Simple Hardworking Christian Folks, or the Self-Image of Contemporary Belarusian Kolkhozniks

2013 ◽  
Vol 27 (2) ◽  
pp. 260-279
Author(s):  
Anna Engelking
Keyword(s):  
Collective Identity ◽  
Field Research ◽  
The Self ◽  
Self Image ◽  
Building Process ◽  
The Common ◽  
Definition Of ◽  
Christian Nation ◽  
Source Materials ◽  
Insight Into

This article concerns the anthropological inquiry about collective identity of contemporary Belarusian kolkhozniks. The author had conducted her field research (1993-2011) in both west and east Belarus. Source materials consist of about seven hundred conversations with individuals overwhelmingly more than sixty years of age. By analyzing and interpreting their narrative, the author traced the implicit values, norms, rules, basic semiotic dichotomies, and distinctive attributes in search of an unbiased insight into the content, structure, and building process of collective identity of the subjects under study. She concludes that the dichotomies, constitutive for collective identity of kolkhozniks—“peasant” versus “lord,” “peasant” versus “Jew,” and “Christian” versus “Jew”—result in the self-definition of muzhik-kolkhoznik as a simple, hard-working man “from here” belonging to a “Christian nation.” Neither the nation nor motherland, state nor language, belongs to the principal values of this group, which are “working the land” and “faith in God.” As a result of the petrifaction of the old model of the serfdom manor by the Soviet kolkhoz system, in a Belarusian village we presently encounter one of the last European residuals of premodern mentality and social identity. The image of Belarusian kolkhozniks’ collective identity has little to do with the popular category of Homo sovieticus and with the common stereotype of the kolkhoz. The human subject of the author’s anthropological reflection shows up as a person dealing amazingly well with extremely difficult living conditions and the modern, vivid personification of the archaic Homo religiosus.

Turning to Narrative

2017 ◽  
Author(s):  
Brian Schiff
Keyword(s):  
Meaning Making ◽  
Psychological Research ◽  
Psychological Problems ◽  
The Self ◽  
Narrative Psychology ◽  
Narrative Perspective ◽  
History Of ◽  
The Moment ◽  
Definition Of ◽  
Insight Into

Chapter 3 of A New Narrative for Psychology introduces a theoretical framework for a narrative perspective that inspires creative approaches to studying psychological problems. It begins with a history of the “narrative turn” in psychology and outlines the current divisions. Since the 1980s, psychological research calling itself “narrative” has blossomed. However, at the moment, narrative psychology is fragmented, with no clear definition of what narrative is or does. This chapter addresses the definitional problems posed by the current use of the narrative concept in psychology, arguing that narrative psychology is not just a theory or a method but, rather, must encompass both. It reorients narrative psychology to meaning making, the study of how and why persons enact aspects of their lives in time and space. Narrative offers researchers insight into the fundamental psychological problems of how persons interpret the self and experience.

Seizure drawings: insight into the self-image of children with epilepsy

2003 ◽  
Vol 4 (1) ◽  
pp. 43-56 ◽  
Author(s):  
Carl E. Stafstrom ◽  
Janice Havlena
Keyword(s):  
The Self ◽  
Self Image ◽  
Insight Into

LEVEN(S) MET OBJECTEN

2019 ◽  
Vol 3 (3) ◽  
pp. 227-248
Author(s):  
Caroline Drieënhuizen
Keyword(s):  
Social Inequality ◽  
Power Relations ◽  
The Self ◽  
Upper Class ◽  
Collective Identities ◽  
Dutch Society ◽  
Colonial Society ◽  
Self Image ◽  
European Women ◽  
Insight Into

LIVING WITH OBJECTS The European elite of colonial Indonesia, its collections and identification around 1900 Many upper-class migrants from, and to, Dutch colonial Indonesia – often travelling back and forth – collected objects. By analysing the practice of collecting and the meaning these people ascribed to those artefacts, I will provide insight into the way personal, and eventually even collective, identities were formed. The manner in which objects were collected and displayed not only ref lected the self-image of their owners in colonial and Dutch society, but may also have been active inf luences in those processes of (self)identification. The collection of objects, and the meaning ascribed to them, ref lected the unequal power relations within colonial society, and simultaneously, was possible a strategy for marginalised people (such as European women) to liberate themselves from social inequality.

scholarly journals The Arab World and the Occident: Toward the Construction of an Occidentalist Discourse

2021 ◽  
Vol 39 (2) ◽  
pp. 205-222
Author(s):  
Zahia Smail Salhi
Keyword(s):  
Arab World ◽  
The Self ◽  
The Other ◽  
Starting Point ◽  
Reverse Relationship ◽  
Style Of Thought ◽  
Definition Of ◽  
Insight Into ◽  
East West

Purpose: This article aims to engage in a meaningful discussion of Occidentalism as a discourse that draws its roots from Orientalism. It scrutinizes the limitations of Occidentalism in investigating the East-West encounter from the perspective of Orientals (Arab intellectuals) and the multifarious ways the latter relate to and imagine the Occident. It will cast a critical eye on the multiple and diverse constructions of Occidentalism as a discourse, arguing that unlike Orientalism, which homogenizes the Orient, Occidentalism does not Occidentalize/homogenize the Occident. Methodology: We take as a starting point Edward Said’s definition of Orientalism as a style of thought based upon an ontological and epistemological distinction made between ‘the Orient’ and ‘the Occident’, and we explore the limitations and the possibilities of Occidentalism as a method to construe the colonial mechanisms of misrepresentation of the Other as everything different from the Self. This article compares and contrasts a plethora of existing definitions of Occidentalism as formulated by scholars from both the Arab world and the Occident. Findings: This paper concludes that the Oriental’s encounter with the Occident cannot, and should not, be projected as a reverse relationship, or, as some claim, as an ‘Orientalism in reverse’. Instead, it should be projected as a diverse set of relationships of Orientals who have experienced the Occident in a variety of manners. Furthermore, while Orientalism derives from a particular closeness experienced between the Occident and its Orient, often through real or imagined encounters, Occidentalism is also the outcome of a long cultural relationship between the Orient and its Occident. What differs between the Orient and Occident, however, is the position of power and hegemony, which characterizes the Occident’s encounter with the Orient. Originality: This article takes an all-inclusive view to discuss the term Occidentalism from the perspectives of both the Orient and the Occident. It teases out the limitations of this term. It challenges Orientalist methods of misrepresentation, which continues to blemish the Arab world and its discourse of Occidentalism as a discourse of hatred of the Occident. Furthermore, through the discussion of Alloula’s Oriental Harem, it offers insight into the suggested Occidentalism method, which emphasizes the disfigurations of the Orient while tactfully writing back to the Occident.

scholarly journals "The City as Muse": A Context-Oriented Meta-Historical Reading of Toyin Falola's A Mouth Sweeter than Salt

2021 ◽  
Vol 1 (2) ◽  
Author(s):  
Ibrahim A. Odugbemi
Keyword(s):  
Life Writing ◽  
The Self ◽  
The Other ◽  
Self Awareness ◽  
Self Image ◽  
The Subject ◽  
The Common ◽  
Prose Literature ◽  
The City

A number of scholarly and critical arguments have explored the poetics of nonfiction, otherwise called life writing, as a sub-genre of prose literature. Against the common expectation of a detailed concentration on facts about the subject (the self or the other) which has made nonfiction to be seen in some quarters as a concern of history, such critical arguments have shown that this genre has its peculiar, predominant pattern and structure, which make it arguably a concern of the literary enterprise. A part of such argu­ments theoretically postulates that nonfiction is a meta-history, based on its identification of some textual and contextual properties and patterns of narra­tion which transform the life account of the self or other into a meta-historical (and not historical) expression, and therefore makes such writing a concern of literature. In extension of this argument, this paper examines Toyin Falola's memoir, A Mouth Sweeter than Salt, as a genre of life writing and, especially, a form of autobiography, by showing how the setting, Ibadan, in its cultural and social formations, is depicted as having contributed to the self-awareness, self-image and identity of the subject, and how this reflection makes the nar­rative a meta-historical expression.

scholarly journals Self Advertising in Space Channels A Study Analysis in Rooting the Expression

2018 ◽  
Vol 1 (126) ◽  
pp. 458-473
Author(s):  
Adnan AbdelMoneim Aboulsaad ◽  
Zeena Abdel Hadi Mohamed Ali
Keyword(s):  
Analytical Description ◽  
Theoretical Description ◽  
The Self ◽  
Research Subject ◽  
Advertising Agencies ◽  
The Common ◽  
To Come ◽  
Definition Of ◽  
First Moment ◽  
Research Analysis

Many space channels launched on promoting their products represented by programs, dialogues , reports and commodities produced by same channel. These channels maintained to post advertisements about such items the matter which caused significant theoretical confusion in defining such types of advertisements to which the definition of recurrent advertisement in advertising literature does not apply. It seems that such channels spotted the benefits reaped from the transmission of such slogans as it appeared from the first moment to transform thereinafter into advertisements aired by those channels that promote their products. Both researchers subjected a group of such slogans to research and analysis to come out with a theoretical description for them in harmony with the common analysis schedules blanks . in order to achieve this goal , both analysts relied on the analytical description methodology in  handling the research subject.  From this research analysis, both researchers reached a number of conclusions to cite : Most space channels recently tends to raise their own advertising slogans by which it may express itself. The self advertising is invested by such channels as a means to attract advertising agencies the matter which has a great impact in increasing their financial revenues.

scholarly journals MOCKING NATION BUILDING AND IDENTITY. AN ANALYSIS OF CARICATURES IN HUNGARIAN, ROMANIAN, SERBIAN, AND SLOVAK SATIRICAL PERIODICALS IN THE MID TO LATE NINETEENTH CENTURY

2020 ◽  
pp. 150-182
Author(s):  
ÁGNES TAMÁS
Keyword(s):  
Nineteenth Century ◽  
Nation Building ◽  
The Self ◽  
The Other ◽  
Late Nineteenth Century ◽  
Building Process ◽  
The Press ◽  
Historical Memories ◽  
Definition Of

This paper aims to present a comparative analysis of caricatures published in Hungarian (Üstökös, Borsszem Jankó), Serbian (Bič, Vrač pogađač), Romanian (Gur’a Satului), and Slovak (Černokňažník) satirical press in Hungary in the second half of the nineteenth century. The depth of the connection between identity, nation building, and humour will be demonstrated. Theories of nationalism often emphasise the primacy of the role of the press and of print media in nation building processes. To investigate this, humorous printed sources have been selected. The comparison utilises and complements Anthony D. Smith’s definition of the ethnic core and reflects on Christie Davies’ theory of ethnic humour. Tethered by these concepts, the analysis of the caricatures investigates the following aspects: names for the Self and the Other, elements of culture and tradition (languages, habits, religions, supposed characteristics, clothing and bodily features), symbols of the Self and the Other, historical memories and myths of the common ancestry of the Self and the Other, and the definitions of “our” vs. “their” territory and homeland. This analysis reveals that the stereotypes observed in satirical magazines and the images of the Other and of the Self depicted through the use of humorous or ironic techniques can be effectively distinguished and connected to the nation building process and to the process of shaping “enemies”.

scholarly journals Self-Assessment of Attitudes of the Lithuanian and European Judo Coaches and Athletes Towards Spiritual and Moral Traits of Their Personality

2018 ◽  
Vol 4 (67) ◽  
Author(s):  
Alma Kisielienė ◽  
Diana Arlauskaitė
Keyword(s):  
The Self ◽  
Self Assessment ◽  
Chi Square ◽  
Self Image ◽  
Personal Attitudes ◽  
Moral Behaviour ◽  
Judo Athletes ◽  
The Difference ◽  
Definition Of ◽  
Different Levels

The aim of the research was to identify the self-assessment of the attitudes of the judo coaches and athletes possessing different levels of mastership towards their own spiritual traits and moral behaviour. The research was based on the assumption that different levels of sport mastership as well as age might influence the self-assessment of the personal attitudes of the judo sportsmen and coaches to their own spiritual traits and moral behaviour. The research volume and organization. Following the aforementioned assumption, the four groups of the respondents were chosen: members of the Lithuanian National Youth Team of Judo (n = 20), their mean age was 17.2 ± 1.25 years; the youth elite of European judo, i.e. champions and prizewinners (n = 20), their mean age was 17.5 ± 1.6 years; Lithuanian judo coaches (n = 20), their mean age was 38.7 ± 2.8 years; and coaches of the champions and other prizewinners of contests (n = 20), their mean age was 40.5 ± 3.6 years. The main method of research was an anonymous interview in writing. A questionnaire with closed questions aiming to analyze the self-assessment of the attitudes of the Lithuanian and European judo coaches and athletes towards their own spiritual traits and moral behaviour was worked out on the basis of the semiotic models offered by J. Dailidienė (1997). The questionnaire appendices provided a clear conceptual definition of each trait (the concepts were explained on the basis of L. Jovaiša (1993 a, b) “Dictionary of Pedagogic Terms” and “Principles of Education” (1993)). The respondents were asked to mark their personal consideration of all the traits that were characteristic of them. By following Dalidienė’s suggestion, they were grouped into two blocks: the ones related with morality and the ones related with spirituality. Mathematical statistics. The data were analyzed by employing the statistic data analysis software SPSS 13.0 applying the method of descriptive statistics. The reliability of the difference between the groups was estimated on the basis of the chi square criterion. When its value was p < 0.05, the differences were regarded as statistically significant. The majority of the Lithuanian and European judo coaches and athletes included diligence (85—100%) and persistency (60—90%) into their Self-image. Lithuanian judo coaches (p < 0.05) distinguished courageousness as their common trait, whereas the European judo coaches (p < 0.05) distinguished dutifulness and fellow-feeling; a significant part of the European judo elite athletes (p < 0.05) emphasized friendliness and attentiveness.Keywords: self-assessment of judo coaches and judo athletes, spiritual features, moral features.

Self-Portrait

2017 ◽  
pp. 105-124
Author(s):  
Gian Maria Annovi
Keyword(s):  
Modern Art ◽  
The Self ◽  
Abstract Art ◽  
Self Image ◽  
Theoretical Perspectives ◽  
Common Notion ◽  
The Subject ◽  
The Common

Pasolini’s less well-studied paintings and drawings, particularly his self-portraits, are the subject of chapter Four. I provide new critical and theoretical perspectives on his visual work and follow its development in parallel with Pasolini’s other creative endeavors, interpreting them as one way of delineating an public authorial performance. I analyze Pasolini’s drawing as wounded self-portrait, that is the graphic manifestation of a torn self-image, produced by the violent clash with society. In Chapter Four, I also look at Pasolini’s relationship to abstract art, focusing on the parallels between his cinema and his experimentation with materials and forms in painting. Challenging the common notion of Pasolini’s hatred for modern art, I argue that in his portraits and self-portraits, he actually used abstraction to deform or disfigure the self, as a result of the pressure of history and society. Finally, in this chapter I consider some of Pasolini’s photographic portraits as a part of his authorial self-fashioning, and as a necessary component of his multimedia practice and his authorial performance during the last phase of his career.

Flesh and the Common Man: Robert Penn Warren's Huey Long Drama

2018 ◽  
Vol 53 (4) ◽  
pp. 953-971
Author(s):  
JOSEPH KUHN
Keyword(s):  
New Deal ◽  
The Self ◽  
The Core ◽  
The People ◽  
Political Symbolism ◽  
The Common ◽  
Common Man ◽  
King's Men ◽  
Definition Of ◽  
Two Bodies

R. P.Warren's play about Huey Long,Proud Flesh(1937–39), is not a provisional draft ofAll the King's Men(1946) but a distinct work in its own right. Its conservative criticism of New Deal “common-man-ism” makes it unusual in the politicized literature of the 1930s. At the core of the play is a political symbolism of the flesh, which Warren derives from Shakespeare's representation of the Tudor doctrine of the king's two bodies. Governor Strong embodies the people through his second or immortal body, a dictatorial flesh that Warren resists by trying to articulate an existential “definition” of the self.

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