Journal articles on the topic 'Social life and costoms'
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1
Södergren, Jonatan. "From aura to jargon: the social life of authentication." Arts and the Market 9, no. 2 (December 9, 2019): 115–31. http://dx.doi.org/10.1108/aam-05-2019-0020.
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Purpose Authenticity has emerged as a prevailing purchase criterion that seems to include both real and stylised versions of the truth. The purpose of this paper is to address the negotiation of authenticity by examining the means by which costume designers draw on cues such as historical correctness and imagination to authenticate re-enactments of historical epochs in cinematic artwork. Design/methodology/approach To understand and analyse how different epochs were re-enacted required interviewing costume designers who have brought reimagined epochs into being. The questions were aimed towards acknowledging the socio-cultural circulation of images that practitioners draw from in order to project authenticity. This study was conducted during a seven-week internship at a costume store called Independent Costume in Stockholm as part of a doctoral course in cultural production. Findings Authenticity could be found in citations that neither had nor resembled something with an indexical link to the original referent as long as the audience could make a connection to the historical epoch sought to re-enact. As such, it would seem that imagination and historical correctness interplay in impressions of authenticity. Findings suggest that performances of authentication are influenced by socially instituted discursive practices (i.e. jargons) and collective imagination. Originality/value This paper contributes to the literature on social and performative aspects of authentication as well as its implications for brands in the arts and culture sector.
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Fülemile, Ágnes. "Social Change, Dress and Identity." Acta Ethnographica Hungarica 65, no. 1 (November 11, 2020): 107–86. http://dx.doi.org/10.1556/022.2020.00007.
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The article, based on extensive ethnographic fieldwork, studies the process of the disintegration of the traditional system of peasant costume in the 20th century in Hungary in the backdrop of its socio-historic context. There is a focused attention on the period during socialism from the late 1940s to the end of the Kádár era, also called Gulyás communism. In the examined period, the wearing and abandonment of folk costume in local peasant communities was primarily characteristic of women and an important part of women’s competence and decision-making. There was an age group that experienced the dichotomy of peasant heritage and the realities of socialist modernisation as a challenge in their own lifetime – which they considered a great watershed. The author interviewed both the last stewards of tradition who continued wearing costume for the rest of their lives and those who pioneered and implemented changes and abandoned peasant costume in favor of urban dress. The liminal period of change, the character and logic of the processes and motivations behind decision-making were still accessible in memory, and current dressing practices and the folklorism phenomena of the “afterlife” of costume could still be studied in real life. The study shows that costume was the focus point of women’s aspirations, attention, and life organization, and how the life paths of strong female personalities were articulated around clothing. It also reveals that there was a high level of self-awareness and strong emotional attachment in individual relationships to clothing in the rural context, similar to – or perhaps even exceeding – the fashion-conscious, individualized urban context. Examining the role of fashion, modernization, and individual decisions and attitudes in traditional clothing systems is an approach that bridges the mostly distinct study of folk costume and the problematics of dress and fashion history research.
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Nguyen, Dung Van. "TRANSFORMATIONS IN SOCIAL – CULTURAL LIFE OF THE CO TU ETHNIC GROUP IN QUANG NAM PROVINCE NOWADAYS." Scientific Journal of Tra Vinh University 1, no. 36 (April 8, 2020): 21–30. http://dx.doi.org/10.35382/18594816.1.36.2019.313.
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Social – cultural transformations are the changes of element, structure and social and cultural value by politicaland economic factors. This is common development rule of any ethnic group. Currently, the traditional social – cultural life of Co Tu ethnic group in Quang Nam Province has been gradually changed due to different factors. This study applied, ethnographic fieldwork, interdisciplinary method to clarify the transformations in the social – cultural life of Co Tu ethnic group in Quang Nam Province through costumes, residence and housing, folk art and social organization.
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Nurbaidhah, Adeliana Galih, Nurhadi Nurhadi, and Sigit Pranawa. "Differrences in The Meaning Dolalak Dance in PurworejoDistrick, Central Java Province." Jurnal Ilmu Sosial Mamangan 9, no. 1 (June 29, 2020): 39–47. http://dx.doi.org/10.22202/mamangan.v9i1.3347.
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Dolalak dance is a folk dance whose movements and costumes adopted the Dutch soldiers war training and dancing movements and costumes. The exsistention of the traditional art become degradation in a year. Dolalak dance is also influenced by the cultural change from modernity, and then the meaning of Dolalak will be gone.This enable people interprete the ideal value of Dolalak dance in daily life that different from Dolalak dance in the past that was full of life regulation values.This qualitative research uses a case study method to answer the different interprete the meaning of Dolalak dance.It uses interview, observation and documentation techniques to collect data. Theory in thisresearch using interpretative culture from Clifford Geertz.This research reveals that Dolalak experienced a cultural creativity by combining with other arts, i.e dangdut and Campursari.It also experienced changes in players, movements, makeup, costumes, and time performanes. As a folk dance play a role in unity and guide the social life. Dolalak dance is interpreted as a religious symbols, varlour, faith and social conditions. Nowdays, it has a new interpretation as a equality, effectivity, efficiency and specialization lead to individualization in the group.
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Zhylenko, Maria N., and Zhanna A. Beresneva. "The languages of culture: from theory to everyday life practices." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 63 (2022): 107–13. http://dx.doi.org/10.37816/2073-9567-2022-63-107-113.
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Language is an essential part of communication – it forms culture and provides it with transferring of social knowledge. Language, culture and communication are inseparable from each other and are the basis of human existence. Thorough approach to everyday life practices makes it possible to reveal their sign character and define them as specific language systems which give clear vision of aesthetic, ethical etc. peculiarities of a given epoch. Travel notes are an essential resource of our knowledge about everyday life of the nation. They offer us rich material about people, their appearance, historic events etc. Among other details travel notes contain a lot of interesting data about costume which can be regarded as a special sign system, language of culture, delivering information not only about its owner, but the whole epoch as well. The paper chose as an example the travel notes “Frigate Pallade” by I. A. Goncharov. In one of its chapters costume becomes an original communicative code for intercultural interaction.
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Bian, Fei, and Can Ming Liu. "Study and Inheritance of Daur Male Traditional Costume." Advanced Materials Research 821-822 (September 2013): 726–30. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.726.
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Daur is the typical northern minority in China; its male traditional costume has a generous appearance and clear line, which reflects a heroic and simple characteristic. There are many factors that influence formation of Daur male traditional costume culture: natural and geographical environment, social and economic conditions, production method and life style, religious belief, cultural exchange, etc. These factors are reflected in costume directly or indirectly to form the unique style of Daur male costume. These characteristics should be inherited and innovated, and become the ethnic symbol of modern Daur male costume.
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Rus, Dana Maria. "Câteva considerații asupra portului popular la urmașii grănicerilor năsăudeni." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 73–80. http://dx.doi.org/10.47802/amet.2016.30.05.
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The traditional folk costume of the Romanian peasant is one of the identity marks specific to us as a people. This costume has both common elements and elements of distinction from one geographical area to the other. Nasaud region has succeeded to preserve the traditional costume almost the same as a hundred years ago. The economic life in the villages around Nasaud, the specific life, the piedmont and mountain climate, the existence of the military border for almost a hundred of years and the material needs specific to the peasant-soldiers were the factors that influenced the way of making the traditional costume. The Austrian military border had long term effects on the inhabitants’ evolution, on their emancipation, and it imposed in the inhabitants’ conscience the preservation of local traditions and the assertion of the national identity at the linguistic, literary, social, cultural, folkloric level.
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Burton, Anthony. "Looking forward from Ariès? Pictorial and material evidence for the history of childhood and family life." Continuity and Change 4, no. 2 (August 1989): 203–29. http://dx.doi.org/10.1017/s0268416000003660.
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Philippe Ariès est le père de l'histoire de l'enfance. II fournit un cadre pour Interprétation et de nouvelles données, pour la plupart iconographiques. L'utilisation de ces documents n'a pas été soumise à la critique et peu d'historiens après lui y ont eu recours. Cet article examine plusieurs thèmes utilisés par Ariès comme preuves iconographiques et oppose ses méthodes d'interprétation à celle des historiens de l'art à ce sujet, avant d'indiquer de nouvelles directions pour la recherche. Les sujets traités içi sont les suivants: ‘Les âges de l'homme’, l'imagerie laïque du Moyen Age, l'iconographie religieuse médiévale, les ‘putti’ de la Renaissance, les jeux d'enfants et les costumes, la peinture de genre hollandaise et, enfin, des données de la culture matérielle.
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Edward, Mark. "Council House Movie Star: Que(e)rying the Costume." Scene 2, no. 1 (October 1, 2014): 147–53. http://dx.doi.org/10.1386/scene.2.1-2.147_1.
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Council House Movie Star (2012) originally started as a film enquiry exploring what happens when drag queens age, both off stage and onstage. The research expanded to include two further practice projects: an immersive gallery installation of a life-size council house and a fine art exhibition of the naked and costumed drag body. This article examines the quotidian experiences of a white working-class drag hero/ine and the costumed genderqueered skin. It discusses the queer costume of drag queens, including make-up and wigs. The article also explores the position of memory within the formation of costume for performance as a major theme within the creative processes and design of this project. This visual essay narrates the positioning of drag queens within the social realities of working-class life, thus producing an interesting contrast between the costume of chavs, B-boys and contemporary youth, against the queer and camp drag costume.
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Beeh, Jos Josia, Sri Suwartiningsih, and Elly Esra Kudubun. "DALE ESA." KRITIS 27, no. 1 (August 12, 2018): 35–56. http://dx.doi.org/10.24246/kritis.v27i1p35-56.
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The village Bokonusan is the location on the Semau Island and the district of Kupang, East Nusa Tenggara. Norma and refers to the contructual obligations between members of society in accordance with the rules of the costums, trust that refer to expectation and goals together in building in accordance with the values of mutual cooperation of solidarity of the community. As for the porpouse of research to, give me a description of application of the local Dale Esa in the life together in the village Bokonusan, as well as explain the elements of what is contained in the wisdom of Dale Esa as social capital in communities Bokonusan village. The method used is a qualitatve and approach to the contructivism oh the research descriptive aksplanative. Interwoven ily tradition, a marriege, birth, death, a new garden work (teh management of the land) and conflic resolution. The application of valeu to keep in daily life as from of social interaction. In the wisdom of Dale Esa the cooperation between the community refers to social relationships between societies so that, the social network, the obligation, prohibition, the rigth have, between members of the community to help each other as a from social norm, the emergance of the hope and goals together to build together as result the trust.
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Tadić, Slaven. "Nakit i nošnja žena u srednjovjekovnoj Bosni / Jewellery and Clothing of Women in Medieval Bosnia." Journal of the Faculty of Philosophy in Sarajevo (History, History of Art, Archeology) / Radovi (Historija, Historija umjetnosti, Arheologija), ISSN 2303-6974 on-line, no. 3 (November 12, 2014): 85–92. http://dx.doi.org/10.46352/23036974.2014.85.
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The author presents the history of jewellery and costumes in medieval Bosnia. On the basis of preserved artefacts and archaeological research, he highlights the role of those objects in the everyday life of people during the Middle Ages. Jewellery, as well as clothes, did not only have a practical role, they were also indicators of economic and social standing.
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Maijar, Andri, Novi Budiman, and Marhen Marhen. "THE REPRESENTATION OF WOMEN IN MINANGKABAU SOCIAL STRUCTURE AT TENGGELAMNYA KAPAL VAN DER WIJCK FILM." AGENDA: Jurnal Analisis Gender dan Agama 3, no. 2 (December 31, 2021): 34. http://dx.doi.org/10.31958/agenda.v3i2.4883.
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This article aims to assess how women in the Minangkabau social structure are represented in the film Tengelamnya Kapal Vanderwijck. This study uses a qualitative descriptive method using a scientific approach to cinematography, body language, and culture to analyze the relationship between elements including setting/attributes, ceremonial costumes. This research is dissected by the theory of social structure and feminism in Minangkabau traditional culture. The analysis of this film finds that the film Tenggelammnya Kapal Vanderwijck criticizes the position of women in the form of customary rules in Minangkabau in the decision to choose a life partner, which is determined by Uncle (mamak).
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Anyuan, Pu, and Zhang Lei. "Order, paradigm, and aesthetic politics: dress reform in the Soviet NEP period (1921–1928)." OOO "Zhurnal "Voprosy Istorii" 2023, no. 6-2 (June 1, 2023): 240–53. http://dx.doi.org/10.31166/voprosyistorii202306statyi57.
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Based on the combing and analysis of historical documents and newspaper images, this paper examines the early Soviet social costume style in the New Economic Policy (NEP) period, and the reasons for its transformation from the perspective of social history of art. The research shows that the dress reform during the NEP period of the Soviet Union experienced multiple model stages such as the paradigm shift from “simple imitation” to “self-construction”, and the discourse integration of “modern” and “national”. At the same time, the aesthetic discourse of socialist fashion, as the politics of aesthetics in daily life, become the mythic metaphor of socialist utopia in the process of constructing national ideology, social and cultural concepts and citizenship consciousness.
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Krantz, Susan E. "The Sexual Identities of Moll Cutpurse in Dekker and Middleton’s The Roaring Girl and in London." Renaissance and Reformation 31, no. 1 (January 20, 2009): 5–20. http://dx.doi.org/10.33137/rr.v31i1.11388.
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Moll Cutpurse dramatically demonstrates the insufficiency of gender categories both in The Roaring Girl and in her life. The fictional Moll’s sex/gender ambiguity is explored through three distinct sexual identities (prostitute, hermaphrodite, bisexual ideal) and is further complicated through her heroic personation. Ultimately, the playwrights replace negative social readings of Moll’s sexuality with a positive ideal, albeit an incomplete one. When the real Moll appeared on stage, she not only usurped the male actor’s prerogative, she also rejected her fictional rehabilitation. Through her overtly sexual language, her cross-gendered performance, and her transvestite costume, she recuperated transgression as social signifier.
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Kimura, Tets. "Roles of Imitation Seifuku School Uniforms in Japan: A Case Study of Students at Uniform-Free Schools and the Iconic J-pop Performers of AKB48." Journal of Asia-Pacific Pop Culture 8, no. 1 (May 2023): 71–87. http://dx.doi.org/10.5325/jasiapacipopcult.8.1.0071.
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Abstract In Japan school uniforms have been used for role-playing by those other than cosplayers. In order to understand this social discourse, this article examines the chronological development of Japanese school uniforms and then discusses how and why imitation school uniforms have been adopted and adapted by students at uniform-free schools as well as by female J-pop performers. The article argues that school uniforms are sentimentally valuable in Japan as they represent narratives of youth before entering a tough and restricted adult life. School uniforms symbolize freedom and a future full of possibilities, growth, and hope. In this regard, the uniform-like costumes are attractive to both the youth who wear them, such as the students and popstars, and to the grown-ups, such as fans of pop stars, as the costumes remind them that life was once good in the “good old days.”
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Давиденко, І. В., Т. В. Ніколаєва, and І. Л. Гайова. "СТРУКТУРУВАННЯ КОМПОЗИЦІЙНИХ ТА КОНСТРУКТИВНИХ ЗАСОБІВ ПРОЕКТУВАННЯ ОДЯГУ ДЛЯ ВАГІТНИХ." Fashion Industry, no. 1 (September 24, 2019): 40–47. http://dx.doi.org/10.30857/2706-5898.2019.1.2.
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The purpose of the research is to analyze and improve the structure of the composition and constructive means of costume design for future mothers through the prism of the historical perspective of its development. In the process of doing the work used modern methods of research: literary analysis, historiography, systematic structural, morphological analysis and classification of artistic and composition elements. On the basis of literary and visual-graphic sources, an analysis of the evolution of constructive-technological means of creating clothes for pregnant women in the European tradition of the 15th-20th centuries is carried out and systematized design solutions for certain historical periods to satisfy the ergonomic, utilitarian, hygienic functions of the respective costume, the creation of psychological comfort, as well as the provision of social, artistic and aesthetic functions. Next was the structuring of composition and constructive means of creating comfortable clothes for pregnant women. Analysis of composition decisions was carried out on the basis of both historical and modern costumes. It was investigated that the use of the principles of transformation in pregnant clothes increases the versatility of products and extends the life of the work. The scientific novelty of research lies in the fact that for the first time a system analysis of the means of shaping and artistic expressiveness in designing special clothes for pregnant women was carried out based on an analysis of the evolution of the shaping of this type of costume in a historical context. It has been determined, systematized and structured the modern constructive-composite means of the design process of promising collections of clothes for pregnant women. The practical significance of the work lies in the development of scientifically based means of shaping special clothes for pregnant women to create collections of modern women’s suits that represent special clothes for pregnant women with improved functional and aesthetic qualities.
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Szagun, Dorota. "Funkcje form komicznych (memów internetowych i dowcipów) związanych z pandemią COVID-19." Poznańskie Studia Polonistyczne. Seria Językoznawcza 28, no. 1 (September 30, 2021): 255–70. http://dx.doi.org/10.14746/pspsj.2021.28.1.17.
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The subject of the study is the analysis of a series of Internet memes and linguistic jokes made available in pseudomemic form in connection with the COVID-19 pandemic. Comedy itself feeds on any deviations from the norm observed in social, and especially political, life; it captures all the aberrations, nonsense and inconsistencies. The pandemic emergency is fraught with new situations and rules that constitute such a deviation. A vivid social reaction is especially visible in the multisemiotic comic genres, such as Internet memes, due to their channel of entry (the Internet becomes the main channel of communication outside of family communities during social isolation), plasticity and susceptibility to replication. Comic forms, apart from peculiarly ludic and humorous functions, also perform persuasive functions, activating the social need to differentiate between oneself and the stranger, and consequently isolate or integrate certain social groups. In addition, Internet memes also serve as a commentary on current events, thus prompting the audience to take a position. Persuasion dressed in a comic costume seems to be one of the strongest ways of social influence, because it spreads in its innocent and playful form like a viral and becomes firmly fixed in social consciousness.
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Tyas, Galuh Haryanti Manunggaling, and Srihadi Srihadi. "BENTUK DAN FUNGSI SANDUR DI DESA SUKOREJO KECAMATAN PARENGAN KABUPATEN TUBAN." Greget: Jurnal Pengetahuan dan Penciptaan Tari 19, no. 2 (December 28, 2020): 125–41. http://dx.doi.org/10.33153/grt.v19i2.3459.
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Sandur in his show tells about the life of people who have a livelihood as a farmer. The problem in this research is how sandur shows form and how Sandur functions. Based on the object studied, this research uses qualitative method. To discuss the form using the concept of Sal Murgiyanto and I Made Bandem which discuss elements of traditional theater which includes dialogue, decorating, dance, accompaniment music, makeup, costumes and dance. Discussing the problem of function using the concept of SD Humardani which belongs to social functions including entertainment functions, educational functions, and solidarity functions. The results showed that Sandur is a folk art in the form of traditional theater. Sandur has 3 innings in the show, namely the opening section, the contents and the closing part. Sandur's performance form can be seen from the elements of the performance consisting of dialogue, decor, costumes, makeup, accompaniment music, singing, and dance. Sandur function is classified into social functions, namely as entertainment, as education, and as community solidarity. Keywords: Sandur, Shape, Function
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Sun, Yuan, Fan Yang, and Ziyun Hu. "The guiding effect of clothing design assisted therapy based on Chinese elements on young patients with autism." CNS Spectrums 28, S2 (October 2023): S139—S140. http://dx.doi.org/10.1017/s1092852923006065.
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BackgroundAutism disorder (ASD) affects social, communication and behavioral patterns and appears in childhood. Although many interventions for autism have been developed, effective approaches to improving social adaptation and quality of life remain challenging. The integration of Chinese cultural elements, especially clothing design, may provide new ideas for the rehabilitation of autistic youth.Subjects and MethodsThe study included 30 autistic young people aged 18-25, who were randomly divided into the experimental group and the control group with 15 people each. The experimental group received 12 weeks of Chinese element costume design adjuvant therapy, including traditional costume making and cultural learning. The control group received social skills training. Stress response and cognitive status were evaluated with SASRQ and 3D-CAM. SPSS23.0 statistical analysis and independent sample T-test were used to compare the differences between the two groups.ResultsAfter treatment, the scores of the Stanford acute stress response questionnaire in the experimental group were significantly lower than those in the control group (P<0.05), indicating that their stress response had been alleviated to some extent. On the 3-minute disorder assessment scale, the cognitive status score of the experimental group was also significantly better than that of the control group (P < 0.05), indicating that the cognitive function had improved.ConclusionsChinese element clothing design assisted therapy actively reduces stress response and enhances cognitive state. Traditional costume design and cultural learning improve emotional management and cognition. Innovative psychological intervention supports the comprehensive treatment of autism, and cultural integration therapy is supported by empirical evidence.
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BLAZHYNSKA, Tetiana. "FACTORS DETERMINING THE GROWTH OF COSTS IN THE INSURANCE SYSTEM AGAINST INDUSTRIAL ACCIDENTS IN UKRAINE." Herald of Khmelnytskyi National University. Economic sciences 322, no. 5 (September 2023): 360–66. http://dx.doi.org/10.31891/2307-5740-2023-322-5-57.
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The article analyzes the factors determining costs in the system of insurance against accidents at work and their economic and social consequences. The increase in costs in this system increases the burden on employers who pay insurance contributions, as well as the burden on the social insurance system of Ukraine, which negatively affects public finances and the country’s economy in general. This can lead to an increase in the prices of goods and services, as well as a decrease in the country’s attractiveness for investment. Occupational accidents are an unfavorable social phenomenon that primarily negatively affects the life and health of an employee, and at the same time an insured event, the occurrence of which necessitates the payment of insurance compensation to the victim. For this reason, the disability insurance system is an important tool of the social protection system, which protects employees from material losses in the event of a disability. The disability insurance system has been operating in Ukraine since 1998. Over this time, it has undergone significant changes, including an increase in the list of insured events, higher tariffs, and larger benefit amounts. However, despite these changes, the costs of the disability insurance system continue to grow. According to the Social Insurance Fund of Ukraine, the cost of disaster insurance payments in 2022 increased by 15%, reaching UAH 12.2 billion.
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Nemes, Robert. "The Politics of the Dance Floor: Culture and Civil Society in Nineteenth-Century Hungary." Slavic Review 60, no. 4 (2001): 802–23. http://dx.doi.org/10.2307/2697496.
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The nineteenth-century Hungarian dance floor provides an invaluable tool for mapping the contours of both an emerging civil society and the political practices of Hungarian nationalism. During the 1840s, consciously “national” costumes, music, dances, and language became de rigueur in all areas of social life, and especially on die dance floor. Because associations and newspapers linked such cultural practices to opposition politics, these balls allowed a large number of men and women usually excluded from public life to display their patriotism and political allegiances. In this way, the diffuse set of ideas, feelings, and allegiances connected witii nineteenth-century liberalism and nationalism spread more widely in Hungary. These developments did not occur without conflict, and an examination of debates surrounding the dance floor reveals widely divergent views on participation in civil society and the boundaries of the nation.
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Rejithkumar, D. "Ancient Tamil Community Showing Paan Aatruppadai Literature." Shanlax International Journal of Tamil Research 6, no. 4 (April 1, 2022): 41–52. http://dx.doi.org/10.34293/tamil.v6i4.4822.
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Sangam literature is a medium for expressing the life of the Sangam people. The people who lived in the Sangam era lived in poverty and luxury. This article is aimed at highlighting the Tamil community as expressed in the literature of the Paan Aatruppadai, the Sirupaanaatruppadai and the Perumpaanaatruppadai. This illustrates the importance and significance of the Paan Aatruppadai literature.The way of life of the Sangakkala people such as family, food, dress, costumes and accommodation are also explored. The occupations of the ancients such as plowing, music, wood industry, iron industry, pottery industry, salt trade and the economic status of the people are discussed. News on the biographies of artists, the majesty of the emperor, the customs of the people, and religion are explored. The social status of the Palanthamil shown by the Paann Aatruppadai has been extensively explored.
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Pyenson, Lewis. "The Enlightened Image of Nature in the Dutch East Indies: Consequences of Postmodernist Doctrine for Broad Structures and Intimate Life." Historical Studies in the Natural Sciences 41, no. 1 (2011): 1–40. http://dx.doi.org/10.1525/hsns.2011.41.1.1.
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Eighteenth-century natural-history illustration in the Dutch East Indies reveals verisimilitude as a goal shared between colonial artists and their counterparts in Europe. Natural-history images more generally exhibit common styles in the world settled and dominated by Europeans. Apparently dramatic differences in the local settings of the artists produced only trivial variations in representing nature pictorially, in just the way that astronomy and physics in the European colonies and spheres of influence departed hardly at all from European practice. The overwhelming strength of disciplinary norms, in science and in art, is the standard explanation for this circumstance. An alternative explanation from social history is proposed. It centers on the hypothesis of a homology between households in colonial settings and in Europe. The alternative explanation implies that both the observatory and the artist's workshop were insensitive to superstructural variation in costume and architecture, as well as variation in climate and cuisine. The hypothesis behind the alternative explanation, designated by the term complementarity, derives directly from the postmodernist dictum that ideas are extrusions of social interactions. Nevertheless, just as the strength of disciplinary norms is unresolved in postmodernist doctrine, so complementarity directly challenges the postmodernist predilection for affirming the distinctiveness of colonial cultures.
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Chuyko, Oleg, Anna Makogin, Iryna Kalynovska, Tetyana Maruschyk, and Oleksiy Zhadeyko. "Peculiar feminine ideal in the culture of Galicia-Volhynia state." Linguistics and Culture Review 5, no. 1 (October 12, 2021): 263–71. http://dx.doi.org/10.21744/lingcure.v5n1.1517.
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Based on artifacts discovered in Western Ukraine, in this paper, we attempt to trace back the pattern of feminine ideal in the culture of Galicia-Volhynia State. Our study reveals peculiar social and cultural relations between males and females in the society of medieval Ukraine-Rus at the then material culture and mythological mentality level. We study the things that surrounded Ruthenian women, namely, items of clothing and accessories which were conceived as expressions of the world-building concept where the preference is given to the categories of orderliness and habitability, wisdom, family, and community. Given its sign and symbolic affiliation with the cultural significance area, the ornamental component of the medieval costume complex was put to semiotic analysis. We applied the cultural approach with its specific axiological interpretation of any instances of human social and cultural life-sustaining activity.
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Skachkova, Elena Yu. "Wedding Ceremonial Clothing as a Phenomenon of Russia Village Spiritual Culture in the Late 19th – First Half of the 20th Centuries: Semiotic Aspect." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023): 118–34. http://dx.doi.org/10.37816/2073-9567-2023-68-118-134.
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Traditional clothing was an integral attribute of the spiritual and cultural space of a Russian village until the 20th century. In connection with the destruction of traditional and the subsequent resemanticisation of folk clothing in the 19th – 21th centuries, there was a need to clarify the main spiritual and cultural content of a traditional costume. Wedding ceremonial clothing was chosen as the object of research due to its high semiotic status and good preservation, which provides extensive research field. The empirical basis of the work consists of ethnographic descriptions of the studied origin regions of wedding suit, private collections, museum funds and the photo archive of the author, formed as a result of expeditions 2018–2019. The article considers the totality of all wedding sets of bride's clothes as a unified semiotic system. The context of this phenomenon is an entire syntagmatic sequence of wedding ceremonies, starting from matchmaking and ending with the last day of a wedding. The wedding in this case is considered as a rite of passage of a life cycle, the main leitmotif of which is the process of “dying-death-rebirth”. Special costume sets mark all stages of the passage (preliminary, liminary, postliminary): “sad” and “grief” clothes are gradually replaced by “kind”, “cheerful”, white and dark shades are replaced by bright, often in red, and, in general, the semantics of death is replaced by the semantics of life. The study also shows that wedding cultures of different villages represent different semiotic systems that function on the basis of a single principle of passage, but some of its aspects and symbolization may be different. At the same time, a complex relationship between the social and spiritual levels of passage is realized, the markers of which may be different characteristics of the same costume complex. In general, the semiotics of wedding ceremonial clothing testifies to the unity of the spiritual and social spheres of a Russian village in the 19th – 20th centuries.
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Prokopovych, L. V. "Socio-philosophical analysis of the visualization of cultural identity in the “theater” of everyday life." Науково-теоретичний альманах "Грані" 22, no. 1 (March 26, 2019): 57–67. http://dx.doi.org/10.15421/17198.
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The purpose of the study is to identify the specific features and socio-philosophical foundations of the visualization of cultural identity in the “theater” of everyday life. The research methodology is based on: 1) the theory of the image, which evolves from the perception of the image as a simple sign to the understanding that in some cases it can become a symbol (with broad interpretational possibilities); 2) method of sociocultural analysis in the framework of concept of theatricality of sociocommunicative manifestations of culture. The effectiveness of the concept of theatricality of sociocommunicative manifestations of culture is due to the fact that it allows you to “collect” at one point performative, medial, iconic, semiotic and other concepts of philosophical understanding of social processes and phenomena. This approach showed the need for a new look at the dramatization of life, where not only “the whole world is the theater, and the people in it are actors”, but also every person is a “theater”. A look at the modern world as a combination of individual, personal “theaters” (the scientific novelty of the research) made it possible to identify the special functions of costume and jewelry in the scenography of these “theaters”. These functions are manifested in situations that require a person to create a certain image. Then the costume and jewelry become: 1) an active component of the sociocommunicative space, as mediums of information of a certain nature; 2) a form of self-presentation; 3) a way to visualize cultural identity. It is shown that the causes of the emergence of cultural phenomena of fashion and theatricalization of life are the same: in both cases, the desire of people to “try on” different roles is realized. This correlates with the possibility of simultaneously determining several identities for one person, which means not a loss of identity or the replacement of one’s own identity (imposed), but the search for additional personal identities. Costume and jewelry provide ample opportunities for such personal creative experiments with identity/roles in the “theater” of everyday life. Characteristic features of the modern “theater” of everyday life, as well as the cultural situation in general, are dynamism, frequent changes of form and states. Therefore, the change of images (which is easily accomplished by changing jewelry and accessories) contributes to this sociocultural game.
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Lee, Sung-Ae. "The New Zombie Apocalypse and Social Crisis in South Korean Cinema (translation into Russian)." Corpus Mundi 2, no. 4 (December 27, 2021): 40–59. http://dx.doi.org/10.46539/cmj.v2i4.53.
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The popular culture version of the zombie, developed over the latter half of the twentieth century, made only sporadic appearances in South Korean film, which may in part be attributed to the restrictions on the distribution of American and Japanese films before 1988. Thus the first zombie film Monstrous Corpse (Goeshi 1980, directed by Gang Beom-Gu), was a loose remake of the Spanish-Italian Non si deve profanare il sonno dei morti (1974). Monstrous Corpse was largely forgotten until given a screening by KBS in 2011. Zombies don’t appear again for a quarter of a century. This article examines four zombie films released between 2012 and 2018: “Ambulance”, the fourth film in Horror Stories (2012), a popular horror portmanteau film; Train to Busan (2016) (directed by Yeon Sang-Ho), the first South Korean blockbuster film in the “zombie apocalypse” sub-genre; Seoul Station (2016), an animation prequel to Train to Busan (also directed by Yeon Sang-Ho); and Rampant (2018, directed by Kim Seong-Hun ), a costume drama set in Korea’s Joseon era. Based on a cognitive studies approach, this article examines two conceptual metaphors which underlie these films: the very common metaphor, LIFE IS A JOURNEY, and the endemically Korean metaphor THE NATION IS A FAMILY.
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Dektisa, Andrian. "Parody Idioms in the Visual Characteristics of KNIL Andjing NICA Reenactors." International Journal of Creative and Arts Studies 2, no. 1 (February 12, 2017): 16. http://dx.doi.org/10.24821/ijcas.v2i1.1436.
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This research is to study the phenomena of wearing military costumes of the past as an alternative ‘means’ of visual communication. People in Indonesia like old military costumes and celebrate them as reenactors (a name for the wearers of old military uniforms) in various social activities that can be categorized into two types of stage, namely main and parallel stage. The main stage is related to learning military history, while parallel stage correlates to euphoria for military fashion. Both stages become an expression of mockery toward postcolonial mimicry and create a cultural postcoloniality that takes place in the contemporary life in Indonesia. This research applies Rose’s visual method that emphasizes the aspect of site image itself by making interviews and getting observation data in the groups of KNIL Andjing NICA reenactors in Surabaya, Bojonegoro, Bandung, and Jakarta. It also applies Barthian semiotics unit analysis.
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Mamta and Harminder Kaur Saini. "Preserving the fire: Some thoughts on traditional attire of Bagri females." ASIAN JOURNAL OF HOME SCIENCE 15, no. 2 (December 15, 2020): 247–54. http://dx.doi.org/10.15740/has/ajhs/15.2/247-254.
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The past few decades witnessed some developments that have left a permanent mark on the life style and costumes. The traditional costumes, jewellery and other accessories as well as a traditional lifestyle have been adversely affected by various factors of the social change process and vanished into the antiquity. It is significant to document this heritage for posterity and conservation of our age-old rich traditions. The purpose of this study was to explore and document the attire of Bagri females of North Western India. Interview questions were mainly focused on specific information related to the upper and lower garments, headdresses and jewellery and body decoration. Findings of the study revealed that most preferred traditional dresses of Bagri females were Aangi, Jamper, Ghaghro, Bugiyo, Sunkukdo, Chundadi and Pila. In the fashion market, there are some contemporary designs of dresses and jewellery available which shows similarity with Bagri attire.
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Bich, Y. G., L. G. Bitarova, and A. V. Tonkovidova. "Historical and cultural analysis creating sports clothes." Scientific bulletin of the Southern Institute of Management, no. 2 (June 25, 2020): 115–19. http://dx.doi.org/10.31775/2305-3100-2020-2-115-119.
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The article discusses the history of the costume in conjunction with the historical and cultural reality of everyday life. The authors highlight the moral, ethical principles that influenced the creation of sportswear. The history of sportswear of Ancient Greece is studied, it is determined that its creation was influenced by historical conditions, moral maxims of the era, which were in dialectic relationship with Olympic values. The era of Hellenism, with the relevant moral, cultural norms, has become the sphere of origin of the type of sportswear corresponding to it. Medieval culture and morality determined, in many ways, within the framework of the phenomenon of chivalry, the formation of sportswear. Since the era of the New Age, in connection with economic changes, the emergence of such a thing as mass sport, the changed moral and moral criteria of social life, sportswear has been changing and improving. The article reflects the interaction of fashion, sports and sportswear in the modern era.
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Khuat, Hung Tan. "Sedang communal house in Kon Tum – conservation potential for continuing development." E3S Web of Conferences 403 (2023): 05009. http://dx.doi.org/10.1051/e3sconf/202340305009.
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Sedang is one of the ethnic groups in Kon Tum, Vietnam with unique customs and practices expressed in traditional lifestyle, costumes, rituals, festivals etc. Previously, the Sedang people's life was always attached to a communal house, also known as Rong house. With its uniqueness, Sedang communal house contains many architectural, cultural and aesthetic values and has been a major place of living of the village community. However, recent economic, cultural and social changes in Kon Tum have caused the communal house to gradually lose its role as a cultural and religious centre, and at the same time face the degradation and destruction. The paper used the method of Heritage Conservation Potential Assessment proposed by Nahoum Cohen, adapted to specific contexts to analyse architectural features, assess values, and assess conservation potential of Sedang communal house, thereby proposing solutions to conserve and promote its values in the continuing development associated with the community life.
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Grześkowiak, Radosław. "Sollazzi degli studenti polacchi a Padova. Lettere poetiche di Hieronim Morsztyn a cavallo fra l’anno 1617 e 1618 come fonte della storia dei costumi." Romanica Cracoviensia 23, Issue Numéro Spécial (3) (2023): 379–89. http://dx.doi.org/10.4467/20843917rc.23.040.18880.
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Entertainments of Padua’s Polish community: Hieronim Morsztyn’s poetic letters from 1617/18 as a source for the history of customs This article is devoted to a collection of poetic letters written by Hieronim Morsztyn in Padua in late 1617 and early 1618. Their collegial tone and lack of self-censorship made them a unique source of the everyday life of Padua’s Polish community. Mentions of numerous libations, love affairs with virgos and married women, the use of courtesans and, finally, the pregnancy of one of them, all add up to a colourful picture of the social life of students and travellers visiting Padua and nearby Venice. Even the two letters concerning attendance at a public autopsy, which was carried out at the Pallazo del Bo by anatomy professor Adriaan van den Spieghel between 25 January and 19 February 1618, are focusing on an account of the dissection of male and female genitalia.
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Wati, Felia. "Tradisi Maisi Sasuduik dalam Perkawinan Masyarakat Minangkabau: Studi Interaksi Adat dan Hukum Islam." As-Syar'i: Jurnal Bimbingan & Konseling Keluarga 6, no. 1 (August 26, 2023): 379–99. http://dx.doi.org/10.47467/as.v6i1.4925.
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ABSTRACT.
This study aims to analyze the sasuduik tradition in the minangkabau indigenous people, the influence of women’s social strata on the amount of “uang sasuduik”, the relationship between religion and custom, and its relevance to the marriage law. The maisi sasuduik tradition is the giving of a sum of money or goods that must be fulfilled by the man when he is about to marry a women based on an agreement made by the female ninik mamak and the male ninik mamak. This tradition only applies in Luhak Nan Limo Puluah which covers the entire Lima Puluh Kota and Payakumbuh City. This tradition is also called Adat Salingka Nagari because it only applies to one particular area and is not obligatory for other areas. This study departs from the theoretical framework of al-‘adah muhakkamah. Because, the maisi sasuduik tradition can be used as a behavioral attitude or habit in society. The research method used is qualitative research ehich uses more subjective qualitative with a legal anthropological approach that ficuses on studying the legal system in terms of human norms and culture. The main source for explaining this research is by conducting interviews with traditional leaders (datuak), cadiak pandai and indigenous people who understand the maisi sasuduik tradition in Nagari Andiang, Suliki District, Lima Puluh Kota District. Costoms and religion in Minangkabau Society cannot be separated as is the philosophy of life in Minangkabau: “Adaik basandi syarak, syarak basandi Kitabullah.”even though the maisi sasuduik tradition does not have written rules, the community still adheres to it because of the awareness of the law that exists in every individual in the community itself.
Keywords: Maisi Sasuduik Tradition, Custom, Islamic Law, Minangkabau
ABSTRAK.
Studi ini bertujuan menganalisis tradisi sasuduik dalam masyarakat adat Minangkabau, pengaruh strata sosial perempuan terhadap besaran uang suduik, hubungan antara agama dan adat, dan relevansinya dengan undang-undang perkawinan. Tradisi maisi suduik adalah pemberian sejumlah uang atau barang yang harus dipenuhi pihak laki-laki ketika hendak menikah dengan perempuan berdasarkan kesepakatan yang telah dibuat oleh ninik mamak perempuan bersama ninik mamak laki-laki. Tradisi ini hanya berlaku di Luhak Nan Limo Puluah yang mencakup seluruh Kabupaten Lima Puluh Kota dan Kota Payakumbuh. Tradisi ini juga dinamakan adat salingka nagari karena hanya berlaku pada satu daerah tertentu dan tidak diwajibkan untuk daerah lainnya. Studi ini bertolak dari pada kerangka pemikiran teori al-‘adah muhakkamah karena tradisi maisi suduik dapat dijadikan sikap perilaku atau kebiasaan dalam masyarakat. Metode penelitian yang digunakan adalah penelitian kualitatif yang lebih banyak menggunakan kualitatif subjektif dengan pendekatan antropologi hukum yang memfokuskan pada telaah sistem hukum dalam norma dan budaya manusia. Sumber utama untuk menjelaskan penelitian ini dengan melakukan wawancara bersama pemuka adat (datuak), cadiak pandai dan masyarakat adat yang memahami mengenai tradisi maisi sasuduik di Nagari Andiang, Kecamatan Suliki, Kabupaten Limapuluh Kota. Adat dan agama dalam masyarakat Minangkabau tidak dapat dipisahkan sebagaimana falsafah hidup di Minangkabau: “adaik basandi syarak, syarak basandi kitabullah.” Meskipun tradisi maisi sasuduik tidak aturan yang tertulis, namun masyarakat tetap mematuhi karena adanya kesadaran hukum yang ada pada setiap individu masyarakat itu sendiri.
Kata Kunci:Tradisi Maisi Sasuduik, Adat, Hukum Islam, Minangkabau
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Sukmawan, Sony, and Siti Fitrohitul Izza. "Alih Wahana Tradisi Pujan Kasanga dalam Visual Komik." Humanis 28, no. 1 (February 17, 2024): 13. http://dx.doi.org/10.24843/jh.2024.v28.i01.p02.
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Pujan Kasanga Tradition is an important ritual of Tengger people because of being a tradition instrument in actualizing consistency of life. The potential of oral literature tradition in Pujan Kasanga can be developed into an artwork through alih wahana activity. Alih Wahana is purposing to visualize Pujan Kasanga oral literature inside comic which can introduce local culture from Tengger people. Alih Wahana method made through four steps such as preparing, imagining, developing imagination and working. Alih Wahana process bring a visual comic containing multiculturalism depicted through the plot of ritual processing followed by all of Tengger people without discriminating background of religion, faith, and social status. Next, local identity looks from the traditional costume that figure wore, profession, anjangsana culture and the culture of gathering. Last, own unique of Pujan Kasanga as an important ritual has big value and philosophy for Tengger people delivered on the environment background of shared and gotong royong, social environment concern, and harmony of living.
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Gay, Juan G., and Diddier Prada. "Análisis de costos y beneficios clínicos de dapagliflozina vs. iDPP-4: adaptación en México del estudio CVD-REAL Nordic." Latin american journal of clinical sciences and medical technology 2, no. 1 (December 21, 2020): 242–50. http://dx.doi.org/10.34141/ljcs3500717.
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Background. New drugs have recently been developed for the treatment of type 2 diabetes mellitus (T2DM), including inhibitors of dipeptidyl peptidase-4 (iDPP-4) and inhibitors of sodium-glucose cotransporter type 2 (iSGLT-2) such as dapagliflozin. Objective. To determine the costs and clinical benefits of dapagliflozin treatment compared to iDPP-4, according to the Mexican public health system for 2019, adapting the outcome data from the CVD-REAL Nordic study. Material and Methods. An economic analysis was developed based on a partitioned survival model based on the results obtained in the real-life study, the CVD-REAL Nordic under a 5-year time horizon. The Diagnosis Related Groups (DRG) of the Mexican Social Security Institute was used for the estimation of the cost of complications. Results. The results showed that treatment with dapagliflozin accumulated on average of 4.44 years of life while those treated with iDPP-4 accumulated 4.38 years, which represents an incremental effectiveness of 0.06 in favor of dapagliflozin. Regarding the cost analysis, the results obtained showed that dapagliflozin generated an average total cost per patient of $46,344, while the cost attributed to the use of iDPP-4 was $56,186, suggesting an incremental cost of $ 9,843. At 5 years of follow-up, according to CVD-REAL Nordic complication data, dapagliflozin was a dominant treatment compared to the group treated with iDPP-4. Conclusions. Our results suggest that dapagliflozin provides greater effectiveness at a lower cost compared to iDPP-4, mainly due to the impact it has on avoiding long-term complications.
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Bedikian, Sonia A. "The Death of Mourning: From Victorian Crepe to the Little Black Dress." OMEGA - Journal of Death and Dying 57, no. 1 (August 2008): 35–52. http://dx.doi.org/10.2190/om.57.1.c.
Full textAbstract:
Mourning is a natural response to loss. In the late eighteenth century and throughout the nineteenth century, in England and France, the bereaved was expected to follow a complex set of rules, particularly among the upper classes, with women more bound to adhere to these customs than men. Such customs involved wearing heavy, concealing, black costume and the use of black crepe veils. Special black caps and bonnets were worn with these ensembles. Widows were expected to wear these clothes up to four years after their loss to show their grief. Jewelry often made of dark black jet or the hair of the deceased was used. To remove the costume earlier was thought disrespectful to the deceased. Formal mourning culminated during the reign of Queen Victoria. Her prolonged grief over the death of her husband, Prince Albert, had much to do with the practice. During the succeeding Edwardian rule, the fashions began to be more functional and less restrictive, but the dress protocol for men and women, including that for the period of mourning, was still rigidly adhered to. When World War I began, many women joined the workforce. Most widows attempted to maintain the traditional conventions of mourning, but with an increase in the number of casualties, it became impractical for them to interrupt their work in order to observe the seclusion called for by formal mourning etiquette. Never had the code of mourning been less strictly applied than during this period. The mourning outfits of the time were modest and made of practical materials. Little jewelry and few other accessories were used. Certain aspects of traditional mourning were still followed, such as the use of jet beading, crepe trim, and widows' caps. However, the hemlines fell above the ankle, the veil was used to frame the face instead of cover it, and the v-neckline left the chest and neck bare. During the following decades, gradually the rules were relaxed further and it became acceptable for both sexes to dress in dark colors for up to a year after a death in the family.
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Lufi Fakhri, M., and Nerosti Nerosti. "GAIRAH DIUJUNG SYAHADAT." Jurnal Sendratasik 9, no. 4 (December 5, 2020): 261. http://dx.doi.org/10.24036/jsu.v9i1.109722.
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The creation of the dance called "Gairah Diujung Syahadat" aims to create creative dance work by expressing ideas which originated from life problems of a young person who converted his belief because he wanted to marry a Minangkabau woman. This dance work entitled "Gairah Diujung Shahadat" belongs to dramatic dance. The presentation form in the dance work "Gairah Diujung Syahadat" is symbolic representational. The dance work "Gairah Diujung Syahadat" is inspired by the social phenomena of life where a young man met a woman in a night life and wanted to marry her. The young man struggleduntil he converted his belief andsaid the creed. After this young man got the women, he did not dothe obligations in his creed. Everyone judged him so that he realized that he could not joke the belief, and he had to return to the right path. The dance work "Gairah Diujung Syahadat" focuses on an incident or event. It is an interpretive expression of the struggle of a young man, but the young man does not consider the impact of his actions for goodness in terms of belief. The work is manifested through movement, stage setting, make-up, costume, lighting, and is emphasized by music.Keywords: Gairah Diujung Syahadat
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Mainy, Shenne B., and Maria S. Kukhta. "SACRED SEMANTICS OF TUVAN TRADITIONAL COSTUME." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 242–49. http://dx.doi.org/10.17223/22220836/40/22.
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The relevance of the work is due to the need to study the features of the cut and decoration of the Tuvan costume, which are, on the one hand, a bright unique ethnic image, and on the other hand, carry the universal laws of the Universe inherent in the cultures of all the peoples of the Earth. The traditional costume is included in the “cultural core” of the Tuvan people and contributes to the preservation of its national identity. The aim of the work is to study the sacred semantics of a traditional costume. The object of research is the Tuvan folk costume, the subject is the sign-symbolic nature of the traditional Tuvan costume. The study uses a cultural-historical analysis that reveals the specifics of the Tuvan national clothing and its types, as well as the structural-semiotic method, which allows you to explore the features of the symbolic and symbolic nature of national clothing. National clothing is a complex structure that includes numerous types of upper and lower clothes, hats, shoes, jewelry, personal items and hairstyles. Tuvan clothes are classified according to their age and sex and eight traditional types are distinguished: children’s, girls’s suits, boys’s suits, bridesmaids suits, women’s suits, men's suits, and older’s suits. The traditional costume of Tuvans is a ritual object that has rich sacred semantics. The Tuvan costume is considered not only as a thing, but also as a symbolic sacred form, a sign in the context of culture. This semantic status of folk clothes was to be read and understood both by its owner and other members of traditional cultural communities, as a “sign (symbol, code, artistic image), composed of clothing, shoes, accessories, external behaviors, characteristics of the figure and human personality. The costume language is an image of the real world, the accumulated spiritual experience of people, the practical and aesthetic values of previous generations. Each element of the traditional costume had both functional significance and sacred semantics. The forms of cut and elements of the traditional Tuvan costume acquired particular semantic significance and translated the unity of the “earthly” and “sacred” worlds of mythological consciousness. The traditional Tuvan costume as the most important element of the material culture of the Tuvan people is a “mirror of myth”, reflecting various spheres of life, both material and spiritual. The traditional costume captures the diversity of all aspects of human life, the complexity of social relations and human behavior patterns in material embodiment. The entire costume complex is an integral system of ordered and interconnected signs and symbols, through which the accumulation, organization and transfer of cultural experience is carried out. The result of the study is the systematization of the cultural types of costume and the identification of their symbolic sound in a specific material expression (form, cut, decoration elements).
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Wrona, Daria. "Cosplay – znaczenie fenomenu w relacjach uczestniczek." Studia Edukacyjne, no. 56 (March 15, 2020): 385–99. http://dx.doi.org/10.14746/se.2020.56.21.
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Wrona Daria, Cosplay – znaczenie fenomenu w relacjach uczestniczek [Cosplay – the Significance of the Phenomenon in Female Participants’ Accounts]. Studia Edukacyjne nr 56, 2020, Poznań 2020, pp. 385-399. Adam Mickiewicz University Press. ISSN 1233-6688. DOI: 10.14746/se.2020.56.21Cosplay is a poorly understood phenomenon related to popular culture. Currently, however, it is slowly attracting the interest of an increasing number of fields of science, such as sociology, psychology or pedagogy. The following article will present the theoretical foundations and research on the role of cosplay in the life of female cosplayers. Focusing on the subjects, I touched upon the issues of interpersonal interactions, interests and skills, social perception of cosplay, problems related to the preparation of costumes, and the impact of cosplay on identity development.
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Dhiyati, Widha. "USING THE CHARACTER DOLL COSTUME TO FULFILL LIFE'S NEEDS." Jurnal Socius 10, no. 2 (October 27, 2021): 86. http://dx.doi.org/10.20527/jurnalsocius.v10i2.9914.
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Phenomena or social phenomena are able to influence human attitudes and behavior in society. This study aims to reveal the general description of groups/buskers dressed as roadside character dolls and their intended use. The research method used is a qualitative method. The data sources were selected by purposive sampling. Data was collected by means of observation, interviews, and documentation. Analysis of research results using data reduction, display, and verification steps. The results of this study indicate that, The existence of the buskers dressed in character dolls is motivated by education, and age so they decide to become gamers on the side of the road. The use of character doll costumes aims to attract the sympathy of road users, the results of which are used to meet the necessities of life such as food/drink, shelter and education in order to survive. Based on the results of this study, it can be suggested for the local government to be able to open up employment opportunities and not support the existence of clown groups as a profession to earn a steady income and street clowns should also be given a place to study or be included in equivalency schools so that they can get a diploma and can apply for jobs. which is more suitable, for example being a security guard or cashier at Indomart or Alfamart and for clowns it is better to have other ways or other businesses to keep making money.
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Ćirić, Gordana. "Rimski novčići u ženskim srednjovekovnim grobovima sa teritorije Srbije: mogućnosti interpretacije." Issues in Ethnology and Anthropology 11, no. 3 (November 2, 2016): 731. http://dx.doi.org/10.21301/eap.v11i3.5.
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The paper explores the phenomenon of secondary usage of Roman coins (2nd to 4th century) in medieval necropolises (10th to 15th century) in the territory of Serbia. The research is focused upon the graves in which the coins are used as ornaments on the costume of the deceased, most frequently reshaped as pendants. This type of secondary usage is only registered in female graves. The paper aims to suggest the interpretation of this phenomenon via the analysis of value and importance of secondarily used coins in the formation of family treasures, defined in important and critical moments of the social life. The possibility is explored of the graves in which female individuals were buried with parts of their dowry. The construction of meaning of these objects is analysed through their exchange in the customs linked to marriage and, finally, funerary practices. Since the Roman coins are scarce and exclusively made of bronze, it may be concluded that the definition of their value and importance is based upon the symbolic and representational levels. The starting point of the paper is the concept of the social biography of objects, in order to further investigate the link between the Serbian medieval social structure and evaluation of the coins in rural communities of the Central Balkans.
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Kafri, Saniman Andi. "MESIKHAT DALAM KAJIAN ESTETIKA SIMBOLIS PADA RUMAH ADAT ALAS ACEH TENGGARA." Jurnal Ilmu Budaya 14, no. 2 (February 25, 2018): 89–103. http://dx.doi.org/10.31849/jib.v14i2.1138.
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Mesikhat ornament is one of heritage artworks made by people in Alas tribe. As one of the cultural heritages, the motif of Mesikhat ornament which is really important as th eaesthetic symbol for Alas tribe in Southeast Aceh. People in south Aceh call all of carve motif that come from south Aceh as Meshikat. However Meshikat is originally came from Alas tribe. Meshikat motif can be found in traditional house, traditional costume, bag, wallet and others accessories. Meshikhat ornament had existed before the Independence day of Indonesia. However, it became popular around 1990 when these wing machine was firstly used in south east of Aceh. Formerly, meshikat is only applied in traditional house but nowadays the motif is also used in fashion, bag, wall and others accessories. Meshikat, that is applied in traditional house and costume, has five colors; red, yellow, green, white and black. The basic colors symbolize different meanings. For example red symbolizes the bravery, green symbolizes the fertility, yellow shows the glory or the greatness, white symbolizes the purity, and black symbolizes the leadership. The idea of Meshikat motif originated from plants, animals, social life and chess board. The descriptions are applied in the form of two dimension motif without ignoring the aesthetic aspect and the meaning of these objects. Meshikat, notif present many interpretations and messages such as social message, moral value, and spiritual message depending on the motifs.
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Feldman, Walter Zev. "Klezmer Music in the Context of East European Musical Culture." Judaic-Slavic Journal, no. 1 (3) (2020): 231–70. http://dx.doi.org/10.31168/2658-3364.2020.1.11.
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The repertoire and social role of the klezmer musician in Eastern Europe can be best appreciated within the context of the broader “traditional” musical life of East European Jews. From the early seventeenth century onward the emphasis on the “Jewishness” and halakhic validity of all aspects of life now became fixed and part of local custom (minhag). This merging of the sacred and the secular came to affect music and dance just as it did costume, through the internal action of the Jewish community, not pressure from external sources. The instrumental klezmer music and the accompanying profession of badkhones (wedding orator) displayed both the fusion of the religious and secular in Jewish life, and a continuing tension between secular and religious allusions, moods, and techniques. The “Jewishness” in musical style – especially in instrumental klezmer music but also in Hasidic niggunim and to some extent in Yiddish song – grew by a process of cultural differentiation.This process involved both the preservation and development of ancient features, and the reinterpretation of borrowed musical material to suit principles alien to the original source.This chapter briefly characterizes the system of repertoires and genres of the East European Jews, beginning with the music of prayer, through the various paraliturgical songs, to the music of Hasidism, and the many sub-genres of religious, secular and professional song in the Yiddish language. The chapter concludes with a presentation of the two established musical professionals in traditional East European Jewish life – the khazn (cantor) and the klezmer.
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Smith, Dina, Casey Stannar, and Jenna Tedrick Kuttruff. "Closet cosplay: Everyday expressions of science fiction and fantasy fandom among women." Fashion, Style & Popular Culture 7, no. 1 (January 1, 2020): 29–50. http://dx.doi.org/10.1386/fspc_00004_1.
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Abstract Some American science fiction and fantasy (SF&F) female fans participate in Cosplay or costume play, the global practice of dressing in costume and performing fictional characters from popular culture. Cosplay is typically only socially sanctioned at conventions and other fan events, leaving fans searching for new ways to express their fandom in everyday life. Closet cosplay is one solution in which everyday clothing and accessories can be worn to express fandom. The motivations for wearing everyday fan fashion have been only briefly mentioned by other authors or studied within limited social contexts. Therefore, the purpose of this research was to explore SF&F female fans' participation in closet cosplay as it is worn in everyday contexts. An exploratory qualitative study was conducted using a social interactionist perspective, and Sarah Thornton's concept of subcultural capital and Pierre Bourdieu's theory of cultural capital. Semi-structured, online interviews were conducted with sixteen participants who wore closet cosplay related to SF&F films and/or television series, which included Star Wars, Marvel Comics, DC Comics, Disney films, Harry Potter and anime fandoms like Sailor Moon (1995‐2000). The interview data were analysed using NVivo qualitative analysis software and the constant comparison method. Two themes emerged from the data: the definition of closet cosplay and motivations for wearing closet cosplay. Through examining these themes, it was evident that female SF&F fans used closet cosplay to express a salient fan identity, which enabled them to simultaneously gain subcultural capital and feminized cultural capital.
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Sedova, Natalia A. "Dictionary Definitions of Explanatory Dictionaries as a Source of Information about Soviet Everyday Life (On the Example of Clothes Vocabulary)." Vestnik Tomskogo gosudarstvennogo universiteta, no. 460 (2020): 46–54. http://dx.doi.org/10.17223/15617793/460/5.
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The aim of this article is to explicate information about Soviet everyday life through a comparative analysis of the content of the dictionary definitions of the names of one piece of clothing in different explanatory dictionaries of the Russian language of the Soviet period. To achieve the aim, the following research methods were used: the lexicographic analysis of dictionary definitions of clothes names in explanatory dictionaries, the comparative analysis of the qualitative and quantitative content of dictionary definitions of names of one item of clothing in different explanatory dictionaries, and the interpretation of the results of the comparative analysis of dictionary definitions of clothing names. The material of the research was the explanatory dictionaries of the Russian language published in the Soviet period of Russian history: The Explanatory Dictionary of the Russian Language edited by D.N. Ushakov, The Dictionary of Modern Russian Standard Language in 17 Volumes, The Dictionary of the Russian Language in 4 Volumes, S.I. Ozhegov’s Dictionary of the Russian Language. 479 nominal lexemes, naming 160 items of clothing, were selected from theses dictionaries. Dictionary definitions of the names of one item of clothing from different dictionaries were compared by such typological features of clothing as “scope of use”, “subject wearing the item (by gender)”, “features of clothing style”. In the course of the comparative analysis, attention was paid to the qualitative and substantive content of the dictionary definitions of clothing names and the number of meaningful elements in their composition. As a result of the analysis, the authors have been identified dictionary definitions of clothing names whose content does not change in different dictionaries and dictionary definitions whose content transforms in terms of quality or quantity of its elements. The interpretation of the results of the comparative analysis of clothes vocabulary definitions allows reconstructing ideas about stable phenomena and dynamic processes in the zones of Soviet everyday life that are more closely related to the sphere of clothing. There are two such zones: (1) the style and way of life of Soviet people and (2) social interactions in Soviet society. The structuring of the information about Soviet everyday life, extracted from dictionary definitions, indicates the existence of a connection between the sphere of Soviet everyday life as a micro-level of human life with the macro-level –the life of the Soviet state. The lexicographic description of clothing items is a source of information not only about the costume as an element of national material culture, the traditions of wearing clothing, fashion trends in clothing, but also about the processes that are not directly related to the world of clothing, occurring in the social sphere, indicating the way of life and types of people’s activities, aesthetic and moral stereotypes, the emergence of new needs.
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Suliyati, Titiek. "Bissu: Keistimewaan Gender dalam Tradisi Bugis." Endogami: Jurnal Ilmiah Kajian Antropologi 2, no. 1 (December 1, 2018): 52. http://dx.doi.org/10.14710/endogami.2.1.52-61.
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As one of many ethnics in Indonesian, Bugis ethnic posses much uniqness compared to other Indonesian ethnics. Bissu as one of Bugis traditions is gender spisification that does not exist either in man or woman. Indonesian society generally acknowledge man and woman gender. This is different from gender qualification in Bugis society. In Bugis society gender has five categories: Oroane is man either physically or its role in every day live; makkunrai is a woman either physically or its nature as woman; calalai is a woman behaves as a man; calabai is a man behaves as a woman. Bissu is a group does not belong to the four above genders. The performance of Bissu is very special because of its costume. This group wear neither man or woman costumes.Traditional Bugis society consider Bissu as combination of the four above gender. Not all Calalai or Calabai can become a Bissu. Being a Bissu is gods gift. Bugis society respect higly to Bissu, because Bissu has knowledge about tradition, family root, social life, traditional mystical cure and the life of gods. Bissu is able to communicate with the deaths and gods. Because Bisu is considered as a holy creature, they have an exlusive life. At present, the number and activities of Bissu is decreasing because of the changing of the government sytem: from monarchy to republic, the DI/TII rebellion in 1950, that wanted to abolish Bissu existence due to the abuse of Islamic law.
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Sagajoka, Estherlina, and Imaculata Fatima. "KEARIFAN LOKAL, MODAL SOSIAL DAN PEMBANGUNAN BERKELANJUTAN." ANALISIS 13, no. 2 (September 10, 2023): 426–40. http://dx.doi.org/10.37478/als.v13i2.2938.
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This Research aims to examine and determine the relationship between local wisdom, social capital and sustainable development. The data and information used in writing this article comes from literature studies nd literature reviews of vrious writings and documents relevant to local wisdom, social capital and sustainable development. Both offline library documents written online. The result of the study show that the relationship between local wisdom (IndigenousKnoledge) and social capital with sustainable development is that local wisdom is the knowledge of local people wwho hve lived in place for a long time, base on values developed from generation. Social capitl is wwht llows local communities to survive and develop sustainably base on local wisdom, Where community knowledge in certain Fields (Economic Activities, Social activities and environmental adaption) is beneficial for the surrounding environment whilw maintaining environmental sustainability, and has been carried out for generations. From generations to generation. Knowledge of costoms and social capital are important factors that have a significant impact on community economic growth and sustainable development. Although formal reseach on Indigenous Konwledge and social capital is still scarce and currently under development, several preliminary studies on mutual cooperation and wwork institutions are very helpful for rural communities, at leas opening wider opportunities as the main benchmark for more intensive and in-depth reseach on working practices and mechanisms as well as the sustainability of lokal wisdom and social capital in Indonesia, especially in rural areas.
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B.K., Athira, and Nidhi Balyan. "“#HANDSOFFMYHIJAB”." Girlhood Studies 16, no. 3 (December 1, 2023): 69–86. http://dx.doi.org/10.3167/ghs.2023.160307.
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Abstract We examine the emerging meanings of hijab practice as feminist strategy, and as a symbol of visibility for young Muslim women and girls in India. Through digital ethnography based on Instagram pages of selected retailers of hijabs, we explore the possibility of hijab as a costume of insubordination, and Islamic fashion as a critical practice against the backdrop of the 2022 Karnataka hijab row. We employ an analysis of Instagram posts to mark the intersecting points of faith, fashion media, and market in framing aesthetics for clothing practices among young Indian Muslim women. We also explore new contours of feminist assertions in the Muslim community, and how the digitally mediated visibility of Muslim women and girls contests the notion of Islamic fashion as oxymoronic.
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Skorik, Alexander, and Lidia Shcherbakova. "Socio-vital Institutions of the Cossack Everyday Life: Categorical and Conceptual Analysis." Vestnik instituta sotziologii 14, no. 3 (September 30, 2023): 37–52. http://dx.doi.org/10.19181/vis.2023.14.3.3.
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Numerous scientific and popular works have been written about the Russian Cossacks, and in modern Russia, interest in Cossacks as a subject of scientific analysis is growing. Presidential Decree No. 505 of August 9, 2020, approved the &quot;Strategy of State Policy of the Russian Federation in relation to the Russian Cossacks for 2021-2030&quot;, that emphasises &quot;promoting the scientific study of the history of the Russian Cossacks, countering the falsification of pages of Russian history related to the Russian Cossacks&quot;. To ensure the scientific study of the history of the Russian Cossacks, it is important to understand the system of key categories and concepts that reflect Cossack everyday life. The development of a scientific toolkit to achieve this goal requires interdisciplinary research, including turning to historical sociology and sociology of culture, conceptualising the socio-vital institutions of the Russian Cossacks, revealing the features of Cossack everyday life.
Vitalist sociology, in turn, paradigmatically supports the author's scientific installation and provides an expanded categorical and conceptual analysis of the ethnocultural sphere of the life activities of Cossack communities in a cultural vitalist key. Attention is drawn to the material side of the socio-personal evolution of Cossack communities in the historical everyday life of the Russian Empire from the 18th to the beginning of the 20th century and the preservation, through commemorative practices, of the socio-vital institutions of the Russian Cossacks to the present day.
The basic resource for life support is housing as a product of the creative activity of the Cossacks and a form of their territorial-spatial localisation within Cossack settlements. The cultural vitalist narrative presents traditional Cossack food, considered in a chronotopic key, positioning Cossack communities as a social group with rational consumption and at the same time external self-presentation.
Historically, Cossacks have had predominant relationships with such an important resource for life support as clothing, and here we encounter profound symbolic interactionism in the self-interpretation of the Cossack costume. In other words, three key categories of Cossack everyday life are taken as an example for interdisciplinary analysis: housing, food, and clothing. This article is dedicated to their study by two scientists who have been working fruitfully in the capital of the world and Russian Cossacks, the city of Novocherkassk.
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Bizgu, Tatiana. "Art of Clothing on the Territory of Historical Moldova during the Time of Alexander cel Bun." Intertext, no. 1(59) (July 2022): 127–34. http://dx.doi.org/10.54481/intertext.2022.1.14.
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Period of the reign of Alexander the Good - the most interesting era of Romanian feudal civilization and art. During this peaceful time, conditions were created for the development of crafts. Intense political and social transformations took place. The economic and cultural relations of the Romanian countries with Europe and the Middle East played an important role in the evolution of the art of clothing. The trade routes were exploited with great benefit for the country. As a result of the research of this period we can see how there have been changes in the clothing of the various social strata of the population of Moldova, the fate of everyday and holiday wear. Shapes, cut, color, length, accessories, complete with furs, combining pieces of high class clothing were analyzed. The paper also briefly reflects the precious sources used for research in the field of clothing, including descriptions of chronicles and stories of foreign travelers. The terminology specific to the studied period, the assortment and artistic value of local and imported fabrics, women's jewelry and the component parts of the royal and boyar ceremonial costumes evocative of the court life of Moldova were briefly reflected, was attracted attention to clothing of the Moldovan soldiers.