scholarly journals Islam in Australia: A National Survey of Muslim Australian Citizens and Permanent Residents

Religions ◽  
2020 ◽  
Vol 11 (8) ◽  
pp. 419
Author(s):  
Halim Rane ◽  
Adis Duderija ◽  
Riyad H. Rahimullah ◽  
Paul Mitchell ◽  
Jessica Mamone ◽  
...  

This article presents the findings of a national survey on Islam in Australia based on responses of 1034 Muslim Australian citizens and permanent residents. Knowing what Muslim Australians think about Islam in relation to Australian society is essential for a more informed understanding about Islam and Muslims needed to address misinformation, Islamophobia, and extremism. The findings presented in this article include typologies of Muslims; sources of influence concerning Islam; interpretations of the Qur’an; perspectives on ethical, social, and theological issues; issues of concern; social connections and sense of belonging; views on various Muslim-majority countries; and perspectives concerning political Islam, including jihad, caliphate, and shariah. While respondents’ understandings, interpretations, and expressions of Islam overall align with values and principles of equality, human rights, social cohesion, and social justice, a minority were found to understand and interpret Islam in ways that reflect the influence of late 20th and early 21st century ideas associated with Islamist political ideology, and a smaller sub-group were found to have views that could be considered extreme. This article discusses these findings in relation to the early 21st century time-period factors and the Australian social context.

2020 ◽  
Vol 25 (4) ◽  
pp. 589-608 ◽  
Author(s):  
Richard Lampard

Data from the 2010–2012 National Survey of Sexual Attitudes and Lifestyles (NATSAL-3) are used to document trends and patterns in where co-resident couples in Britain first met, focusing specifically on the rapid rise of meeting online, which both echoes and differs from a corresponding US increase; in Britain, meeting online largely appears to have substituted for meetings in settings to which access is relatively unrestricted, for example, pubs and public places. While meeting online appears widespread across British society, variations are identified and linked to ideas from the online dating and place of meeting literatures. Offline partner availability and how well the processes within offline and online settings suit particular types of people are interpreted as underpinning many of these variations. Perhaps surprisingly, meeting online does not appear class-related, and involves levels of socio-demographic homogamy that do not differ systematically from those for compositionally heterogeneous offline settings.


2018 ◽  
Vol 42 (10) ◽  
pp. 1939-1950 ◽  
Author(s):  
Richard A. Grucza ◽  
Kenneth J. Sher ◽  
William C. Kerr ◽  
Melissa J. Krauss ◽  
Camillia K. Lui ◽  
...  

ICONI ◽  
2021 ◽  
pp. 37-47
Author(s):  
Marya Yu. Gendova ◽  

The article is devoted to the theme of the Baroque style on the Russian ballet scene of the end of the 19th century, and the focus of attention of this research steps over the bounds of the indicated time period, dwelling upon the reflection of Baroque subject matter on the 20th and early 21st century art of ballet. The author does not analyze the plotline basis of ballet performances and does not attempt to search for stylistic attributes of the Baroque period which would confirm the ballet’s pertaining to the Baroque era. The author determines as her main goal the aspiration to comprehend the fundamental — philosophical, value-based and spiritually significant — dominant ideas of human existence which are relevant beyond time and, hence, significant today, as well: the themes of personality, time, good and evil, stereotypes and algorithms (the theme of liberty), the theme of allusions. The author finds it important to comprehend how, conformably with the baroque worldview, they disclosed themselves in the late 19th century art of ballet (during the era of Marius Petitpas’ late productions, which was the flourishing of the Baroque style in ballet), exerting an impact on its plotline and architectonic structure. While preserving the retrospective-explorative vector of her research, the author poses the question, why do these specific concepts of the epoch’s worldview, as well as the constructive peculiarities of the baroque manner of ballet production has manifested itself in the art of 20th and 21st century ballet-masters George Balanchine and Alexei Miroshnichenko.


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