scholarly journals Anthropomorphised warlike beings with horned helmets: Bronze Age Scandinavia, Sardinia, and Iberia compared

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Helle Vandkilde ◽  
Valentina Matta ◽  
Laura Ahlqvist ◽  
Heide W. Nørgaard
Keyword(s):  
Bronze Age ◽  
Local Control ◽  
Local Level ◽  
The Other ◽  
The West ◽  
Political Processes ◽  
Material Appearance ◽  
Southern Scandinavia ◽  
The One ◽  
Similarity And Difference

Abstract Horned-helmet imagery continues to raise questions about what is local and what is global in Bronze Age Europe. How similar is the imagery found on Sardinia, in southwestern Iberia and southern Scandinavia in material appearance, medium of representation, and sociocultural setting? Does it occur at the same point in time? Does it spring from or transmit a shared idea? Analysis reveals intriguing patterns of similarity and difference between the three zones of horned-helmet imagery 1000–750 BC. The results point to actors and processes at the local level while also pinpointing interconnections. Across all three contexts, horns signify the potency of the helmet wearer, the quintessential warrior. Horns visualise a defined group of bellicose beings whose significance stems from commemorative and mortuary rites, sites, and beliefs – in conjunction with political processes. We suggest that the eye-catching imagery of very particular males wearing horned insignia relates on the one hand to local control of metals and on the other to the transfer of novel beliefs and cults involving embodied gigantisation. It is characteristic that the horned figure is adapted into some settings, but only sparingly or not at all in others. This imagery has a complex history, with Levantine roots in the LBA Mediterranean. The Scandinavian addendum to the network coincides with the metal-led Phoenician expansion and consolidation in the west from c. 1000 BC. A Mediterranean–Atlantic sea route is suggested, independent of the otherwise flourishing transalpine trading route.

‘There shall be no musical servitude’: Towards a Multitudinous Shostakovich in the West

2020 ◽  
Vol 145 (2) ◽  
pp. 495-505
Author(s):  
EIRINI DIAMANTOULI
Keyword(s):  
Cold War ◽  
Communist Party ◽  
The Other ◽  
The Political ◽  
Musical Style ◽  
The West ◽  
Political Views ◽  
Political Interests ◽  
The One ◽  
The Cold War

Ideologically motivated attempts to elucidate Shostakovich’s political views and to determine whether and how they may be coded into his compositions have come to characterize the Western reception of the composer’s works since his death in 1975. Fuelled by the political oppositions of the cold war, Shostakovich’s posthumous reputation in the West has been largely shaped by two conflicting perspectives. These have positioned him on the one hand as a secret dissident, bent and broken under the unbearable strain of totalitarianism, made heroic through his veiled musical resistance to Communism; and on the other hand as a composer compromised by his capitulation to the regime – represented in an anachronistic musical style. Both perspectives surrender Shostakovich and his music to a crude oversimplification driven by vested political interests. Western listeners thus conditioned are primed to hear either the coded dissidence of a tragic victim of Communist brutality or the sinister submission of a ‘loyal son of the Communist Party’.1 For those prepared to accept Shostakovich as a ‘tragic victim’, the publication of his purported memoirs in 1979, ‘as related to and edited by’ the author Solomon Volkov, presents a tantalizing conclusion: bitterly yet discreetly scornful of the Stalinist regime, Shostakovich was indeed a secret dissident and this dissidence was made tangible in his music.

Informed Consent: Ezenwa–Ohaeto between Past and Future Uses of Pidgin

Matatu ◽  
2006 ◽  
Vol 33 (1) ◽  
pp. 115-134 ◽  
Author(s):  
Chantal Zabus
Keyword(s):  
Informed Consent ◽  
First Language ◽  
West African ◽  
The Other ◽  
Wole Soyinka ◽  
The West ◽  
West African Coast ◽  
African Coast ◽  
The 1950S ◽  
The One

The essay shows how Ezenwa–Ohaeto's poetry in pidgin, particularly in his collection (1988), emblematizes a linguistic interface between, on the one hand, the pseudo-pidgin of Onitsha Market pamphleteers of the 1950s and 1960s (including in its gendered guise as in Cyprian Ekwensi) and, on the other, its quasicreolized form in contemporary news and television and radio dramas as well as a potential first language. While locating Nigerian Pidgin or EnPi in the wider context of the emergence of pidgins on the West African Coast, the essay also draws on examples from Joyce Cary, Frank Aig–Imoukhuede, Ogali A. Ogali, Ola Rotimi, Wole Soyinka, and Tunde Fatunde among others. It is not by default but out of choice and with their 'informed consent' that EnPi writers such as Ezenwa–Ohaeto contributed to the unfinished plot of the pidgin–creole continuum.

Managing to Avoid Innovation

1999 ◽  
Vol 13 (1) ◽  
pp. 25-32 ◽  
Author(s):  
J. H. Vaux ◽  
M. P. S. F. Gomes ◽  
R. J. Grieve ◽  
S. W. Woolgar
Keyword(s):  
The Other ◽  
Advanced Technology ◽  
Manufacturing Companies ◽  
Small Companies ◽  
Small Company ◽  
The West ◽  
Policy Makers ◽  
Technology And Innovation ◽  
Company Culture ◽  
The One

This paper addresses differences in the way that the problems of small UK firms are construed by policy makers on the one hand, and by the executives of small companies on the other. The authors employ a discursively-based analysis of interviews carried out with managers of small manufacturing companies in the West London area. They suggest that SME executives construe their attitudes to advanced technology and innovation within the terms of some clear, but implicit management values which tend to lead to the perception of innovation as a risk to be managed, rather than an opportunity to be exploited. It is suggested this has significant implications for attempts to change small company culture.

The foundations and prerequisites of imagology

2021 ◽  
pp. 65-74
Author(s):  
Valerii P. Trykov ◽  
Keyword(s):  
Social Engineering ◽  
Dominant Strategy ◽  
The Other ◽  
Special Role ◽  
The West ◽  
European Culture ◽  
Post War ◽  
The 1960S ◽  
The One ◽  
Eu Project

The article examines the conceptual foundations and scientific, sociocultural and philosophical prerequisites of imagology, the field of interdisciplinary research in humanitaristics, the subject of which is the image of the “Other” (foreign country, people, culture, etc.). It is shown that the imagology appeared as a response to the crisis of comparatives of the mid-20th century, with a special role in the formation of its methodology played by the German comparatist scientist H. Dyserinck and his Aachen School. The article analyzes the influence on the formation of the imagology of post-structuralist and constructivist ideological-thematic complex (auto-reference of language, discursive history, construction of social reality, etc.), linguistic and cultural turn in the West in the 1960s. Shown is that, extrapolated to national issues, this set of ideas and approaches has led to a transition from the essentialist concept of the nation to the concept of a nation as an “imaginary community” or an intellectual construct. A fundamental difference in approaches to the study of an image of the “Other” in traditional comparativism and imagology, which arises from a different understanding of the nation, has been distinguished. It is concluded that the imagology studies the image of the “Other” primarily in its manipulative, socio-ideological function, i.e., as an important tool for the formation and transformation of national and cultural identity. The article identifies ideological, socio-political factors that prepared the birth of the imagology and ensured its development in western Humanities (fear of possible recurrences of extreme nationalism and fascism in post-war Europe, the EU project, which set the task of forming a pan-European identity). It is concluded that the imagology, on the one hand, has actualized an important field of scientific research — the study of the image of the “Other”, but, on the other hand, in the broader cultural and historical perspective, marked a departure not only from the traditions of comparativism and historical poetics, but also from the humanist tradition of the European culture, becoming part of a manipulative dominant strategy in the West. To the culture of “incorporation” into a “foreign word” in order to understand it, preserve it and to ensure a genuine dialogue of cultures, the imagology has contrasted the social engineering and the technology of active “designing” a new identity.

scholarly journals PEMIKIRAN JAMALUDDIN AL-AFGHANI (JAMAL AD-DIN AL-AFGHANI) (1838 – 1897 M)

2017 ◽  
Vol 13 (1) ◽  
pp. 9-24
Author(s):  
Akmal Hawi
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
The Other ◽  
The West ◽  
Unique Position ◽  
Islamic Reform ◽  
Other Hand ◽  
The People ◽  
The One ◽  
The 19Th Century

The 19th century to the 20th century is a moment in which Muslims enter a new gate, the gate of renewal. This phase is often referred to as the century of modernism, a century where people are confronted with the fact that the West is far ahead of them. This situation made various responses emerging, various Islamic groups responded in different ways based on their Islamic nature. Some respond with accommodative stance and recognize that the people are indeed doomed and must follow the West in order to rise from the downturn. Others respond by rejecting anything coming from the West because they think it is outside of Islam. These circles believe Islam is the best and the people must return to the foundations of revelation, this circle is often called the revivalists. One of the figures who is an important figure in Islamic reform, Jamaluddin Al-Afghani, a reformer who has its own uniqueness, uniqueness, and mystery. Departing from the division of Islamic features above, Afghani occupies a unique position in responding to Western domination of Islam. On the one hand, Afghani is very moderate by accommodating ideas coming from the West, this is done to improve the decline of the ummah. On the other hand, however, Afghani appeared so loudly when it came to the question of nationality or on matters relating to Islam. As a result, Afghani traces his legs on two different sides, he is a modernist but also a fundamentalist. 

scholarly journals ¿Es el cine japonés un cine nacional?

STUDIUM ◽  
2018 ◽  
pp. 245-272
Author(s):  
Marcos Centeno Martín
Keyword(s):  
Film Theory ◽  
Film History ◽  
The Other ◽  
Cultural Tradition ◽  
National Cinema ◽  
The West ◽  
Japanese Cinema ◽  
Palabras Clave ◽  
The One ◽  
Film Language

Resumen La construcción del cine japonés como cine nacional ha partido a menudo de una visión esencialista que ha ignorado la dimensión transnacional de esta filmografía. Por un lado, el descubrimiento occidental de ciertos autores japoneses en los años cincuenta condujo a la articulación del paradigma del cine nacional japonés a partir de películas dirigidas a asombrar al público europeo con imágenes exóticas de Japón. Los grandes maestros, Kurosawa, Mizoguchi y Ozu fueron escogidos como representantes de una supuesta japonesidad cinematográfica ignorando el peso de Occidente en sus obras. Por otro lado, el estudio de este corpus tradicionalmente ha evolucionado con herramientas teóricas desarrolladas en Occidente y necesita renovarse con conceptos de la tradición cultural, estética y filosófica propia. Pero además, es necesario evaluar cómo se implementaron los elementos del lenguaje fílmico en Japón para entender su relativismo respecto a la historia general del cine. Sus usos y formas no siempre han coincidido con los desarrollos occidentales, de forma que conceptos fílmicos occidentales no han tenido exactamente el mismo significado en el contexto japonés. Palabras clave: cine japonés, cine nacional, transnacionalidad teoría fílmica, cine de postguerra   Abstract The construction of Japanese cinema as a national cinema has often drawn on a essentialist vision neglecting the transnational nature of this filmography. On the one hand, the Western discovery of certain Japanese authors in the fifties triggered the articulation of the paradigm of the Japanese “national cinema” from films aiming to astonish European audiences with exotic images of Japan. The great masters, Kurosawa, Mizoguchi and Ozu, were chosen as main representatives of the apparent cinematographic japaneseness neglecting the weight of the West on their works. On the other hand, the study of this corpus has been traditionally evolved with theoretical tools developed in the West and need a renewal with concepts taken from Japanese philosophical, aesthetic and cultural tradition. Moreover, it is necessary to assess how the film language elements were implemented in Japan in order to understand its relativism regarding the general film history. Their usages and forms were not always equivalent to those in the West and as a consequence, Western concepts ended up having different meanings in the Japanese context. Key words: Japanese cinema, national cinema, transnationality, film theory, postwar cinema

An Ordinary Soviet Death

2019 ◽  
pp. 127-149
Author(s):  
Victoria Smolkin
Keyword(s):  
United States ◽  
Cold War ◽  
The United States ◽  
The Other ◽  
Modern State ◽  
Christian Tradition ◽  
The West ◽  
Rational Argument ◽  
The One ◽  
The Cold War

This chapter describes the timing and motivations of the USSR's promotion of atheist doctrine. At the outset, it seems, the Soviets expected Orthodoxy to wither away, invalidated by rational argument and the regime's own record of socialist achievement. This did not happen, but Soviet officialdom did not take full cognizance of the fact until the 1950s and 1960s at the height of the Cold War. Then it was that the Soviet Union's confrontation with the West came to be recast in religious terms as an epic battle between atheist communism on the one hand and on the other that self-styled standard-bearer of the Judeo-Christian tradition, the United States. So, here indeed, in Soviet atheism, is a secular church militant—doctrinally armed, fortified by the concentrated power of the modern state, and, as many believed, with the wind of history at its back. It speaks the language of liberation, but what it delivers is something much darker. The chapter then considers the place of ritual in the Soviet secularist project.

“Sovereign Democracy” Discourse in the Russian Foreign Policy

2018 ◽  
pp. 178-200
Author(s):  
Neziha Musaoğlu
Keyword(s):  
Foreign Policy ◽  
Russian Federation ◽  
The Other ◽  
Russian Foreign Policy ◽  
The West ◽  
Policy Practice ◽  
Other Hand ◽  
The Usa ◽  
The Russian Federation ◽  
The One

Many important changes occurred in the Russian Federation's foreign policy since 2000s with Putin's coming to power. Although the foreign policy is defined as pragmatic during this period, it is in fact ideologically constructed on the basis of the concept of “sovereign democracy.” The concept constitutes in the same time the source of loyalty of the Russian reelpolitik towards the West, especially the USA and of the Russian anti-globalist policies. The aim of this chapter is to analyze the intellectual, normative, and conceptual dimensions of the “sovereign democracy” concept that could serve to conceive the foreign policy practice of the Russian Federation, on the one hand, and on the other hand its dialectical relationships with the West in the era of globalization.

V.—Ice-Flows in the Trent Basin

1914 ◽  
Vol 1 (2) ◽  
pp. 69-73
Author(s):  
R. M. Deeley
Keyword(s):  
The Other ◽  
The West ◽  
Geological Society ◽  
North West ◽  
North East ◽  
Ice Flows ◽  
The One

In 1866 I communicated a paper to the Geological Society of London on the Pleistocene Succession in the Trent Basin. The boulderclays and outwash deposits of this district are of two distinct kinds, the one containing rocks from the west and north-west, and the other boulders etc., from the east or north-east of the district. In all cases, except where they have been ploughed up and re-arranged by the ice itself, the drifts containing westerly rocks only are the lowest, and the drifts with easterly rocks have been spread over them. We thus have two distinct ice-flows to deal with.

scholarly journals Contesting “Conversion” and “Reversion” among Young Adult Asian American Buddhists

Religions ◽  
2019 ◽  
Vol 10 (4) ◽  
pp. 261
Author(s):  
Chenxing Han
Keyword(s):  
Young Adults ◽  
Young Adult ◽  
Predominantly White ◽  
Asian American ◽  
Lived Experiences ◽  
The Other ◽  
The West ◽  
Other Hand ◽  
The Family ◽  
The One

This paper engages the perspectives of thirty young adult Asian American Buddhists (YAAABs) raised in non-Buddhist households. Grounded in semi-structured, one-on-one in-person and email interviews, my research reveals the family tensions and challenges of belonging faced by a group straddling multiple religious and cultural worlds. These young adults articulate their alienation from both predominantly white and predominantly Asian Buddhist communities in America. On the one hand, they express ambivalence over adopting the label of “convert” because of its Christian connotations as well as its associations with whiteness in the American Buddhist context. On the other hand, they lack the familiarity with Asian Buddhist cultures experienced by second- or multi-generation YAAABs who grew up in Buddhist families. In their nuanced responses to arguments that (1) American convert Buddhism is a non-Asian phenomenon, and (2) Asians in the West can only “revert” to Buddhism, these young adults assert the plurality and hybridity of their lived experiences as representative of all American Buddhists, rather than incidental characteristics of a fringe group within a white-dominated category.

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