Literatura científica selecionada sobre o tema "Interculturality. Cultural Transfer"

RESUMO: Neste artigo, busca-se apresentar e confirmar as seis marcas da literatura e da cultura árabe, do período do Emirado da Sicília para o nascimento da literatura italiana no Duecento, período que remete a Scuola Siciliana. Os objetivos são comprovar a inserção das seis marcas utilizadas por Ibn Hamdis, mas que a partir do processo de interculturalidade e transferência cultural, e a adoção dos seus conceitos foi possível comprovar as contribuições/heranças árabes para o nascimento da Literatura Italiana, além de refutar a hipótese de que a poesia lírica amorosa ter sido originada da Literatura Provençal, assim como, colocar a Literatura Árabe Clássica no mesmo pé de igualdade das Literaturas Clássicas: Grega e Latina para a fundação da Literatura Italiana no mapa literário.Palavras-Chave: Poesia Lírica. Poesia Sarcástica. Scuola Siciliana. Duecento. Interculturalidade. ABSTRACT: In questo articolo cerca di presentare e confermare le sei marche della Letteratura e Cultura Araba nel periodo dell’Emirato di Sicilia per il nascimento della Letteratura Italiana nel Duecento, periodo che fa riferimento alla Scuola Siciliana. Gli obbiettivi sono verificare le inserzioni delle sei marche usati per Ibn Hamdis, ma che attraverso del processo d’interculturalità e di trasferimento culturale ed adozione dei suoi concetti fu possibile dimostrare i contributi arabi per il nascimento della Letteratura Italiana, oltre di rifiutare l’ipotesi di che la poesia lirica amorosa fu originata della Letteratura Provenzale, così come a mettere la Letteratura Classica Araba nella stessa egualità delle Letterature Classiche: Greca e Latina per la fondazione della Letteratura Italiana nel cammino letterario.Parole-Chiave: Poesia Lirica. Poesia Sarcastica. Scuola Siciliana. Duecento. Interculturalità. ABSTRACT: In this article, we will intend to present and confirm the six signatures of Arab literature and culture, from the Sicily emirate to the birth of the Italian Literature during the Duecento, the age of Scuola Siciliana. Our main goal is to prove the insertion of the six signatures used by Ibn Hamdis. Through the process of interculturality and cultural transfer as well as the adoption of his concepts, it was possible to inform the Arab contributions and heritages tot the birth of Italian literature; on the other side, we want to refute the hypothesis that the lyric poetry had its origin in the Provençal poetry. Furthermore, we intend to match the Classical Arab literature with Greek and Latin literatures regarding of the foundation of Italian literature in the studies of literature.Keywords: Lyric poetry. Satirical poetry. Scuola Siciliana. Duecento. interculturality.

The following article has two goals. The first is the presentation of theo-retical approaches to the translation of culture-specific content and expla-nation of some relevant terms, which include culture, interculturality, in-tercultural competence and translational cultural competence. The sec-ond is to discuss practical teaching problems and possible solutions that translational didactics must keep in mind in its research perspective. The practical considerations relate to the transfer of written texts and to the education of students who gain their first experiences in translational activity. With questions about the text, which trigger its analysis on the macro- and microstructural level, the students should be motivated to approach cul-tural content reflexively and to reflect it in the target language.

Abstract The goal of the present paper is apply the blue-ocean strategy to the current status of the higher education system, with a major focus on managing cultural diversity in a global world. Universities nowadays represent poles of excellence in terms of cultural innovation, knowledge creation and transfer to the industry, an interface between home and host country as regards academic mobility (teaching and research mobility); they have a significant role in promoting cultural values and informed intercultural communication, creating academic consortia as well as interacting with the local and business communities. The paper shall also redefine: the role of university managers in the context of expanding internationalization, both in terms of student / staff mobility and developing research networks; the relation of universities and higher education to the needs of society, in view of attaining economic growth and technological advancement. In this respect, the cultural centres affiliated to HEIs represent the best vehicle for raising cultural awareness, informed and coherent understanding of „otherness”, overcoming the „either/or” perspective. University differentiation and diversity are key components of current European strategies as illustrated by several documents: New Skills for New Jobs: Action Now; Europe 2020: A Strategy for Smart, Sustainable and Inclusive Growth; EDU 2025; Blue Ocean Strategy; The FOR-UNI Blueprint; 2005 UNESCO Convention on Cultural Diversity. Managing cultural diversity in a global world has become equally a challenge and a prerequisite for higher education institutions in view of their survival on a highly competitive market and will eventually render sustainable advantage at national and international level. Cultural centers affiliated with universities represent poles of excellence in terms of facilitating and promoting interculturality, plurilingualism, staff and student mobility as well as an exchange of teaching and research practices. In this context, the Confucius Institute at “Lucian Blaga” University of Sibiu represents an example of best practice in terms of efficient management and anticipatory leadership.

The inclusion of museums, galleries and cultural and natural heritage in school curricula and the high number of school visits to heritage institutions prove that museum pedagogy has a very important place in educational practise. The same cannot be said for educational theory, as there is a lack of research in the field of museums and education. Museum pedagogy is an interdisciplinary science that combines multiple theoretical and methodological approaches. Bračun Sova analyses the structure of scientific information, which forms the basis for the interpretation of cultural heritage, through a case study of the Knights’ Hall in Brežice Castle in Slovenia. The author finds that the interpretation of the Hall of Knights is based on art historical information, with the results showing that attention is unevenly distributed, and more attention is paid to the Baroque motif of the four elements. The key finding is that in the museum we see the ceiling as part of the painting, but not as the highlight of the painting. Authors Brajčić and Kuščević examine the museum as a space for non-formal and informal study and analyse the indicators of engagement by visitors, students of the Faculty of Arts at the University of Split. The research proves that the perception of the role of the museum among students has recently diverged and raises new questions about the need for further research in the field of student engagement in educational options. In her article, the author Govekar Okoliš examines various educational museum activities, using the example of the Slovenian School Museum on a sample of students from the Faculty of Arts at the University of Ljubljana. The results of the research show that lessons from the past as a pedagogical activity constitute an effective, lively, and active way to learn about the history of teaching for a group of university students. An important topic in the field of mentoring is the article by author Kisovar Ivanda, who points out the potential of excellent mentors offered by museums, regardless of educational level. In the article, the author explores the views of teachers, museum educators and curators on the forms of mentoring in the process of personalising primary education in Croatian primary schools. Based on the research findings, the author proves the positive attitude of teachers, museum educators and curators towards mentoring through cooperation with educational institutions and cultural communities. Kiurski points to the pedagogical value of museums, especially museum theatre. He introduces it as an interpretive tool, presents the theoretical framework, the sources of development, the use of theatre in museums in the twentieth and twenty-first centuries. The focus is on the twentieth century. Special attention is paid to the actual use of creative theatre in selected Serbian museums (Matica Srpska Gallery, Paul Beljanski Memorial Collection, Museum of the City of Belgrade, National Museum Kikinda, Museum of Vojvodina, and Jevrem Grujić House), highlighting its role as a pedagogical model in work with children and young people. The authors Kozjek Varl, Duh and Herzog prove that successful didactic approaches, such as the aesthetic transfer method, can be used in the museum environment with equal success. They present a study of the successful results of using the aesthetic transfer method in an authentic space, the Art Gallery of Maribor, to explore contemporary visual art. The study was conducted through a case study with a group of students aged 12-14 years. The role of museums in relation to interculturality is highlighted by Lӧseke, who explores how museums engage in transcultural museum education. In the article, the author presents the main findings of the evaluation of three educational projects at the Museum of Islamic Art in Berlin: 'Multaka', 'Tamam' and 'Objects in Transfer'. Drawing on the case of Islamic heritage in a culturally diverse Berlin setting, the author draws attention to the cooperative, inclusive and participatory relationship between museums and their audiences. The authors Milutinović and Selaković deal with current topics, i.e., epidemics, from the point of view of the online learning tools offered by museum websites. They also examine the content from the pedagogical point of view, focusing on museums in the Republic of Serbia. The data obtained show that museums offer authentic online learning paths that appeal to users of all ages. However, a deeper analysis of the research results showed that the museums' online learning content is focused on conveying museum information. The study therefore concludes that the museums’ online content is best suited for a group of students or adults who can more easily foster their own initiative and internal motivation for interest, learning and exploration of individual topics, or for those who have enough prior knowledge to understand the museum content. In her contribution, the authors Zadravec and Miklošević examines the role of museums from the perspective of teachers at grammar schools and vocational high schools. In particular, to what extent both are committed to active visits and excursions with students and what kind of cooperation they would like to see. The results show that there are differences between teachers in grammar schools and those in vocational high schools, especially in terms of increased willingness to collaborate with museums, collaboration with each other and curriculum design. The international contributions in the thematic issue represent an important scientific contribution not only in the field of museum pedagogy, but also in the field of general education. This is constantly influenced by social change, so that, as the researchers emphasise, it is important to constantly investigate, both on large, representative samples and on smaller samples or individual cases.

Western museums hold numerous Japanese objects, typically gathered by collectors during travels in Japan and then donated to local institutions. This simple scenario is by no means always the case, as can be seen with the numerous Japanese bronze bells in Swiss museum collections. The story of how the bells changed from holding significant functions within Japanese monastic and secular communities to being sold for their materiality and sheer weight as they travel across the globe tells a complex story of how objects change in meaning as they travel. As the bells were eventually relegated to museum archives, their stories help to shed light on global transfers, interculturality, and cultural misunderstandings, as they narrowly escape destruction. Their stories show the futility of claiming global understanding of art when, despite globalization, we are in the end products of our own localized traditions and understandings.

This paper takes an intercultural approach to identifying and discussing rendition strategies of one specific punchline recurrent in scripted telecinematic discourse: That’s what she said. While this formulaic punchline demonstrates a relatively high salience in the US, particularly in oral and scripted genres, it issues more than one challenge to translators seeking to render it for other speech communities in a manner that acknowledges and retains the source pattern’s complexity as a discursively triggered and formulaic pragmatic idiom. We shall focus here on two specific target cultures, i.e. the Russian and the German, in demonstrating the challenges that this complex and linguistically as well as cognitively multi-faceted formula poses for its appropriation into either cultural sphere. Our study is based on a self-compiled parallel dataset of context-embedded source occurrences of That’s what she said and their renditions into German and Russian, thus offering immediately contrastive insights into the rendition strategies that translators have been employing to interculturally transfer this highly evasive idiomatic formula from one speech community to others.

The article examines the role of lexical invariants found in Spanish-language feature films and television series produced in different countries. The article analyzes the impact of lexical and semantic variants of language units on the understanding and perception of plots by viewers. It is determined that the viewer's recognition of Spanish and Latin American equivalents, regional dialects, argot and jargon can broaden the intercultural framework of communication, deepen the knowledge of the historical, social, cultural and historical realities of a certain nation. Semantic differences in lexemes affect the plot of films, while lexicographic differences create unique images of characters in the viewers' minds. Metaphorical transfers and phraseology specific to a particular culture add deep axiological and cultural meaning to the plot. The authenticity and cultural context of Spanish-language films, reflected in the lexical and semantic features of the characters' speech, expand viewers’ communicative and linguistic competence in the modern globalized world. The aim of the study is to determine the role of lexical and semantic differences in the dialogues of Spanish-language films and to characterize their impact on their perception, creation of images and characters, as well as on the cultural exchange between Spanish-speaking countries and other cultures through the cinema. The study focuses on lexemes, phrases, metaphors, phraseological units and microtexts that differ in their lexicography or semantic content in Spanish and Latin American films. Semantic and contextual analysis of the linguistic material has been conducted to identify those differences. The methods used by the film industry to adapt films to their target audiences have also been identified. However, the comparison shows a simplification of the plot interpretation and a loss of regional authentic characteristics through the use of language adaptation. It has been found that interculturalism can contribute to the society globalization without losing cultural values through the inclusion of contextual explanations in film dialogues.

Background The World Health Organization (WHO) states that an expected 200 million women have experienced female genital mutilation (FGM) in Africa. The types of cutting vary depending on the individual’s society or location, with four different types presently being practised. The Horn of Africa comprises Somalia, Djibouti, Kenya, Eritrea and Ethiopia, and WHO has listed the following four countries in order of prevalence of FGM practice, with Somalia at 98%, followed by Ethiopia at 92%, Djibouti at 93% and Eritrea at 89% of the female population. In addition to efforts being made to eradicate FGM by WHO, Non-governmental organisations, governments and women organisations, there is also a demand from those who have already undergone this procedure, whether they are in Africa or elsewhere in the world for help with the biopsychosocial consequences of FGM. Method This paper presents the findings of a mixed-method study on the views of a group of vulnerable migrant women with FGM, as well as healthcare practitioners, who consider that there is an unmet demand for better interculturally sensitive healthcare in their adopted country –Germany. The mixed-method study comprised the participation of 48 female volunteers over 18 years of age, recruited with the help of Somali social workers. Using the Metaplan and a quantitative questionnaire, five workshops were conducted in the German towns of Fulda (N=16), Rathenau (N=9), Kassel (N=13) and Berlin (N=10). analysis Results The investigation in Germany was conducted as part of MyHealth, which was a larger European project aimed at improving the healthcare access of vulnerable migrants and refugees (women and unaccompanied minors) newly arrived in Europe, by developing and implementing models based on information gained from a European multidisciplinary Learning Alliance. The overall data gathered revealed a high demand for information and attention to the issue of FGM by both the participants and healthcare professionals. The interaction during data gathering is also suggested a transfer of knowledge between the researchers and the participants, with the result that participants felt they had been heard and were then able to engage with the German healthcare system. Discussion The study highlights the fact that the provision of healthcare in the host country can be improved by providing healthcare workers with intercultural communication skills, tools and cultural awareness training approaches. Moreover, these types of interventions could be adapted to help other vulnerable groups in different healthcare systems worldwide, particularly women’s issues such as postnatal depression, FGM and menopause.

L'art du Mithila désigne des formes rituelles et artistiques pratiquées au Bihar (Inde) et au Teraï (Népal). Issue de fresques réalisées par les femmes, aux marges de valeurs brahmaniques androcentrées, l'artification marchande globalisée des peintures conduit à des reconfigurations créatives, discursives, sociales, déplaçant vers le centre les peintres du Mithila.Le montage de plus de 500 expositions dans 36 pays (1935-2019) montre une accélération des circulations des œuvres artifiées et de leurs créatrices du Sud global, jouissant de formes de reconnaissance dans un monde de l'art dominant dont elles sont souvent exclues, en raison de subalternisations multiples (genre, caste, classe, clivages Nord/Sud et urbain/rural). L'histoire connectée de la réception transnationale de leur art s'étend du moment colonial tardif et de la postindépendance au moment postmoderne, en lien avec le tournant global, catalysé par le kairos indophile et contreculturel des Long Global Sixties. Une pensée critique prônant l'empowerment, basée sur le lien entre féminismes et indophilie contreculturelle favorise l'engagement sur le terrain de l'artification de médiateurs transculturels.Le moment colonial tardif et de la postindépendance est représenté par M. et W. Archer et des artistes-médiateurs gouvernementaux indiens comme U. Maharathi, fondateur de l'institut de design de Patna. Les Archer interprètent des pratiques à l'aune d'une vision organique de l'art et d'une esthétique universelle liées au freudisme et aux avant-gardes. Leader indépendantiste, Maharathi expose et commercialise l'art du Mithila. Ses ambitions de patrimonialisation résonnent avec l'affirmation d'une indianité liée à la construction de l'identité nationale. L'artification marchande se construit vers les années 1930, avant qu'une crise agricole, alimentaire et politique (1966-67) n'agisse comme catalyseur des circulations globales et de la légitimation des peintres. Avec l'entrée dans la première phase de mondialisation de la réception, celle de l'indophilie contreculturelle, des médiateurs transculturels (Y. Véquaud, E. Moser Schmitt, R. et N. Owens, T. Hasegawa) se situent dans un champ culturel transnational postbourdieusien traversé par des tensions, des convergences idéelles (féminisme, justice sociale) et des dissonances: bohème artistique et littéraire vs anthropologie appliquée au développement; intensification des flux marchands globaux vs idéalisme critique contreculturel et utopie communautaire villageoise. L'éphémère convergence de passeurs de (contre)culture et de médiateurs indiens autour d'un modèle alternatif fait advenir un kairos et un monde de l'art transculturel, décloisonné. Ce nexus entre médiateurs construit des figures féministes de peintres autour d'un art des marges et de la résistance créative. Le moment postmoderne de la globalisation tardive introduit pluralité discursive et déconstruction de visions du Nord-global réifiées, androcentrées et primitivistes et de la triangulation féminisme libéral-développement-tourisme. Les peintures sont réinterprétées à l'aune d'une « contemporanéité multiple » axée sur le flux ou d'identités imbriquées translocales, subversives au prisme des tournants postcolonial et de genre.Le kairos contreculturel est unique dans l'histoire de la réception de l'art maïthil, dont l'éphémère convergence des artificateurs est souvent occultée. Il ouvre la voie aux circulations globales, à la construction d'un champ transnational, à la déconstruction de la valeur d'«authenticité». L'art des femmes peintres entre sur la scène contemporaine globalisée, réapprécié à l'aune de canons transnationaux. En résultent transferts et hybridations entre contreculture et féminismes, en Inde et dans le Nord global. S'y forge une pépinière artistique et un catalyseur du mouvement des femmes, ouverts au féminisme inclusif et à une effervescence créative, leviers d'un changement de paradigme dans les renouvellements des artistes du Mithila
Mithila art refers to ritual and artistic forms practised in Bihar (India) and the Terai (Nepal). Originating in frescoes painted by women on the margins of androcentric Brahmanic values, the globalised commercial artification of paintings has led to creative, discursive and social reconfigurations, moving the Mithila painters from the periphery to the centre.The setup of more than 500 exhibitions in 36 countries (1935-2019) illustrates an acceleration in the circulation of artified artworks and their creators from the global South, who are enjoying forms of recognition in a dominant art world from which they are frequently excluded, due to multiple oppressions (gender, caste, class, North/South and urban/rural divides). The connected history of the transnational reception of their art can be traced from the late colonial and post-independence moment to the postmodern moment, in connection with the global turn that was catalysed by the indophile and countercultural kairos of the Long Global Sixties. Critical thinking that advocates empowerment, based on the nexus between feminisms and countercultural indophilia, fosters a commitment to the artification of transcultural mediators.The late colonial and post-independence moment is represented by M. and W. Archer and Indian government artist-mediators such as U. Maharathi, the founder of the Patna Design Institute. The Archers employ practices an organic conception of art and a universal aesthetics, which is linked to Freudism and the avant-garde, to interpret practices. Maharathi, an independence leader, exhibits and commercialises Mithila art. His ambitions for heritagisation resonates with the assertion of an Indianness linked to the construction of national identity. Commercial artification began to develop in the 1930s, preceding an agrarian, food and political crisis (1966-67) that acted as a catalyst for global circulation and the legitimisation of painters. With the entry into the first phase of globalisation of the reception, that of the countercultural indophilia, transcultural mediators (Y. Véquaud, E. Moser Schmitt, R. and N. Owens, T. Hasegawa) are situated within a post-Bourdieusian transnational cultural field characterised by an array of tensions, ideological convergences (feminism, social justice) and dissonances: artistic and literary bohemia vs. anthropology applied to development; intensification of global trade flows vs. critical countercultural idealism and village community utopia. The ephemeral convergence of (counter)cultural brokers and Indian mediators around an alternative model has given rise to a kairos and a transcultural, decompartmentalised art world. This nexus between mediators constructs feminist figures of painters around an art of the margins and creative resistance.The postmodern moment of late globalisation introduces a discursive plurality and the deconstruction of reified, androcentric and primitivist visions of the Global North, as well as the ‘liberal feminism-development-tourism' triangulation. The paintings are reinterpreted in terms of a ‘multiple contemporaneity' centred on flux, or of overlapping translocal and subversive identities, in the prism of postcolonial and gender shifts.The countercultural kairos is unique in the history of the reception of Maithil art, whose ephemeral convergence of artificators is often overshadowed. This paves the way for global circulation, the construction of a transnational field, and the deconstruction of the value of ‘authenticity'. The art of women painters enters the globalised contemporary scene, reappraised in the terms of transnational canons. This has resulted in transfers and hybridisations between counterculture and feminism, in India and in the Global North. An artistic incubator and a catalyst for the women's movement is being forged, open to inclusive feminism and creative effervescence, which serve as levers for a paradigm shift in the renewal of Mithila artists

Pendant près d'un quart de siècle, du milieu des années 1840 jusqu'à la guerre franco-prussienne de 1870/1871, Baden-Baden, située entre la plaine du Rhin supérieur et l'ouest de la Forêt-Noire, a été la « capitale d'été de l'Europe ». D'une part par le nombre de ses visiteurs et l'internationalité de ses hôtes, et d'autre part par l'ampleur et la qualité du programme de divertissement, elle occupait incontestablement la première place parmi les stations thermales européennes à la mode du XIXe siècle et nulle autre n'a fait autant parler d'elle. Lorsque les contemporains des deux côtés du Rhin qualifiaient la ville de « colonie française » ou de « succursale de Paris », ils avaient de bons arguments à faire valoir.Les touristes étrangers venaient majoritairement de France, la signalisation de l'espace public et la langue de communication étaient françaises, la scène du théâtre était jouée par de célèbres ensembles parisiens et le Jockey Club de Paris organisait les courses de galop de Baden. Cependant, malgré la forte influence française, Baden-Baden était une ville allemande dont la population autochtone a beaucoup contribué à son développement, dont l'avenir était débattu dans les parlements allemands et décidé par un gouvernement allemand. Sur le plan culturel également, l'élément allemand ou régional a été mis en avant, que ce soit dans la musique, le théâtre ou le sport.Les acteurs allemands et français sont entrés en contact et en interaction les uns avec les autres à tous les niveaux à Baden-Baden. Les phénomènes d'échange et de transfert ont été multiples dans les domaines de l'architecture, des arts du spectacle, de la musique et du sport, mais aussi dans le cadre de la coopération professionnelle et de pratiques quotidiennes telles que l'alimentation.Tout ceci est développé dans cette histoire des relations franco-allemandes dans la ville de Baden-Baden au 19ème siècle. Il examine également comment cette évolution est liée aux développements politiques et sociaux plus larges de l'époque, à savoir l'émergence des nationalismes, et à la situation de plus en plus tendue des relations franco-allemandes depuis les années 1850
For almost a quarter of a century, from the mid-1840s until the Franco-Prussian War of 1870/1871, Baden-Baden, situated between the Upper Rhine Plain and the Western Black Forest, was the "summer capital of Europe". In terms of visitor numbers and the internationality of its guests on the one hand, and the scope and quality of its entertainment program on the other, it was undoubtedly the leading sophisticated European spa resort of the 19th century, and no other was as popular. When contemporaries on both sides of the Rhine referred to the city as a "French colony" or a "branch of Paris," they had good points.The foreign guests came mainly from France, the signage of the public space and the language of communication were French, the stage of the theater was played by famous Parisian ensembles and the Paris Jockey Club organized the gallop races of Baden.Despite the strong French influence, however, Baden-Baden was a German city whose native population contributed much to its development, whose future was debated in German parliaments and decided by a German government. Culturally, too, the German or rather the regional element came to the fore, be it in music, theater or sports.German and French actors came into contact and interaction with each other at all levels in Baden-Baden. There were manifold phenomena of exchange and transfer in the fields of architecture, the performing arts, music and sports, but also in the context of professional cooperation and everyday practices such as eating.All of this is brought out in this history of Franco-German relations in the city of Baden-Baden in the 19th century. It also examines how this development related to the larger political and social developments of the era, namely the rise of nationalisms, and to the increasingly tense situation of Franco-German relations since the 1850s

Tese de Doutoramento em Psicologia na especialidade de Psicologia Intercultural apresentada à Universidade Aberta
O estudo sobre a importância dos avós na família e sociedade contemporâneas visa compreender qual o papel que os avós têm para a dinâmica familiar, quer como recurso quer como transmissão de saberes numa perspectiva intergeracional. Foram analisadas neste estudo 50 famílias, 25 famílias num contexto rural e 25 famílias num contexto urbano. Foram entrevistadas diferentes gerações ou seja, pais, mães, avós e avôs do mesmo núcleo familiar perfazendo um total de 200 entrevistas. Concluiu-se que os avós são um recurso familiar, social e económico imprescindível e são muito importantes na transmissão de valores sociais e culturais e no cuidar dos seus netos. Também a transmissão de saberes por parte dos avós, sobretudo das avós sobre os cuidados infantis, são uma mais-valia para as mães que estão a iniciar o seu projeto maternal. Na atualidade, os recursos de saúde disponíveis são melhores no entanto os recursos de saúde locais nem sempre dão resposta às necessidades dos pais e das mães. A utilização de cuidados tradicionais diminuiu, apesar de alguns ainda continuarem a ser utilizados pelas avós. Verifica-se uma diminuição intergeracional na importância e transmissão das práticas e valores religiosos dos pais, educação e na proteção infantil, apesar dos mesmos não se oporem a que os seus filhos frequentem as igrejas ou pratiquem a religião. A investigação sublinha a manutenção da importância do núcleo familiar para a qualidade de vida, bem-estar e crescimento harmonioso dos seus elementos, assim como da solidariedade familiar existente entre avós, pais e netos.
The study on the importance of the grandparents in the contemporary family and society aims at understanding the role they play on the family dynamics, either as a resource or the transfer of know-how in an intergeneration perspective. The study included 50 families, 25 families living in a rural context and another 25 living in a urbane one. People from very different generations were interviewed, i.e, fathers, mothers, grandmothers and granfathers, and from the very same familiy nucleus, in a total os 200 individuals. The conclusion drawn is that grandparents are indeed an indispensable family, social and economical resource, and are also very important on the transfer of social and cultural values, as well as looking after their grandchildren. The grandparents’ transfer of know-how, particularly the knowledge transfered from grandmothers as far as infant caretaking is concerned, are an added value for mothers who are initiating their maternal Project. Today, the health resources avaiable are better; howevwer in terms of local health care resources, these do not always meet the fathers and mothers needs. The use of the traditional health care procedures has decreased, although some are still being used by grandmothers. There is na intergeneration decrease regarding the importance and transfer of parents’ religious practices and values on infant protection, althought not opposing to their children attending a church nor practicing a religion. The research underlines the need to keep the importance of the family nucleus on its elements quality of life, well-being and harmonious growth, as well as the family solidarity existing among grandparents, parents and grandchildren.

Pouches are a vital heritage combined with tools such as needles, crochet hooks, needles, silk, wool, cotton thread, flannel, silk, embroidered fabric, and various beads, depending on the material used. Pouches, when in terms of colors, meanings of motifs, and composition, are also viewed as a means of communication through which the locals express their feelings about what they cannot say. Pouch examples can now be found in museums, dowry chests, and private collections because they are complex and laborious to make. The study intends to transfer to future generations the material cultural product pouches reflecting our cultural identity in the warehouse and display of the Bursa Turkish and Islamic Arts Museum, to be examined and documented, introduced, and ensure their continuity with new designs. The study’s data collection tools included a literature review, museum inventory information, and photographic documentation techniques. Knitted pouches with animal motifs were identified and documented by using technical drawings. The examination reveals that mostly bird motifs use, and animal motifs such as rooster, deer, goat, and butterfly attempt to depict as they were in nature. Furthermore, the significance of pouches as a cultural heritage item emphasizes.

Narrating personal experiences, stories, or real-life events can engage students in meaningful learning that is interesting and fun. Digital storytelling can support not only knowledge transfer but also realizing socially-just education by promoting inclusive attitudes. This chapter argues for the use of digitally supported storytelling for social justice education. Interculturally-critical digital storytelling is presented as a critical orientation that is sensitive to intercultural issues of power and sociopolitical realities. It makes a case for implementing digital storytelling as a way of introducing experiences and narratives that explore elements pertinent to social justice. Interculturally-critical digital storytelling involves (a) incorporating multicultural literature in order to amplify students' voices and include different cultures, (b) considering storytelling as a creative practice that entails an innovative method of teaching and learning, and (c) emphasizing the need to discuss and question hegemonic normative expectations that perpetuate injustices and inequalities.

Dowry is a transfer of materialistic goods or money from bride’s parents to bridegroom family at the time of marriage. However, as dowry demand rises, it has a significant detrimental impact on the lives of women. This chapter discusses the history of dowry and its practices, the positive and negative impact, and policy implications. The keywords used for this search were: “Dowry AND Pakistan,” “Pakistan culture AND Violence against women,” “social aspects AND Dowry practices,” and “Intimate-partner violence AND Pakistan.” To ensure that readers would receive valid information on the subject, authors searched from reliable engines. Dowry is a common tradition, particularly in South Asian countries. It is originated from Hindu culture, but later adopted and practiced by other Islamic and European-American nations. Though it provides an opportunity for women to get their share of pre-mortem inheritance from their parent’s property. However, it may be the leading cause of violence and abuse that poses an enormous burden on the brides. Violence prevention is achievable, but it requires efforts by the government, health institutions, and civil society. This is an additional contribution by the authors to raise awareness regarding “Dowry,” which is one of the preventable predictors of violence.

The focus of the study is on the transformation of individuals as communicators in a digital multicultural educational environment, a large-scale worldwide transition that was caused by pandemic (COVID-19) restrictions and the consequences of which have dramatically changed the formats and forms of communication in educational settings. Adapting to the virtual space of intercultural communication and the new, electronic, continuum of educational discourse, students, transforming themselves, transform the communicative community and their learning environment. The purpose of the study is to identify and conceptualize the signs of transformation of the multicultural class participants’ identities when studying under international programs in the virtual space of communication. The research methods involved participant longitudinal observation (during the period of 2020–2024: the pandemic and the immediate post-pandemic years), survey, discourse analysis, and conceptual and axiological analyses. Among the results reflecting the dynamics of communication transformation processes in digital intercultural education are the encapsulation of communication, transcultural communication, and the development of multimodal competency, to name but a few.