scholarly journals On the transformation of the Kalmyk costume in the second half of the 20th century – the beginning of the 21st century

2021 ◽  
pp. 10-25
Author(s):  
Д.В. Сангаджиева
Keyword(s):  
National Identity ◽  
20Th Century ◽  
21St Century ◽  
Technological Progress ◽  
Traditional Values ◽  
Cultural Elements ◽  
The Creation ◽  
First Time ◽  
Private Collections ◽  
Modern Technologies

Исследование посвящено изучению специфики бытования калмыцкого костюма во второй половине ХХ века – начале XXI века в Калмыкии, сравнению элементов кроя и способов декорирования в традиционных образцах народного костюма и в сценических национальных костюмах, а также в художественной стилизации авторских моделей одежды в этническом стиле. Материалом для исследования послужили костюмы из собраний и архивов российских музеев и частных коллекций. Объектом исследования является калмыцкий костюм, его эстетическая и смысловая доминанта как маркер национальной идентичности и ретранслятор традиционных ценностей. Целью исследования является выявление трансформационных процессов в бытовании калмыцкого народного костюма во второй половине ХХ века – начале XXI века. Впервые зафиксированы изменения технологических особенностей в создании декора и примеры внедрения инокультурных элементов в структуру повседневного и сценического народного костюма, которые несут с собой видоизменение смыслов и функциональности элементов национального костюма. Статья вводит в научный оборот новые данные о народных мастерах, художниках, дизайнерах, работающих в сфере народного костюма, зафиксированы созданные ими образцы национальной одежды и ее вариации. The research is devoted to the study of the specifics of the existence of the Kalmyk costume in the second half of the 20th century – the beginning of the 21st century in Kalmykia, comparing the elements of cut and methods of decoration in traditional samples of folk costume with the design and decor in scenic national costumes and in the artistic stylization of author's clothing models in ethnic style. The material for the study was the costumes from the collections and archives of Russian museums and private collections. The object of the study is the Kalmyk costume, its aesthetic and semantic dominant, as a marker of national identity and a repeater of traditional values. The aim of the study is to identify transformational processes in the existence of the Kalmyk folk costume in the second half of the 20th century – the beginning of the 21st century, as well as for the first time recorded changes in technological features in the creation of decor and examples of the introduction of foreign cultural elements into the structure of everyday and scenic folk costume, which carry with them a modification of the meanings and functionality of elements of the national costume. The author fixes the process of substitution of traditional crafts in the manufacture of elements of folk costume, in the context of the development of scientific and technological progress, using modern technologies for creating clothing decor, in the author's collections of ethnic fashion in Kalmykia. The article introduces into scientific circulation data on folk masters, artists, designers working in the field of folk costume, recorded samples of national clothing created by them and its variations.

scholarly journals The ideocratic state and national identity: the Serbian experience in the 20th century

2020 ◽  
Vol 38 (1/2020) ◽  
pp. 9-34
Author(s):  
Kosta Nikolić
Keyword(s):  
National Identity ◽  
20Th Century ◽  
State Formation ◽  
21St Century ◽  
Nation Building ◽  
Structural Elements ◽  
Potential Link ◽  
The Creation ◽  
First Time

Since the end of the second decade of the 21st century the Serbian people have been living on the ruins of Yugoslavia. In this country, formed over a century ago, the Serbs were united for the first time in their history, yet they gambled it away. How did this happen? While some interpretations emphasize the role of individuals, others give prevalence to structural elements. As a potential link between the two, this paper examines the influence different ideologies had on the creation of the Serbian identity in the 20th century and scrutinizes the role of these ideocratic tendencies in the process of nation building and state formation, as well as its integration and disintegration.

MEDIA-CAPITALISM: COLLOQUIAL MASS CULTURE AND NATIONALISM IN EGYPT, 1908–18

2010 ◽  
Vol 42 (1) ◽  
pp. 103a-103a
Author(s):  
Ziad Fahmy
Keyword(s):  
National Identity ◽  
20Th Century ◽  
Mass Culture ◽  
Historical Analysis ◽  
Recorded Music ◽  
First Time ◽  
Egyptian History

In Egypt, during the late 19th and early 20th centuries, older, fragmented, and more localized forms of identity were rapidly replaced with new alternative concepts of community, which for the first time had the capacity to collectively encompass the majority of Egyptians. This article is about the growth of Egyptian national identity from 1908 until 1918. It highlights the importance of previously neglected colloquial Egyptian sources—especially recorded music and vaudeville—in examining modern Egyptian history. Through the lens of colloquial mass culture, the study traces the development of collective Egyptian identity during the first quarter of the 20th century. This article also engages with some of the theories of nationalism and tests their applicability to Egypt. Finally, it introduces the concept of “media-capitalism” in an effort to expand the historical analysis of nationalism beyond print.

scholarly journals Reforming Police: Opportunities, Drivers and Challenges

2005 ◽  
Vol 38 (2) ◽  
pp. 167-180 ◽  
Author(s):  
Philip C. Stenning ◽  
Clifford D. Shearing
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
21St Century ◽  
Special Issue ◽  
Quiet Revolution ◽  
The World ◽  
The Creation ◽  
The 19Th Century ◽  
Different Parts

A few years ago, David Bayley and Clifford Shearing (1996) argued that at the end of the 20th century we were witnessing a ‘watershed’ in policing, when transformations were occurring in the practices and sponsorship of policing on a scale unprecedented since the developments that heralded the creation of the ‘New Police’ in the 19th century. In this special issue of the journal, we and our fellow contributors turn our attention to a somewhat neglected aspect of this ‘quiet revolution’ in policing (Stenning & Shearing, 1980), namely the nature of the opportunities for, and challenges posed by, the reform of policing in different parts of the world at the beginning of the 21st century. Our attention in this issue is particularly focused on the opportunities, drivers and challenges in reforming public (state-sponsored) police institutions.

scholarly journals THE PROJECT OF ARCHEOLOGICAL MUSEUM AT THE ALL-RUSSIAN MUSEUM CONFERENCE OF 1919

2021 ◽  
pp. 437-443
Author(s):  
В. Г. Ананьев ◽  
М. Д. Бухарин
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Special Report ◽  
Revolutionary Era ◽  
The Creation ◽  
Archeological Museum ◽  
First Time

В начале ХХ в. в России активно обсуждался вопрос создания специализированного археологического музея. Этой проблеме был посвящен ряд выступлений на профессиональных форумах музейных работников. Обсуждалась она и на Первой Всероссийской конференции по делам музеев в Петрограде в феврале 1919 г. Со специальным докладом на эту тему выступил авторитетный археолог А. А. Миллер, имевший опыт музейной работы и активно проявивший себя в революционную эпоху как организатор музейного дела. В обсуждении доклада приняли участие такие видные ученые, как С. А. Жебелёв, Н. Я. Марр и др. В данном сообщении авторы впервые анализируют материалы стенограммы этого обсуждения и помещают его в контекст развития отечественной археологической/музейной мысли начала ХХ в. In the early 20thcentury the creation of a specialized archaeological museum was actively discussed in Russia. A number of communications in professional forums of museum workers were devoted to this problem. It was also discussed at the First AllRussian Museums' Conference in Petrograd in February 1919. A special report on this subject was held by archeologist A. A. Miller, who had experience of museum work and showed himself in the revolutionary era as an organizer of museum activity. Prominent scholars such as S. A. Zhebelyov, N. Ya. Marr and others took part in the discussion of his report. In this article the authors analyze the materials of the transcript of this discussion for the first time and place it in the context of the development of Russian archaeological/ museum thought of the early 20th century.

SATIRE OF THE UKRAINIAN DIASPORA OF THE 30’S AND 40’S OF 20TH CENTURY: STEFAN FODCHUK AND YAKIV MAYDANYK

2019 ◽  
pp. 272-277
Author(s):  
Natalia Osoba
Keyword(s):  
National Identity ◽  
20Th Century ◽  
Interwar Period ◽  
Large Array ◽  
Colonial Discourse ◽  
Moral Conflicts ◽  
Educational Value ◽  
First Time

In the article the features of the Ukrainian diaspora satirical and humorous literature of the 20’s and 40’s of the XX century are investigated, its thematic filling and specific features on the example of the works of satirists Stefan Fodchuk and Yakiv Maydanyk are indicated. For the first time, an attempt to analyze the works of humorists, who by virtue of certain circumstances were in emigration, was made; the specifics of the development of humorous and satirical genres, in particular, mini-feuilleton, mini-humoresque, fable, peculiarities of social and moral conflicts in their creativity are determined. It is emphasized that their works have expressed aesthetic and educational value. Responding to the evil of the day, humorists tried to touch on the most important problems of life, penetrated into the depths of phenomena, into their innermost essence, cares and pity of the emigrants. In their creative heritage mini-humoresques, mini-feuilletons, anecdotes, witty poetic chetverics, epigrams and epitaphs, parodies, fables, puns and aphorisms are singled out. The satirists were able to compress the phrase to an incredible, often explosive density. It is noted that the research of the Ukrainian satire of the interwar period, which by the number of raised themes and problems is exceptionally diverse and rich, reveals to the researcher the great opportunities and prospects for reconstruction of the return of the so-called lost reality, which presents a large array of satirical literature of the Ukrainian diaspora, which has not yet been restored in a holistic and undistorted accents of colonial discourse form in our cultural and historical space as one of the important steps in search of a national identity.

scholarly journals Wet Collodion and a pair of lenses. Carlos Relvas's stereoscopic photography: the digital reunion of negatives and prints

2020 ◽  
Author(s):  
Victor Flores
Keyword(s):  
Digital Media ◽  
21St Century ◽  
Meaningful Work ◽  
Public And Private ◽  
Long Period ◽  
Photography Collections ◽  
First Time ◽  
Early Photography ◽  
Private Collections

The beginning the photographic activity of Carlos Relvas (1838-1894) is closely connected to stereoscopic photography. This fact has not always been quite clear since Carlos Relvas’s stereoviews have remained one of the least known sides of his photographic work. The dispersion of his stereo cards among several public and private collections, as well as the long period of inaccessibility to his archive of negatives, hindered the perception of the meaningful work that Carlos Relvas carried out in the production of stereoscopic views of Portugal. One of the main challenges of the 21st-century studies of photography lies in the opportunity to publish online images from early photography collections. Digital media can enhance these collections and expand their reading. Among the main beneficiaries will be photographic negatives, which will gain new heuristic importance in this new environment of mediations. That was our intuition by developing a digital catalogue for the collections of Carlos Relvas’s stereoscopic photography aiming to bring together and combine all his negatives and positives and thus, for the first time, allow a comprehensive image of his passion for this type of photography.

scholarly journals Mongolia and the Dilemmas of Deepening Eurasian Continentalism

2018 ◽  
Vol 20 ◽  
pp. 3-25 ◽  
Author(s):  
Alicia Campi
Keyword(s):  
Mineral Resource ◽  
National Identity ◽  
20Th Century ◽  
21St Century ◽  
Asian Country ◽  
Resource Economics ◽  
Economic Success ◽  
Asian Continent ◽  
China And Japan ◽  
Great Game

Mongolia is geographically in the heart of the Asian continent. In the 20th century it was part of the geopolitical “Great Game” among Russia, China, and Japan. In the 21st century, the pull of energy and mineral resource economics has changed the circumstances of the Eurasian continental paradigm and could provide the opportunity for this landlocked, Inner Asian country to find economic success, strengthen its national identity, and raise its globalimage. This paper will examine Mongolian reaction to the various Silk Roadinfluencedpolicies of its neighbors as it struggles not to be ignored in the emerging continental dynamism.

scholarly journals Relationship concept ‘autoimage’ and ‘heteroimage’ (Perception of the sociocultural aspects of novels)

2021 ◽  
Vol 11 (2) ◽  
pp. 265-274
Author(s):  
Michaela Pešková
Keyword(s):  
National Identity ◽  
21St Century ◽  
Cultural Distance ◽  
Social Discourse ◽  
Self Image ◽  
The Creation

The paper aims to introduce research in the field of the literary imagology and text semiotics. It focuses on the analysis of the creation of “autoimage”, or rather a self-image, and “hereroimage”, or a counter-mage, the image of otherness, as a means of shaping national identity, by interpreting the artistic texts written by the Czech writer Jáchym Topol and the Russian writer Vladimir Sorokin. It pays attention particularly to their novels from the first decade of the 21st century. The texts will be compared in a broader context of social discourse. Moreover, it will address the issue of the disproportion between the intensity of attention of one nation to another (Czech-Russian and Russian-Czech) and the differences in the perception of cultural distance.

scholarly journals “The Eight Songs” by Zhao Jiping as the embodiment of the vocal and instrumental poem

2019 ◽  
Vol 52 (52) ◽  
pp. 53-70
Author(s):  
Duangui Wang
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Semantic Analysis ◽  
World View ◽  
Compositional Approach ◽  
The World ◽  
Poetic Text ◽  
The Individual ◽  
The Ancient Chinese ◽  
First Time

Formulation of the problem. An analysis of the genre-dramaturgical patterns in a poorly studied composition by the Chinese composer Zhao Jiping (2011) has been proposed. The relevance of the topic and the novelty of the received results of the genre-semantic analysis of the chosen vocal cycle are concluded in the search for the definition dictated by the artistic concept of its author – a cantata-type vocal poem (a small choir is introduced into the score). Among its criteria there are reliance on the orchestral accompaniment, the timbre variation of each song of the cycle, the poetry dictated by the presence of the image of the Poet, the symbolization of the poetic and intonation language, the cultural chronotope uniting the Time of History and its inclusion into the culture of the 21st century. The purpose of the article is to perform a genre-semantic analysis of “The Eight Songs” for Zhao Jiping’s voice and orchestra and to identify the main sound-image concepts of “the Chinese world view” that make up the drama of the vocal cycle. Analysis of the recent publications on the topic. In the second half of the 20th century, a new compositional approach to organizing vocal songs into a whole, poemness, appeared. In the articles by A. Belonenko (about “Petersburg” by G. Sviridov) and T. Zharkikh (about “Poemes pour Mi” by O. Messiaen), the research emphasis is placed on other problems of the organization of the vocal whole. For the first time, in the conditions of the poly-timbre vocal and orchestral synthesis and the national picture of the world poemness becomes the subject of a special interest of the singer-researcher. Research methods: the structural-functional analysis concerns the components of the composer’s text (the vocal melody and textural and timbre thematism of the orchestral part); the semantic one – reveals the symbolism of poetic texts; the genre analysis – aims to identify the individual interpretation of typical models of vocal music. The presentation of the main material. The poem principle became the embodiment of the author’s desire to unite several vocal miniatures into a single musical universe based on the common concept – the image of the Poet. The philosophical and religious feelings and thoughts contained in the texts chosen by the composer reflect not only his worldview, but also the national mentality and psychology of the world view of the “Chinese world view” (the chronotope of History). This rare quality of poetry – to unite the personality (I) and society (We) into a single “national image of the world” – is the essence of the symbolism of the ancient Chinese poetry of the Tang era. The desire to individualize the timbre composition in each of the parts of the cycle is a characteristic feature of many vocal and instrumental compositions of the 20th century. However, in Zhao Jiping’s work, the search for diversity acts simultaneously with the desire to preserve the timbre constants. As such, with this composer this role is represented by a string and bow group, as the carrier of the song beginning, which performs the function of the instrumental “nimbus” (more rarely, of the dialogue-counterpoint) in relation to the singer. In contrast to Western composers, Zhao Jiping does not seek to use “pure” timbres: vocals and xiao can be duplicated with the wind and plucked strings. The composer does not look for contrasting timbres in search of the associative community: on the contrary, he creates single-timbre groups (pipa + guzheng + harp, triangle + bells + cymbals) to vary the shades of the poetic text. Their “consonance” is close to assonance in poetry (from assono – “I sound in tune”), which in the musical context creates the timbre assonance. The symphonic instruments are combined in timbre groups (string, wind), and the ethnic often perform an individualized function (for example, guzheng with its irregular glissando in No. 2–4 gives a national flavour). The orchestral density, along with the gradual “academic turning” of timbres, increases from the second half of the sound of the cycle (No. 5) to the final. Xiao is replaced by the wind and brass (with No. 5), while the ethnic plucked is replaced by the harp. The gradual increase in the timbre multidimensionality of the texture also has the “opposite effect”, since it is combined with the enhancement of the timbre contrast in the final parts of the cycle and as a result of the “aggravation” of the chamberness. The most chamber part is number 6, where the brass is for the first time silenced, and only the pipa and guzheng are heard. The culmination of the “chamberness” is in the first stanza of the final: a duet of the voice and harp. Conclusion. The vocal-instrumental synthesis in the poem genre, identified in Zhao Jiping’s “The Eight Songs”, is characterized by the organic interaction of the national and European principles of musical thinking. The performers are faced with complex technical and psychological tasks that require a developed orchestral-timbre hearing, intellectualism and associative thinking. A vocal-instrumental poem is a way of modelling spiritual reality, in which the unity of time and space is manifested due to the poetic text, in which the integral sense-image of the Poet acts, personifying the sound-like concepts of the culture of its time and the history of an entire people (“national view of the world”), their “inclusion” into the musical chronotope of the 21st century.

Poetry of East Africa: from the mid-20th till present

2021 ◽  
Author(s):  
Natalya S. Frolova ◽  
Keyword(s):  
20Th Century ◽  
21St Century ◽  
English Language ◽  
Language Poetry ◽  
East African ◽  
African Countries ◽  
The World ◽  
Comprehensive Picture ◽  
Literary Process ◽  
First Time

The book deals with the development of English and Swahili poetry in three East African countries: Kenya, Tanzania, and Uganda. It covers the period from the late 1960s to the present day. For the first time in the world African literary studies, the researcher created a comprehensive picture of the East African literary process of the second half of the 20th century and the first decade of the 21st century. The author analyzes two branches of modern East African poetry, such as the English-language poetry of Uganda and Kenya and the Swahili poetry of Kenya and Tanzania, by dwelling on the works of over 30 modern East African poets. An extensive poetic corpus is used to characterize its themes and artistic features. The poetry of modern East African authors is analyzed considering the culture, traditions, and realities of Uganda, Kenya, and Tanzania.

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