A Final Contribution to the Study of Zande Culture

Africa ◽  
1965 ◽  
Vol 35 (1) ◽  
pp. 1-7 ◽  
Author(s):  
E. E. Evans-Pritchard
Keyword(s):  
Social Life ◽  
Cultivated Plants ◽  
Arts And Crafts ◽  
Sweet Potatoes ◽  
The Arts ◽  
The Social ◽  
Opening Paragraph ◽  
Final Essay

Opening ParagraphIn an article, ‘A Contribution to the Study of Zande Culture’, which appeared in Africa in 1960 (vol. xxx, no. 4), I discussed the certain or probable borrowing by the original Azande, the Ambomu, in the course of their migrations, of their main cultivated plants, e.g. eleusine, maize, ground-nuts, manioc, sweet potatoes, bananas, and tobacco, from assimilated or neighbouring peoples. In a second article, ‘A Further Contribution to the Study of Zande Culture’ (Africa, vol. xxxiii, no. 3, 1963), the discussion of cultural borrowings was taken into the field of artifacts and technology: building, smithery, pot-making, carving, plaiting, oracles, and medicines. In the present and final essay some examples are given of borrowing in areas of the social life other than those of cultivation of plants and the arts and crafts.

scholarly journals Social Condition of England during the Wars of the Roses

1902 ◽  
Vol 16 ◽  
pp. 159-200
Author(s):  
Vincent B. Redstone
Keyword(s):  
Social Life ◽  
English History ◽  
Class A ◽  
The North ◽  
The Arts ◽  
The Social ◽  
Wars Of The Roses ◽  
Social Habits ◽  
North And South ◽  
Better Than

The social life of the inhabitants of England during the years of strife which brought about the destruction of the feudal nobility, gave to the middle class a new position in the State, and freed the serf from the shackles of bondage, has been for some time past a subject of peculiar interest to the student of English history. If we desire to gain an accurate knowledge of the social habits and customs prevalent during this period of political disturbance, we cannot do better than direct our attention towards that part of the country which was the least affected by the contest between the Houses of York and Lancaster, the eastern district of England, which since the days of King John had enjoyed a remarkable immunity from civil war. Here the powerful lords of the North and South found little support; the vast estates of the old feudal barons were broken up into numerous independent manors. Moreover the arts of peace, in the shape of the mysteries of trade, manufactures, and commerce, widely flourished among the inhabitants of these regions.

Inventing the Social

2018 ◽  
Author(s):  
Alex Wilkie
Keyword(s):  
Social Science ◽  
Digital Media ◽  
Social Life ◽  
Social Research ◽  
Ways Of Knowing ◽  
Creative Practice ◽  
The Arts ◽  
Starting Point ◽  
The Social

Inventing the Social, edited by Noortje Marres, Michael Guggenheim and Alex Wilkie, showcases recent efforts to develop new ways of knowing society that combine social research with creative practice. With contributions from leading figures in sociology, architecture, geography, design, anthropology, and digital media, the book provides practical and conceptual pointers on how to move beyond the customary distinctions between knowledge and art, and on how to connect the doing, researching and making of social life in potentially new ways. Presenting concrete projects with a creative approach to researching social life as well as reflections on the wider contexts from which these projects emerge, this collection shows how collaboration across social science, digital media and the arts opens up timely alternatives to narrow, instrumentalist proposals that seek to engineer behaviour and to design community from scratch. To invent the social is to recognise that social life is always already creative in itself and to take this as a starting point for developing different ways of combining representation and intervention in social life.

scholarly journals Anthropology and the Development of African Studies

Africa ◽  
1967 ◽  
Vol 37 (4) ◽  
pp. 389-406 ◽  
Author(s):  
Daryll Forde
Keyword(s):  
Social Life ◽  
World War ◽  
Tropical Africa ◽  
The Social ◽  
Wide Range ◽  
The First World War ◽  
Modern Economic ◽  
Opening Paragraph ◽  
First World ◽  
And Training

Opening ParagraphThe foundation and the broad policies of our Institute emerged from what proved a fortunate conjunction of diverse interests and opportunities that developed after the First World War. The initial phase of modern economic advance in tropical Africa, following the introduction of the telegraph, railways, all-weather roads, was by the twenties making apparent a wide range of needs and opportunities for further progress in Africa—progress in which both the interests of, and contribution by, its peoples would be closely concerned. Within African territories the demand for literacy and training in new skills both more extensive and at higher levels was becoming more and more obvious and pressing. The significance of the increasing and inevitable association of Africans and their communities with a world economy was beginning to be more widely appreciated. With this growing recognition of the need for a more positive and constructive response many questions arose concerning not only the means of fostering such developments, but also their effects on the attitudes, beliefs, and institutions that had hitherto sustained the cultures and the social life of largely autonomous tribes and chiefdoms.

scholarly journals CHANGING SOCIAL VALUES AND MUSIC

2015 ◽  
Vol 3 (1SE) ◽  
pp. 1-2
Author(s):  
Suvarna Tawse
Keyword(s):  
Cultural Heritage ◽  
Social Life ◽  
Social Values ◽  
Social Value ◽  
Human Society ◽  
Special Effect ◽  
The Arts ◽  
Complex Emotions ◽  
The Social ◽  
Musical Traditions

Music is a symbolic symbol of artistic achievements and musical traditions of human society. Music is considered as the social cultural heritage of society.When memories, anxiety, malice, mental tension, emotion and complex emotions make social life monotonous and rooted, then the arts especially the music arts have a special effect on the social value of society. संगीत मानव समाज की कलात्मक उपलब्धियों एवं सांगीतिक परम्पराओं का मूर्तिमान प्रतीक है।संगीत समाज की सामाजिक सांस्कृतिक विरासत मानी जाती है।जब स्मृतियाँँ,चिन्ता,द्वेष,मानसिक तनाव,आवेष तथा जटिल भावना,सामाजिक जीवन को नीरस तथा जड़ बना देती है तब कलाएँ विषेषकर संगीत कला समाज व्यक्ति के सामाजिक मूल्य पर विषेष प्रभाव डालती है।

The Social and Psychological Setting of Veblen's Economic Theory

1953 ◽  
Vol 13 (4) ◽  
pp. 449-461
Author(s):  
David Riesman
Keyword(s):  
Economic Theory ◽  
Social Work ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
Industrial Base ◽  
Leisure Class ◽  
The Arts ◽  
The Social ◽  
A Charge ◽  
By Products

In Veblen's own critique of other economists—andtion of his theory is just that—he relied securely on quasi-Marxist a major por-simplicities concerning causation. Other economists “got that way” because they were members of or sycophants of the kept classes, aristocratically disdainful of the actualities of production. Their theories, if they were classicists, were “superstructural” in the sense of being both above and behind the battle, for Veblen was one of the pioneers in the use of the culturallag concept which has done so much to confuse the understanding of the relations between technology and society. If they were American classicists, such as (in Veblen's view) J. B. Clark, diey were likely to couple a pallid reformism with their “fine-spun technicalities,” offering palliatives at the level of pecuniary theory for evils rooted in the very divorce of the pecuniary culture from its industrial base. And this reformism Veblen saw as a leisure-class product, along with female philanthropy, the arts and crafts movement, social work, and vegetarianism—the archaic by-products of the sheltered life of the better-off and the better-educated strata whose menial and hence life-giving work was done for them by others. Reformism was archaic because it was pre-evolutionary, pre-Darwinian; for Veblen, “A.D.” meant “After Darwin.” His emphasis on the datedness of economic theory—a charge to which Americans are especially sensitive since we like to be progressive and up-to-date—led Veblen to express recurrent hopes for the “younger generation” of economists, whom he wanted to make less literate and theoretical, less parasitic and less sanguine, less refined and more machine-minded. For Veblen as for Rousseau, what was young was less likely to be corrupted and spoiled.

scholarly journals Aesthetic Values the Color Blue Prevailing on the Ottoman Ceramic Artifacts: A Study in Islamic Heritage and the Arts

2016 ◽  
Vol 7 (3) ◽  
pp. 167
Author(s):  
Rehab Elnahas
Keyword(s):  
Social Life ◽  
Blue Color ◽  
Intellectual Life ◽  
Islamic Art ◽  
Color Aesthetics ◽  
The Core ◽  
The Arts ◽  
The Social ◽  
Ancient Times ◽  
Aesthetic Values

The blue color on the Ottoman ceramic artifacts can be studied from the perspectives of different sciences: in terms of color aesthetics, which is a kind of philosophy of beauty, or as part of the science of photography and graphics. Additionally, for some communities the importance of this color lies at the heart of anthropology, but it is also at the core Islamic art and archeology. Blue is one of the original colors that humans have known since ancient times. It is associated with the elements of nature as it symbolizes the sky, sea, and serenity. This color is especially important in popular beliefs as we find a lot of amulets that use the blue color especially those which are believed to avert the eyes of envy. The blue color has appeared on many of the Ottoman Islamic artifacts, especially ceramic artifacts, since ceramics were among the most used materials in life which expressed the social and intellectual life of both artists and manufacturers. The research will analyze the importance of the blue color of ceramic artifacts in the study of heritage and archaeology and how these blue decorative elements on these ceramic pieces relate to social life. 

A Further Contribution to the Study of Zande Culture

Africa ◽  
1963 ◽  
Vol 33 (3) ◽  
pp. 183-197 ◽  
Author(s):  
E. E. Evans-Pritchard
Keyword(s):  
Material Culture ◽  
Political Development ◽  
Cultivated Plants ◽  
Arts And Crafts ◽  
Agricultural Economy ◽  
The Past ◽  
The People ◽  
Opening Paragraph ◽  
Different Sources ◽  
Ethnic Origins

Opening ParagraphIn a recent number of Africa (October i960) I showed that a number of Zande cultivated plants must have been borrowed from other peoples and that others were probably borrowed too. The points there emphasized were: firstly, that the agricultural economy of the Azande is derived from many different sources; secondly, that the Azande themselves see it that way; and thirdly, that in the past it must have been much simpler than in recent times, leading us to suppose that there has probably been a connexion between bionomic development and political development. I now turn to a consideration of certain arts and crafts to show further that it is not only in the cultivation of plants that Zande culture is a complex of borrowed elements, as the people themselves are a complex of peoples of different ethnic origins, but also in their material culture generally. I do not attempt to cover all of their material culture, only some parts of it for illustration and as an indication of the extent to which it has been taken over from peoples absorbed into the original Mbomu stock or from neighbouring peoples.

From aura to jargon: the social life of authentication

2019 ◽  
Vol 9 (2) ◽  
pp. 115-131
Author(s):  
Jonatan Södergren
Keyword(s):  
Cultural Production ◽  
Social Life ◽  
Design Methodology ◽  
Discursive Practices ◽  
Content Type ◽  
The Arts ◽  
The Social ◽  
Arts And Culture ◽  
Collective Imagination ◽  
Historical Epoch

Purpose Authenticity has emerged as a prevailing purchase criterion that seems to include both real and stylised versions of the truth. The purpose of this paper is to address the negotiation of authenticity by examining the means by which costume designers draw on cues such as historical correctness and imagination to authenticate re-enactments of historical epochs in cinematic artwork. Design/methodology/approach To understand and analyse how different epochs were re-enacted required interviewing costume designers who have brought reimagined epochs into being. The questions were aimed towards acknowledging the socio-cultural circulation of images that practitioners draw from in order to project authenticity. This study was conducted during a seven-week internship at a costume store called Independent Costume in Stockholm as part of a doctoral course in cultural production. Findings Authenticity could be found in citations that neither had nor resembled something with an indexical link to the original referent as long as the audience could make a connection to the historical epoch sought to re-enact. As such, it would seem that imagination and historical correctness interplay in impressions of authenticity. Findings suggest that performances of authentication are influenced by socially instituted discursive practices (i.e. jargons) and collective imagination. Originality/value This paper contributes to the literature on social and performative aspects of authentication as well as its implications for brands in the arts and culture sector.

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