Journal articles on the topic 'Popular culture – 21st century'
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Bakić-Mirić, Nataša, Anita Janković, and Nadežda Stojković. "Popular culture and intercultural communication: The voice and the echo." Zbornik radova Filozofskog fakulteta u Pristini 52, no. 2 (2022): 13–28. http://dx.doi.org/10.5937/zrffp52-33920.
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The primary goal of popular culture as the dominant form of culture in the 21st century should be to unite people in a cultural synergy. Popular culture as such should insist on the richness of diversity, not on stereotypes, which is the case today. This paper will analyze the concepts of communication, culture, intercultural communication, cultural imperialism as well as the influence of popular culture on intercultural communication. Popular culture is a key component in creating a social identity in the 21st century. It provides a sense of belonging and togetherness to people around the globe. That is why they rely on popular culture to understand the world around them, and for most people, the view of the world exists only through the prism of popular culture. Although popular culture could be a hybrid space for bringing cultures closer, this is impossible today because the media deepens the gap between cultures with negative stereotypes by looking at other cultures through their own cultural prism. In order for cultures to come closer to one another, the media must be comprehensive in the way they present images in the broad category of meanings of the concepts of 'culture', 'race' and 'nation' so that people understand that culture exists on multiple levels of complexity, while popular culture presents a superficial (visible) part of culture based on which people mistakenly form a perception of a culture, which can be the cause of misunderstandings in intercultural communication.
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Vetlitsyna, Irina M. "Opera in the Context of Popular Culture." Observatory of Culture, no. 2 (April 28, 2014): 55–60. http://dx.doi.org/10.25281/2072-3156-2014-0-2-55-60.
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Is devoted to aesthetic transformation of the status of opera at the turn of the 21st century, which led to a change in functioning of this musical history phenomenon. In its many manifestations opera began to live according to the laws of show business, involving a whole range of marketing ploys aimed at enhancing, maintaining and satisfaction of public interest in opera
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Montuori, Alfonso, and Gabrielle Donnelly. "Creativity at the Opening of the 21st Century." Creative Nursing 19, no. 2 (2013): 58–63. http://dx.doi.org/10.1891/1078-4535.19.2.58.
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At the beginning of the 21st century, creativity is changing, both in the way we conceptualize and understand it and in the practices of creativity. In this article, we summarize the emerging changes and articulate their outlines, drawing on creativity research, popular culture, the “networked” society, and a variety of other sources.
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Aggarwal-Schifellite, Manisha. "Book Review: Performing American Masculinities: The 21st Century Man in Popular Culture." Men and Masculinities 17, no. 1 (March 24, 2014): 94–95. http://dx.doi.org/10.1177/1097184x13511253.
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BENTLEY, R. ALEXANDER, and PAUL ORMEROD. "ACCELERATED INNOVATION AND INCREASED SPATIAL DIVERSITY OF US POPULAR CULTURE." Advances in Complex Systems 15, no. 01n02 (March 2012): 1150011. http://dx.doi.org/10.1142/s0219525911003232.
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We observe a marked increase in the spatial homogeneity of the popularity of first names across the United States in recent decades. We explain this by calibrating a modified standard model of neutral cultural evolution to the record of first name popularities for the United States as a whole since 1900 and across the individual states over the last 50 years. We obtain estimates of both the temporal and spatial diversity of the speed of cultural evolution during the 20th century and early 21st century. We find that the speed of innovation of popular baby names accelerated substantially since the end of the 20th century. We suggest that the increased inventiveness has driven a drift process that increased the geographic diversity across the United States.
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Hatef, Azeta. "The politics of being a woman: feminism, media and 21st century popular culture." Feminist Media Studies 16, no. 4 (June 8, 2016): 750–51. http://dx.doi.org/10.1080/14680777.2016.1190049.
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Matveeva, Irina I., and Olga V. Yurkina. "Postmodern Techniques in Popular Music of the Early 21st Century." Observatory of Culture 16, no. 2 (July 5, 2019): 196–207. http://dx.doi.org/10.25281/2072-3156-2019-16-2-196-207.
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The article is devoted to the issue of functioning of postmodern techniques in modern pop music. The authors analyze the most striking of them on the basis of some selected songs. This paper is relevant due to the lack of detailed research on the issue of postmodernism in modern popular music despite the fact that, in the modern paradigm of humanitarian knowledge, postmodernism as a cultural phenomenon is becoming a promising scientific direction. Scientific novelty of the article is determined by the fact that it begins the process of systemic understanding and analysis of the situation on the music stage. By the example of modern pop music, the authors show that, despite the crisis of culture caused by the advent of the postmodern era, any transitional state is an impetus for searching and finding new aesthetics. The article summarizes theoretical aspects of postmodern discourse concerning those techniques that fall into the field of view of researchers (intertext, meta-field, simulacrum, deconstruction, S-code, etc.). Based on the opinion of famous scientists, the authors introduce the conceptual apparatus necessary for the subsequent analysis of the topic. The article presents and analyzes some of the most characteristic techniques of postmodern stylistics in the music of popular Western and Russian performers (Alice Merton, “Baha Men”, “Maroon 5”, F. Kirkorov, A. Vorobyov, L. Imangulova, and T. Shamanina). There are noted some cases of intertextual references and peculiarities of their work in newly created songs, as well as such techniques as mash-up, remake, etc. Therefore, this paper, to some extent, fills the gap in the study of the issue of postmodern in modern popular music.
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Polakowski, Filip. "Od undergroundu do mainstreamu – rozwój polskiego black metalu w XXI wieku." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 3, no. 10 (2018): 108–16. http://dx.doi.org/10.24917/20837275.10.3.9.
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From underground to mainstream – evolution of Polish black metal in the 21st century Black metal in the 21st century, especially In Poland is resurrecting. The 1990’s was a rough time for this musical genre due to its rebellious nature. Modern black metal, highly developed by polish bands, is highly different than its generic predecessor. What is observed is an innovative direction to black metal form and content which structures an avant-garde genre, aspiring to enter the popular culture.
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Aniculăese, Ovidiu. "Leisure Traveling for 21st Century Americans: Mass Tourism as a Cultural Trap." American, British and Canadian Studies Journal 21, no. 1 (January 1, 2014): 30–39. http://dx.doi.org/10.2478/abcsj-2013-0018.
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Abstract The majority of mass men in the American environment exhibit predictable and similar patterns of behavior as tourists. Pre-Industrial Revolution modes of traveling as liberation and exploration are now thwarted by the leveling effect of globalization and the illusion of information fueled by the all-pervasive mass media. Claims about the role of routine or the quest for authenticity are challenged as genuine motivations for mass tourism. Both the American culture and travel destinations in developing countries have authentic content that is largely ignored in favor of sensationalism and cliché. Excessive regimentation in the US creates the acute need for transcending to which popular culture finds accessible solutions through tourism: an experience of concentrated yet vague exoticism which feels liberating without yielding exploration. Travel destinations are shaped to American standards of material comfort and even adopt western popular culture icons in an effort to supply accessible familiar experiences of western entertainment. Various kinds of difficulty that once stimulated travelers are now relieved by travel agencies, rendering the experience of traveling less personal and more like TV entertainment. Old notions of space, time and reality itself are blurred in favor of a hyper-reality where fiction dominates.
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Pop, Doru. "Popular Culture Wars: Racism, Gender and Empire and the Transformations of 21st Century Capitalism." Ekphrasis. Images, Cinema, Theory, Media 28, no. 2 (December 20, 2022): 5–48. http://dx.doi.org/10.24193/ekphrasis.28.1.
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Nelson, Angela M. "“At This Age, This Is Who I Am”: CeCe Winans, Exilic Consciousness, and the American Popular Music Star System." Open Cultural Studies 2, no. 1 (November 1, 2018): 475–85. http://dx.doi.org/10.1515/culture-2018-0043.
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Abstract My paper addresses the intersections of the American popular music star system, Black female Gospel singers, Gospel Music, and the exilic consciousness of the Sanctified Church with special attention to life and music of Gospelwoman Priscilla Marie “CeCe” Winans Love. I argue that CeCe Winans and the marketing campaign for Winans’ album Let Them Fall in Love, is indicative of the encroachment of American popular music’s star system into self-elected “exiled” Gospel Music and into the lives of “exiled” Gospelwomen. Gospelwomen are 20th and 21st century urban African American Protestant Christian women who are paid for singing Gospel Music and who have recorded at least one Gospel album for national distribution. The self-elected exile of Gospelwomen refers to their decision to live a life based on the values of the Kingdom of God while encountering and negotiating opposing values in American popular culture. Gospelwomen and Gospel Music are impacted by the demands of stardom in America’s celebrity culture which includes achieved success and branding. Gospelwomen negotiate these components of stardom molding them into mechanisms that conform to their beliefs and needs.
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Yoshida, Yuko. "A Comparative Study of Momotaro Story as a Popular Culture from the 19th Century to the 21st Century." Korean Journal of Japanese Language and Literature 76 (March 31, 2018): 317–37. http://dx.doi.org/10.18704/kjjll.2018.03.76.317.
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Mollett, Margaret. "Apocalypticism and Popular Culture in South Africa: An Overview and Update." Religion & Theology 19, no. 3-4 (2012): 219–36. http://dx.doi.org/10.1163/15743012-12341240.
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Abstract Apocalypticism, in the form of premillennial dispensationalism, based on foundational texts in Daniel, 2 Thessalonians and the book of Revelation, took root in South Africa through missionaries from the United States in the late 19th and early 20th century. At first associated with Pentecostal churches and splinter groups from traditional churches belief in an imminent rapture followed by the tribulation, the millennium and final white throne judgment characterise an ever-widening circle of so-called charismatic groups. This heightening of expectation can mainly be ascribed to the influence of Hal Lindsey during the 70s and 80s and Tim LaHaye during the first decade of the 21st century. Rapid growth in media technology and the popularity of religious fiction has resulted in a merging of apocalyptic expectation with popular culture. This article probes the nature of “popular culture” and its relation to religion in South African context, and indicates a route for further enquiry and research. It concludes with the question, “What obligation does this lay on the scholarly guild?”
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Gause, Charles P. "Guest Editor's Introduction: Edu-tainment: Popular Culture in the Making of Schools for the 21st Century." Journal of School Leadership 15, no. 3 (May 2005): 240–42. http://dx.doi.org/10.1177/105268460501500301.
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As we head into the 21st century, rap music/hip-hop is in the earth-wide sound stream, the child of soul, R & B and rock n roll, the by-product of the strategic marketing of Big Business, ready to pulse out to the millions on the wild, wild web. It's difficult to stop a cultural revolution that bridges people together.
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Febrina, Della Putri. "HYBRIDITY IN POPULAR CULTURE: A TRANSNATIONAL ANALYSIS OF AMERICAN ADAPTATIONS OF JAPANESE MOVIES IN 21st CENTURY." Rubikon : Journal of Transnational American Studies 4, no. 1 (July 19, 2019): 75. http://dx.doi.org/10.22146/rubikon.v4i1.47857.
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American popular culture has developed from time to time in producing the products. In the progress, the popular product has been modified to satisfy the taste of the consumer and Hollywood is being the one of popular product maker which applied modifications in manufacturing movies; and the result of the development is hybridity seen in Hollywood movies.The journal is written under American Studies discipline, by applying transnational analysis as the basis of the study. Furthermore, the research also used the theory of hybridity in constructing the analysis which concerned about American adaptations of Japanese original movies, namely The Grudge, Hachi: A Dog’s Tale, and Godzilla. The method used in the journal is the qualitative research which comprises the library research by analyzing the three movies as the primary data and the information of the production as the secondary data.There are some conclusions met in the analysis. Being the first one is the three movies definitely adopt American and Japanese narratives and build a new sphere where the two nations living under the same frame. The adoption includes adoption of values, language, and iconic figure in Japan. Then, the second discussion which intended to see the changing of values and taste in Hollywood has resulted some conclusions that the Hollywood has power in shifting the values of the original movies which defined as eastern values to be the ones which related to American values and the three American adaptations in the journal trigger the emergence of American movies with Asian narratives. Keywords: Hybridity, transnational, Hollywood, movies, popular culture, adaptation
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McLeod, Ken. "Afro-Samurai: techno-Orientalism and contemporary hip hop." Popular Music 32, no. 2 (May 2013): 259–75. http://dx.doi.org/10.1017/s0261143013000056.
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AbstractThis article examines the practice and recent rise in the use of various aspects of Japanese popular culture in hip hop, particularly as manifest in the work of RZA, Kanye West and Nicki Minaj. Often these references highlight the high-tech, futuristic aesthetic of much Japanese popular culture and thus resonate with concepts and practices surrounding Afro-futurism. Drawing on various theories of hybridity, this article analyses how Japanese popular culture has informed constructions of African American identity. In contrast to the often sensational media coverage of racial tensions between African American and Asian communities, the nexus of Japanese popular culture and African American hip hop evinces a sympathetic connection based on shared notions of Afro-Asian liberation and empowerment achieved, in part, through a common aesthetic of technological mastery and appropriation. The synthesis of Asian popular culture and African American hip hop represents a globally hybridised experience of identity and racial formation in the 21st century.
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Fackler, Katharina. "Of Stereoscopes and Instagram: Materiality, Affect, and the Senses from Analog to Digital Photography." Open Cultural Studies 3, no. 1 (January 1, 2019): 519–30. http://dx.doi.org/10.1515/culture-2019-0045.
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Abstract This article addresses popular claims that photography has been “dematerialized” in the digital era. It engages a wide range of critical writings about photography from the early 19th to the 21st century to demonstrate that different versions of these claims have always formed an important part of photography criticism. However, rather than doing justice to photographs’ materiality or their complex entanglements with what has been considered material and immaterial, human and nonhuman, they have tended to somewhat limit our understanding of the medium’s material, sensory, and affective valences. This article argues that a sustained engagement between visual culture studies, sensory studies, and the new materialisms can help us understand more fully both analog and digital photography’s contingent position within the material world, varying sensory ideologies, and different subjectivities.
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Fuchs, Michael, and Kyle William Bishop. "Zombies and the American Gothic: An Interview with Kyle William Bishop." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 129–44. http://dx.doi.org/10.37536/reden.2022.3.1824.
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Kyle William Bishop is Professor of English at Southern Utah University, where he has been teaching since 2000. He teaches courses about American literature and culture, fantasy and horror literature, film studies, and English composition. Kyle Bishop is the author of American Zombie Gothic: The Rise and Fall and Rise of the Walking Dead in Popular Culture (McFarland, 2010) and his second volume on the zombie is called How Zombies Conquered Popular Culture: The Multifarious Walking Dead in the 21st Century (McFarland, 2015). He is also the co-editor of the book The Written Dead: Essays on the Literary Zombie (McFarland, 2017).
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Filiciak, Mirosław, and Piotr Toczyski. "The History of Sharing Video Content in Poland: Analog copies of the 1980s as a Factor of Digital Peer Re-production in the 2000s." Studies in Global Ethics and Global Education 9 (December 22, 2018): 60–77. http://dx.doi.org/10.5604/01.3001.0012.8148.
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We depict practices of Polish audiences in communist Poland and the transition of these practices after the fall of communism. In Eastern Europe, digital distribution of video content has been built on semi-peripheral culture of VHS tapes copying and sharing. Although the unique Polish 20th century historical trajectory contains the experience of being excluded from Western popular culture, the first decade of 21st century brought unlimited digital access to audiovisual content. Peer re-production, a non-creative mode of participation increased. Our article provides new historical data illustrating this specificity both in terms of historical experience and globalizing technological progress.
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Kahn, Ronald. "Hartz, Political Culture, and Supreme Court Decision Making in the 21st Century: Questioning Popular Constitutional Theory." Good Society 16, no. 1 (January 1, 2007): 46–53. http://dx.doi.org/10.2307/20711250.
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Kahn, Ronald. "Hartz, Political Culture, and Supreme Court Decision Making in the 21st Century: Questioning Popular Constitutional Theory." Good Society 16, no. 1 (January 1, 2007): 46–53. http://dx.doi.org/10.5325/goodsociety.16.1.0046.
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Ronald Kahn. "Hartz, Political Culture, and Supreme Court Decision Making in the 21st Century: Questioning Popular Constitutional Theory." Good Society 16, no. 1 (2007): 46–53. http://dx.doi.org/10.1353/gso.0.0006.
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Rani Barooah, Papori. "SPECTACULAR SHAKESPEARE IN THE 21ST CENTURY CINEMA: MERGE OF CULTURES." International Journal of Advanced Research 8, no. 10 (October 31, 2020): 624–32. http://dx.doi.org/10.21474/ijar01/11885.
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In the entire gamut of publication and performance history, William Shakespeare is one of the most popular names and most of his plays have been acted and reacted, adapted and published in various forms. In many countries, to be particular, in India, perhaps due to the colonial heritage, Shakespeare has never ceased to fascinate – both in the pre- and post-independence era. Indian cinema has seen many versions of his plays in popular cinema. Amongst all the performances of Shakespeares plays, Vishal Bharadwaj movie Omkara (2006) may be considered as one of the best ever Indianized performances of his play Othello. This study is an attempt to critically study the recreation of Othello in the Indian setting in the light of the original play. It is aimed at capturing the universality in the works of Shakespeare to establish the acceptability of his creations in each age, the significance of his citation, and the purchase of his status in various cultural niches and registers. In the adaptation of Shakespeares plays in Indian films, the Bard is not only absorbed into the cultural fabric of India but still maintains a catalyzing presence in post-colonial India.
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Kim, Amee, and Elton McGoun. "K-Pop and K-Car: The Underpinnings of 21st-Century Korean Cultural and Industrial Successes." Central European Management Journal 30, no. 2 (June 15, 2022): 103–34. http://dx.doi.org/10.7206/cemj.2658-0845.77.
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Abstract Purpose: The 21st century has witnessed an explosive growth of both South Korean popular culture (K-pop) and automobiles (K-car) in Western societies. However, K-pop appears to maintain its success better than K-car. This paper will evaluate the origins of K-pop and K-car and determine the distinguishing factors that led to continued K-pop compared to K-car success. Design/methodology/approach: Suggested claims of artistic/cultural and social/industrial traditions unique to South Korea as causes of the growth in K-pop and K-car success in literature will be evaluated based on historical growth in sales of both products in the US market. Factors of continued success will be evaluated based on how well both industries have been able to maintain their (perceived) brand authenticity, which emphasizes ‘Korean’ cultural values. Findings: Unlike claims regarding the importance of traditional culture in shaping business success in emergent states, this paper shows that the success of Korean music and cars is not due to artistic/cultural values. Rather, while optimally identifying progress within industries such as digitization in music, South Korea’s unique ability is to deploy its industrial machinery to transform bolder performances and designs originating elsewhere into inoffensive forms with broad cross-cultural appeal. Especially, K-pop’s continued success can be explained through better attention to perceived authenticity, without distinguishing its products too much from known, Western perspectives. Results also indicate that Korean products do not perform well when companies attempt to take on a leadership role in the industry or develop bold new designs that deviate strongly from Western principles. Originality/Value: The paper provides unique insights in the similarity of product design and branding, providing tools for evaluating perceived authenticity of a brand and its potential impact on sales. It shows that attention to traditional cultural values may not be a (sufficiently) appropriate strategy for international success. From a Central European perspective, lessons learned by the Korean car and culture industries may lead to new strategic uses of branding and marketing local products and of different forms of governmental/industrial structures to emerge out of the periphery.
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Riedl, Mark, and Gita Sukthankar. "Preface." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 1 (June 30, 2021): xiii. http://dx.doi.org/10.1609/aiide.v8i1.12495.
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Welcome to the Eighth AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment (AIIDE’12). Computer games are a staple of today’s popular culture, and have been called the preemi- nent form of entertainment of the 21st century. The computer game industry has become a multibillion- dollar commercial enterprise. Game system require- ments are an important driver of hardware and soft- ware innovation in the computer industry.
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Sabuco i Cantò, Assumpta. "Trans-Visibilities and Sexual Politics: Temporary Passages in Spanish Popular Cultures." Age of Human Rights Journal, no. 18 (June 23, 2022): 19–37. http://dx.doi.org/10.17561/tahrj.v18.7063.
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This article aims to review the models that historically have shaped technologies of gender through popular representations in Spanish culture. First, an anthropological view will be cast on the naturalised Catholic-Francoist models that exalted heterosexual dichotomies and reproductive marriage. This includes an analysis of how, although the criminalization of transsexuals aggravated their situation, resistance movements generated a wide range of cultural references and possibilities for inclusion. Second, the article will review the models associated with Spain’s transition to democracy and their evolution moving on to the beginning of the 21st century. Finally, it will draw an outline of the trans models produced during the past two decades and their popular expressions.
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Stepanyan, K., Y. Gorshunov, and E. Gorshunova. "British state, public and political figures of the late 20th - early 21st century in rhyming slang." Philology at MGIMO 23, no. 3 (September 17, 2020): 42–47. http://dx.doi.org/10.24833/2410-2423-2020-3-23-42-47.
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The article aims at providing an adequate linguistic and sociocultural description of rhyming slang based on the use of the names of prominent British government and public figures and politicians, who were widely represented in the British media at the turn of the 20th and 21st centuries, and are thus included in modern cultural collective memory of the carriers of the English lingual culture. The rhymes contain precedents of onyms − the personal names of well-known, fashionable, popular, or scandalous politicians. The noted tendency of the preferred creation of new rhymes, exploiting the precedent onyms, has become dominant in the development of rhyming slang at the turn of the century. The emergence of rhyming slang units based on the use of the precedent names of politicians and statesmen is a relatively new and insufficiently studied phenomenon while onomastic rhymes that exploit the names of celebrities from the world of cinema, pop music, popular culture and sports are more common and are better studied. The article contains the rhymes that have not yet been recorded in authoritative slang dictionaries. They surely deserve linguistic and sociocultural descriptions.The authors focused on a special and research-promising layer of vocabulary that reflects the sociocultural and historical items in the context of the so-called cultural literacy and is of certain value from the point of view of culture-oriented linguistics, cross-cultural communication and the general study of culture.The results of the research can be useful and interesting for specialists who develop topics of cross-cultural communication, culture-oriented linguistics, linguistic culturology, euphemy, contrastive linguistics of the English and Russian languages.
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Covington, William G. "Eye on the Future: Popular Culture Scholarship into the 21st Century in Honor of Ray B. Browne." American Journalism 15, no. 3 (July 1998): 123–24. http://dx.doi.org/10.1080/08821127.1998.10731994.
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Nekrasova, Irina V. "Modern popular culture and literature in the digital age: The phenomenon of multivariance, serialization, transmedia." Izvestiya of Saratov University. Philology. Journalism 22, no. 3 (August 24, 2022): 356–60. http://dx.doi.org/10.18500/1817-7115-2022-22-3-356-360.
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The article is a review of the collective monograph presented by the team of authors within the framework of the international transdisciplinary project Cult-goods: the phenomenon of mass literature/culture in modern Russia. Published at Yanka Kupala State University of Grodno, the book has gathered many scientists from different countries whose scientific interests are related to the phenomenon of modern mass literature and culture in general. The authors of the articles are philosophers, historians, psychologists, but the vast majority are philologists. Among the studied problems are the social and aesthetic aspects of the phenomenon of seriality; transmedia as a noticeable strategy; genre experiments in modern culture and literature and their diversity; the impact of digitalization on the culture of the 21st century and the like. It is noted that the subject and object of the analysis are diverse phenomena of mass culture in modern society, which makes the peer-reviewed publication useful for representatives of all humanities.
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Shenkman, Valentina I. "Representation of the Discursive Meanings of the Concept ‘School’ in Popular Songs." Вестник Пермского университета. Российская и зарубежная филология 13, no. 4 (2021): 72–79. http://dx.doi.org/10.17072/2073-6681-2021-4-72-79.
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Based on the material of song lyrics of the Soviet and post-Soviet periods (the second half of the 20th century and the early 21st century) considered as supertext, the paper reveals the ways of speech representation of the idea of school in Russian mass culture and analyzes the significant cognitive and discursive features of the concept school. Some of these features (school as an educational institution, school as a building, school as a collective) have been found to correlate with the common language components of the semantics of the corresponding lexeme as presented in lexicographic definitions. Other features (school as the time of childhood, school as the time of first love, school as a place to find friends, school as a special world, school as home, etc.) are determined by the functioning of this concept in particular speech practice – the discourse of mass songs about school in different musical styles and genres (Soviet estrada song, so-called author song, school lyric song, pop, rock, rap songs, etc.). The mass culture of the second half of the 20th and the early 21st centuries is characterized by stereotyping of the ideas of school, which is conditioned by the fact that: first, most of the songs are dedicated to the standard events of school life (First Bell, graduation party, Knowledge Day, Teacher’s Day, class reunion, etc.); second, the target audience of songs about school is, as a rule, limited by age (children, teenagers, young people who are graduating or have graduated from school recently). Based on the previously unexplored material, the paper describes the evolution of the perception of school in the mass consciousness. The study deepens the understanding of the linguistic, cognitive and discursive peculiarities of the concept school as one of the socially significant fragments of the Russian-language worldview.
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Samikova, Nelli. "Mass Culture And Sociocultural Trends In The 21st Century: Interrelations And Realization (on the example of certain pop music samples)." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 21–35. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233096.
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The transformation of the concepts ―mass culture‖, ―pop culture‖ and those artistic genres, which are their components, in the scientific discourse of the 19th-21stI centuries is traced. The ways and results of the interaction of modern culture and society, which is the end-user of the cultural product, are studied. Some examples of modern cinema and music industry are analyzed, and it is determined that these two components being the most used by the consumer spheres of art directly reflect the world social trends. After having considered the key social processes it is possible to conclude that they are brightly represented in the modern popular music and this fact allowed not only to specify and systematize the ways of interaction between the music art and its consumers, but also to trace the ways of how exactly a mass consumer shapes the functioning and development of a popular and mass product. The ideas of combating various discriminations (by gender, identification - as in the case of LGBTQ+ community, by physique, etc.) and the creation of unified polycultural space have been defined as the most common ideas, that are broadcasting by performers. Therefore, in the analysis of selected works of pop music, a polycultural approach was used, which allows to consider them in terms of the synthesis of cultures and the formation of a global product, i.e. the one that will be understood and accessible to everyone. The analytical section includes compositions written by performers over the past few years that makes this analysis relevant and demonstrates that isolated trends occur now and continue to transform and change. Such comprehensive approach to the study of the mass culture can be useful to clarify the definition of this concept, as the interpretation and evaluation of this phenomenon of scientists today differs, despite the significant number of the mass culture studies and its individual forms in various fields of science — philosophy, culturology, sociology, psychology
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Steinbrecher, Bernhard. "Mainstream popular music research: a musical update." Popular Music 40, no. 3-4 (December 2021): 406–27. http://dx.doi.org/10.1017/s0261143021000568.
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AbstractThis article reviews studies that examine internationally circulating music which has reached the upper echelon of all-genre single charts in the 21st century. The examinations will be used as examples for the analysis of sonic aesthetics that are embedded in a particular frame of cultural debate, which the article conceptualises as ‘mainstream popular music’. The research field is then mapped and discussed with regard to prevailing objectives, methods and findings, including elaborations on how future research might advance understanding of the aesthetics within the discourses of mainstream popular music and, thus, of contemporary culture at large. The literature review focuses on music- and listener-based analytical directions and critically reflects on the frequent absence of theoretically well-founded and empirically underpinned, context-sensitive music examinations, particularly with regard to quantitative and audience research. The concluding section calls for a more integrated perspective on mainstream popular music as a discourse and praxis formation.
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Fernando, Lopez-Alves. "The Undemocratic Future of 21st Century Liberal Democracy." Academicus International Scientific Journal 24 (July 2021): 39–59. http://dx.doi.org/10.7336/academicus.2021.24.03.
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What is the future of liberal democracy? Is the “liberal” ingredient of 21st century democracy compatible with its “demos”? Are developed democracies more equalitarian and less stratified than other regimes? Or are present day democracies evolving into something different that needs a new definition? By the early 1990s liberal democracy appeared to have become the dominant system at a global scale. The hope of citizens, scholars, and observers was that the stride toward broader democratization and inclusion would continue. It did, but as this paper argues, the forms adopted by democratic regimes, especially under the fourth industrial revolution, are not necessarily democratic. Rather, liberal democracies have created a new aristocracy that includes high tech monopolies, extremely skilled professionals, and a selected intelligentsia that from social media, conglomerates, and many times Hollywood, supports this new stratified version of the democratic polity. Family dynasties, clientele networks, and mechanisms of reward and punishment reminds us of the pseudo democracies of the late 19th century. Surely the dwindling middle class in developed democracies still have some consumer power based on credit. Global markets offer many more available consumer goods than in the past, creating the illusion that all is going well. Comparatively, however, democracies are doing worse. As this paper shows, 21st century liberal democracies have concentrated wealth in fewer hands than in the recent past, have favored power centralization especially in the executive branch, have stimulated the formation of giant high-tech monopolies, and have generated more rigid forms of social stratification. Liberal democracies, therefore, are weaking, in many cases as the logical consequence of the natural evolution of the liberal doctrine, and in most cases because of profound changes at the global scale. Citizens’ confidence in their elected representatives has been in the decline for a long time. The increasing influence of populist nationalism is an indicator that confidence in traditional politicians continues to deteriorate. Democracy could not be democratic without the popular vote, but it has been precisely the popular vote that has empowered populist nationalist leaders, both from the right and the left. There is not very much that democracies can do about the coming to power via the ballot box of leaders who can rework the system in their favor and, in some cases, destroy it. As the paper shows, changes in the international system of power have not been favorable to liberal democracies, adding to its burdens. They are no longer the optimal model of choice, especially in the less developed world. Finally, I claim that the broken promises of political elites that have traditionally provoked voters’ apathy and loss of trust, have, In the 21st century, created new unintended consequences. They have generated illusions of entitlement and deservingness that, especially young voters, have converted into a sort anti-democratic culture that cares less for the collective and much more for themselves.
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Filippo, Maria San. "Performing American Masculinities: The 21st-Century Man in Popular Culture ed. by Elwood Watson and Marc E. Shaw." Cinema Journal 53, no. 1 (2013): 184–88. http://dx.doi.org/10.1353/cj.2013.0071.
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Zykas, Aurelijus. "Traditional and popular cultural discourses within the post-war development of Japan’s cultural diplomacy." Acta Orientalia Vilnensia 12, no. 1 (January 1, 2011): 105–19. http://dx.doi.org/10.15388/aov.2011.0.1099.
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Vytautas Magnus UniversityThis paper analyses the development of post-war Japan’s cultural diplomacy since 1945, dividing it into four stages. It raises questions about what government institutions have been conducting cultural diplomacy, what the main international challenges have been, what communication tools have been used, and what kind of cultural discourses were prevalent during a particular stage. Special emphasis is put on the division of traditional versus popular cultural discourses within the cultural diplomacy of Japan, mainly concentrating on the important shift in this aspect that occurred at the beginning of the 21st century. This shift was marked by the government’s increasing shift towards popular culture discourse and the deliberate exploitation of that to promote Japan in the world.
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O’Connor, Clare. "The Angel as Wish Image: Justin Bieber, Popular Culture, and the Politics of Absolution." Communication, Culture and Critique 14, no. 3 (June 5, 2021): 471–86. http://dx.doi.org/10.1093/ccc/tcab031.
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Abstract In the early 21st century, the angel became a recurrent image within the visual economy of pop music stardom. By considering the case of Justin Bieber (whose angel invocations give expression to his struggles with celebrity, faith, and the pathology of Whiteness), the author reveals how biographical factors alone cannot account for the angel’s contemporary resonance. Instead, and drawing upon Walter Benjamin’s concept of wish image, the author argues that this invocational pattern reflects a general desire for a one-to-one correspondence between being and doing—here understood as a manifestation of the ur-historical longing for absolution. Because this desire is ambivalent, the angel has historically been invoked to symbolize wishes as divergent as fascism’s ideal gender relations and radical utopia’s equality. In this way, the angel’s current ubiquity alerts us to the role resonant myths often play in the elaboration of collective desires, while pointing toward their implications for emancipatory strategy.
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Boyle, James Philip Sheng, Mohd Nasir Hashim, and Yi-Li Chang. "THE INFLUENTIAL MUSICAL COMPOSITIONAL TOOLS OF MALAY POPULAR MUSIC IN MALAYSIA OF THE MID 20th AND THE EARLY 21st CENTURY." International Journal of Creative Industries 4, no. 9 (March 6, 2022): 01–18. http://dx.doi.org/10.35631/ijcrei.49001.
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In the mid-20th century, it is noteworthy that Malay popular music composed in this era was heavily influenced by various stylistic and cultural musical forms of both the traditional Malay styles such as asli, inang, joget, zapin and even keroncong, and also by Western idioms and styles. Branded as jazz ballads in the Mid-20th Century, Malay popular music is a key subject in unveiling the musical changes in the Malay popular music history of Peninsula Malaysia. In the 1960s, there was a trend to compose Malay popular music with heavily influenced idiomatic jazz harmonics in the many various Western styles. In the early 21st century, as it has musically and stylistically evolved, Malay popular music became closely associated with the continuous dissemination of patriotic songs in Malaysia as well as an amalgamation of the various trending styles of the Western hemisphere such as funk, pop, rhythm and blues, gospel and even rock music. Throughout it all, the continued and consistent harmonics of Jazz Music have been an ever-present tool for many Malay Popular Music composers since the early years of independence. This paper will focus on four chosen compositions, two from each of the time frames in focus and each tune will have an analysis from a singular compositional viewpoint, be it melodic (Gema Rembulan-Jimmy Boyle, 1956), chordal (Air Mata Berderai-Alfonso Soliano,1964) or the dissertation of the song-form (Selingkuh Kasih-Mokhzani Ismail,2006 & Gemilang-Aubrey Suwito,2005). Through the analysis of the chosen musical scores, this paper intends to reintroduce and refresh the essential elements of composing a Malay Popular Music composition as well as the musical influences and changing mindsets of approach on the different compositional styles of Malay popular music, its culture, and identity, of the mid-20th and the early 21st centuries of Malaysia to the current and future composers of this genre.
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Williams, J. Patrick, and M. Nasir Kamaludeen. "Muslim girl culture and social control in Southeast Asia: Exploring the hijabista and hijabster phenomena." Crime, Media, Culture: An International Journal 13, no. 2 (January 27, 2017): 199–216. http://dx.doi.org/10.1177/1741659016687346.
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While research on youth cultures in Southeast Asia has traditionally focused on crime, class, and delinquency among adolescent and young-adult males, the 21st century has seen an increase in research on the intersections among youth, religion, popular culture, media, identity, and consumption. As part of this trend, we report on an exploration of the terms hijabista and hijabster, which refer to female Muslim cultural identities centered on the nontraditional use of the hijab or Muslim headscarf. After situating the phenomena within the larger context of conservative regional politics and religion, we consider their cultural meanings in terms of mass and social media, suggesting that hijabista and hijabster cultures and identities are simultaneously hybrid and negotiated as young Muslim women, culture industries, and political and religious agents all employ a variety of strategies to shape emerging definitions. Finally, we reflexively discuss the implications of our own theoretical interests on interpretations of what it means to be a hijabista or hijabster.
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Kurbatov, Sergiy Volodymirovych, and Mariya Mikhaylivna Rohozha. "University Mission in Western-European Culture (Ethical and Sociological Aspects) P. ІІ." Filosofiya osvity. Philosophy of Education 26, no. 1 (December 25, 2020): 113–30. http://dx.doi.org/10.31874/2309-1606-2020-26-1-7.
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The paper by Sergiy Kurbatov and Mariya Rohozha “The Mission of University in the Western European Culture”(Part II) is devoted to the analyses of transformation of the university as social institution and cultural phenomenon in our time, which we started at the first part of this paper, that was published in “Philosophy of Education”, 2017, № 2 (21)). If the previous paper of these authors included a long chronological period from the origin of the university in late Medieval time up to the 20th century, the current paper is concentrated on analyses of radical challenges, that university faced at the end of the 20th century and at the beginning of the 21st century. For example, such popular in contemporary English language literature concept as the end (or the death) of university is observed. The authors tried to analyze sociological attempts to measure the main university activities in the form of international university rankings and the possibilities to develop in Ukraine the ideal models of university, which any system of university rankings have. The special stress was made on the influence of COVID 19 pandemic on transformative processes and institutional development of universities in the nearest future. The main challenges of the 21st century are crucial for the university, because this institution lost monopoly of producing and distribution of advanced knowledge for the first time in history. From the tactic viewpoint, university is less competitive than the different training programs and online courses, it is too conservative and bureaucratic one. But the authors think that in strategic perspective university has a chance for renovation, proving the old maxima that the values and spiritual dimensions of being and the relevant environment are crucial for human being. Almost the millennium of university history proves its ability to pass through the dramatic historical transformation and to continue to maintain its essence.
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Ganelin, Aleksandr E. "The typology of actor’s creativity in Russian director’s concepts of the first half of the 20th century." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2022): 177–93. http://dx.doi.org/10.35852/2588-0144-2022-1-177-193.
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Most of the current methods of educating an actor and director of the 21st century theatre are, to a certain extent, based on the experience of the masters of the last century. Their works, the principles of the well-developed director-pedagogical, acting and philosophical systems up to this day remain under the watchful eye of both theorists and practitioners of the world theatre community. The development of methodological techniques, the search for new meanings and tasks of actual theatrical directing is a consequence of the continuous search for the truth of stage culture in twentieth century. The purpose of this work is to find and highlight a bright palette, both popular and not so widely known systems in Russian theatre school, made to analyze and develop the actor’s self-determination of contemporaries at the beginning of the last century. Among them, special attention is paid to K. S. Stanislavsky, Vs.E. Meyerhold, F.A. Stepun and N.V. Demidov. An up-to-date analysis of their directorial, pedagogical and philosophical systems, typologies of acting makes it possible to predict the direction of intentions of a modern actor in relation to the profession, which ultimately determines his place in the theatre community of the 21st century.
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Fahey, Hannah. "Stylistic pluralism and the experiences of classically trained teachers of singing in the Republic of Ireland." International Journal of Music Education 39, no. 3 (February 2, 2021): 301–12. http://dx.doi.org/10.1177/0255761421991247.
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Throughout much of the 20th century, the Western classical vocal aesthetic dominated tertiary singing training in the Republic of Ireland. At the turn of the 21st century, and reflecting similar movements internationally, Irish institutions, examining boards and private teaching studios diversified to include musical theatre and popular styles of singing in degree programmes and syllabi. The purpose of this study was to further understand voice teacher perceptions of these shifts in pedagogical culture. This research questioned how classically trained teachers of singing negotiate teaching across styles in popular music genres, and also questioned if implicit, embodied cultural ideas about classical singing defined their educative approaches to popular music vocals. Data were collected through in-depth qualitative interviews with classically trained teachers of singing in the Republic of Ireland. Analysis of interview data revealed a number of themes which are discussed within a theoretical framework drawn from the work of Bourdieu, revealing that the participant teachers are involved in processes of negotiation and re-negotiation of personal and institutional habitus.
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Dryglas-Komorowska, Ewa. "I’m looking for a teacher and a master... – tutoring in the face of contemporary culture challenges." 21st Century Pedagogy 2, no. 1 (December 1, 2018): 28–33. http://dx.doi.org/10.2478/ped21-2018-0012.
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Abstract The article shows the actuality of Tadeusz Różewicz’s poetic confession: “I’m looking for a teacher and a master” in the postmodern world, dominated by mass media and multimedia, the world not guided by authorities. A young man is surrounded by chaos of mass culture, popular culture and cyberculture and he needs a tutor – master, he needs a tutor – guide, who will carry him through the world of cultural values specific for 21st century, emphasizing educational chances and dangers. The tutor should also inform his pupil about the importance of tradition for shaping one’s personality. From this perspective the tutoring is one of the most important challenge standing before the contemporary cultural education.
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A. A., Elaev. "BURYAT ETHNOS IN THE 21st CENTURY." Human research of Inner Asia 3 (2022): 6–16. http://dx.doi.org/10.18101/2305-753x-2022-3-6-16.
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The article discusses the prospects for preserving the ethno-cultural identity of the Buryat people in the 21st century. Under the conditions of the transformation of Russian society over the past twenty years and the impact of global integration processes taking place in the world the opportunities for preserving the ethno-cultural identity of the Buryat ethnic group and its language are rapidly declining. Based on the analysis of vari-ous environmental factors, we have considered the possible scenarios for the development of the Buryat ethnos in the conditions of the socio-economic crisis and in the economic stability and growth, and summed up the total prospects for preserving its ethno-cultural identity in the 21st century. The “negative” scenario for the development of the Buryat ethnic group covers the crisis period of the 1990s and early 2000s. Predictive assessments are based on an analysis of the impact of crisis phenomena on the agricultural sector and the social sphere of the village, which led to the outflow of the Buryat population from the village to the city. The economic crisis has a negative impact on the institutions of reproduction and transmission of the Buryat culture: it leads to a reduction in funding and commercialization of their ac-tivities and separation from the needs of the bulk of the ethnic group. Thus, the socio-economic crisis accelerates the process of de-ethnization and acculturation of the ethnos. The “positive” scenario reflects the development of the ethnic group in the context of eco-nomic growth, however, its consequences also negatively affect the preservation of ethnic identity and language, since the needs of the economic development of the ancestral terri-tory of the Buryat ethnic group will entail an influx of labour resources, that is, a popula-tion of other ethnicities, which will reduce the demographic power of the Buryat ethnic group. Thus, the economic growth, as well as the economic crisis will contribute to the ac-culturation and assimilation of the Buryats. In the context of global integration processes taking place in the world and the current policy of Russia, the opportunities of preserving the ethno-cultural identity of the Buryat ethnos and its language due to objective reasons will gradually decrease in the 21st century.
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Rawski, Jakub. "Kierunki interpretacji motywu wampira w wybranych tekstach kultury od XIX do XXI wieku (rekonesans)." Studia Litteraria 16, no. 1 (2021): 29–48. http://dx.doi.org/10.4467/20843933st.21.003.13383.
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Artykuł ma na celu przedstawienie przeglądu kierunków interpretacji motywu wampira w kulturze popularnej od XIX do XXI wieku. Skupia się na najważniejszych, najbardziej reprezentatywnych tekstach, które wywarły największy wpływ na ewolucję postaci wampira od romantyzmu do czasów współczesnych, takich jak: Dracula, Miasteczko Salem, Wywiad z wampirem, Zmierzch. Zamierzeniem było ukazanie różnych sposobów odczytywania i analizowania wampiryzmu w zależności od przyjętej metodologii. Niewątpliwie – tytułowe kierunki interpretacji utworów wampirycznych były warunkowane możliwościami egzegetycznymi, jakie niesie metodologiczny rozwój literaturoznawstwa i kulturoznawstwa. Directions in Interpretation of the Vampire Theme in Selected Texts of Culture from the 19th to the 21st Century (Reconnaissance) The article aims at offering an overview of directions of interpretation regarding the motif of vampire in popular literature from the 19th to the 21st century. It focuses on the most important, representative texts of culture that have had the greatest influence on the evolution of the vampire figure from Romanticism to the modern times, such as Dracula, Salem’s Lot, Interview with the Vampire, Twilight. The article intends to present various ways of reading and analysing vampirism depending on different methodologies. Undoubtedly, the approaches regarding interpretations of films and literary works featuring vampires have been conditioned by exegetical possibilities brought about by the methodological development in literary and cultural studies.
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Verhagen, Eelke André. "Mundus Vult Decipi RuPaul’s Drag Race as Part of the Culture Industry." Via Panoramica: Revista de Estudos Anglo-Americanos 10, no. 2 (2021): 74–87. http://dx.doi.org/10.21747/2182-9934/via10_2a5.
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In this article I examine the ways in which the competitive reality television franchiseRuPaul’s Drag Race(RPDR), immensely popular withWestern LGBTQ+-communities, can be considered a product of what Theodor W. Adorno and Max Horkheimer identified as the Culture Industry (CI). On the one hand,this allows for a concrete application of the CI-thesis and the exploration of possible lines of critique concerning RPDR and its effects on its viewership, while,on the other hand,it is an opportunity to evaluate the aptitude of the CI-thesis for critical analysis in the 21st century. While the concepts related to the CI-thesis turn out to be remarkably productive, its latent totalitarian and pessimistic framework tends to skew any analysis. This may warrant supplementing its coarse-grained perspective with a more fine-grained empirical investigation
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Leonard, Nicholas. "Homage or Biting Lines: Critically Discussing Authorship, Creativity, and Copyright in the 21st Century through Hip-Hop." Arts 7, no. 4 (November 22, 2018): 86. http://dx.doi.org/10.3390/arts7040086.
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The inherent traits of digital media have challenged traditional understandings of artistic authorship and creativity. This division in understanding can clearly be observed in the popular culture context of hip-hop music. Hip-hop initially began with analog technologies such as vinyl record players, then transitioned to predominately digital mediums. This changeover in artistic mediums has been well documented by opposing viewpoints from hip-hop artists, consumers, record companies, and lawyers. By focusing on hip-hop for critical discussion on artistic authorship and creativity, art students can engage in discussion reflecting on their own artistic and online practices, and how these behaviors are legally supported or suppressed by copyright law.
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Kuznetsov, Vasily A. "Electoral Processes and Street Protests in 21st Century Algeria: Features and Traits of Algerian Political Culture." ISTORIYA 13, no. 12-1 (122) (2022): 0. http://dx.doi.org/10.18254/s207987840023902-1.
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The following article discusses issues of electoral participation and street protest activity in 21st century Algeria. The work is based on the materials on Algerian election campaigns and results of the author's field research in the country. Describing the current political situation in Algeria, the author points out that the long established alienation between the civil society and government institutions is one of the most significant challenges for the country's development. The roots of this alienation are much deeper than the 2019 events when A. Bouteflika was overthrown due to mass protests and A. Tebboun became the President. Analyzing the electoral campaigns held since 2000 to this day, the author discovers that mutual distrust between the political elites and the society has been a characteristic trait of Algerian internal politics over the whole two decades. In this context, the Hirak movement founded in 2019 may be seen a an instrument of political transformation rather than merely a way to express popular discontent. However, even though this movement was successful enough to change the political leadership in Algeria, it hasn't managed to transform the essence of the system and update the social contract. Looking into the reasons for this failure, the author concludes that they stem from the specific traits of Algerian political culture formed in the colonial and early post-colonial eras.
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Liu, Jun, Kjetil Sandvik, and Christian Hviid Mortensen. "Media and communication in Asia in early 21st century: Changes, continuities, and challenges." MedieKultur: Journal of media and communication research 33, no. 62 (June 9, 2017): 5. http://dx.doi.org/10.7146/mediekultur.v33i62.26255.
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Asia has some of the largest, most dynamic, diversified, and complicated media industries in the world (McKinsey & Company, 2015). Entering the 21st Century, the rapid economic and political developments of Asia further energize the growth of media locally and globally (for general discussion, see, e.g., Keane [2006]; Thussu [2006], specific discussions on the cases of Korea [Kim, 2013], Japan [Iwabuchi, 2004], China [Sun, 2009]). In a reflection on the increasing importance of Asian players in global communication industry, Keane describes that “Asianness is colonizing international communications markets” (2006: 839-840) with the impacts ranging from the production of hardware (i.e., East Asian technology) to content (e.g., Japanese manga, anime and TV formats and South Korean popular culture) and from the cross-over of directors and actors from Asia to Hollywood and the world. Yet, a lack of timely understanding of media and communication in a fast-changing Asia is hindering not only our interpretation of the significance of media in social transformation in Asia, but also the efforts to de-westernize (e.g., Park & Curran, 2000; Wang, 2010) or internationalize communication studies (Lee, 2014).
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Fakih, Nabil, Dario Bertossi, and Julia Vent. "The Overfilled Face." Facial Plastic Surgery 38, no. 02 (April 2022): 173–76. http://dx.doi.org/10.1055/s-0042-1744180.
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The desire for longevity, beauty, and health is as old as the history of human culture. Minimizing tissue damage and invasive surgeries has led to a variety of options in the 21st century medicine. In the past 20 years, hyaluronic acid filler injections have thus become a popular modality of treatment for facial rejuvenation due to low costs for patients with immediately visible results. Ideally, the treated face looks natural. We aim at stopping time, maybe tweaking the handles of our clocks a bit backward to counteract aging processes, but creating a natural look and maintaining the individual appearance.
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Мардоса, Йонас. "Декоративные вербы в западной Беларуси и восточной Литве во второй половине ХХ–начале ХХI вв." Slavistica Vilnensis 58, no. 2 (January 1, 2013): 143–60. http://dx.doi.org/10.15388/slavviln.2013.2.1430.
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В статье рассматривается вопрос об особенностях функционирования декоративных верб в этнически и конфессионально смешанной среде западной Беларуси и восточной Литвы во второй половине ХХ–начале ХХI вв. На основе полевых этнографических материалов устанавливаются основные типы декоративных верб и определяется характер используемого для их украшения материала. Устанавливается связь пальмообразных и вильнюсских верб с этническими и конфессиональными характеристиками верующих, а также рассматривается использование освященного символа в послепраздничное время. Выясняется, что распространение декоративных верб во второй половине ХХ в. определяется их рецепцией как символа Вербного воскресенья, а также их эстетическими качествами. Связанные с конфессиональными и этническими характеристиками населения декоративные вербы функционируют в западной Беларуси и восточной Литве как отходящий от своей христианской основы и вместе с тем наполняющийся новой семантикой образец современной религиозной и, в частности, народной культуры региона.Ключевые слова: декоративная верба, ива, можжевельник, вильнюсская верба, западная Беларусь, восточная Литва, православные, католики, символ....Jonas MardosaThe decorated verba in Western Belarus and Eastern Lithuania in the second half of the 20th and the beginning of the 21st century Various consecrated symbols play a special role in folk culture and folk religion. In the Christian liturgy, the verba (palm) is a symbol having a concrete religious meaning. In the second half of the 20th century, in Western Belarus and Eastern Lithuania, a tendency to consider verba from the aesthetic point of view emerged. An exceptional case among the verba (between Belarusian, Russian, Polish, and Lithuanian believers) are the decorated symbol, which may be called palm-shape verba.Amongst the believers of Belarus, regardless of confession, the decorated verba (with flowers) has become a symbol of the contemporary religious identity. Verbas with decorations in Eastern Lithuania are more popular amongst Polish believers; in Western Belarus, they are blessed regardless of confessional and nationality differences. In the beginning of the 21st century, three main variants of palm-shaped verba may be found. The first variant is made from willow or juniper twigs decorated with dry and green flower blossoms (or the twigs of both trees are used together). The second and very popular decoration variant is artificial flowers attached to a willow twig. In the third variant, the blossoms made from threads are arranged along the whole length of a willow twig.An exceptional case among the decorated verbas in Eastern Lithuania are the Vilnius verba. This variant of decorated verba first appeared at the start of the 19th century in the surrounding areas of Vilnius. Originally, these verbas were associated with the Polish religious and folk culture of Southeast Lithuania. In the second half of the 20th century, the Vilnius verbas were strongly linked with the Catholic Lithuanian and Polish folk culture of the Vilnius region, but have not been popular amongst the believers of Belarus.Considerable differences may be noticed in the scope and content of decorative elements in the verba of Lithuania and Belarus. In Lithuania, decorated verbas are more popular among urban Catholics. Thus, verba reveals the diversity of the Christian tradition, which comprises the exceptional features of the contemporary folk religion in Eastern Lithuania and Western Belarus. Through the link between the verba and the ethnic and confessional communities, these variants of the symbol become an important identity-forming factor for the inhabitants of Western Belarus and Eastern Lithuania in the second half of the 20th and the beginning of the 21st century.