Journal articles on the topic 'Dolls in popular culture'
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Kita, Terry. "Unintentional Cooperation." Journal of Japonisme 3, no. 2 (June 2, 2018): 129–86. http://dx.doi.org/10.1163/24054992-00032p01.
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Abstract This study of the Friendship Doll Mission of 1926-1927 shows how, in the United States, the Japanese doll was part of the inescapable image of a kimono-clad little Japanese girl, and functioned to further existing anti-Japanese implications of that image. It further shows how an American popular-culture mission to improve relations with Japan by having American children exchange dolls with Japanese children, created an official, Japanese government response that presented the United States with Japanese dolls that were objects of Fine Art. Despite the different views of the Doll Mission in Japan and the US, an interchange resulted that, now nearly a century later, continues. The article uses Japanese dolls to demonstrate how genuine cultural exchange can occur even when the methods, approaches, and the very intent of those involved in it differ, in order to highlight the importance of considering both perspectives to understand phenomena such as Japonisme.
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Pyzeyko, E. A. "Barbie in the mirror of culture: social burden and transformation of the modern doll." Voprosy kul'turologii (Issues of Cultural Studies), no. 8 (July 28, 2023): 552–61. http://dx.doi.org/10.33920/nik-01-2307-02.
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The functionality of a children's toy is changing along with the changing world for which it was created. Her orientation to the requirements and interests of a child is relative. First of all, a doll is an object of the adult world. One of the most popular dolls of our time is no exception in this case. The prototype of Barbie was a toy that conveyed the forms of an adult girl, attracting the attention of men. The first Barbies made according to its format won the hearts of children, and, as practice shows, for a long time. The article discusses the algorithm of retaining this attention, the “secrets of success” of Barbie on the example of the development of her specific model — Barbie Fashionistas. The sequence of subjectification of the doll's image, the goals pursued by this process, and its consequences are considered in the work. The result of Barbie's evolution is not only the development of the child's consumer taste, but also the emergence of a separate subculture in the adult world (the doll could not leave this world), which indicates the initial close connection between the doll and the human world. These relationships are devoid of a sacred gloss, which is mandatory for a doll, according to ethnographic and anthropological observations. The axiology of this image is ambivalent — it both brings relief to suffering and forces us to abandon the natural nature of the body (which is hardly possible without pain and final dissatisfaction). The instrumental character of the doll's imagery is considered, which turns out to be important for both the world of children and the world of adults.
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Khawaja, Iram, Dorthe Staunæs, and Mante Vertelyte. "How Racial Matter Comes to Matter: Memory Work, Animacy and Childhood Dolls." Body & Society 29, no. 3 (September 2023): 29–54. http://dx.doi.org/10.1177/1357034x231189178.
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Dolls have a long history in psychological and literary scholarship, and in popular culture. Many of these cultural products point to how dolls bring forth imaginaries of race and gender. Dolls, however, are not only figures of representation or identification. Dolls are agential in the ways they bring life to racialised, affective and embodied experiences. In this article, we develop an affective hauntology, applying memory work to explore how memories of childhood dolls can inform us about formations of race, racialisation and Whiteness. Applying Mel Y. Chen’s conceptualisation of animacy as an affective-material construction, we explore how dolls become ‘real and true’, bringing forth how racial matters come to matter as part of gendered subjectivities. Our memories of childhood dolls cut across different geopolitical and historical contexts – Eastern Europe, Western Europe and South-East Asia – revealing interesting differences and similarities in terms of processes of racialisation from the 1970s to 1990s.
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Seferbekov, Ruslan. "Herbaceous Characters in the Popular Beliefs of the Peoples of Dagestan." IRAN and the CAUCASUS 18, no. 1 (2014): 47–50. http://dx.doi.org/10.1163/1573384x-20140104.
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The paper discusses some mythological characters―demons, masqueraders, zoo- and anthropomorphic dolls―found in the popular beliefs of the peoples of Dagestan and manifested in children’s games, calendar holidays, and in the rainmaking rituals. The characteristic feature of these figures is that they are depicted in folk imagination as having herbal nature.
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Prasiska, Gadis, Ivana Theo, Jahya Adiputra, and Sri Yunita. "VALENTINE DAY TIDAK HARUS MENUJU PERZINAHAN." Inspiratif Pendidikan 12, no. 1 (May 15, 2023): 104–8. http://dx.doi.org/10.24252/ip.v12i1.37579.
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Valentine's Day or what is known as Valentine's Day is very popular among young people and is the most eagerly awaited moment on February 14th. Valentine's Day is often celebrated every year so that it becomes a culture and a trend. Valentine's Day is synonymous with flowers, chocolates, dolls, and some people even celebrate this day with sex parties. This culture is practiced by young people from various countries and including Indonesia, which increasingly refers to the damage to Indonesian culture and morals. Therefore this research was carried out to make people aware of deviations from Valentine's Day and the negative impact on Indonesian culture and provide enlightenment from the aspects of religion, society, government and in the eyes of education. In analyzing this case the writer uses descriptive qualitative research methods. The results of this study regarding the thoughts and views of cultural agencies regarding acts of deviation from Valentine's Day celebrations.
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Damico, Amy M., and Sara E. Quay. "Stories of Boy Scouts, Barbie Dolls, and Prom Dresses: Challenging College Students to Explore the Popular Culture of Their Childhood." Teachers College Record: The Voice of Scholarship in Education 108, no. 4 (April 2006): 604–20. http://dx.doi.org/10.1177/016146810610800407.
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This self-reflective article addresses the experiences two professors encountered when teaching a class about the popular culture of girls and boys to undergraduates at a small liberal arts college. The issues addressed include student reactions, teaching strategies, and the use of an online discussion platform and assessment. The instructors note that adjusting their teaching styles contributed to the eventual success of the course.
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DAMICO, AMY M., and SARA E. QUAY. "Stories of Boy Scouts, Barbie Dolls, and Prom Dresses: Challenging College Students to Explore the Popular Culture of Their Childhood." Teachers College Record 108, no. 4 (April 2006): 604–20. http://dx.doi.org/10.1111/j.1467-9620.2006.00662.x.
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Milne, Lesley. "Ghosts and Dolls: Popular Urban Culture and the Supernatural in LiudmilaPetrushevskaia’s Songs of the Eastern Slavs and The Little Sorceress." Russian Review 59, no. 2 (April 2000): 269–84. http://dx.doi.org/10.1111/0036-0341.00121.
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Paramita, Ni Wayan Satiani Pradnya. "Pendidikan Karakter Anak Usia Dini Melalui Mainan Edukatif Amigurumi Berbasis Budaya Lokal." Jurnal Pendidikan dan Penciptaan Seni 1, no. 2 (November 8, 2021): 67–77. http://dx.doi.org/10.34007/jipsi.v1i2.45.
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Character building needs to be given as early as possible. Educational toys can be a medium for character building, but it is still rare to find educational toys that have local cultural values. Most of these educational toys refer to popular toys that are oriented towards Western culture. This condition needs to be balanced with the creation of educational toys that have local cultural characteristics as a form of early childhood introduction to their culture as well as a medium for educators to internalize character building. The process of creating educational toys in this paper uses methodological steps that are described in a descriptive qualitative way, starting from data collection, data analysis, and the embodiment process. In this paper, will be described the process of creating educational toys in the form of amigurumi with the theme of Ramayana, represented by the characters Rama and Sinta which visual ideas are based on Kamasan-style puppet paintings and an analysis of their use for early childhood character building. The benefits of using Rama and Sinta amigurumi dolls in learning are: as a visual literacy of local culture for early childhood and as an interesting medium for conveying character building values.
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Li, Melody. "Nightclub as a Liminal Space: Space, Gender, and Identity in Lisa See’s China Dolls." Humanities 7, no. 4 (November 29, 2018): 126. http://dx.doi.org/10.3390/h7040126.
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Nightclubs flourished in San Francisco’s Chinatown in the late 1930s when it became a nightlife destination. To Chinese Americans, however, San Francisco nightclubs became a new site at the time for them to re-explore their identities. For some, visiting these nightclubs became a way for them to escape from traditional Chinese values. For others, it became a way to satisfy Western stereotypes of Chinese culture. Lisa See’s China Dolls (2015) describes three young oriental women from various backgrounds that become dancers at the popular Forbidden City nightclub in San Francisco in the late 1930s. Through the three girls’ precarious careers and personal conflicts, Lisa See proposes the San Francisco nightclub as both a site for them to articulate their new identities beyond their restricted spheres and a site for them to perform the expected stereotypical Asian images from Western perspectives. It was, at that time, a struggle for the emergence of modern Chinese women but particularly a paradox for Chinese-American women. The space of the Chinese-American nightclub, which is exotic, erotic, but stereotypical, represents contradictions in the Chinese-American identity. Through studying Lisa See’s novel along with other autobiographies of the Chinese American dancing girls, I argue that San Francisco nightclubs, as represented in Lisa See’s novel, embody the paradox of Chinese American identities as shown in the outfits of Chinese American chorus girls—modest cheongsams outside and sexy, burlesque costumes underneath.
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Reuber, Alexandra. "Voodoo Dolls, Charms, And Spells In The Classroom: Teaching, Screening, And Deconstructing The Misrepresentation Of The African Religion." Contemporary Issues in Education Research (CIER) 4, no. 8 (August 15, 2011): 7. http://dx.doi.org/10.19030/cier.v4i8.5611.
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New Orleans voodoo, also called crole voodoo, is an amalgamation of an honoring of the spirits of the dead, a respect for the elderly and the spiritual life, African knowledge of herbs and charms, and European elements of Catholicism. It is a religion of ancestor worship that is unknown to us, and that we are not necessarily exposed to or included in. As such, it is something foreign to our own belief system. Being ignorant about what the religion entails, people in general stigmatize it as something not worthy to discuss, nor to practice. Unfortunately, popular novels like Voodoo Season (2006) and Voodoo Dreams (1995) by Jowell Parker Rhodes, and especially Hollywoods production of horror movies such as White Zombie (1932), I Walked with a Zombie (1943), The Serpent and the Rainbow (1987), Voodoo Dawn (1998) or Hoodoo for Voodoo (2006), do not provide the public with a truthful background of the African, Haitian, or New Orleanean voodoo tradition. All too often these fictional sources fuel the already existing misrepresentations of the religion and represent it as something shadowy, highly secretive, and fearful. This differentiated introduction to New Orleans voodoo via Iain Softleys film The Skeleton Key (2004) exposes students to the major characteristics of the religion, makes them aware of popular cultures falsified voodoo construct, and teaches them how to deconstruct it. This interactive approach is student centered, appeals to their individual intelligences and learning styles, promotes critical thinking, and trains analytical skills.
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Yoon, Haeny S. "Stars, Rainbows, and Michael Myers: The Carnivalesque Intersection of Play and Horror in Kindergarteners’ (Trade)marking and (Copy)writing." Teachers College Record: The Voice of Scholarship in Education 123, no. 3 (March 2021): 1–22. http://dx.doi.org/10.1177/016146812112300303.
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Background Research on children's play asserts that children's identities are performed and (re)formed in peer groups where they try out identities and make sense of their social worlds. Yet there are kinds of play (e.g., violence, gore, sexuality, and consumer culture) that are often hidden and taken underground, deemed inappropriate for public spaces. These underground spaces are potentially revolutionary (#playrevolution) as children disrupt power hierarchies and regulatory boundaries in both subtle and overt ways. These spaces are important for children who are consistently marginalized by intersecting identities, further complicated by negative perceptions attached to certain topics constituting dark play. Thus, what if we look beyond labeling certain play episodes “inappropriate” and consider how children produce and enact culture? What seems nonsensical and irrational to the adult gaze is about creative participation, agency, and autonomy for children. Focus Bakhtin described “carnival” as a countercultural space where folk ideologies dominated, hierarchies were removed, and people engaged in joyful laughter, playful mockery, and the enactment of various discourses. This unofficial space allowed for multiple voices, giving individuals an opportunity to (re)create identities in dialogue with others. For young children, free play can be considered carnivalesque—children learn to disrupt social structures and norms, question authority and power, test boundaries, and understand conflict. Taking up Bakhtin's notion of carnival, this study examines the lived experiences of young children as they construct (counter)cultural spaces of creativity, play, and resistance. Research Design Drawing from a five-month qualitative study in a Midwestern kindergarten classroom, I take up Bakhtin's notion of carnival, or the practices of everyday individuals when free from authority or boundaries. Data for this project were collected during writing workshop times, occurring 3 to 5 times per week for 45–90 minutes; the sessions were audio-recorded and transcribed, and writing samples were collected daily. The focus is on five children who sat together at the same table; limited to their table space, they navigated around curriculum while collectively cultivating their own cultural community. Through an analysis of artifacts, written texts, transcriptions, and popular media content, this study examines how children destabilize hierarchies and subvert the authority of traditional and “appropriate” genres. Conclusions Children actively took up tools and ideas from horror story genres (e.g., chainsaws, blood, and masks), while their local context served as the setting for their own stories: the nearby high school, Halloween parties, and popular costumes. They remixed stories to include curricular demands (e.g., true stories) with popular culture interests. However, they did not reveal these seemingly “inappropriate” topics to their teacher and the demands of school literacy. Their resulting written stories were not pictures of chainsaws, bloody deaths, and killer dolls: They were “masked” by attempts at writing letters underneath pictures of houses, trees, cars, rainbows, and people. Arguably, the children knew how to navigate the official space of school, understanding which ideas were appropriate for their secret conversations and which were appropriate for public sharing. In the midst of their play, children learned how to write from one another: Certain words were borrowed across the table, pictures (e.g., rainbows) symbolized common practices, and storylines were “copied” and reappropriated from others. These literacy attempts were trademarked and encoded on their written texts to signify belonging and participation at the intersection of popular culture and play.
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Bakke, Gretchen. "Book Review: Cyborgs and Barbie Dolls: Feminism, Popular Culture and the Posthuman Body by Kim Toffoletti London: I.B. Tauris, 2007, pp. 205, ISBN 978—1-845—11467—1 (pbk), £17.99." Body & Society 15, no. 1 (March 2009): 112–14. http://dx.doi.org/10.1177/1357034x090150010602.
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Brice, William David, Edward Chu, and Wayne Jones. "Culture-Laden Imports: International Market Entry and Cultural Taboos." International Journal of Management and Economics 50, no. 1 (June 1, 2016): 49–62. http://dx.doi.org/10.1515/ijme-2016-0011.
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AbstractThis empirical study investigates American market responses to a Spanish product that is strongly culture-laden and may violate cultural taboos. Surveys were conducted in two contrasting US universities in Arkansas and California. Contrasting student majors were also chosen: Art and Business. The product is a life-sized baby doll, designed to be breast-fed rather than bottle-fed, which highlights the benefits and normality of breast-feeding babies. Although this product is popular in its original European market, US media accounts suggested strongly negative morality-based American reactions. This study found a strong overall non-acceptance of this product in all groups, but with significant differences between groups. Results quantify the market reaction and illuminate its cultural basis by comparing responses between two culturally different regions, two contrasting college majors, different genders, and different ethnicities. In doing so, this study helps to break new ground in the international marketing of culture-laden products.
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Wohlwend, Karen E. "Monster High as a Virtual Dollhouse: Tracking Play Practices across Converging Transmedia and Social Media." Teachers College Record: The Voice of Scholarship in Education 119, no. 12 (December 2017): 1–20. http://dx.doi.org/10.1177/016146811711901205.
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Background Today, children play in transmedia franchises that bring together media characters, toys, and everyday consumer goods with games, apps, and websites in complex mergers of childhood cultures, digital literacies, consumer practices, and corporate agendas. Recent research on youth videogames and virtual worlds suggests the productive possibilities and tensions in children's imaginative engagements on these commercial playgrounds. Purpose Transmedia websites are conceptualized and analyzed as virtual dollhouses, or assemblages of toys, stories, and imagination that converge digital media, popular media, and social media. In this framing, transmedia websites are not texts to be read but contexts to inhabit. Are virtual dollhouses safe places where children can reimagine the worlds they know and play the worlds they imagine? Are girls doing more than playing simple repetitive games, dressing up avatars, caring for pets, and decorating rooms in virtual dollhouses? Research Design Nexus analysis tracks the histories and social functions of traditional doll-houses, then examines the monsterhigh.com website for these functions and converging practices. In nexus analysis, when practices repeat or support one another across imaginaries, shared normative expectations for ideal players and performances are thickened and amplified. Similarly, conflicting practices create ruptures that disrupt expected trajectories and usual ways of doing things. Nexus analysis of website and game designs and children's YouTube videos identifies repetitions of social practices with the dolls in the commercial website and in child-made films on YouTube social media, making visible the resonances across converging cultural imaginaries as well as ruptures that open opportunities for player agency and redesign. Conclusions As children engage the pretense of virtual dollhouses, they play out blended activities that are at once both simulated and real: dressing their avatars, creating imagined profiles, shopping, playing games, purchasing in-app goods, watching and “liking” videos, recruiting followers/friends, and affiliating with the brand and other fans. These lived-in practices align with particular visions of girlhood that circulate naturalized and normalizing expectations for girls that also converge in these concentrations of media. However, examination of the digital dress-up and online doll play that children produce and share on social media shows that players also make use of the complexity that convergence produces. Children remake imaginaries for their own purposes in ways that both reproduce and rupture these expectations. The analysis points up the need for (a) nuanced and expanded research on children's transmedia engagements, (b) productive play and digital literacies, and (c) critical media literacy in schools.
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Gołuński, Mirosław. "Inne spojrzenia na Zagładę w polskiej fantastyce. Paweł Paliński i Cezary Zbierzchowski." Narracje o Zagładzie, no. 6 (November 22, 2020): 307–24. http://dx.doi.org/10.31261/noz.2020.06.17.
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The author of the article carries out an analysis of texts by two writers who present the Shoah from different perspectives. At the onset he points out two layers of looking at theHolocaust in fantasy writing. The first one results from the said theme filtering through into the genre directly, the second is an intermediary one, namely, through the popular after the Second World War post-apocalyptic narratives where the Shoah is thematised as, for instance, the annihilation of the human race resulting from nuclear conflict or the spread of a deadly virus. The article analyses both mentioned layers using particular examples.
Polaroidy z Zagłady [The Shoah/Annihilation Polaroids] by Paweł Paliński is a tale of an individual Shoah. What constitutes the analytical framework here are the titular pictures, which translate into a genre, nowadays rarely practised, called the literary picture. In the course of reading one recognises the triangle of attitudes: victim – witness – torturer. Even if the said triangle has been criticized by historians, it nonetheless decisively appears in the text owing to its layout.
Requiem dla lalek [Requiem for Dolls] and Holocaust F written by Cezary Zbierzchowski are, respectively, a short-story collection and a novel, set in the fictitious world of Ramm. It is known from the very beginning that the world is doomed to be annihilated, the harbinger of which is God’s departure. In the short stories other signs of extinction are, among other things, euthanasia, the problem of immigration etc. The plains of annihilation recognized in the course of interpretation: metaphysical, social, and personal, compose a part of philosophical reflection on consequences of catastrophes being one of the spheres of the analysis undertaken. What also arrests our attention, and thereby is reflected upon, is the highly intertextual background of Zbierzchowski’s oeuvre. A prominent place is given to the analysis of the novel’s final chapter entitled Heart of Darkness, both referring to the famous novella written by Joseph Conrad and more than sufficiently justified by the text composition itself.
The article’s conclusions both position the texts in relation to other works of Polish fantasy genre and indicate their role as examples of various absorption by popular culture (here fantasy) of the Shoah-related issues.
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Ireland, Aileen. "A posthuman ecology of simulated human patients: Eidolons, empathy and fidelity in the uncanny embodiment of nursing practice." Explorations in Media Ecology 19, no. 3 (September 1, 2020): 299–318. http://dx.doi.org/10.1386/eme_00048_1.
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The reproduction of the human form has been a universal practice amongst human ecologies for millennia. Over the past 200 years, popular culture has considered the imaginary consequences of the danger to humanity and human-ness of replicating the autonomous human form too faithfully. Today, the seductive allure of technologically advanced simulated human bodies and advances in robotics and artificial intelligence has brought us closer to facing this possibility. Alongside the simultaneous aversion and fascination of the possibility that autonomous simulated human forms may become indistinguishable from human beings is the deep-rooted uncanniness of the automaton in its strange familiarity – not only to ourselves but to our pleasant childhood imaginings of playing with dolls. As such, simulated human bodies are often enrolled in medical and nursing education models with the assumption that making the simulation teaching spaces seem as close to clinical spaces as possible will allow students to practise potentially harmful clinical skills without causing any harm to human patients. However similar the simulated human bodies may appear to a living, breathing human, a tension between the embodiment of particularly human attributes and their replication persists. How can computerized human patient simulators be enrolled to teach people to develop the necessary attributes of compassion and empathy when caring for human beings? This article explores the uncanny ecologies of simulated human patients in nursing education by presenting a posthuman analysis of the practices of nurse educators as they enrol these digital objects in their teaching. Guided by a selection of heuristics offered as a mode of interviewing digital objects, the analysis enrolled ‘Gathering Anecdotes’ and ‘Unravelling Translations’ to attune to the ways in which these uncanny posthuman assemblages become powerful modes of knowing to mobilize learning about human attributes within uncanny posthuman ecologies.
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McCauley, Bernadette. "“Their Lives are Little Known”: Nuns and American Reform." Prospects 29 (October 2005): 219–29. http://dx.doi.org/10.1017/s0361233300001745.
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It is rare to see a Roman Catholic nun in a habit today, but old-fashioned nuns in full dress uniform are the darlings of the novelty business. The windup doll called nunzilla (she generates sparks), the puppet nun who boxes, and Christopher Durang's Sister Mary Ignatius, who explained it all, are just a few examples of nuns in contemporary popular culture. Like most other images of nuns, each of these, to different extents, perpetuates a stereotype of women who never think for themselves, are out of touch with the real world, and are petty and downright nasty. Is this just silly stuff or does it tap into something deeper in American culture? Certainly the fascination with nuns is nothing new. Americans have often expressed strong opinions about nuns, sometimes favorable but more often not.
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Nicholas, Jane. "“I was a 555-pound freak”: The Self, Freakery, and Sexuality in Celesta ‘Dolly Dimples’ Geyer’s Diet or Die1." Montreal 2010 21, no. 1 (May 9, 2011): 83–107. http://dx.doi.org/10.7202/1003044ar.
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This paper analyses former sideshow performer Celesta Geyer’s autobiography Diet or Die (1968). Despite her unusual employment in a freak show, Geyer’s autobiography fits the standard popular narrative of the disciplining of the fat body in order to achieve an idealized thin body. On the surface, the text reads as an absolute rejection of fat identity — a word that Geyer often associates with freakery. Yet, Geyer’s autobiography also shows how she became a subject through enfreakment, and it subtly reveals deep ambivalences regarding weight, sexuality and freakery. Part autobiography, part self-help manual, and part dieting advice manual, the text is a remarkably complex reflection of aspects of American culture and society in the early to mid twentieth century that has deep resonances in today’s fat phobic, dieting obsessed culture. Geyer’s autobiography also highlights the difficulties of reading and interpreting autobiographies as self-evident presentations of personal history and raises questions of how individuals tell their own stories.
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Piechota, Dariusz. "Długie trwanie wieku XIX – (pop)kulturowe rekonstrukcje przeszłości w najnowszej fantastyce." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 52, no. 3 (December 13, 2021): 243–58. http://dx.doi.org/10.36770/bp.632.
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Contemporary popular culture eagerly returns to the era of steam and electricity. The pop-culture imagery of the nineteenth century functions in two variants (realistic and fantastic) and takes the form of intertextual games, providing material for postmodern collages and remixes. New genres, such as steampunk and mashup, were quickly adapted and modified by Polish writers. Victorians were replaced by positivists who saw modern inventions as an effective weapon in the fight against the invaders. In addition to works presenting an alternative history of the January Uprising, fantasy authors eagerly refer to the works of Bolesław Prus. The further fate of The Doll appears both in the steampunk and mashup conventions. An interesting realization of the mashup is also the anthology Other worlds, inspired by the works of Jakub Różalski, which combine fantasy with realistic poetics straight from the paintings of Józef Chełmoński. In the alternative world of Polish graphics there appear monstrous machines, characters from another dimension (like dwarfs).
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Laskina, N. O. "Cruel Tales in the Magic Lantern: Traces of Macabre Plots in the Proust’s Novel." Studies in Theory of Literary Plot and Narratology, no. 2 (2024): 25–39. http://dx.doi.org/10.25205/2713-3133-2024-2-25-39.
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French decadent fiction gives in its plots an important place to the transformations of the Gothic tradition: such key texts as Barbey d’Aurevilly’s “She-Devils”, Villiers de LisleAdam’s “Cruel Tales”, Rachilde’s “Mr. Venus” as well as the early novels of J.-K. Huysmans created a specific, type of macabre narrative, essentially different from the romantic gothic fiction. The article shows how Proust’s poetics, consciously aimed at completing and overcoming the fin de siècle culture, uses allusions to popular themes of the decadent Gothic – danse of the dead, automatons, female captives, demonic mentorship – freed from their fantastic framework and included in a more complex context. Proust’s strategies for citing predecessors transfer recognizable clichés from the plot to the discourse. Unlike Proust’s early prose, which did not hide the author’s dependence on his decadent teachers, the novel “In Search of Lost Time” constructs a moving system of hints scattered throughout the text, in which only flickering traces remain of the sources. The living dead, dolls and masks exist only in the speech of the narrator and some characters, but they inevitably add ambiguity and a dark shade to everyday situations and create tragicomic effects. The banal episodes of the life of the narrator and Albertine are colored by obsessive repetitions of variations of the word “violence”, and by unexpected thoughts about death. The memory of the arrival of the narrator’s friend from the front turns into a description of a superhuman body marked with signs of death, and then into an apocalyptic picture. Various characters are accompanied by references to crime, guilt, masks, fear of exposure, not motivated by the plot. The narrator himself constantly betrays his fascination with horrifying themes, and the scenes that his memory recreates like a magic lantern are often painted in macabre tones. It can also be assumed that Proust’s reworking of decadent themes allows him to create an additional level of metapoetics, hinting at sinister subtexts both in the plot of the novel and in the properties of the narrator.
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Kovtun, Natalia. "The Intertextual Game in Ulitskaya’s Novel Medea and Her Children." Respectus Philologicus 22, no. 27 (October 25, 2012): 70–86. http://dx.doi.org/10.15388/respectus.2012.27.15338.
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This article attempts to present a reading of Ulitskaya’s novel as a metatext of world culture, as an encrypted message through which the author inveigles “a shrewd reader” into the guessing of discourses (from ancient mythology to works of social realism and postmodernism) in order to detect traces of the initial scenarios proposed to humanity by the Creator. The conceptual basis of the work was the myth of Sophia Wisdom Divine, an artist painting the primary blueprint of the universe and inviting other artists to co-create (the muse and the artist). Ulitskaya’s Sophiology is based on the ideas of the Russian modernists, e.g., Soloviev and Block.The Greek story of Medea—the daughter of King Aeëtes of Colchis and wife of Jason, who headed the expedition of the Argonauts—provides the basic structure of the novel. This myth is one of the most popular in the world among artists. Its interpretive options (from Euripides and Ovid to Anouilh, Pasolini and Petrushevskaya) are evidence for the unity of the text of culture. The novel, then—the ironical statement of the author to enter into the circle of the elect, the family of Medea, whose image is highlighted by signs of Sofia—is the embodiment of style. Medea’s manor is “the navel of the earth” in which the outlines of the Masons are traced; here, time and space, living and dead, sinners and saints converge. The earth itself is read like a book.All the characters are divided into puppets—unable to understand the hidden meaning of the text—and directors/demiurges—artists, musicians, and doctors who write the history of dolls. The typology of female images is constructed on the gender stereotypes of the fin de siècle era: the woman as a sexual object (Gypsy, wanton); femme fatale/vamp (Amazonian, Salomé); and the romantic lover and muse (Madonna, the eternal feminine). The functions of the male characters are associated with Orpheus, Perseus, Pygmalion, and Ulysses, who perform their feats in the name of Beauty. The mission of the reader is to pass the initiation of the plot and guess all its variations with the power of letters resembling dragon’s teeth, to detect in these traces of meaning the “Golden Fleece,” much as Medea who led Jason to such a purpose.
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Seferbekov, Magomedkhabib Ruslanovich. "From the Spiritual Culture of the Tsahur: Syncretism of Traditional Beliefs and Islam." Islamovedenie 12, no. 2 (June 2, 2021): 84–90. http://dx.doi.org/10.21779/2077-8155-2021-12-2-84-90.
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The article examines a complex of syncretic beliefs of one of the peoples of Dagestan – the Tsakhur. The beliefs include surviving relics of traditional myths, holidays, rituals and customs, as well as the cult of Muslim saints. Despite the fact that the Tsakhur are among the first peoples of Dagestan who adopted Islam, their traditional spiritual culture (zoolatry, hunting myths, orolatria, agrarian holidays and ceremonies, fancy ritual bread, calendar and maternity rituals, healing magic, demonological representations) preserved in pagan mythological characters of the former pagan pan-theon and pandemonium. Rudiments of pre-monotheistic beliefs are hunting myths, in which the patronage of wild animals and the hunt appears. Over time, this deity evolves into a Muslim saint, patronizing the revered wild animal of the Tsakhur – the white urus. The veneration of Muslim saints among the Tsakhur was expressed in the construction of ziyarats on their graves, with their attributes used in the rituals of healing magic for diseases of livestock. This same veneration was also associated with another ancient belief of the Tsakhur – orolatria. In the calendar ritual of the Tsakhur, the most popular holiday was the festival of spring and the beginning of Navruz, a new agricultural year, when special ritual fancy bread was baked. Their meteorological magic has pre-served a unique winter rite of the gode, when boys dressed in women's clothes walked with a song and carried a doll. The ritual was performed during heavy snowfall to stop it. According to the au-thor, these circumstances indicate the syncretic nature of the traditional beliefs of the Tsakhur, re-vealing a mixture of early forms of religion and Muslim ideology and culture. This syncretism of Tsakhur beliefs makes it possible to refer them to the so-called “popular” or “everyday Islam” wide-spread in Dagestan, which can serve as one of the arguments in the struggle against religious ex-tremism.
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Boyne, Kerry. "The legend of the ‘gentlemen of the flashing blade’: The canecutter in the Australian imagination." Australasian Journal of Popular Culture 11, no. 1 (December 1, 2022): 45–61. http://dx.doi.org/10.1386/ajpc_00050_1.
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The ‘gentlemen of the flashing blade’ laboured in an occupation that no longer exists in Australia: canecutting. It was a hard job done by hard men, and its iconic figure – the canecutter – survives as a Queensland legend, so extensively romanticized in the popular culture of the time as to constitute a subgenre characterized by subject matter and motifs particular to the pre-mechanization sugar country culture. Yet, it may seem like the only canecutters immortalized in the arts are Summer of the Seventeenth Doll’s Roo and Barney. To show the breadth and diversity of this subgenre, and the legend of the canecutter and sugar country culture, this article reviews a selection of novels, memoirs, plays, short stories, cartoons, verse, song, film, television, radio and children’s books. These works address the racial, cultural and industrial politics of the sugar industry and its influence on the economic and social development of Queensland. The parts played by the nineteenth-century communities of indentured South Sea Islanders and the European immigrants who followed are represented along with those of the itinerant Anglos. These works depict, and celebrate, a colourful, often brutal, part of Queensland’s past and an Australian icon comparable with the swaggie or the shearer.
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Jian, Sun. "Ibsen and Peking Women's High Normal University." Nordlit, no. 34 (February 16, 2015): 63. http://dx.doi.org/10.7557/13.3353.
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<p>This article aims at exploring the great influence of Ibsen and especially his play <em>A Doll House</em> on the young Chinese girls studying at Peking Women’s High Normal University established for the first time in China at the beginning of the 20<sup>th</sup> century to educate girls.</p><p>In its short history, the girls at the university were exposed widely to the progressive ideas and literature from the West. Ibsen, the most popular writer at that time, inspired the girls tremendously whose performance of <em>A Doll House </em>aroused a heated debate among the well-known scholars on such important issues as women’s rights, women’s liberation, new culture, art and literature.</p><p>Consequently there appeared at the university first group of modern Chinese women writers who picked up their pens and wrote about themselves and about women in China, describing themselves as “Chinese Noras”.</p>
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Rosner, Molly. "The American Girl Company and the Uses of Nostalgia in Children’s Consumer Culture." Jeunesse: Young People, Texts, Cultures 6, no. 2 (December 2014): 35–53. http://dx.doi.org/10.3138/jeunesse.6.2.35.
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Since the mid-1980s, thousands of girls have encountered history through the American Girl books, dolls, and merchandise. Drawing on the work of Fredric Jameson and Arjun Appadurai, both of whom comment on the ways in which historical narratives are always imbued with nostalgia, this paper argues that by creating purchasable “artifacts” for dolls, American Girl has drawn on nostalgic consumer impulses to create longing for an imagined and sanitized history. As American Girl has changed its focus from historical dolls to contemporary dolls, its message has become more focused on individuality, fashion, and personal improvement.
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Lin, Sizhu. "Analysis of Barbie Dolls’ Low Sales Volume in China." SHS Web of Conferences 165 (2023): 02001. http://dx.doi.org/10.1051/shsconf/202316502001.
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Barbie dolls are popular in many countries, and this toy brand has made a lot of profits for Mattel, the world’s largest toy company that owns a large number of well-known toy brands including Barbie. The USA is the largest market for Barbie dolls, and the sales of Barbie dolls in the USA market account for 56.52% of the total. However, in China, Barbie dolls’ sales volume does not live up to expectations. In this paper, by using Hofstede’s five dimensions, the author analyzed the cultural differences between China and the USA, which indicates that the cultural diversity between China and the USA, such as power distance and individualism/collectivism, can influence Barbie dolls’ sales volume. Based on this analysis, the author suggested that Mattel should change its strategies in localization and advertising, so as to improve the sales volume of Barbie dolls in China’s market.
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Shabaganova, Darya Valeryevna. "DOLLS IN THE CULTURE OF MODERN BURYATIA." Вестник Восточно-Сибирского государственного института культуры 140 (April 9, 2024): 71–77. http://dx.doi.org/10.31443/2541-8874-2024-1-29-71-77.
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The article presents the review of the activities of the puppet masters of Buryatia at the present stage: the authors’ creativity, exhibition projects. The classification of the dolls of the masters of Buryatia on the basis of the tech-nique of making is given, attention is paid to the issue of preserving handmade techniques. The perspectives of creating dolls in the development of the crea-tive economy of the Republic of Buryatia are considered.
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Kreutziger-Herr, Annette. "Postmodern Middle Ages: Medieval Music at the Dawn of the Twenty-First Century." Florilegium 15, no. 1 (January 1998): 187–205. http://dx.doi.org/10.3138/flor.15.010.
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In the October 1995 issue of Good Housekeeping, there appears an advertisement for a new "Barbie Collector's Series," featuring for the first time a doll called "Medieval Lady Barbie." Clad in a precious garment of the high Gothic style, this icon of our time is a dramatic representation of how the Middle Ages are perceived in popular culture at the end of the twentieth century. Medieval Lady Barbie is certainly not meant to function as an historically accurate document: she is first of all a toy, one of Mattel's many collector's series toys (compare Ebersole/Peabody 16, and Rand 164), and the use of a medieval garment for this twentiety-century doll illustrates that the Middle Ages have become a kind of treasure trove that can be mined in any way we like; they have become a kind of "queer accessory," as Erica Rand has expressed it in her anthropological study of the Barbie. By using a medieval dress, the maker does not wish to allude to the Middle Ages as a whole; rather, he wishes to play with isolated aspects of the distant era. The dress has a strangely comforting quality about it and an emotional nearness that is both apparent and mysterious. These qualities stem not from the Barbie, nor from the medieval accessory alone, but from the combination. The imagined dialogue between the Middle Ages and the twentieth century should convey an assurance to the modern reader that, amidst all the social, cultural, and political chaos present at the dawn of the twenty-first century, there are constants in our cultural understanding of ourselves, in our cultural identity. The reality, of course, is that there is no dialogue going on. The Middle Ages has its twentieth-century speakers; the past can never speak for itself. The present takes over this function, for it has tamed the Middle Ages.
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Gramsci, Antonio. "Gramsci on Theatre." New Theatre Quarterly 12, no. 47 (August 1996): 259–65. http://dx.doi.org/10.1017/s0266464x00010253.
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Our occasional series on early Marxist theatre criticism – which has already included Trotsky on Wedekind in NTQ28, Lunacharsky on Ibsen in NTQ39, and Mehring on Hauptmann in NTQ 42 – continues with two essays by the Italian Marxist philosopher Antonio Gramsci, whose concepts of hegemony, the national-popular, and the organic intellectual have had a profound influence on twentieth-century western thought. From 1916 to 1920 Gramsci was also a theatre critic, writing a regular drama review column in the Piedmont edition of the socialist daily newspaper Avanti! in which he first explored ideas about the ideological function of theatre. His review of a 1917 Italian production of Ibsen's A Doll's House is a particularly strong example of his attempt to generate notions of the theatre as an arena of political struggle in which the cultural values of the bourgeoisie were expressed, but which also had the potential to subvert these values and provide the proletariat with the critical wherewithal to express its hegemony. He saw the function of the theatre critic as promoting social, cultural, and moral awareness in the spectator, and Ibsen's play as a particularly apt vehicle for critiquing the moral superficiality of Italian bourgeois women in its powerful portrayal of the oppressions of a patriarchal society. While Gramsci's review of A Doll's House can be seen as a forerunner to contemporary feminist ideas, he saw Pirandello's use of the ‘power of abstract thought’ as making him a potentially revolutionary playwright, whom he described as ‘a commando in the theatre’. His plays were ‘like grenades that explode inside inside the brains of spectators, demolishing their banalities and causing their feelings and thoughts to crumble’. After reviewing ten of Pirandello's early plays for Avanti! Gramsci later expressed his intention of writing a full-length study of the playwright's ‘transformation of theatrical taste’. All that came of these intentions were the rather fragmented notes he made in the Prison Notebooks, in which he expressed his views on Pirandello in the context of the politics of culture and the idea of a national popular literature. Gramsci saw Pirandello's metatheatre as subverting traditional dramatic principles, but failing to establish new ones or to subvert the social and economic aspects of tradition. Gramsci responds to the critical debates on Pirandello in the 1920s by Tigher and Croce about Pirandellism's combination of art and philosophy and its conflict between ‘life’ and ‘form’, but his final comments about his views being taken with a ‘pinch of salt’ indicate that they are not definitive.
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Chu, Yu-Hsiu, Li-Wei Chou, He-Hui Lin, and Kang-Ming Chang. "Consumer Visual and Affective Bias for Soothing Dolls." International Journal of Environmental Research and Public Health 20, no. 3 (January 29, 2023): 2396. http://dx.doi.org/10.3390/ijerph20032396.
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Soothing dolls are becoming increasingly popular in a society with a lot of physical and mental stress. Many products are also combined with soothing dolls to stimulate consumers’ desire for impulse buying. However, there is no research on the relationship between consumers’ purchasing behavior, consumers’ preference for soothing dolls, and visual preference. The purpose of this study was to examine the possible factors that affect the emotional and visual preferences of soothing dolls. Two local stores’ sales lists were used to extract three different types of dolls. The 2D and 3D versions of these three dolls were used. Subjective emotional preferences were examined by the self-assessment manikin (SAM) scale, with 5-point Likert scales for valence and arousal factors. An eye tracker was used to examine visual preferences, both before and after positive/negative emotion stimulation by the International Affective Picture System (IAPS). There were 37 subjects involved, with an age range of 20–28 years. The experimental results show that the average valence/arousal scores for 2D/3D dolls were (3.80, 3.74) and (2.65, 2.68), respectively. There was no statistical difference, but both 2D and 3D pictures had high valence scores. Eye tracker analysis revealed no gaze difference in visual preference between 2D and 3D dolls. After negative emotional picture stimulation, the observation time of the left-side doll decreased from 2.307 (std 0.905) to 1.947 (std 1.038) seconds, p < 0.001; and that of the right-side picture increased from 1.898 (std 0.907) to 2.252 (std 1.046) seconds, p < 0.001. The average observation time ratio of the eye on the 3D doll was 40.6%, higher than that on the 2D doll (34.3%, p = 0.02). Soothing dolls may be beneficial for emotion relaxation. Soothing dolls always have high valence features according to the SAM evaluation’s measurement. Moreover, this study proposes a novel research model using an eye-tracker and the SAM for the SOR framework.
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Shalygina, O. V., and A. B. Kholmogorova. "“Body orientation” of the contemporary culture and it’s influence on the children’s, adolescents’ and youth’s health." Консультативная психология и психотерапия 23, no. 4 (2015): 36–68. http://dx.doi.org/10.17759/cpp.2015230404.
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This article continues the theme of social standards assimilation and values relating to the visual appeal, starting from a very early age. The authors use the multifactor psycho-social model of affective spectrum disorders. They consider the risk factors for the formation of girls’ dissatisfaction by their bodies. In contemporary society this kind of dissatisfaction is an important factor of affective disorders and of the narcissistic attitudes formation. The role of fashion dolls in the internalization of extreme physical ideals is researched. The resources that support the fashion dolls (entertainment magazines for girls, ad sites, special channels’ reviews on the dolls’ younger schoolgirls posted in You Tube) are analyzed. These resources’ contribution to the promotion of dangerous to young generation’s mental and physical health is also analyzed in the article.
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Madsen, Emily. "PHIZ'S BLACK DOLL: INTEGRATING TEXT AND ETCHING INBLEAK HOUSE." Victorian Literature and Culture 41, no. 3 (September 2013): 411–33. http://dx.doi.org/10.1017/s106015031300003x.
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Three black dolls appear in the etchingsby H. K. Browne (Phiz) that accompany Charles Dickens'sBleak House(1853). They hang, strange fruit, from strings on walls and in shop windows, and their purpose as commentary on the text remains unclear because it is also initially unclear what they might represent. The dolls are never mentioned in the text of the novel, nor do they receive any substantial criticism in readings ofBleak House's illustrations. This article plumbs the archive for evidence of the dolls, and uses the resulting range of associations, from the American cotton trade to Victorian advertising techniques, to argue for a greater integration of the analysis of text and illustrations in serialized, illustrated novels such asBleak House. Material culture readings of the novel to this date have overlooked elements of the illustrations (which are themselves material objects), or have focused on illustrations as print culture, and not conversations with the written text. Examining the dolls in this context not only enrichesBleak House, but also attests to the value of observing the interplay of text and illustration, as well as text and advertising, in readings of the novel's serialized form.
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Ruiz-Gomez, Alexandra, Tama Leaver, and Crystal Abidin. "Playing YouTube: How the Nancy YouTuber doll and app position children as aspiring YouTube influencers." International Journal of Cultural Studies 25, no. 2 (December 20, 2021): 121–40. http://dx.doi.org/10.1177/13678779211063222.
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This article analyzes Nancy YouTuber, a popular doll and companion app that is part of a growing trend of children's toys modeled on YouTube influencers. Nancy YouTuber's app is one of the first to provide a fictitious YouTube channel, introducing children to YouTube's affordances. We investigate how the doll and app socialize YouTuber practices, and to what extent the combination of both deepens the commodification of childhood. We use the walkthrough method to analyze the app, and a semiotic approach to study the doll, its accessories and surrounding materials to map the manufacturer's intended use through these discourses. Our research uncovers how children are encouraged to recreate product reviews and internalize commercial digital identity performances. We use Spain, where the doll originates, to contextualize these findings. The article considers how influencer-aspirant toys position children as promotional intermediaries and normalize children's YouTuber aspirations.
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Jung, Hae-Sang. "A Study on the Problems and Improvement of the Sex Doll Regulation Policy." Legal Studies Institute of Chosun University 29, no. 2 (August 31, 2022): 109–31. http://dx.doi.org/10.18189/isicu.2022.29.2.109.
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For a long time, dolls have existed as part of life. In particular, the existence of dolls in the process of children's growth is of great significance as a tool that contributes to various emotional development.
However, social controversy over 'sex dolls' has been growing recently. Real dolls for adults were created for the purpose of using them as sexual tools, causing controversy around sex culture and youth protection in that they are similar to the actual appearance of a person and function as sexual functions.
The reality is that sex dolls are already spreading greatly at home and abroad, but controversy over sex dolls' pornography or antisociality is also growing. This is because the normative value of sex in the moral or legal aspect still strongly conflicts socially with the form and function of sex dolls.
Sex dolls can evolve into Android, which is more human-like with the development of science, but its essence is a kind of sexual instrument and is only a tool used according to sexual preferences. Therefore, social discussions on sex dolls need to focus on the infringement of personal rights by sex dolls and the protection of children and youth against sex offenses.
It is very difficult to present a logical and uniform normative standard in that the normative value of sex entails emotion. However, it is urgent to establish a legal system by discussing the reasonable direction of the sex dolls regulation. In particular, the protection of children and youth against sex offenses is very important to improve the protection system by legal policy, so a strong regulatory system must be quickly established throughout the production, distribution, and possession of sex dolls.
In 'ACT ON THE PROTECTION OF CHILDREN AND YOUTH SEX OFFENSES', we see the definition and punishment of terms in 'child or youth sexual exposure materials' and the use of presidential decree to establish a legal standard and a 'child-like' system.
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Ambarnuari, Mery, and Hari Harsananda. "Boneka Arwah (Spirit Doll) Perspektif Agama Hindu." Sphatika: Jurnal Teologi 13, no. 1 (March 1, 2022): 39–49. http://dx.doi.org/10.25078/sphatika.v13i1.1120.
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Spirit dolls are dolls that are intentionally made to be infiltrated by the spirits of people who have died. These dolls are then marketed by agents to be adopted and treated like living humans. The culture of adopting this spirit doll started in Thailand around 2014, which then spread to Indonesia. The spirit doll reminds us of the essence of every belief in the world, namely the belief in animism and dynamism. Hinduism has the concept of reviving the spirit of statues or buildings which is similar to filling the spirits of spirit dolls but essentially has a difference in the procedures and objectives. Spirit dolls are filled with the spirits of people who have died, while in Hinduism the ceremony is aimed at purifying statues and buildings to make them habitable and worthy of worshiping God. Hindus should not adopt the spirit doll because there is no study of Hindu law that legalizes the adoption, besides the purpose of this adoption is contradiction to the catur purusa artha.
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Shamshadinov, Ruslan E. "WORLDS AND MYTHS OF THE AUTHOR’S DOLL." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2023): 207–17. http://dx.doi.org/10.28995/2686-7249-2023-7-207-217.
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The article deals with the issue of the artistic status of the modern author’s doll as a synthetic art form, in the context of the “Do it yourself” movement (DIY). The phenomenon of the creative process of master of puppetry and of puppets as an artefact of a creative activity is being studied. The imagery and artistic value of a modern author’s doll, as a self-sufficient and active phenomenon of mass culture, is determined in accordance with the criteria for evaluating objects of fine art. The morphology of the author’s doll is analyzed in a historical perspective and in the circumstances of current socio-cultural formats of «sales exhibitions» – on the examples of the projects of the International Doll Salon (“Spring ball of author’s dolls”, “Autumn ball of author’s dolls”), the activities of the Puppet Gallery “Vakhtanov” by I. Myzina and the Cultural Foundation “Dolls of the world” (exhibition “The art of the doll”). The idea of customization, as an integral factor in the dynamics of modern convergent culture, in the context of the study dialogues with the concept of “One of a kind” (OOAK) characteristic of the puppeteer community. Mass production and mass demand for Barbie and Blythe dolls is considered from the position of realizing the creative potential of the followers of the maker-culture subculture. The authorship of the doll is considered as a marker of the special status of this cultural object
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Horrocks, Allison, and Mary Mahoney. "American Girls." Public Historian 43, no. 1 (February 1, 2021): 164–80. http://dx.doi.org/10.1525/tph.2021.43.1.164.
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Since Pleasant Rowland launched the American Girl brand in 1986, the popular dolls and books have inspired generations of young people. The American Girls Podcast, developed and produced by two historians, re-examines the world of American Girl, applying historical analysis and social commentary to understand how formative the brand was for their own and others’ lives. The podcast has also cultivated a community of listeners who continue to engage with the dolls and stories in innovative ways; in this way, the show serves as a forum for ongoing conversations about the meaning of American Girl.
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Ostrogolovaja, Darja. "FOLK DOLL OF LATGALE AND PRIDVINYE: THE ORIGINS OF JOINT TRADITIONS." Via Latgalica, no. 6 (December 31, 2014): 78. http://dx.doi.org/10.17770/latg2014.6.1659.
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<p>One of the most interesting and at the same time difficult questions for the researcher is to study the culture of the borderland. This is especially true for studying the areas currently disconnected, but which formed a part of a single state and have a long-term history of co-existence within it. This statement is true for the territory of Belarusian Pridvinye and Latgale, which were part of a single state for more than three hundred years. The proximity of these regions, close economic and cultural relations have caused the similarity of the material and spiritual culture of both peoples, which was reflected in traditional doll of this region.</p><p>Doll, being both a child’s toy and an object having a certain ritual purpose, is an important element of the culture of the ethnos.</p><p>The purpose of this research is to identify common and different features in the spiritual culture of Belarusians and Latgalians, based on such an important object of the culture of ethnos as the doll, and reveal some information about its existence, appearance, functions on the basis of ethnographic materials of the late 19th – early 20th century.</p><p>The relevance of this work is due to lack of proper researches on the topic outlined above.</p><p>The ethnographic data collected on the territory of the Vitebsk province and concerned to the people, who inhabited it, were used as the objects for this study. The information about the material and spiritual culture of Latgalians and Belarusians and directly about dolls of this region can be found in the works of M. Sementovskii, E. Romanov and N. Nikiforovskii, E. Voltaire. However, unfortunately, in these studies very little attention was paid to the traditional doll. Most often, this cultural object has stayed out of the range of interests of researchers in the late 19th – early 20th century. However, for example, in N. Nikiforovskii’s work there is described in details people’s attitude to the children’s games with dolls and beliefs associated with these games.</p><p>The existence of several dolls both game and ritual on the territory of Belarus Pridvinye and Latgale was revealed as a result of the study. The traditional set of Belarus and Latgale toys had been formed by the end of the 19th – early 20th century. Demarcation of sacred and utilitarian areas had led to the isolation of functions of game dolls and ritual dolls. Game dolls on these territories were simple and generalized in character. Most of these dolls were made by children themselves from rags, pieces of wool, thread, ash and so on. Their main function was to entertain the child, while adults were busy. The oldest form of such type of the doll, occurring on the territory of Vitebsk province, was a doll “holova”. More sophisticated dolls, such as the “prince”, “princess”,“soldier” and others, have been also found in this area, but the data about the person, it was made by, and what games were associated with them, is practically absent. Only once they are mentioned in Nikiforovskii’s work in connection with the description of beliefs, which were widely accepted among the peasantry, that lengthy children’s games with dolls-princeses could lead to the forthcoming marriage of a family member.</p><p>Ceremonial or ritual dolls have accompanied a man during the whole calendar year. Probably, Belarusians and Latvians, as well as Russians, have used dolls in all transitional type ceremonies: Christmas and Yuletide, on Shrove Tuesday, Easter, Midsummer, for the holidays associated with the beginning and the end of grazing, planting or harvest, for christenings, weddings and funerals. The study of ethnographic materials allowed accurately to detect the presence of only one doll-scarecrow of calendar type – scarecrow Mara, which was burnt during the Midsummer holiday. On the territory of the Russian empire and directly in Belarus this doll is no longer found in any of the regions. It is difficult to say, whether the person was accompanied with the doll during such holidays as Zazhinki and Dozhinki in Vitebsk province, or they were characteristic only of the Russian territories. Also, there is no definite information about the participation of dolls in rituals associated with the birth of a child. In the works of ethnographers there is mentioned the fact, that the doll was placed in the cradle, before the child was put there in order to “warm” the cradle. However, there is no information about what was this doll like, its appearance and function.</p><p>To summarize, we can conclude, that there was an original doll in Latgale and Belarus. Unfortunately, because of the paucity of data on this issue in the ethnographic researches of the late 19th – early 20th century, it is hard to imagine the whole system of ritual and game dolls, that existed in this region. However, there can be no doubt about the fact, that the doll was not only the subject, that had accompanied a person at his birth and during childhood, but was an essential attribute of festive culture of Latgalians and Belarusians. The common features of Belarusian and Latgalian dolls were caused by several reasons. There were the long-term staying in a single state, the area of residence of two nations, that had been closely related with Western Dvina River as one of the main trade route, the similarity of the calendar and festive culture and, of course, peaceful, friendly attitude of the two ethnic groups to each other.</p><p>All these factors had led to the formation of common cultural traditions, which were reflected in the doll of this region. The attempt to study in this paper such a phenomenon as a doll of Latgale and Belarus Pridvinye has showed the necessity for further research studies of this question in its indissoluble connection with the studying of material and spiritual culture of two nations.</p>
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Smith, Robert, Sara Nadin, and Sally Jones. "Beyond the dolls house?" Qualitative Market Research: An International Journal 22, no. 5 (November 11, 2019): 745–65. http://dx.doi.org/10.1108/qmr-01-2017-0035.
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Purpose This paper aims to examine the concepts of gendered, entrepreneurial identity and fetishism through an analysis of images of Barbie entrepreneur. It draws on the literature of entrepreneurial identity and fetishism to examine how such identity is socially constructed from childhood and how exposure to such dolls can shape and influence perceptions of entrepreneurial identity. Design/methodology/approach Using semiotic analysis the authors conduct a visual analysis of the Barbie to make observations and inferences on gendered entrepreneurial identity and fetishism from the dolls and artifacts. Findings The gendered images of Barbie dolls were influenced by societal perceptions of what an entrepreneur should look like, reflecting the fetishisation of entrepreneurship, especially for women. Mirroring and exaggerating gendered perceptions, the dolls express hyper-femininity reflected in both the physical embodiment of the doll and their adornments/accessories. This includes handbags, high-heeled shoes, short skirts, haute-couture and designer clothes. Such items and the dolls themselves become fetishised objects, making context and culture of vital importance. Research limitations/implications There are positive and negative implications in relation to how the authors might, as a society, present unrealistic gendered images and role models of entrepreneurship to children. The obvious limitation is that the methodology limits what can be said or understood, albeit the imagery mirrors socially constructed reality for the context examined. Originality/value This is original research in that no previous published studies have tackled gendered entrepreneurial identity in relation to fetishism. The value of the work lies in discussing the concepts and embeds them in the expanding conversation surrounding gendered entrepreneurial identities.
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Иващенко and Elena Ivashchenko. "Technology Lesson in Addition to Class Hours on a Topic: «Making a Folk Doll in the National Dress of the Belgorod Region» (4th Grade)." Primary Education 4, no. 2 (April 17, 2016): 30–34. http://dx.doi.org/10.12737/19008.
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The article describes the content and course of extracurricular classes on technology for fourth-grade schoolchildren of the lessons series, during which the representation of schoolchildren of folk rag dolls is extended. Conducting such classes allows to expand representation of the children about the history and characteristics of the female costume (in particular, the Belgorod region), to introduce to the methods of manufacture of dolls in folk costume, to generate interest in the history and culture of their small homeland, respect for the work of its people, its crafts and various kinds of creativity.
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Seow, Janet. "Black Girls and Dolls Navigating Race, Class, and Gender in Toronto." Girlhood Studies 12, no. 2 (July 1, 2019): 48–64. http://dx.doi.org/10.3167/ghs.2019.120205.
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Doll play is critical in the formation of young black girls’ gender, race, and class identities. In this article, I use textual analysis that emphasizes how physical changes in dolls correspond to contextual shifts in society over the last seven decades, and qualitative research with ten Afro-Caribbean girls and young women in Toronto to reveal the racial and cultural meanings of dolls in young people’s everyday lives and how doll play is complicated by racist and classist representations of dolls. By exploring what doll play meant to them, I show how it helps black girls understand racial and gendered norms. Through doll play, girls reveal an understanding of their racialized identities and marginalization as they demonstrate unacknowledged skills in their ability to navigate barriers that reinforce racial inequalities and social hierarchies in girls’ material culture in a multicultural Toronto.
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Yan, Weina, and Di Zhang. "Production and Optimization of 3D Animation Garage Kits – Taking “Sound of Pipa” as an Example." Scientific and Social Research 4, no. 4 (April 28, 2022): 50–60. http://dx.doi.org/10.26689/ssr.v4i4.3820.
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The most popular 3D animation garage kits are SD dolls and ball-jointed dolls (BJDs), which are shaped like 3D figure sculptures. Since garage kits such as SD and BJD are expensive, new materials such as PVC and clay have been introduced as there are still many fans. This paper takes the antique clay-making garage kit, “Sound of Pipa,” as an example and elaborates its design, production, as well as optimization ideas and methods to provide reference for beginners to create 3D garage kits. The garage kit industry, on the other hand, should pay close attention to the latest developments in technology and materials, both at home and abroad, and incorporate them into the creation and production of works on a regular basis.
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Kryukova, M. I. "BORIS YULSKY’S "LIVING" DOLLS AND "STONE" CHARACTERS." Bulletin of Udmurt University. Series History and Philology 30, no. 3 (July 15, 2020): 520–28. http://dx.doi.org/10.35634/2412-9534-2020-30-3-520-528.
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The article analyzes the motive of living mannequins and dolls in B.M. Yulsky’s work, writer of the Far Eastern emigration. In the centre of attention there are two writer’s stories - «The Bearded Jack» and «The Fair Queen». At the beginning of the twentieth century, the doll’s motive became plot-forming and very popular in literature, it is found both in the works of classics and fiction writers. The influence of Hoffmann and Pushkin's creativity on Yulsky’s work is noted in the paper, as well as the intermedia links with Nabokov and Grin’s texts are found. In addition, the motive of a smiling card is also important in Yulsky's stories. Despite the fact that the writer lived and worked in China and Toogen (in a taiga atmosphere), the considered texts take the reader to the West, to the space where inanimate characters intervene in the plot and concentrate it around them. The essence of Yulsky’s characters is static and soulless, therefore they cannot revive the «artificial» soul of dolls.
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Gon, Park Jung. "THE RELIGIOUS SIGNIFICANCE OF DOLLS IN NENETS AND KOREAN CULTURE." Study of Religion, no. 4 (2018): 73–79. http://dx.doi.org/10.22250/2072-8662.2018.4.73-79.
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Street, John. "Popular Culture=Political Culture?" Politics 11, no. 2 (October 1991): 20–25. http://dx.doi.org/10.1111/j.1467-9256.1991.tb00196.x.
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Salmon, Catherine, and Rebecca L. Burch. "Popular Culture." Evolutionary Studies in Imaginative Culture 5, no. 1 (June 1, 2021): 149–52. http://dx.doi.org/10.26613/esic.5.1.232.
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Salmon, Catherine, and Rebecca L. Burch. "Popular Culture." Evolutionary Studies in Imaginative Culture 5, no. 2 (December 1, 2021): 155–58. http://dx.doi.org/10.26613/esic.5.2.262.
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Salmon, Catherine, and Rebecca L. Burch. "Popular Culture." Evolutionary Studies in Imaginative Culture 6, no. 1 (April 1, 2022): 147–50. http://dx.doi.org/10.26613/esic.6.1.292.
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Hecken, Thomas. "Popular Culture?" POP 4, no. 1 (March 1, 2015): 97–102. http://dx.doi.org/10.14361/pop-2015-0117.
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