, whose materials are shapes, lines, surface, colors, and the relationship is spatial. The union of the signs of the dress ends up generating a language and the dress works as well as a sentence or text-discourse on the body that must be read and interpreted. By taking the costume as a communicative entity and the semiological theory of Barthes as a tool of analysis, this study aims to analyze and demonstrate how the dress, despite not being a verbal form of communication, is loaded with meaning, allows the configuration of the personal identity of the protagonist, whose vital growth and social ascent are manifested through clothing. One can look for a meaning in the clothing a certain character wears and how the character wears it; because this is how you can create a signifier of what the character is, his philosophy, his environment and above all his identity. This is on one hand, on the other hand, it will show how clothing becomes a cultural reference to contextualize the era in which the events of the novel take place. Indeed, clothing is the faithful reflection of an era, from which one can analyze even the political or economic system established in society and reflect the changes that occur in it. We conclude by saying that the semiological analysis of the literary text, if it adds value to the understanding and interpretation of the meaning, is more than necessary in translation, both in its interlinguistic and inter-semiotic aspects. It is more than an assimilation and transference of everything that has a meaning from one system of signs to another system of signs, whether the latter is verbal or non-verbal.

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Magalhães Júnior, Carlos Alberto de Oliveira, Joici de Carvalho Leite, Adriano José Ortiz, and Tânia Do Carmo. "Aspectos sociais na avaliação de impactos de construção de barragens em ambientes fluviais." Revista Valore 1, no. 1 (November 7, 2016): 147–58. http://dx.doi.org/10.22408/reva1120161147-158.

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A acelerada expansão das atividades que visam o desenvolvimento científico e tecnológico é norteada por meio da demanda e produção de energia, fator determinante para a prosperidade econômica e social de uma sociedade. No Brasil, país rico em recursos hídricos, a maior fonte de obtenção de energia elétrica é a utilização de águas fluviais. Nesta perspectiva, a partir da década de 1970 a construção de Usinas Hidrelétricas se tornou prioridade para o governo federal. Várias barragens foram projetadas e construídas em regiões onde moravam diversas famílias. Todas foram desterritorializadas e realocadas em outras regiões. Neste processo, tiveram que deixar junto à área inundada suas histórias de vida, costumes e culturas, para se adequar a nova realidade social. Os impactos sociais proporcionados no processo de construção de uma usina hidrelétrica é o foco deste artigo, que visa refleti-los com base em estudos já realizados por outros estudiosos da área. Vários fatores tanto positivos quanto negativos puderam ser repensados e assim permite-nos compreender alguns aspectos como a importância de envolver as pessoas que irão passar pela desapropriação do local onde moram, dando-lhes maiores e melhores condições de refazer sua reestruturação social.Palavras-chave: recursos hídricos, desterritorialização, reestruturação social.

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Mamani Daza, Lolo Juan, Carmen Vanessa Franco Franco, Lady Shirley Concha Diaz, and Karen Marilia Carpio Rosado. "Ancient culture and arts of Peru." Universidad Ciencia y Tecnología 26, no. 113 (June 15, 2022): 40–48. http://dx.doi.org/10.47460/uct.v26i113.568.

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The ancient peoples of Peru have filled the natural landscape with color and charm. In this work, different historical reviews, and academic works, that show the realities of the indigenous peoples, their traditions, culture, and social situations that they face, are evaluated, but also the manual arts that fill the costumes and looms of our community with shapes and colors are highlighted. people. The work aims to show the realities of ancestral cultures, not only to highlight the vicissitudes they face but also to keep folklore alive. The results show that Latin America is a continent with a lot of traditional wealth and that these influence the behavior of its societies, sometimes as positive aspects and others as aspects to improve. Keywords: Ancestral culture, indigenous peoples, folklore.

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Raud, Inna. "Rahvarõivas talupojakultuuri ühe ilmingu ning mõttemaailma kajastajana. Interpretatsioon Vändra kihelkonna näitel / National Costumes as one of the Manifestations and Reflections of the Frame of Mind of Peasant Culture: Interpretation Based on the Example of Vändra Parish." Studia Vernacula 7 (November 4, 2016): 147–60. http://dx.doi.org/10.12697/sv.2016.7.147-160.

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The contemporary study, making and wearing of national costumes worn in 19th-century Estonian peasant culture requires both good knowledge of the objects and an awareness of the understandings, attitudes and world view related to peasant culture. This article sheds light on the values associated with the national costumes worn in the parish of Vändra. It concentrates on the rational way of thinking connected to national costumes and related aesthetic and moral beliefs. The term “rationality” here denotes, first and foremost, reasonable and purposeful behaviour arising from practical considerations. The study of meaningfulness sheds light on the background and objectives of the aesthetic choices underlying the design of national costumes, but also on the messages conveyed with the help of objects. In addition to literature concerning national costumes, the manuscripts found in the Estonian National Museum concerning the clothes worn in the parish of Vändra and neighbouring parishes and the observations made based on single objects are also used as sources.National costumes are used even today as a type of clothing that shows national belonging. 19th-century understandings and evaluations related to national costumes can today be studied indirectly. They manifest themselves in the way national costumes were made and worn and to a great extent were influenced by the environment in which the peasants lived.The obtaining of clothes meant a lot of work for peasants in the 19th century, starting with the growing and processing of the material and ending with the making and finishing of the clothes. Popular materials were easily accessible and could be processed at home, although they required a lot of work. As the obtaining of linen and woollen yarn and the weaving of cloth were labour-intensive processes, patterns for the sewing of clothes had to be as practical as possible. Great attention was paid to increasing the durability of clothes and to the easiest possible maintenance thereof. In the choice of material and the finishing of clothing, the climate, the ease of use and the context of use were taken into consideration. Both textiles and leather were used to the maximum. Woollen cloth was considered a more valuable material than linen textile, and this could be explained by the latter wearing out sooner.Besides practical aspects, the aesthetic result was also considered important – in addition to aspiring for beauty, many items of clothing represented the wearer’s social status, and people believed in the protective power of clothing. When wearing national costumes, one had to take into account the system of communal values. Unfortunately, very little material has been recorded about these understandings, and the field is difficult to access for researchers studying individual objects.National costumes reflect the way of life and beliefs of the people of the 19th century. In the study of national costumes – where alongside material sources little information has been recorded as regards respective understandings – this knowledge enables researchers to discover people’s frame of mind based on the end results.

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Raud, Inna. "Rahvarõivas talupojakultuuri ühe ilmingu ning mõttemaailma kajastajana. Interpretatsioon Vändra kihelkonna näitel / National Costumes as one of the Manifestations and Reflections of the Frame of Mind of Peasant Culture: Interpretation Based on the Example of Vändra Parish." Studia Vernacula 7 (November 4, 2016): 147–60. http://dx.doi.org/10.12697/sv.2016.7.147-160.

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The contemporary study, making and wearing of national costumes worn in 19th-century Estonian peasant culture requires both good knowledge of the objects and an awareness of the understandings, attitudes and world view related to peasant culture. This article sheds light on the values associated with the national costumes worn in the parish of Vändra. It concentrates on the rational way of thinking connected to national costumes and related aesthetic and moral beliefs. The term “rationality” here denotes, first and foremost, reasonable and purposeful behaviour arising from practical considerations. The study of meaningfulness sheds light on the background and objectives of the aesthetic choices underlying the design of national costumes, but also on the messages conveyed with the help of objects. In addition to literature concerning national costumes, the manuscripts found in the Estonian National Museum concerning the clothes worn in the parish of Vändra and neighbouring parishes and the observations made based on single objects are also used as sources.National costumes are used even today as a type of clothing that shows national belonging. 19th-century understandings and evaluations related to national costumes can today be studied indirectly. They manifest themselves in the way national costumes were made and worn and to a great extent were influenced by the environment in which the peasants lived.The obtaining of clothes meant a lot of work for peasants in the 19th century, starting with the growing and processing of the material and ending with the making and finishing of the clothes. Popular materials were easily accessible and could be processed at home, although they required a lot of work. As the obtaining of linen and woollen yarn and the weaving of cloth were labour-intensive processes, patterns for the sewing of clothes had to be as practical as possible. Great attention was paid to increasing the durability of clothes and to the easiest possible maintenance thereof. In the choice of material and the finishing of clothing, the climate, the ease of use and the context of use were taken into consideration. Both textiles and leather were used to the maximum. Woollen cloth was considered a more valuable material than linen textile, and this could be explained by the latter wearing out sooner.Besides practical aspects, the aesthetic result was also considered important – in addition to aspiring for beauty, many items of clothing represented the wearer’s social status, and people believed in the protective power of clothing. When wearing national costumes, one had to take into account the system of communal values. Unfortunately, very little material has been recorded about these understandings, and the field is difficult to access for researchers studying individual objects.National costumes reflect the way of life and beliefs of the people of the 19th century. In the study of national costumes – where alongside material sources little information has been recorded as regards respective understandings – this knowledge enables researchers to discover people’s frame of mind based on the end results.

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Lehota, József, Tiago Manuel, and Georgina Rácz. "Focus points of health tourism in the view point of changing costumer values." Applied Studies in Agribusiness and Commerce 8, no. 4 (December 29, 2014): 23–29. http://dx.doi.org/10.19041/apstract/2014/4/4.

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In our study, effecting role of values on consumer’s buying decisions is going to be introduced in accordance with health tourism. Investigation of values has a highlighted role to predict future trends, because trends of consumer behavior are formed by values in several aspects. Furthermore, individual values reflect to subject’s lifestyle, purchasing behavior and decisions in connection with free time activities. Since the end of ‘80s results of social studies pointed out that, status fortifying and demonstrative aspect of consumption have been getting stronger. So, the changes of buying decisions are not based on the social stratums any more, but it represents the values of the individual with the growing effect of subject. Hence, values, expressing the subjective judgments of consumers, are the most precise predictors of long term social changes. In our study mainstreams of health tourism are going to be evaluated on the basis of secondary data. Furthermore, we identify place of health among individual values and its role in consumer decisions. During the analysis, we use data of national representative research to determine the Hungarian society’s opinion and judgments in the viewpoint of health. Uni- and multivariate statistical methods are going to be used to get a wide view in accordance with the investigated topic. Among our most important result, we define those consumer groups, in which health has a highlighted role in consumer decisions. We introduce lifestyle characters of these segments and determine them special needs in connection with purchased goods and services. This type of characterization makes it real to organizations of health tourism to develop a more effective marketing communication strategy and improve service features according to consumer needs.

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Abidin, Sholihul, and Ageng Rara Cindoswari. "POLITICAL BRANDING RIDWAN KAMIL PADA MASA KAMPANYE PILGUB JAWA BARAT 2018 MELALUI TWITTER." Commed : Jurnal Komunikasi dan Media 4, no. 1 (October 14, 2019): 33. http://dx.doi.org/10.33884/commed.v4i1.1439.

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Political branding is the use of a strategic way of consumer branding to build a political image. Ridwan Kamil won the election of governor of West Java in 2018. Different campaign strategies carried out by Ridwan Kamil were not only using the face to face communication model, but also direct communication. Social media has a role for Ridwan Kamil to communicate with his public during the campaign period to convey political messages. Ridwan Kamil's political branding during the campaign period of the 2018 elections in West Java's social media Twitter was formed through many aspects which included of appearance, personality and political messages. In addition to these aspects, other aspects that specifically shape political image through social media are the delivery of relations with constituents, the originality of leaders, responsiveness of technology, personal values channeled, as well as key political messages. The key political message of Ridwan Kamil is done by providing development information, development plans, activity reports and conveying political values/ideologies. In addition, appearance as a candidate's identity also reflects the whole messages of political branding through the meaning of the costumes used. Ridwan Kamil indeed so far bears the celebrity social media political branding strategy carried out by Ridwan Kamil describing himself as a candidate figure who is open (minded?), close to the community, credible, and populist (egalitarian).Political Branding, Campaign, Twitter, election governor of West Java, Ridwan Kamil

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Caceres, Nataly. "Los manuales de cocina y urbanidad, un elemento clave para la moralización de las costumbres en Quito durante el siglo XIX y principios del siglo XX * Os manuais de cozinha e urbanidade, um elemento-chave para a moralização dos costumes em Quito durante o século XIX e o início do século XX." História e Cultura 7, no. 2 (December 2, 2018): 186. http://dx.doi.org/10.18223/hiscult.v7i2.2686.

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El presente estudio intenta aproximarse al uso que los manuales de cocina tuvieron durante el siglo XIX, tomando en consideración que a la hora de comer se comprometen algunos aspectos sociales, entre esos la mirada condenatoria de propios y extraños en cuanto a las costumbres de los individuos. El acto de comer era tan importante que aquellos que participaban de este acontecimiento tenían que estar a la altura y proceder como personas cultas y refinadas. Por lo cual, el imaginario social de la época estableció que cada miembro de la familia que se sentaba a la mesa estaba destinado a cumplir un rol individual dentro del colectivo (hogar y fuera de él) tratando de acercarse al refinamiento de las costumbres como un aspecto que muestra distinción. Es importante mencionar que para este manuscrito se realizó una investigación bibliográfica en archivos y bibliotecas de Quito para recopilar datos relevantes que permitieran explicar cómo fueron estructurados los manuales de cocina. También cabe mencionar que el Manual que sobresalió fue el elaborado por el arquitecto Juan Pablo Sanz, quien compilo la información en el documento denominado como Manual de la Cocinera, Repostero, Pastelero, Confitero y Botillero con el método para trinchar y servir toda clase de viandas, y la cortesanía y urbanidad que se debe observar en la mesa, lo cual estableció la necesidad de la moralización del pueblo por otros medios que no fueran necesariamente los convencionales.*Este estudo busca aproximar-se da utilização dos manuais de cozinha durante o século XIX, considerando que no momento da refeição alguns aspectos sociais se fazem presente, dentre eles o olhar condenatório de próprios e estranhos em relação aos costumes dos indivíduos. O ato de comer era tão importante que aqueles que participaram deste evento tinham que estar à altura e proceder como pessoas cultas e refinadas. Portanto, o imaginário social do tempo estabelecia que cada membro da família que sentava-se à mesa estava destinado a cumprir um papel individual dentro do coletivo (casa e fora) tentando aproximar-se do refinamento dos costumes como um aspecto que denota distinção. É importante mencionar que, para este manuscrito, foi realizada uma pesquisa bibliográfica nos arquivos e bibliotecas de Quito para coletar dados relevantes que fossem capaz de explicar como os manuais de culinária foram estruturados. Também vale a pena mencionar que o Manual mais importante foi desenvolvido pelo arquiteto Juan Pablo Sanz, que compilou as informações contidas no documento conhecido como Manual da Cozinheira, Pasteleiro, Padeiro, Doceiro e Botillero com o método para cortar e servir todos os tipos de alimentos, e a cortesia e a urbanidade que deveriam observar-se na mesa, que estabelecia a necessidade da moralização do povo por outros meios que não eram necessariamente convencionais.

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Passos, Mailsa Carla Pinto, Rita Marisa Ribes Pereira, and Virgínia de Oliveira Silva. "Costureiras: alinhavos de histórias e memórias." Revista Brasileira de Pesquisa (Auto)biográfica 4, no. 12 (December 26, 2019): 1155–67. http://dx.doi.org/10.31892/rbpab2525-426x.2019.v4.n12.p1155-1167.

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Este artigo apresenta registros e reflexões acerca da produção e das primeiras exibições do filme de curta-metragem “Costureiras”, documentário que tem por matéria-prima memórias e histórias de vida e de costura de quatro mulheres, com idades entre 60 e 90 anos, que estruturaram suas vidas a partir da profissão de costureira. Em suas narrativas autobiográficas colocam em debate o lugar histórico-social da profissão de costureira e sua relação com a educação das mulheres. Afetos e saberes populares são colocados em cena permeados por questões de gênero, raciais e de classe, bem como traçam um panorama das transformações que a profissão vai sofrendo ao longo do tempo. O texto foca aspectos da produção do documentário e, também, temas que foram ganhando relevância nos debates que se seguiram às exibições do filme. Destacamos o fato de que o filme tem provocado os espectadores a relatar suas histórias pessoais com a costura – a infância entre retalhos e brincadeiras no pedal da máquina, a máquina de costura como um objeto de importância familiar, a costura como um trabalho feminino que permitia às mulheres estarem próximas de seus filhos e garantirem seu sustento e educação.

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Moncrieff, Michael, and Pierre Lienard. "A Natural History of the Drag Queen Phenomenon." Evolutionary Psychology 15, no. 2 (April 1, 2017): 147470491770759. http://dx.doi.org/10.1177/1474704917707591.

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The drag queen cultural phenomenon has been described at length. However, the depiction of outlandish and hyperbolic womanhood and taunting and formidable behavior at the core of drag queens’ public persona has still to be fully accounted for. We argue that these aspects of the drag queen’s public appearance could best be understood in a signaling framework. Publicly donning extravagant woman’s costumes attracts harassment and brings financial, mating, and opportunity costs, generating the conditions for the transmission of honest signals. By successfully withstanding those odds, drag queen impersonators signal strategic qualities to members of the gay community. Data collected among gay and straight participants support a costly signaling reading of the drag queen cultural phenomenon. Participants generally agree that successful drag queens typically incur costs, while gaining specific social benefits.

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Vidal, Viviane Pouey, Ronaldo Bernardino Colvero, and Jeremyas Machado Silva. "Etnografias das etnias Charrua e Minuano: o olhar dos cronistas e viajantes dos séculos XVI, XVII e XVIII." Revista Memorare 3, no. 2 (September 27, 2016): 22. http://dx.doi.org/10.19177/memorare.v3e2201622-43.

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O presente artigo é resultado da revisão de registros históricos que mencionam a ocupação dos índios Charrua e Minuano na antiga Banda Oriental do Uruguai durante o período colonial. O objetivo é demonstrar como os colonizadores ibéricos agiram sobre as etnias Charrua e Minuano e como estas reagiram aos europeus nas diferentes etapas do andamento da colonização. Realizou-se uma pesquisa bibliográfica na qual se consultou os relatos de viajantes e de cronistas dos séculos XVI, XVII e XVIII no que diz respeito aos costumes indígenas no referido recorte temporal e aos aspectos da formação econômica, política, social e cultural da região da Bacia do Rio da Prata.

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Dulce Gaspar, Maria. "Espaço, ritos funerários e identidade pré-histórica." Revista de Arqueologia 8, no. 2 (December 30, 1994): 221–37. http://dx.doi.org/10.24885/sab.v8i2.663.

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Este artigo apresenta uma reflexão sobre identidade social e prerende avaliar como é possível descobrir marcadores étnicos para cultoras pré-históricas. Trata, em particular, do sistema sócio-cultural dos pescadores, coletores e caçadores que ocuparam o litoral brasileiro. Considera que, neste caso, a ordenação espacial e os ritos funerários são mais adequados para estabelecer os limites geográficos e temporais deste sistema sócio-cultural do que outros aspectos que podem receber influência marcante de pressões ambientais. Assim, o hábito de reunir restos alimentares e industriais, habitar e enterrar os mortos nesse mesmo espaço são costumes exclusivos aos construtores de sambaquis e, portanto, podem ser considerados como marcadores étnicos

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Journal articles on the topic 'Costume – social aspects'

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