scholarly journals The formation of national identity in process of aesthetic education of youth

2021 ◽  
pp. 600-609
Author(s):  
Gulnara Ildarovna Safina ◽  
Taisiya Olegovna Pushkar ◽  
Lubov Markelovna Yao ◽  
Juliana Gennadievna Emanova
Keyword(s):  
National Identity ◽  
Research University ◽  
Aesthetic Education ◽  
Arts And Crafts ◽  
Folk Culture ◽  
Distinctive Features ◽  
Religious Traditions ◽  
The Arts ◽  
The Republic ◽  
Identity System

The paper discusses the issues of national identity, and patriotism formation by means of national art and folk culture, which are able to arouse love for the family, their home, their national and territorial community. To study the process of formation of national identity, a constructionist approach was taken, within which a constructed phenomenon was considered. The identity system of modern youth was studied by compiling a test by T. Kuhn and T. MacPartland "Who Am I?" The test was offered to students of Kazan National Research University (1997; 2012), and students of Kazan Federal University (2019). A tendency to increase the proportion of students who determined their national identity (Tatar man / Tatar woman, Russian man / Russian woman) was identified. The paper reveals specific examples of the methods of forming a national identity in the process of aesthetic education: the revival of folk art, since it is inextricably linked with national and religious traditions; familiarization with the arts and crafts, reflecting the distinctive features of each nation. All the peoples of the Middle Volga live in Tatarstan: except for Tatars and Russians, the Chuvash, Mari, Mordovians, Ukrainians, Belarusians live in the republic. All nationalities of the republic have formed their institutional formations, or cultural-national communities, spend their holidays, which go beyond the framework of the republican and become all-Russian and international.

An Institutional Approach to Ancient Philosophical Texts: Plato’s Ion

2020 ◽  
Vol 30 (6) ◽  
pp. 23-40
Keyword(s):  
Self Esteem ◽  
Arts And Crafts ◽  
Early Date ◽  
Philosophical Text ◽  
Institutional Approach ◽  
The Arts ◽  
Philosophical Methods ◽  
The Republic ◽  
Philosophical Texts ◽  
Sophistical Refutations

The institutional approach to interpreting philosophical texts, which is a valuable supplement to the traditional historical, philological, and philosophical methods of analysis, requires from the reader a reflective technique and an understanding of the kind of statements it can validate. Factors such as the author’s self-esteem and its effect on the process of creating the text, as well as the intended genre and audience are all brought into the material studied (a philosophical text) through the institutional approach. Meeting all these requirements results in a delineation of an institution that permits objectification of the author’s stance and manner of inquiry. An analysis of the Plato’s Ion, which is usually considered one of the earliest of his dialogues, offers an example the institutional approach to philosophical texts. The article calls into question an early date for Ion because Plato’s earlier dialogues are typically retellings of previous conversations. The Ion, however, consists of direct dialogue in a dramatic format - a style proper to the late dialogues, which reflect the technique developed for the arguments and disputations between schools; these debates were conducted according to certain rules and referred to summaries of material previously selected (as Aristotle’s Topics and Sophistical Refutations demonstrate). Furthermore, the Ion echoes Plato’s Republic (just as Homer in the Republic is not versed in the arts and crafts, the rhapsodist in the Ion who recites Homer’s depictions of those skills likewise has not mastered any of them) and with the Phaedrus (which like the Ion explores the concept of divine madness). These parallels strongly suggest that the Ion is among the later dialogues and consequently call its attribution to Plato into question.

Dialogue or Confrontation?

2012 ◽  
Vol 3 (1) ◽  
pp. 93-116 ◽  
Author(s):  
Ringo Ringvee
Keyword(s):  
National Identity ◽  
Religious Identity ◽  
The State ◽  
Religious Movements ◽  
New Religious Movements ◽  
Religious Traditions ◽  
Neoliberal Governance ◽  
Religious Associations ◽  
Liberal Attitude

The article focuses on the relations between the state , mainstream religions and new religious movements in Estonia from the early 1990s until today. Estonia has been known as one of highly secular and religiously liberal countries. During the last twenty years Estonian religious scene has become considerably more pluralist, and there are many different religious traditions represented in Estonia. The governmental attitude toward new religious movements has been rather neutral, and the practice of multi-tier recognition of religious associations has not been introduced. As Estonia has been following neoliberal governance also in the field of religion, the idea that the religious market should regulate itself has been considered valid. Despite of the occasional conflicts between the parties in the early 1990s when the religious market was created the tensions did decrease in the following years. The article argues that one of the fundamental reasons for the liberal attitude towards different religious associations by the state and neutral coexistence of different traditions in society is that Estonian national identity does not overlap with any particular religious identity.

scholarly journals Cultural Diplomacy and Europe's Twenty Years’ Crisis, 1919–1939: Introduction

2021 ◽  
pp. 1-15
Author(s):  
Benjamin G. Martin ◽  
Elisabeth Piller
Keyword(s):  
Large Scale ◽  
Cultural Diplomacy ◽  
Good Reason ◽  
Political Leaders ◽  
Distinctive Features ◽  
The Arts ◽  
International Exposition ◽  
German Nation ◽  
Iconic Image ◽  
Industrial Designers

Photographs of the German and Soviet pavilions facing off at the Paris International Exposition in 1937 offer an iconic image of the interwar period, and with good reason. This image captures the interwar period's great conflict of ideologies, the international interconnectedness of the age and the aestheticisation of political and ideological conflict in the age of mass media and mass spectacle. [Figure 1] Last but not least, it captures the importance in the 1930s of what we now call cultural diplomacy. Both pavilions – Germany's, in Albert Speer's neo-classical tower bloc crowned with a giant swastika, and the Soviet Union's, housed in Boris Iofan's forward-thrusting structure topped by Vera Mukhina's monumental sculptural group – represented the outcome of a large-scale collaboration between political leaders and architects, artists, intellectuals and graphic and industrial designers seeking to present their country to foreign visitors in a manner designed to advance the country's interests in the international arena. Each pavilion, that is, made an outreach that was diplomatic – in the sense that it sought to mediate between distinct polities – using means that were cultural – in the sense that they deployed refined aesthetic practices (like the arts and architecture) and in the sense that they highlighted the distinctive features, or ‘culture’, of a particular group (like the German nation or the Soviet state).

Women Artists of the Arts and Crafts Movement 1870-1914

Leonardo ◽  
1982 ◽  
Vol 15 (2) ◽  
pp. 164
Author(s):  
Naomi Boretz ◽  
Anthea Callen
Keyword(s):  
Women Artists ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
The Arts
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