Relevant bibliographies by topics / Mourning customs in art

Academic literature on the topic 'Mourning customs in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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Journal articles on the topic "Mourning customs in art"

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Akhmetbek, G., and O. Baqytbek. "THE QUINTESSENCE OF THE WORKS OF CHINESE LITERARY GIANT LI BAI AND THE DESCRIPTION OF TRADITIONAL KAZAKH POEMS." Bulletin of the Korkyt Ata Kyzylorda University 59, no. 4 (2021): 243–50. http://dx.doi.org/10.52081/bkaku.2021.v59.i4.119.

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In the modern world, the process of integration between Kazakhstan and China is intensifying. As a result, there is a growing interest and demand for each other's language, culture and literature among the citizens of the two countries. Acquaintance with the mentality and culture of the country begins with the works of the literary giants of this country. And Li Bai is a giant of Chinese literature. However, until now we have considered his works of art only through translations and concepts of Russian scientists, so now it is necessary to study them from a new point of view by Kazakhstani researchers. Only then can the previously unknown secrets of Li Bai's poems be revealed.Furthermore, the poem is a small poetic work. A sequence of real words, the rhythm of which are normalized, the syllables are in a certain order. The peculiarities of Kazakh poems and Chinese literary giant Li Bai’s works are identical. There are some similarities and differences between them. Poems in Kazakh folklore are associated with labor (hunting, four products, March poems), ancient beliefs (shamanic, seduction), customs (rituals, weddings, mourning poems), black poetry, historical poems, aitys poems. While, Li Bai wrote about nature and its beauty.
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Khalili Kolahian, Shiva. "An analytical study of the ritual ceremonies in Iranian performing arts, a case study of Travellers." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 217–46. http://dx.doi.org/10.5195/cinej.2020.260.

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Rites and myths are important parts of the identity and the culture of every nation. Iranian rites and performing arts, as a part of Iranian art and culture, which has always got attention throughout history, can help us recognize ancient Iranian culture and history. Cinema, among other interactive arts, has sometimes been able to portray ritual arts well. Travellers movie, made by Bahram Beyzai, is one of the most prominent examples of the visualization of ritual arts in Iran, because the movie consists of three parts, like the three theaters, in which the rites are portrayed as the main story of the movie, and the Persian culture and customs have been exhibited. This paper, which its research method is descriptive-analytical, examines the standing of rites and ritual arts in Travellers movie and analyzes its atmosphere regarding to performing rituals. Its scene design changes as the script process, so that the application of elements such as light and color, and their intensity and reduction in different mental conditions, from pleasure to mourning, has been considered wisely, and the atmosphere has a dramatic impact on the audience in different scenes. The lighting and the coloring of the scenes in the movie, indicates a tribute to beliefs and faith in rites and ritual arts.
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Ahluwalia, Susan. "Worldwide mourning customs." Bereavement Care 22, no. 2 (June 2003): 30. http://dx.doi.org/10.1080/02682620308657575.

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Edwards, Thornton B. "Mourning customs in Greece." Folk Life - Journal of Ethnological Studies 33, no. 1 (January 1, 1994): 74–88. http://dx.doi.org/10.1179/043087794798238498.

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AL-Bakar, Asem. "The Repercussions of COVID-19 Pandemic, its Socio-economic Changes, in the Jordanian Family and Ways to Prevent them (A Sociological Study)." Dirasat: Human and Social Sciences 49, no. 1 (August 2, 2022): 21–42. http://dx.doi.org/10.35516/hum.v49i1.1643.

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The repercussions of COVID-19 pandemic, its Socio-economic changes, in the Jordanian family and ways to prevent them A sociological study Abstract The current study aimed to identify the Socio-economic changes caused by the COVID-19 pandemic in the Jordanian family from the point of view of university students and the role of the Jordanian family in preventing it. Social sample surveying approach and stratified random sampling were applied. The sample consisted of (215) male and female students. Descriptive approach (percentages, advanced statistical methods were used. The results revealed that there were significant changes caused by COVID-19 on Jordanian family, including social changes represented by lack of participation in social events motivated by mitigating the negative aspects of COVID-19 and the rise in social responsibility. The results showed a change in the rituals of mourning and marriage customs; also, an increase in media follow-up by family members. The results revealed educational burden on family regarding e-learning, and indicated that the COVID-19 affected, to a moderate degree, families in terms of social stigmatization. Regarding the economic changes, there were high level economic changes affecting the Jordanian family, such as the emergence of woman’s role in the family due to her increased production responsibilities, and new productive roles like producing bread and household products to reduce family members’ leaving house to preserve their health and reduce expenses. There were additional financial burdens shouldered by family which was satisfied with providing basic materials only.
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Epstein, Alex. "On the Mourning Customs of Elephants." Iowa Review 38, no. 2 (October 2008): 86. http://dx.doi.org/10.17077/0021-065x.6478.

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Yedidya, Asaf. "From Collective Shiva to a Fast for the Ages: Religious Initiatives to Commemorate and Mourn the Victims of the Holocaust, 1944–1951." Religions 13, no. 3 (March 11, 2022): 242. http://dx.doi.org/10.3390/rel13030242.

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Religious Jewish tradition has specific rituals for mourning the loss of a relative. They include receiving visitors during shiva, the recitation of the Kaddish in the first year, and the annual marking of the Yahrzeit. There are also customs for commemorating collective disasters. Foremost among them are the diminution of joy on specific dates, and setting permanent fast days. Towards the end of World War II, when the extent of the destruction became apparent, initiatives began around the world to process the collective mourning and to perpetuate the disaster in religious settings. Many survivors later joined these initiatives, seeking to establish new customs, out of a deep sense that this was an unprecedented calamity. The growing need to combine private and collective mourning stemmed from an awareness of the psychological and cultural power of private mourning customs. Proposals therefore included the observance of a community yahrzeit, a collective Jewish shiva, along with a fast for the ages. This article explores the initiatives undertaken between 1944 and 1951—the time when intensive processing was needed for the survivors and the relatives of those who had perished—discussing their motivations, unique characteristics, successes and failures, and the reasons for them.
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Jacobs, David L. "The Art of Mourning." Afterimage 23, no. 6 (1996): 8–11. http://dx.doi.org/10.1525/aft.1996.23.6.8.

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Gergely, Zoltán. "Mourning and Funeral Folk Songs in the Northern Part of the Transylvanian Plain." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 237–48. http://dx.doi.org/10.24193/subbmusica.2020.2.15.

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"Mourning and the farewell from the young, unmarried deceased are such occasional folk customs, which have survived only in the memory of the older generations. In the northern part of the Transylvanian Plain the traditional singing repertoire consists of mourning and funeral songs – besides the songs of the sitting, performed from the hymnals. The presented examples of mourning songs in general have a formal structure, their performance is individual, while the funeral songs are sung in groups, occasionally accompanied by musicians. Keywords: Funeral, mourning, Transylvanian Plain "
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Antal, Eva. "Jacques Derrida’s (Art)Work of Mourning." Perichoresis 15, no. 2 (July 1, 2017): 25–39. http://dx.doi.org/10.1515/perc-2017-0008.

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Abstract Derrida’s highly personal mourning texts are collected and published in a unique book under the title The Work of Mourning edited by Pascale-Anne Brault and Michael Naas, two outstanding translators of Derrida’s works. The English collection is published in 2001, while the French edition came out later in 2003 titled Chaque fois unique, la fin du monde (Each Time Unique, the End of the World). In his deconstructed eulogies, Derrida, being in accordance with ‘the mission impossible’ of deconstruction, namely, ‘to allow the coming of the entirely other’ in its otherness, seems to find his own voice. In my paper, I will focus on this special segment of Derrida’s death-work (cf. life-work); namely, on his mourning texts written for his dead friends, paying special attention to the rhetoric ‘circling around’ fidelity, friendship, and the other in his textual mourning.
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Dissertations / Theses on the topic "Mourning customs in art"

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O'Neill, Mary. "Ephemeral art : mourning and loss." Thesis, Loughborough University, 2007. https://dspace.lboro.ac.uk/2134/8012.

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Ephemeral art is usually understood as reflecting a desire to dematerialize the art object in order to evade the demands of the market, or to democratize or challenge art museums. However, in many ephemeral artworks something much more fundamental is involved. In this thesis I explore the hypothesis that the use of ephemerality by some artists is best understood, not solely in terms of art world issues but of the relationship between ephemerality, mourning and loss. I will begin with a refinement of the definition of ephemeral art, which is often confused with temporary works. This definition identifies four characteristics of ephemeral art: time, communicative act, inherent vice and directive intent. Ephemeral art often involves works that do not exist in a steady state, but change or decay slowly. This temporal aspect is examined through a discussion of the boredom they consciously evoke, which can be seen not only as an acute awareness of time but also a form of mouming for lost desire. The different physical state of ephemeral works represents a shift from the art object to communicative act. This shift is exemplified by artists working in the 1960s, particularly those influenced by John Cage. Cage's engagement with Buddhism and the subsequent work he produced demonstrates that the appreciation of transience is a reflection of wider cultural values. The growing interest in Buddhist philosophy and the engagement with transience at that period are discussed, not as cause and effect, but as both stemming from the same desire to find alternative forms of meaning and expression at a time when traditional structures of meaning were in decline. The use of non-traditional, non-durable materials and the incorporation of chance and ephemerality mean that the resulting worlds possess an 'inherent vice' which results in the demise or disappearance of the work. This is a key feature of ephemeral art, which distinguishes it from temporary works. The latter are designed to function for a fixed period, after which they are discarded or destroyed. The conclusions drawn have implications that reach beyond artworld concerns with durable or at least preservable commodities. These works offer insights into the mourning process which are powerful and profound reflections on the human condition. These works can act as a means of engaging with bereavement, disenfranchised grief and ambiguous loss. In a world where many societies may be deemed post-religious traditional myths and rituals that once served to alleviate fear or mortality and the pain of bereavement are no longer viable or effective, this is of immense significance.
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Crowder, Julie. "Teaching Mourning." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/215.

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Abstract TEACHING MOURNING By Julie Ann Crowder, MAE A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art Education at Virginia Commonwealth University. Virginia Commonwealth University, 2011 Major Director: Sara Wilson McKay, Ph.D. Interim Department Chair and Associate Professor, Art Education As a researcher I sought to understand the following research questions: 1) What were the official policies and protocols that went into effect at William Fox Elementary School after the murder of the Harvey family in January of 2006? 2) What were the experiences of the staff and parents at William Fox Elementary School after the murder of the Harvey family? 3) What critiques and or suggestions do the employees and parents have of the personal or official policies or protocols, which were carried out after the murder of the Harvey family? The purpose of this research was layered. This research was necessary in order to create an accurate picture of the difficult emotional reactions of teachers attempting to teach students how to mourn while mourning themselves. Additionally, this study identified how teachers were able to continue about the business of every day life and education when they were dealing with difficult emotional issues. Participants at William Fox Elementary experienced the tragic death of the Harvey family on New Year’s Day 2006. This research illuminated possible new ways of looking at mourning, the public/media, and ways of handling these difficulties. This research could lead to the creation of new policies or protocols that would better serve the mourning populations in schools, which lose members to violence. The members of this study were William Fox Elementary employees or parents who were on present during and after the Harvey murders. Special attention was given to the IRB process. Seven participants who had a great deal of contact with Stella were selected. The PTA-funded Art Explosions teacher, Stella Harvey’s classroom teacher, the principal, the guidance counselor, a parent, the music teacher, and the librarian were all participants. Significant findings include: the importance of the speed and selection of information given to adults at the time of a tragedy, and the child information networks that form when children are not completely informed. Additionally a variety of information and thoughts are given on the subject of mourning, both public and private. Implemented and suggested healing techniques were investigated. Lastly, several uncomfortable issues that arose, such as race and rage were explored.
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McCarthy, Andrew D. "Mourning men in early English drama." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Dissertations/Spring2010/a_mccarthy_020910.pdf.

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Brennan, Michael. "Mourning identities : Hillsborough, Diana and the production of meaning." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/50750/.

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‘Mourning Identities: Hillsborough, Diana and the Production of Meaning’ explores the meaning-making processes which contributed to the widespread public mourning that followed the Hillsborough stadium disaster of 1989 and the death of Princess Diana in 1997. It does so by the textual analysis of a sample of the public condolence books signed following these events and by drawing upon autobiographical stories related to each of them produced using the method known as ‘memory work’. Drawing upon a variety of theoretical frameworks, including psychoanalytic, poststructuralist and Bakhtinian influenced dialogics, it suggests that a range of social identities were ‘hailed’ and discursively mobilised in the public mourning events that followed the Hillsborough disaster and the death of Princess Diana. It further suggests that identification is an indispensable and precursory aspect of public mourning, which is summoned and given shape by epistolary and narrative practices of the self. Public mourning of the sort considered here is theorised along two principal lines: the iconic and the totemic. The former, it is argued, can be seen to relate to the largely feminine global structures of feeling through which the public mourning for Princess Diana were articulated, whilst the latter can be seen to relate to the largely masculine local structures of feeling through which the public mourning following the Hillsborough disaster were configured. In turn, it suggests that aspects of resistance to the public mourning following each of the events considered as case studies here can in themselves be considered as aspects of mourning, albeit for something other than the obvious referents of loss during these events. It further points to the situated social identity of the researcher as both instrumental not only to the motivation for, but to the outcomes of social research.
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Cross, Katerina P. S. "From celebration to a "culture of lament" : a practical theological study of responses to suffering through the lens of a "secular congregation"." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=236308.

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This thesis explores the problematic nature of theodicy (theological explanations for suffering). It questions what kind of meaning-making might occur in place of theodicy in societies which are undergoing a change in attitude to religious belief and practise. In doing so, it looks to shed light on how the Church might respond to instances of mass suffering (referred to as 'ground-zero' events) and other traumatic experiences in the current social context. Drawing on a practical theological methodology, and employing ethnographic tools of investigation, this thesis includes data collected via interviews (thirty in total) and observation with the Sunday Assembly. This burgeoning global movement is not religiously affiliated, yet it draws on the structures and practises of the Christian Church to the extent that it has been referred to as an 'atheist church' (and, laterally, a 'secular congregation.') Data gathered at communities in London and Edinburgh provides a critical basis for theological reflection on the group's responses to suffering. The key finding of this thesis concerns the Sunday Assembly's adoption of a philosophy of celebration, which, in practise, can lead to the 'passing over' of suffering on both a global and individual scale. In response, this thesis concludes with a reflection on the Church's propensity to also avoid discussion of suffering, and suggests that churches resist this by constructing a 'culture of lament' in which suffering might be acknowledged and addressed. This practise is intended to prevent Christian communities from evading traumatic events, or else reverting to potentially harmful theodicies.
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White, R. H. G. "Freud's memory : textuality, art and the problem of mourning." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286635.

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Nyanjaya, Ananias Kumbuyo. "A pastoral approach to suppression of the grief process among males leading to death a reflection on an African perspective in Zimbabwe /." Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-10302007-153911/.

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Toland, Lisa Marie. "Resurrecting the dead the language of grief in a seventeenth century English family /." Oxford, Ohio : Miami University, 2003. http://www.ohiolink.edu/etd/view.cgi?miami1058455953.

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Thesis (M.A.)--Miami University, Dept. of History, 2003.
Title from first page of PDF document. Document formatted into pages; contains ii, 54 p. : ill. Includes bibliographical references (p. 50-54).
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Tabony, Joanna. "Death, Death, I Know Thee Now!' Mourning Jewelry in England and New Orleans in the Nineteenth Century." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/134.

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Descriptions of mourning adornments in England and New Orleans in the nineteenth century are used to argue that many of the customs of mourning in England -- the designs, themes, and materials -- also were present in New Orleans. This study draws from these observations and sources to suggest that mourning practices involving jewelry and costume became more functional and less formal in both England and New Orleans as the century progressed, while French customs retained and even grew in complexity. The high level of trade between Britain and New Orleans during the nineteenth century, reflected in the jewelry and costume of Louisiana, supports an argument that this new world city was influenced by, absorbed and incorporated social customs and activities that were useful to them, drawn from a wider range of cultures and peoples than perhaps are usually mentioned in historical accounts.
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Barry, Marie Porterfield. "Lesson 04: Death and Mourning in the Prehistoric and Ancient World." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/5.

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This lesson covers death and mourning in the prehistoric and ancient world by discussing related art and architecture including, but not limited to, Varna Necropolis, The Flood Tablet / The Gilgamesh Tablet, Ziggurat in Uruk, Royal Tombs of Ur, Great Pyramids of Giza, Tomb of King Tutankhamun, and Book of the Dead of Hunefer.
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Books on the topic "Mourning customs in art"

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Waterston, Darren. Splendid grief: Darren Waterston and the afterlife of Leland Stanford Jr. Stanford, CA: Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, 2009.

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Waterston, Darren. Splendid grief: Darren Waterston and the afterlife of Leland Stanford Jr. Stanford, CA: Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, 2009.

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Waterston, Darren. Splendid grief: Darren Waterston and the afterlife of Leland Stanford Jr. Stanford, CA: Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, 2009.

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Mourning, gender, and creativity in the art of Herman Melville. New Haven: Yale University Press, 1988.

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Pimería Alta Historical Society (Nogales, Ariz.) and University of Arizona. Southwest Folklore Center., eds. Respect & continuity: The arts of death in a border community. Nogales, Ariz: Pimeria Alta Historical Society, 1985.

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Women Art Patrons and Collectors Conference (WAPACC Organization), ed. Constructions of death, mourning, and memory conference (October 27-29, 2006) Proceedings. Woodcliff Lake, NJ: WAPACC Organization, 2006.

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Merino, Eduardo Fernández. La virgen de luto. Madrid: Vision Libros, 2012.

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Ramírez, Doris E. Lugo. Ante el espejo de la muerte: Aproximación a la iconografía funeraria en Puerto Rico : análisis de tumbas y pinturas puertorriqueñas representativas de finales del siglo XIX al inicio del XXI. San Juan, Puerto Rico: Isla Negra Editores, 2016.

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H, Zirpoli Lilian, and Women Art Patrons and Collectors Conference Organization., eds. Constructions of death, mourning, and memory Conference, October 27-29, 2006: Proceedings : WAPACC text and studies. Woodcliff Lake, New Jersey: WAPACC Organization, 2006.

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Memory and mourning: Studies on Roman death. Oxford [UK]: Oxbow Books, 2011.

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Book chapters on the topic "Mourning customs in art"

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Dreifuss-Kattan, Esther, Howard Bass, Zizi Raymond, and Esther Dreifuss-Kattan. "Art, death and mourning." In Cancer and Creativity, 147–68. Abingdon, Oxon; New York, NY: Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781351206273-11.

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Jenkins, Louie. "Trace: Shame and the Art of Mourning." In Staging Loss, 197–213. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97970-0_12.

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Griffith, Ezra E. H., and George E. Mahy. "Spiritual Baptist Mourning: A Model of Contemplative Meditation." In Psychiatry The State of the Art, 685–90. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4757-1853-9_109.

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Ullrich, Jessica. "A Dog’s Death: Art as a Work of Mourning." In Beyond the Human-Animal Divide, 113–39. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-349-93437-9_6.

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Bory, Alison. "A Dance After All Hell Broke Loose: Mourning as “Quiet” in Ralph Lemon’s How Can You Stay in the House All Day and Not Go Anywhere?" In Art and Dance in Dialogue, 179–95. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44085-5_11.

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Shahab, Palvasha. "The Land of Mourning: A Conversation with Adeela Suleman." In Interdisciplinary Studies in Human Rights, 121–28. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73835-8_7.

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AbstractAdeela Suleman is a globally celebrated artist and sculptor. She was front and centre of the artists’ response to the Ali Enterprises Factory Fire of 2012. Under her leadership, the Vasl Artists’ Association sent out a call for submissions to artists across Pakistan and the overwhelming response was curated in the form of the exhibition titled: ‘Awaaz Baldia Factory Inferno: Artists Respond’ which was hosted by the Arts Council of Pakistan in February 2013. Her monument dedicated to those who lost their lives in the fire was also part of the one year anniversary of the fire has been placed at the Pakistan Institute of Labour Education and Research (PILER). She also facilitated several international collaborations and artists intending to engage with the fire. Palvasha Shahab sat down with her to explore her thoughts about the role that art and artists play in the face of calamities and social injustices, her relationship to Karachi and her own response to the fire.
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"LAW CONCERNING THE SEVEN AND THE THIRTY DAYS OF MOURNING THAT ARE ANNULLED BY A FESTIVAL." In Laws and Customs of Israel, edited by Gerald Friedlander, 476–80. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463213671-124.

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Gerard, Philip. "The Afterlives of the Dead." In The Last Battleground, 226–32. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469649566.003.0033.

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Many of the dead in both armies are buried in shallow graves on or near the field of battle. Some are retrieved by family or friends and carried home for burial in “body baskets,” preserved in a mixture of salt, alum, and saltpeter. Embalming is rare among fallen Confederates. As death becomes wholesale, elaborate pre-war customs for mourning and grief give way to practical sharing of mourning crepe among widows, the shortening of mourning periods, and memorial rituals that must substitute for the actual burial of a body that may never be recovered. Sentimental songs like the “The Vacant Chair” honor the courage of fallen husbands and sons, and survivors cherish the stories and letters of the lost ones.
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"MOURNING." In Death Customs, 100–120. Routledge, 2013. http://dx.doi.org/10.4324/9780203040966-15.

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"MOURNING." In Death Customs, 235–44. Routledge, 2013. http://dx.doi.org/10.4324/9780203040966-26.

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Conference papers on the topic "Mourning customs in art"

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Bhat, Raj Nath. "Language, Culture and History: Towards Building a Khmer Narrative." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.3-2.

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Genetic and geological studies reveal that following the melting of snows 22,000 years ago, the post Ice-age Sundaland peoples’ migrations as well as other peoples’ migrations spread the ancestors of the two distinct ethnic groups Austronesian and Austroasiatic to various East and South–East Asian countries. Some of the Austroasiatic groups must have migrated to Northeast India at a later date, and whose descendants are today’s Munda-speaking people of Northeast, East and Southcentral India. Language is the store-house of one’s ancestral knowledge, the community’s history, its skills, customs, rituals and rites, attire and cuisine, sports and games, pleasantries and sorrows, terrain and geography, climate and seasons, family and neighbourhoods, greetings and address-forms and so on. Language loss leads to loss of social identity and cultural knowledge, loss of ecological knowledge, and much more. Linguistic hegemony marginalizes and subdues the mother-tongues of the peripheral groups of a society, thereby the community’s narratives, histories, skills etc. are erased from their memories, and fabricated narratives are created to replace them. Each social-group has its own norms of extending respect to a hearer, and a stranger. Similarly there are social rules of expressing grief, condoling, consoling, mourning and so on. The emergence of nation-states after the 2nd World War has made it imperative for every social group to build an authentic, indigenous narrative with intellectual rigour to sustain itself politically and ideologically and progress forward peacefully. The present essay will attempt to introduce variants of linguistic-anthropology practiced in the West, and their genesis and importance for the Asian speech communities. An attempt shall be made to outline a Khymer narrative with inputs from Khymer History, Art and Architecture, Agriculture and Language, for the scholars to take into account, for putting Cambodia on the path to peace, progress and development.
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Ci, Van. "Comparison of the customs of the wedding ceremony in China and Russia." In Scientific trends: Philology, Culturology, Art history. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-26-02-2020-03.

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Zhu, Bingyan, and Shixiang Liu. "The Marine Cultures and Customs in Taiwan: Formation, Development and Characteristics." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.110.

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LI, SHAN, and SHENG-DONG YUE. "THE VIGOROUS SINGING THROUGH HISTORY—AN INVESTIGATION REPORT OF RONG COUNTY'S CARRYING WORKERS’ CHANT." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35729.

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Carrying workers’ chant in Rong County, a county in Zigong city of Sichuan province, has a long history. It is an ancient traditional music culture created and developed by working people in the process of long-term collaborative labor. The carrying workers’ chant on this piece of land is indispensable in people’s daily labor and maintains close contact with production and life. It organically combines folk music with strong physical labor, which has both musical beauty and labor beauty, and has a wealth of cultural connotation. Through long-term field investigations and visits, we start with the historical background, ontological characteristics, main artistic features, living space and other aspects of the carrying workers’ chant in Rong County, and dig out and interpret its cultural and spiritual connotations based on case analysis. Rong County is located in the southwest of Zigong City. The area is influenced by the salt industry culture and the content of folk music is rich and diverse. "Carrying workers’ chant" is a representative of local folk music, among which the chant of carrying stones and carrying workers’ chant of mourning are particularly famous. In 2016, "Salt Workers’ chanting" became the fifth batch of intangible cultural heritage in Zigong City. As the representative work of "Salt Workers’ chant in Zigong", "Carrying workers’ chant" is very necessary to be carried out through systematic investigation and research.
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Li, Zhenyu. "Discussion on Folk Customs and Culture and Art of Architectural Decoration of Changle Academy Palace in Hakka Area." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.215.

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Gaokun, Wang, and Ms Renzenglaqingwangmu. "A Discussion and Analysis on the Customs of Polytheism in the “June Gods Fair” in Guide County, Qinghai Province, China." In Proceedings of the 5th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icelaic-18.2018.166.

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Banaru, Svetlana, Aurelia Litvin, and Alexandru Nistiriuc. "Revitalization of tangible and intangible cultural heritage elements – bridge between generations." In 4th Economic International Conference "Competitiveness and Sustainable Development". Technical University of Moldova, 2022. http://dx.doi.org/10.52326/csd2022.11.

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The revitalization of heritage elements is possible thanks to the focus of communication efforts with visitors of the third age, with folk craftsmen and authors of many works of folk art that already have a history. The choice of means of communication is mostly made by choosing from the categories of the target audience, organizing different creative workshops; sessions in which to research theoretically but also practically some techniques for making valuable works; traditional native song and dance activities; traditional holidays in which to promote the folk wear, the clothing of the inhabitants both related to hand weaving, factory, as well as sewing, embroidery, braiding, etc.; worship customs and related to calendar holidays that have many scenarios that include elements of both material and immaterial goods.
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Smaili, Ahmad. "Design for Cultural Difference." In ASME 2002 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/detc2002/edc-34381.

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Design, the cross-fertilization of science and art, is a basic function of all species that occupy a masterfully orchestrated and designed ecosystem in which man is but one. On the other hand, culture with its complex mix is the expression of what a group of people creates — arts, beliefs customs, institutions, products and thought — at a particular time within the context of the natural environment. Design and culture therefore are intimately linked and undoubtedly influence each other. This suggests that designers, with their problem solving skills and keen interest to preserve nature and advance quality of life are capable of reshaping culture in a positive way. This paper is not intended to provide specific answers on how to achieve that, but it highlights some aspects of the design-culture interface and asserts that designers, armed with good will and respect for all have under their disposal a strong force by which they can help fashion a peaceful world. The paper also addresses possible things designers can do to influence that objective.
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Wardani, Ria Kusuma. "Creativity and Innovation in Cultural Heritage Management in Plunturan Village, Pulung District, Ponorogo Regency, East Java Province of Indonesia towards Tourism Village." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-31.

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Indonesia is the largest country in the world. One of the legendary areas is Ponorogo Regency. Focused on Plunturan Village which has cultural diversity which is trying to become a tourist village. Researchers are interested in taking this research because Plunturan Village relies more on customs and has a unique cultural heritage. Data collection techniques used are interviews, observation and literature study. The research method used is descriptive qualitative. The creativity and innovation in the management of cultural heritage include the art of Reyog Ponorogo in various versions and generations, Gajah-Gajahan and Keling, Orek-Orek and Tledekan, Bumbung Suloyo, Karawitan, Oncor Obor, and the Selawenan Festival. Indonesia adalah negara terbesar di dunia. Salah satu wilayah yang melegenda adalah Kabupaten Ponorogo. Difokuskan pada Desa Plunturan yang memiliki keberagaman budaya yang sedang mengupayakan menjadi desa wisata. Peneliti tertarik untuk mengambil penelitian ini karena Desa Plunturan lebih mengandalkan adat istiadat dan memiliki keunikan pada warisan budayanya. Teknik pengambilan data yang digunakan yaitu wawancara, observasi dan studi literatur. Metode penelitian yang digunakan adalah deskriptif kualitatif. Adapun bentuk-bentuk kreativitas dan inovasi dalam pengelolaan warisan budaya antara lain kesenian Reyog Ponorogo dalam berbagai versi dan generasi, Gajah-Gajahan dan Keling, Orek-Orek dan Tledekan, Bumbung Suloyo, Karawitan, Oncor Obor, dan Festival Selawenan.
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Uçak, Olcay. "Towards a Single Culture in Cross-Cultural Communication: Digital Culture." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.007.

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Culture is a multifaceted, complex process which consists of knowledge, art, morals, customs, skills and habits. Based on this point of view of Tylor, we can say that the culture is the human in the society, his learning styles and the technical or artistic products that originate from these learning styles, in other words, the content. In antropology it is argued that when the concept of culture is considered as a component in a social system, the combination of the social and cultural areas form the socio-cultural system. Approaches that handle culture within the socio-cultural system are functionalism (Malinowski), structural-functionalism (Radliffe-Brown), historical-extensionist (Kluckhohn, Krober), environmental adaptive (White), while the approaches that treat culture as a system of thought are cognitive (Goodenough), structural (Levi Strauss) and symbolic (Geertz) approaches. In addition to these approaches that evaluate cultures specific to communities, another definition is made according to the learning time: Margeret Mead, Cofigurative Culture. In order to evaluate today’s societies in terms of culture, we are observing a new culture which has cofigurative features under the influence of convergent technologies (mobile, cloud technology, robots, virtual reality): Digital Culture. This study aims to discuss the characteristics of the digital culture, which is observed after the theoretic approaches that define different cultures in cross-cultural communication (Hofstede’s Cultural Dimension and Cofigurative Culture) and called as network society by Manual Castells and accelerated during the Covid19 pandemic, in other words the common communication culture. Common cultural features will be studied through methods of semiology and text analysis upon digital contents which are starting to take hold of cross-cultural communication, a comparison between cross-cultural communication and communicative ecology will be made, the alteration in the cultural features of the society will be examined via visual and written findings obtained.
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