scholarly journals The problems of determining the canon in the plastic folklore of the Sakha (Yakuts)

2018 ◽  
Vol 55 ◽  
pp. 04010
Author(s):  
Sargylana Nikiforova ◽  
Galina Popova ◽  
Ekaterina Dyachkovskaya

In the conditions of erosion of specificity and weakening of ethnic cultures identity, massive imitation of authenticity undertaken by the cultural bearers themselves with the aim of commercializing becomes an additional threat to its preservation. The authors believe that these threats can be minimized if “structuring elements” of this culture are determined. In particular, the popularization of canonical national forms of culture can contribute to this. The undividedness of oral folk art and decorative applied art is the basic characteristics of folklore. In addition to it, the structural and content components of the artistic canon in the folk art of Sakha (Yakuts) are named in the paper. In traditional culture, the thing made according to the canon, determines the behavior of its owner and makes him correspond to the expected visions of the ethnic community; moreover, it models the scenario of his fate. The problems of interaction between the evolution of style and the author’s deviations from the canon are partially touched upon in the article. With regard to the plastic folklore, these are the best, typical, and familiar features that are not presented as a sum of skills and techniques of craft, but as a creative interpretation of the national master. In the outstanding works of folk art, these ornamental forms are deliberately chosen, taking into account the chromatic code of culture, the composition of which refers to the national picture of the world. The pictorial canon in the plastic folklore captures and transmits the rules for visualizing the spiritual experience of the people from generation to generation. In fact, it forms the framework of culture, and it is the canon that provides for “not a common expression of faces” of each culture.

2000 ◽  
Vol 10 (2) ◽  
pp. 239-253 ◽  
Author(s):  
Asmah Haji Omar

English today certainly plays a wider range of roles than before. Due to these roles and to its neutrality in not being exclusively identified with any particular ethnic community in Malaysia, English is meant to be everyone’s language in as much as the national language is. In real life the functions of English in Malaysia almost equal those of Malay, including the social function. This situation results from the image projected by English vis-à-vis Malay and an equal treatment of the two languages in the implementation of the policy. The policy on the enhancement of the use of English has helped to de-sensitise the feeling of the people towards English as a former colonial language, and to close the attitudinal gap between Malay and English. This pragmatism has also changed the world-view of Malaysians that only the use of the national language would assist in nation-building


2020 ◽  
Vol 19 (5) ◽  
pp. 156-166
Author(s):  
Venariy A. Burnakov

Purpose. The article explores the characteristics of the fox in the oral folk art of the Khakass. The study is based on folklore, ethnographic and linguistic sources. The paper analyzes folklore materials published in Russian and Khakass languages. Results. The author explores various genres of narrative Khakass tradition, which feature the fox: myths, epics, tales and sayings. During the process of analysis, it was concluded that the representation of this animal can be commonly found in folk art of the Khakass. Moreover, it has a complex and ambiguous characterization. The perception of this beast in the traditional consciousness was, to a large extent, determined by a long study of its biological nature, external data and habits. Russian culture also had a certain influence on the formation of the folklore image of the fox among the Khakass. Five main plot groups in which the designated beast appears are identified. The works assigned to Groups 1–4 were formed based on their own mythological views and within the framework of their ethnic tradition. They arose as a result of direct observations of the life and habits of the fox and reflected the life experience of the people, their observations, ideas of the surrounding nature and the desire for knowledge of the world. In many ways, they have an etiological character and are associated with a belief in magic and sorcery. What is also important is that in these works, the direct life of the animals themselves is depicted, as it was presented in the traditional consciousness of the people. The narratives assigned to Group 5 were mostly developed in the context of intercultural contacts between the Khakass and Russians. Conclusion. As a result of this process, there was a borrowing and processing of images and plots within the framework of their own ethnic tradition. There is a tendency under the guise of animals to depict people and their psychological properties, as well as display the social and everyday life of society. The interpretation of the form of the trickster-fox is subject to a certain moral and ethical norm. At the heart of all the stories studied is the motive for obtaining food, which is carried out in various ways and as a result forms the corresponding stereotype of perception of this beast.


Kavkaz-forum ◽  
2020 ◽  
Author(s):  
З.В. КАНУКОВА ◽  
Б.Т. Цогоев

Картина мира, характерная для традиционной культуры, транслируется самыми разнообразными способами, в том числе посредством описания предметов быта, отражающих миропонимание этноса. Изучение фольклорных источников позволяет реконструировать некоторые архаичные формы вещественного быта, в частности, представления об одежде, проследить тенденции их бытования в динамике общественного развития, в изменившейся среде обитания, в условиях внешних влияний и взаимодействий с инокультурным окружением. Исполнители нартовских кадагов – носители коллективной исторической и культурной памяти народа, посредством многообразных эпических формул транслируют информацию об отдельных элементах одежды и традициях ее изготовления и ношения, которая со всей очевидностью свидетельствует об отражении в ней нескольких эпох и культурных пластов, о преемственности с традиционной культурой осетин. Анализ нартовских кадагов дает основания утверждать, что они не являются источником для полного этнографического описания костюма человека в Стране нартов, но содержат не менее важные сведения о социальных и символических функциях одежды. В культурном пространстве этноса это не только часть культуры жизнеобеспечения с утилитарным назначением, это – текст с собственной семантикой. Выявлено, что одежда у нартов – престижно-знаковый элемент культуры, этнический и социальный маркер, мерило достоинства человека. Кроме того, одежда – знатный трофей, награда за доблесть, ценный подарок в мужском социуме, непременная составляющая свадебного дарообмена, часть калыма, объект наследства, форма подкупа, компенсация за нанесенное оскорбление. Эти и другие функции позволяют характеризовать одежду как структуру повседневности, отражающую многообразные связи и отношения в рамках описываемой реальности. The picture of the world, characteristic of traditional culture, is broadcast in a variety of ways, and also wia the ideas of clothing, which is one of the elements of the life supporting culture, reflects the understanding of the ethnos, allows to maintain a lively connection between generations and visually represent the bearer of the culture of ancestors. The study of folkloric sources, in particular of the Narts’ kadags, allows to reconstruct some archaic forms of physical life, to trace the trends of their existence in the dynamics of social development, in the changed habitat, in the conditions of external influences and interactions with the foreign cultural environment. Performers of kadags – bearers of the collective historical and cultural memory of the people, through various epic formulas broadcast information about certain elements of clothing and traditions of its manufacture and wearing, which clearly shows the reflection in it of the several epochs and cultural layers, of continuity with the traditional culture of Ossetians. Analysis of Narts’ kadags suggests that they are not the source for a complete ethnographic description of a person's costume in the Land of Nartha, but contain equally important information about the social and symbolic functions of clothing. In the cultural space of the ethnic group it is not only a part of the culture of life support with a utilitarian purpose, it is a text with its own semantics. It was revealed that the clothes of Narts is a prestigious-iconic element of culture, ethnic and social marker, a measure of human dignity. In addition, clothing is a notable trophy, a reward for valor, a valuable gift in a man's society, an indispensable component of the wedding gift exchange, part of the bride price payment, the object of inheritance, a form of bribery, and compensation for the insult. These and other functions characterize clothing as a structure of daily life, reflecting the diverse connections and relationships described in the reality described.


Author(s):  
Aktoty Nusipalikyzy ◽  
◽  
Maulenov Almasbek ◽  
Baigunakov Dosbol ◽  
Toty I. Koshenova ◽  
...  

The holy book “Avesta” is one of the magnificent creations of the world, which contains valuable information about religion, literature, culture, geography, history and mythology of the ancient peoples of Central Asia. For several centuries, many scholars of various specialties have been interested in “Avesta”. In numerous comments they discussed the history of the appearance of the book and its hymns, the personality of Zarathustra, his homeland, geographical objects, historical characters and mythological images, the ideological basis of the collection of holy books, etc. Many of the above mentioned questions are still being discussed among specialists, causing and over-colouring certain problems. In their work, the authors tried to find something in common between the “Avesta” and the Kazakh literature, exploring the spiritual relationship of the “Avesta” with the mythology of the people. As practice shows, various phenomena in the folklore of the peoples of the world are experiencing their birth, formation, flourishing, decay and death. Forms are modified, disappear, replaced by others. But sometimes the most ancient layer of folk art is preserved as a relic. Sometimes it is very difficult to see the traces of the most ancient representations in national folklore. Therefore, the authors of the article analyzed the works of Kazakhstani authors who studied some points in the “Avesta” and they made only an attempt to investigate the remains of the Kazakh archetype in this ancient literary monument. This article, without claiming to completely cover the available material, sees the main task in providing a holistic conceptual overview of the Kazakh literature on the above mentioned problem.


Author(s):  
Oltinoy Kosimovna Tadjibaeva ◽  

The article discusses the role and importance of folk art heritage in the development of national theater art in Central Asia. To date, the theatrical art of the region has a great experience and it has the opportunity to compare its culture with others. Epic direction is one of the points of support, one of the heights from which you can look at the experience and trends of the world of theatrical art. (72) In folk epics, various elements of culture and spirituality are traced, and the peculiarities of a particular nationality are revealed. The entry of the European style of theater into the framework of the culture of Central Asia certainly influenced the development of traditional theater of the people. Creative figures faced the problem of showing their performances on closed stages, in rooms. In the pieces, folk customs are presented following a common pattern, whereas national theatres offer their own interpretation, reflecting the culture, customs, and the nation’s past. Not only essentially different pieces of the same title and subject, created by different nations, differ in style, methods, means of artistic representation and character interpretation, and never a hero of one nation is a repetition of the image created by the neighboring nation. This is how the nation’s mentality, culture, spiritual character, and traditional values are exposed. This, in turn, is a dominant feature in the evolution of theatres. Thus, the epic heritage serves as the golden treasure of the theatrical culture of Central Asia.


2020 ◽  
Vol 8 (12) ◽  
pp. 1-20
Author(s):  
Raj Kishor Singh

This article communicates the changing pattern of Mithila folk painting to fine art due to the professionals’ intervention in this realm. Besides, technological use has further altered it and the people who were unable to perform their ritual on the works of art are able to do so now. Consequently, the painting has been enhanced from its limited geography to all over the world where even the diaspora Maithils enjoy their culture with full enthusiasm. This phenomenon has led people both connected to their culture as well as uplifted to high spirituality, aware about their identity and commercializing their cultural artifacts. Thus, this fluctuating tendency of this folk art has empowered the community morally, artistically and economically.


Author(s):  
Anwar Ibrahim

This study deals with Universal Values and Muslim Democracy. This essay draws upon speeches that he gave at the New York Democ- racy Forum in December 2005 and the Assembly of the World Movement for Democracy in Istanbul in April 2006. The emergence of Muslim democracies is something significant and worthy of our attention. Yet with the clear exceptions of Indonesia and Turkey, the Muslim world today is a place where autocracies and dictatorships of various shades and degrees continue their parasitic hold on the people, gnawing away at their newfound freedoms. It concludes that the human desire to be free and to lead a dignified life is universal. So is the abhorrence of despotism and oppression. These are passions that motivate not only Muslims but people from all civilizations.


Author(s):  
Vu Thi Thanh Minh

With the majority of the population working in agriculture, the economy of Khmer people is mainly agricultural. At present, the Khmer ethnic group has a workingstructure in the ideal age, but the number of young and healthy workers who have not been trained is still high and laborers lack knowledge and skills to do business. Labor productivity is still very low ... Problems in education quality, human resources; the transformation of traditional religion; effects of climate change; Cross-border relations of the people have always been and are of great interest and challenges to the development of the Khmer ethnic community. Identifying fundamental and urgent issues, forecasting the socio-economic trends in areas with large numbers of Khmer people living in the future will be the basis for the theory and practice for us to have. Solutions in the development and implementation of policies for Khmer compatriots suitable and effective.


Author(s):  
Zyad Samir Al-Dabagh

The process of building peace and laying its foundations within the societies of the world, especially those newly emerging from the stage of conflict, are among the important and indispensable matters. Without peace, opportunities diminish in obtaining the essentials of a safe and normal life, and without peace, societies cannot It works and advances towards a better future. However, peacebuilding operations in many societies emerging from conflict or those in which they live may face a set of challenges and obstacles that constitute a major obstacle to them, which necessitates searching for the best ways and means by which these obstacles can be addressed in order to build a real and effective peace that is reflected Positively on the people of those societies.


2020 ◽  
Vol 11 (SPL1) ◽  
pp. 171-174
Author(s):  
Tarare Toshida ◽  
Chaple Jagruti

The covid-19 resulted in broad range of spread throughout the world in which India has also became a prey of it and in this situation the means of media is extensively inϑluencing the mentality of the people. Media always played a role of loop between society and sources of information. In this epidemic also media is playing a vital role in shaping the reaction in ϑirst place for both good and ill by providing important facts regarding symptoms of Corona virus, preventive measures against the virus and also how to deal with any suspect of disease to overcome covid-19. On the other hand, there are endless people who spread endless rumours overs social media and are adversely affecting life of people but we always count on media because they provide us with valuable answers to our questions, facts and everything in need. Media always remains on top of the line when it comes to stop the out spread of rumours which are surely dangerous kind of information for society. So on our side we should react fairly and maturely to handle the situation to keep it in the favour of humanity and help government not only to ϑight this pandemic but also the info emic.


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