scholarly journals “CARPET WEAVING TRADITION OF INDIA”

2019 ◽  
Vol 7 (11) ◽  
pp. 40-47
Author(s):  
Pranshi Jain
Keyword(s):  
Cultural Identity ◽  
Knowledge Base ◽  
Traditional Knowledge ◽  
The Other ◽  
Cultural Tradition ◽  
The World

Traditional knowledge is the knowledge base of a particular society or a community which has been generated from one generation to the other over a period of time through the process of learning and sharing. It takes several generations to refine or improve the knowledge base with expertise which they gained through experiences. Ultimately, it becomes the integral part of cultural identity of their community. The art of carpet weaving is one of the traditional knowledges which has represented the continuity of the age- old Indian heritage and also the socio-cultural tradition of weaving communities and thus has given Indian carpets a renowned place in the world. The magnificence of Indian carpet weaving and the intricate patterns that have emerged from it have substantially increased India’s carpet exports and placed it prominently on the international carpet map and thus has made it the largest exporter of handmade carpets in the world. Handloom sector being one of the major sectors which helps the country in maintaining the GDP at present is suffering from high competition to power looms due to the very nature of handmade sector being unorganized and dispersed. Therefore, this paper would give the review of carpet tradition in India, its evolution, its present scenario and thus addressing the need to safeguard the knowledge/ skill related with the craft as it is on the verge of losing its identity.

scholarly journals An essay on the tails connecting us with the world and with each other: a great philosophy in one short story (inspired and based on the book: Tillmanns, M. (2019). Why We Are in Need of Tails, ill. By B. Thornley. Toronto, Iguana Books, 35 p.)

2020 ◽  
Vol 2 ◽  
pp. 102-106
Author(s):  
Sergey Borisov ◽  
Keyword(s):  
Short Story ◽  
The Other ◽  
Cultural Tradition ◽  
Philosophical Essay ◽  
The World

The article is a philosophical essay based on Maria Tillmanns’ book Why We Are in Need of Tails (Iguana Books, 2019). In an allegorical form the essay presents many current philosophical issues such as understanding, companionship, communication, attitude towards the Other, and the continuity of cultural tradition.

scholarly journals DECOLONIALITY OF KNOWLEDGE AND INTERCULTURAL “DAHLEZ”

2016 ◽  
pp. 16-25
Author(s):  
N. T. Nurulla-Khodzhaeva
Keyword(s):  
Latin America ◽  
Middle East ◽  
Knowledge Base ◽  
Life Science ◽  
The Other ◽  
Philosophical Concept ◽  
Real Issue ◽  
Central Asian ◽  
The World ◽  
History Of

Khorasanian thinkers believed that, the discovery of their origins and the "Other", is not a single whole act, but rather a procedural, almost stage-by-stage like capacity to understand the world. Evidence suggests that in order to survive (or just grow), one must move from their initial sphere of life/science to the next. Such mobility was influenced heavily by the tradition of constant crossing of boundaries and countries, formalizing commercial/scientific flexibility of the entire culture of the region. However, this potential remains untapped in the construction of the new history of nations. Therefore it is fair to ask: what is the reason for the lack of dialogue on decolonization of, both within the region (between researchers of different republics), between the Russian and Central Asian researchers, as well as between other regions, ie South-to-South (the Middle East, Latin America, India, etc.). Without doubt, every one of us has worthy of alibi. But it is important to understand that today's distancing from the topic in Central Asia; is not an ideological camouflage ala Soviet-style, but rather a preservation of the myth of Westphalia on the priority of national sovereignty. Finding one's way out of this maze created by the rhetoric of the nations and the logic of coloniality (as Kuidjano) is a very real issue. The first step may be to recognize that our very own knowledge base is colonial. Accordingly, the process must begin with ridding ourselves from this state, starting the process of de-coloniality. To initiate such an understanding, the author proposes to use - dahlez, philosophical concept, put forward with a view to the perception of many values of plural-cycle culture of the region, as well as the values of the outside.

scholarly journals The Character of Rip van Winkle: Representation of Disappearing Cultural Identity

2020 ◽  
Vol 1 (2) ◽  
pp. 113-126
Author(s):  
Magdalena Baga
Keyword(s):  
New York ◽  
Cultural Identity ◽  
Ethnic Group ◽  
Short Story ◽  
The Other ◽  
New Historicism ◽  
Main Character ◽  
Washington Irving ◽  
The World ◽  
Rip Van Winkle

Abstract ─ The purpose of this research is to explore how an ethnicity is represented in a story that has a historical setting and how this ethnic group was placed in American history. The short story of Washington Irving, "Rip Van Winkle", published in 1819, was very popular in America. This story was recycled in the form of stories for children, made into plays, etc. What Americans always remember about Rip Van Winkle character is his laziness. The story of "Rip Van Winkle" is traced through Stuart Hall's Representation theory. This theory states that representation can give meaning to an identity, and the New Historicism method is used to uncover that fictional stories are tied to the world that produced them. The result shows that Rip's character is a representation of Dutch ethnicity who felt losing their cultural identity. Rip's character in the story is a representation of Dutch New York ethnicity, and he was the main character in the story who was narrated as a lazy man. Thus, what always presents in America's memory is the lazy Dutch because of the representation of the character of Rip, but the other characters who were narrated less in the story are not remembered, even though they played a role in establishing America.

scholarly journals Contemporary Topics In The Suppliant Women, by Aeschylus. The Multiplication of Sin and Redemptive Differentiation

2020 ◽  
Vol 10 (1) ◽  
pp. 176-189
Author(s):  
Ioana Petcu ◽  
Teodora Medeleanu
Keyword(s):  
Cultural Identity ◽  
The Other ◽  
The Past ◽  
Other Hand ◽  
The World ◽  
The One

AbstractOne looks, on the one hand with a slight amazement, and on the other hand with the confidence of a temporary master of the European cultural thesaurus, at how tragic poem, more than two thousand years old, vibrates under the directorial wands in the present times. One analyses the Ancient verse, the plots of the founding mythologies or the figures that seem turned into stone by the passing of time and witnesses, through the scenic hypostasis of today, that the voices of the past, singular or united in a Chorus, reach them, generating, in a single spectator or in an entire wave of interception, the feeling of nexus. But also the inquisitiveness of encountering the peculiar. Due to the fact that cultural identity, and also the conducting threads of the universalis arise like a fascinating, rich, high terrain, and one cannot see them from afar, in this century. If, thematically speaking, The Suppliants, by Aeschylus resonated with directors such as Olivier Py, Silviu Purcărete, Ramin Gray or Jean-Luc Bansard, one can notice how cultural identity is reflected in the Ancient writings, which are also multiplied on the stages of the World in minimalist of theatrical (re)interpretations. The performance of one that becomes multiple and, eventually, restrains itself, closely looked at, becomes fascinating.

Decolonising African Cultural Identity in Es’kia Mphahlele’s Chirundu : A literary Appreciation

2020 ◽  
Vol 1 (3) ◽  
pp. 33-45
Author(s):  
Malesela Edward Montle
Keyword(s):  
Cultural Identity ◽  
The Other ◽  
Cultural Hybridity ◽  
African Culture ◽  
The West ◽  
Post Colonial ◽  
African Renaissance ◽  
The World ◽  
Colonial Theory ◽  
The One

Though Africans are striving to re-define and re-construct themselves through re-asserting their eroded African cultural identity, this appears to be a mammoth, almost insurmountable task. It remains a nuanced terrain because, on the one hand, there is material benefit from being bedfellows with the neocolonial forces while on the other hand, there is hardship which is meted out against the proponents of African decolonisation, particularly the quintessential ones. Sanctions are one of the austerity measures which the neo-colonial powers use to suppress those Africans who genuinely want to advance African renaissance. This is the cause of identity crisis among many Africans, and unsavoury marriages of convenience between the West and African nations today. This paper, therefore, seeks to examine the dilemma faced by the essentialist adherents of African culture today and their supposed role in the advancement of Africa as a continent. It uses Chirundu's character in Es'kia Mphahlele's novel of the same name, as a case in point. The argument, in this paper, is grounded on Afrocentricity as a strand of Post-Colonial Theory (with or without a hyphen) with an implied suggestion that the solution to Africa's postcolonial challenges lies in forging cultural hybridity with the nations of the world.

scholarly journals THE CULTURAL IDENTITY OF IRAQI JEWS IN ISRAEL

2021 ◽  
Vol 03 (05) ◽  
pp. 118-123
Author(s):  
Faeza Abdulameer Nayyef ALHUDEEB
Keyword(s):  
Cultural Identity ◽  
The Other ◽  
Western Countries ◽  
The World ◽  
The Difference ◽  
Different Parts ◽  
Jewish Writers

We can say that culture includes knowledge, arts, morals, beliefs, customs and other capabilities that a person obtains from life. The difference in the cultures that the groups of Jews from different parts of the world carried to (Israel) led to a difference in customs and traditions between them, and this in turn led to a conflict between them in particular and between cultures in general. That is, the culture of the Sephardi Jews and the culture of the Western Ashkenazi Jews.Sephardi are the Jews who immigrated from Arab and eastern countries, while Ashkenazim are the Jews who immigrated from Western countries (European, America and Russia(. Therefore, (Israel) worked in two directions with these immigrants, some of them called for integration with the new society, and the other part to assimilate them. But with all these attempts, some of them ended in failure. The eastern Jews (Iraqis in particular) have kept the Iraqi customs and traditions that they were brought up with and did not lose their identity. I will discuss in this research some of these customs and traditions that they maintained even after their immigration to (Israel). Such as the use of some Arabic expressions, oriental food, eastern folklore, through some stories and novels written by Iraqi Jewish writers who immigrated to (Israel), such as Shimon Palace, Samir Naqqash, Anwar Shaul, Sami Michael.

scholarly journals Looking West: Understanding Socio-Political Allegories and Art References in Contemporary Romanian Cinema

2016 ◽  
Vol 12 (1) ◽  
pp. 67-86 ◽  
Author(s):  
Hajnal Király
Keyword(s):  
Cultural Identity ◽  
The Other ◽  
Cultural Tradition ◽  
Cultural Meanings ◽  
Semiotic System ◽  
Transient Nature ◽  
Internal Image ◽  
Constantin Brancusi ◽  
Romanian Cinema ◽  
A Site

AbstractThe representation of other arts in cinema can be regarded as a different semiotic system revealing what is hidden in the narrative, as a site of cultural meanings inherent to the cinematic apparatus addressing a pensive spectator, or a discourse on cinema born in the space of intermediality. In the post-1989 films of Romanian director Lucian Pintilie, painterly and sculptural references, as well as miniatures become figurations of cultural identity inside allegories about a society torn between East and West. I argue that art references are liberating these films from provincialism by transforming them into a discourse lamenting over the loss of Western, Christian and local values, endangered or forgotten in the post-communist era. In the films under analysis – An Unforgettable Summer (1994), Too Late (1996) and Tertium Non Datur (2006) – images reminding of Byzantine iconography, together with direct references and remediations of sculptures by Romanian-born Constantin Brâncuşi, participate in historico-political allegories as expressions of social crisis and the transient nature of values. They also reveal the tension between an external and internal image of Romania, the aspiration of the “other Europe” to connect with the European cultural tradition, in a complex demonstration of a “self-othering” process. I will also argue that, contrary to the existing criticism, this generalizing, allegorical tendency can also be detected in some of the films of the generation of filmmakers representing the New Romanian Cinema, for example in Radu Jude’s Aferim! (2015).1

scholarly journals What do learners need to know about cinema? film as a learning tool in adult education

2016 ◽  
Vol 22 (3) ◽  
pp. 21-32 ◽  
Author(s):  
Vanda De Sousa
Keyword(s):  
Adult Education ◽  
Cultural Identity ◽  
Teaching And Learning ◽  
The Self ◽  
The Other ◽  
Technological Evolution ◽  
Learning Tool ◽  
The World

The author reflects upon the dominating culture of images in the today’s fragmented and globalised world. She examines the cinematographic text as a tool that can be used in the process of adult education, facilitating the education of the generations who, unlike younger generations, were not born into the world of images. The author argues that teaching and learning about cinema can represent a tool which enables individuals to acquire cinematographic literacy and discover their psychological, cultural and social selves. The author starts by examining the cinematographic text as a consequence of the technological evolution. She goes on to describe the evolution of the cinematographic text, emphasizing its grammar, syntax and semantics, while focusing on the advantage of the cinematographic text and language over other languages, since such text leads to free interpretation and learning. Finally, she discusses film as a teaching and/or learning tool that puts an end to the hermeneutics, reveals the other (not the self), and leads to the comprehension and construction of our individual, social and cultural identity.

scholarly journals Модернизација у филму "Видео јела, зелен бор" - антрополошка анализа

2017 ◽  
Vol 12 (4) ◽  
pp. 1091
Author(s):  
Marija Brujić
Keyword(s):  
Cultural Identity ◽  
The Other ◽  
Cognitive Tools ◽  
Film Analysis ◽  
Guest Workers ◽  
Feature Film ◽  
Inner Voice ◽  
Feature Films ◽  
The World ◽  
The Subject

The subject of this paper is a Serbian feature film Dear Video from 1991. Two brothers, one who is living in Germany and the other who is living in Serbian village and their families are communicating through VHS video tapes. Instead of facilitating their communication, the VHS video tapes actually reveal all that was suppressed and hidden from surface relationships (dishonesty, jealousy, deceptions).  Thus, this paper combines two approaches: film ethnography (its diegesis) explained by Kovačević and Herzfeld’s cultural intimacy applied in Serbian film analysis by Naumović. Feature films, as part of pop cultural phenomena, interpret and give comments on socio-cultural phenomena and therefore can serve also as cognitive tools for understanding the world around us. The aim of the paper is to examine how this film solves the issue of unsuccessful modernization of Serbian villages, in other words, why guest workers did not have greater and more important influence on modernization on their places of origins. The film shows discord between the two brothers, discord among cousines, discord among villagers and discord among different nationalities in Yugoslavia. At the same time, discord can be interpreted as a self-defiant inner voice of the Serbs, and thus as the example of cultural intimacy and part of Serbian cultural identity. Consequently, these disharmonies can be understood as the answer of failed modernization. 

Sign in / Sign up

Export Citation Format

Share Document