Critical questions

2012 ◽  
Vol 74 (6) ◽  
pp. 586-600 ◽  
Author(s):  
Hannah Oliha
Keyword(s):  
Intercultural Communication ◽  
Cross Cultural ◽  
First Century ◽  
Avant Garde ◽  
World Community ◽  
Religious Conflicts ◽  
Communication Models ◽  
Cultural Voices ◽  
The Individual ◽  
Alliance Building

Present contradictions in the intercultural communication field – the pre-eminence of western communication models and the minimization and denial of particular international and racial cultural voices – delimit the possibilities for nuanced theory building, scholarship, and teaching that may address the greatest challenge facing the world community – fostering understanding and advancing peace and security. This article introduces the notion of avant-garde epistemic confluence as one possibility for engendering greater levels of inclusion of marginalized and silenced voices at the epistemic core of the field to effectively address the evolving intergroup, multi-ethnic, and inter-religious conflicts on the world’s stage. Mobilizing principles grounded in mindfulness and intercultural alliance building at the individual and disciplinary levels via research, theorizing, and teaching is a driving force. Advancing a pragmatic vision of the intercultural communication field in this twenty-first-century moment with the potential to address complex cross-cultural and intergroup social and political tensions is the central mission.

scholarly journals Cinematic “Pas de Deux”: The Dialogue between Maya Deren's Experimental Filmmaking and Talley Beatty's Black Ballet Dancer in A Study in Choreography for Camera (1945)

2013 ◽  
Vol 47 (2) ◽  
pp. 385-403
Author(s):  
HANNAH DURKIN
Keyword(s):  
Film History ◽  
Cross Cultural ◽  
Experimental Film ◽  
Ballet Dancer ◽  
Emotional Experiences ◽  
Avant Garde ◽  
The Us ◽  
Artistic Vision ◽  
The Individual ◽  
Ballet Dancing

A Study in Choreography for Camera (1945) is a collaborative enterprise between avant-garde filmmaker Maya Deren and African American ballet dancer Talley Beatty. Study is significant in experimental film history – it was one of three films by Deren that shaped the emergence of the postwar avant-garde cinema movement in the US. The film represents a pioneering cross-cultural and cross-disciplinary dialogue between Beatty's ballet dancing and Deren's experimental cinematic technique. The film explores complex emotional experiences through a cinematic re-creation of Deren's understanding of ritual (which she borrowed from Katherine Dunham's Haitian experiences after spending many years documenting vodou) while allowing a leading black male dancer to display his artistry on-screen. I show that cultures and artistic forms widely dismissed as incompatible are rendered equivocal. Study adopts a stylized and rhythmic technique borrowed from dance in its attempt to establish cinema as “art,” and I foreground Beatty's contribution to the film, arguing that his technically complex movements situate him as joint author of its artistic vision. The essay also explores tensions between the artistic intentions of Deren, who sought to deprivilege the individual performer in favour of the filmic “ritual,” and Beatty, who sought to display his individual skills as a technically accomplished dancer.

scholarly journals The need to transform Science Communication from being multi-cultural via cross-cultural to intercultural

2019 ◽  
Vol 46 ◽  
pp. 11-19
Author(s):  
Simon Schneider ◽  
Liv Heinecke
Keyword(s):  
Earth Sciences ◽  
Intercultural Communication ◽  
Science Communication ◽  
Local Community ◽  
Communication Strategies ◽  
Cross Cultural ◽  
Community Level ◽  
Communication Studies ◽  
Societal Relevance ◽  
The Individual

Abstract. When dealing with issues that are of high societal relevance, Earth sciences still face a lack of acceptance, which is partly rooted in insufficient communication strategies on the individual and local community level. To increase the efficiency of communication routines, science has to transform its outreach concepts to become more aware of individual needs and demands. The “encoding/decoding” concept as well as critical intercultural communication studies can offer pivotal approaches for this transformation.

Multisensory Modalities and Modernist Translation

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
Sensory Integration ◽  
Cultural Anthropology ◽  
Sensory Perception ◽  
Cross Cultural ◽  
Avant Garde ◽  
Artistic Production ◽  
High Modernism ◽  
The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

Across Culture Communication Style Choices in Western and British Culture in The Leap Year movie.

2018 ◽  
Vol 7 (2) ◽  
Author(s):  
Nargis - ◽  
Imtihan - Hanim
Keyword(s):  
Intercultural Communication ◽  
Research Method ◽  
Power Distance ◽  
Cross Cultural ◽  
Communication Style ◽  
Cultural Communication ◽  
High Culture ◽  
Cross Cultural Communication ◽  
Different Cultures ◽  
British Culture

The different cultures, power distance could be the obstacle in intercultural communication. The aim of this research to identify the types of Cross-Cultural Communication Style Choice between British and American in the Leap Year movie. The researchers attempt to reveal kinds of Cross-Cultural Communication Style Choice between Declan as British and Anna as American for three days. This Qualitative research method analyses data of utterances and are classified into four types of Cross-Cultural Communication Style Choice. The result shows that there are 356 utterances of Anna and Declan. for three days. Anna has 204 utterances with 44,3 % direct style and indirect 5,8 %.. Declan uses 155 utterance with 37 % and 12 % indirect style. British tend to use more indirect styles in expressing their intention to save the interlocutor’s face.Meanwhile, American use direct styles to reveal their intentions as they belong to the high culture communication.Key words: across culture communication,direct style, indirectstyle

Towards a New Approach to Cross-Cultural Distinctiveness and Typicality of Human Faces: The Cross-Group Typicality/Distinctiveness Metric

2018 ◽  
Author(s):  
Karel Kleisner ◽  
Šimon Pokorný ◽  
Selahattin Adil Saribay
Keyword(s):  
Cross Cultural ◽  
Facial Appearance ◽  
Alternative Measure ◽  
Home Culture ◽  
Facial Stimuli ◽  
The Two Cultures ◽  
Potential Applications ◽  
The Individual ◽  
Human Faces ◽  
Ingroup Outgroup

In present research, we took advantage of geometric morphometrics to propose a data-driven method for estimating the individual degree of facial typicality/distinctiveness for cross-cultural (and other cross-group) comparisons. Looking like a stranger in one’s home culture may be somewhat stressful. The same facial appearance, however, might become advantageous within an outgroup population. To address this fit between facial appearance and cultural setting, we propose a simple measure of distinctiveness/typicality based on position of an individual along the axis connecting the facial averages of two populations under comparison. The more distant a face is from its ingroup population mean towards the outgroup mean the more distinct it is (vis-à-vis the ingroup) and the more it resembles the outgroup standards. We compared this new measure with an alternative measure based on distance from outgroup mean. The new measure showed stronger association with rated facial distinctiveness than distance from outgroup mean. Subsequently, we manipulated facial stimuli to reflect different levels of ingroup-outgroup distinctiveness and tested them in one of the target cultures. Perceivers were able to successfully distinguish outgroup from ingroup faces in a two-alternative forced-choice task. There was also some evidence that this task was harder when the two faces were closer along the axis connecting the facial averages from the two cultures. Future directions and potential applications of our proposed approach are discussed.

Ummah’s Rights or Human Rights? Universalism, Individualism, and Islamic Ethics in the Twenty-first Century

2010 ◽  
Vol 27 (3) ◽  
pp. 1-23 ◽  
Author(s):  
Marie-Luisa Frick
Keyword(s):  
Human Rights ◽  
First Century ◽  
The Other ◽  
Moral Code ◽  
Bill Of Rights ◽  
Islamic Ethics ◽  
Specific Content ◽  
Societal Needs ◽  
The One ◽  
The Individual

Against the background of the trend of Islamizing human rights on the one hand, as well as increasing skepticism about the compatibility of Islam and human rights on the other, I intend to analyze the potential of Islamic ethics to meet the requirements for vitalizing the idea of human rights. I will argue that the compatibility of Islam and human rights cannot be determined merely on the basis of comparing the specific content of the Islamic moral code(s) with the rights stipulated in the International Bill of Rights, but by scanning (different conceptions of) Islamic ethics for the two indispensable formal prerequisites of any human rights conception: the principle of universalism (i.e., normative equality) and individualism (i.e., the individual enjoyment of rights). In contrast to many contemporary (political) attempts to reconcile Islam and human rights due to urgent (global) societal needs, this contribution is solely committed to philosophical reasoning. Its guiding questions are “What are the conditions for deriving both universalism and individualism from Islamic ethics?” and “What axiological axioms have to be faded out or reorganized hierarchically in return?”

EPISTEMOLOGY OF TONE: AN OBITUARY FOR JULIEN JALÂL ED-DINE WEISS

Tempo ◽  
2017 ◽  
Vol 71 (281) ◽  
pp. 71-79
Author(s):  
Stefan Pohlit
Keyword(s):  
Twentieth Century ◽  
Cross Cultural ◽  
Theory And Practice ◽  
Just Intonation ◽  
Modal System ◽  
Helpful Tool ◽  
Near Eastern ◽  
Avant Garde ◽  
History Of ◽  
Major Discrepancy

AbstractDuring the 1980s, Julien Jalâl Ed-Dine Weiss, founder of the Al-Kindi ensemble of Aleppo, invented a qānūn in just intonation with which he attempted to solve a major discrepancy between the theory and practice of maqām-scales. Weiss objected to the introduction of Western standards, observing that they distort the significance of interval ratios and prevent a comparative understanding of the modal system as a transnational phenomenon. In the twentieth century, the implementation of equal-semitone temperament emerged simultaneously with a notable invasion of sociological criteria into musical inquiry. The polarity observed between westernisation and tradition can be seen most visibly in the present search for identity amongst Middle- and Near-Eastern musicians, but this schismogenic process can also be observed in the history of the Western avant-garde, where microtonal explorations have been halted in favour of extra-musical conceptuality. While cross-cultural musicians are faced with a new climate of distrust, it seems most likely that the principles that draw us apart may originate in the very patterns of thought in which our notion of culture operates. Weiss's tuning system may serve as a helpful tool to foster a new and universal epistemology of tone, bridging and transcending the apparent contradictions between the two spheres.

Sign in / Sign up

Export Citation Format

Share Document