scholarly journals TRADITIONAL METHODS OF PRODUCING NATURAL DYES AND WOOL DYEING AMONG THE INGUSH IN THE 19TH - EARLY 20TH CENTURIES

2022 ◽  
pp. 139-148
Author(s):  
Хава Магомедовна Акиева
Keyword(s):  
Twentieth Century ◽  
Natural Dyes ◽  
The Other ◽  
Gradual Transition ◽  
North Caucasus ◽  
Traditional Methods ◽  
The North ◽  
Wool Dyeing ◽  
The One ◽  
Handicraft Production

В статье рассматриваются традиционные способы производства природных красителей, раскрываются особенности технологии правильного крашения с применением натуральных ингредиентов. Антропология цвета в культуре ингушей базировалась на двухуровневой основе: с одной стороны, она была связана с естественно-средовыми условиями окружения, с другой - формировалась под влиянием исторической практики и жизнедеятельности народа. Рассматриваются технологические издержки, которые возникают при производстве натуральных красителей в домашних условиях. Отмечается, что к началу ХХ в. на территории Северного Кавказа происходит постепенный переход от применения натуральных красителей к более дешевым и менее трудоемким фабричным аналогам. Автором представлен систематизированный перечень местных красильных растений и деревьев, дается информация о красильных свойствах минералов и технологии их использования в кустарном производстве ингушей в XIX-XX вв. в процессе крашения шерсти. На основе проведенного анализа делается вывод о том, что в современных условиях происходит утрата традиционного опыта производства натуральных красителей и крашения шерсти у ингушей. The paper discusses traditional methods for the production of natural dyes, the features of the technology of correct dyeing. The anthropology of color in the culture of the Ingush was based on a two-level basis: on the one hand, it was associated with the natural environmental conditions, and on the other hand, it was formed under the influence of historical practice and life. The technological costs that arise in the production of natural dyes at home are considered. The research shows that by the beginning of the twentieth century in the North Caucasus there is a gradual transition from the use of natural dyes to cheaper and less laborious factory analogues. The author presents a systematized list of local dyeing plants and trees, provides information on the dyeing properties of minerals and the technology of their use in the handicraft production of the Ingush in the 19th - 20th centuries in the process of dyeing wool. Based on the analysis, the author concludes that in modern conditions there is a loss of traditional experience in the production of natural dyes and wool dyeing among the Ingush.

Ugliness and Beauty: the Politics of Landscape in Walter Greenwood's Love on the Dole

2013 ◽  
Vol 29 (1) ◽  
pp. 35-47
Author(s):  
Claire Warden
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
The Other ◽  
Surrounding Area ◽  
North West ◽  
Avant Garde ◽  
The North ◽  
The One ◽  
The University ◽  
Open Fields

The multi-spatial landscape of the North-West of England (Manchester–Salford and the surrounding area) provides the setting for Walter Greenwood's 1934 play Love on the Dole. Both the urban industrialized cityscape and the rural countryside that surrounds it are vital framing devices for the narrative – these spaces not simply acting as backdrops but taking on character roles. In this article Claire Warden reads the play's presentation of the North through the concept of landscape theatre, on the one hand, and Raymond Williams's city–country dialogism on the other, claiming that Love on the Dole is imbued with the revolutionary possibility that defines the very landscape in which it is set. From claustrophobic working-class kitchen to the open fields of Derbyshire, Love on the Dole has a sense of spatial ambition in which Greenwood regards all landscapes as tainted by the industrial world while maintaining their capacity to function independently. Ugliness and beauty, capitalist hegemony and socialistic hopefulness reside simultaneously in this important under-researched example of twentieth-century British theatre, thereby reflecting the ambivalent, shifting landscape of the North and producing a play that cannot be easily defined artistically or politically. Claire Warden is a Lecturer in Drama at the University of Lincoln. Her work focuses on peripheral British performances in the early to mid-twentieth century. She is the author of British Avant-Garde Theatre (Palgrave MacMillan, 2012) and is currently writing Modernist and Avant-Garde Performance: an Introduction for Edinburgh University Press, to be published in 2014.

FORMATION OF THE GENRE OF THE STORY IN THE CHERKESS LITERATURE: IDELOGICAL GUIDES AND THEMATIC REFERENCES

Kavkazologiya ◽  
2021 ◽  
pp. 219-288
Author(s):  
M.A. KHAKUASHEVA ◽  
◽  
L.B. KHAVZHOKOVA ◽  
Keyword(s):  
The Other ◽  
North Caucasus ◽  
Research Attention ◽  
The North ◽  
Initial Stage ◽  
Great Patriotic War ◽  
History Of ◽  
Formation And Evolution ◽  
The One ◽  
Artistic Analysis

The article examines some of the issues of the formation and evolution of the genre of the story in Circassian literature. The relevance of the study is due, on the one hand, to the insufficient development of the stated topic, on the other hand, to the need to identify trends in the development of national prose, starting from the problems of its genesis. In the center of research attention is the ideological and thematic orientation of the Circassian story mainly of the initial stage of evolution, i.e. Soviet era. In particular, the author examines the stories of S. Temirov, I. Amirokov, M. Adamokov, H. Gashokov and others, who laid the foundations of the genre in Circassian literature. During the indicated period, the Circassian tale was the first attempt to comprehend the problems of collective farms, youth brigades, the Soviet attitude to work, the range of urgent problems of young people, their aspirations, the formation of the criteria of Soviet morality. It also reflects various aspects of the Great Patriotic War, mainly as a war for independence. The research uses the method of artistic analysis. The results obtained can be used in compiling special courses on Adyghe (Kabardino-Circassian) prose, writing the history of the literature of the peoples of the North Caucasus.

Sphagnum mosses (Sphagnaceae, Bryophyta) of mires Chefandzar and Masota in North Ossetia (Caucasus)

2018 ◽  
Vol 52 (2) ◽  
pp. 455-462 ◽  
Author(s):  
G. Ya. Doroshina ◽  
I. A. Nikolajev
Keyword(s):  
Plant Communities ◽  
The Other ◽  
North Caucasus ◽  
Sphagnum Mosses ◽  
Greater Caucasus ◽  
The North ◽  
First Time ◽  
North Ossetia

Sphagnum mires on the Greater Caucasus are rare, characterized by the presence of relict plant communities of glacial age and are in a stage of degradation. The study of Sphagnum of Chefandzar and Masota mires is carried out for the first time. Seven species of Sphagnum are recorded. Their distribution and frequency within the North Caucasus are analyzed. Sphagnum contortum, S. platyphyllum, S. russowii, S. squarrosum are recorded for the first time for the study area and for the flora of North Ossetia. The other mosses found in the study area are listed.

State of Fashion: Searching for the New Luxury

APRIA Journal ◽  
2020 ◽  
Vol 1 (1) ◽  
pp. 11-16
Author(s):  
José Teunissen
Keyword(s):  
Twentieth Century ◽  
Daily Life ◽  
Life Cycles ◽  
The Other ◽  
Century Model ◽  
Cocktail Party ◽  
The Public ◽  
Other Hand ◽  
The One

In the last few years, it has often been said that the current fashion system is outdated, still operating by a twentieth-century model that celebrates the individualism of the 'star designer'. In I- D, Sarah Mower recently stated that for the last twenty years, fashion has been at a cocktail party and has completely lost any connection with the public and daily life. On the one hand, designers and big brands experience the enormous pressure to produce new collections at an ever higher pace, leaving less room for reflection, contemplation, and innovation. On the other hand, there is the continuous race to produce at even lower costs and implement more rapid life cycles, resulting in disastrous consequences for society and the environment.

Gender and Social Exclusion in European Migration Crisis

2018 ◽  
pp. 658-676
Author(s):  
Marlou Schrover
Keyword(s):  
Twentieth Century ◽  
Social Exclusion ◽  
Historical Perspective ◽  
The Other ◽  
Men And Women ◽  
Refugee Women ◽  
Other Hand ◽  
Migration Crisis ◽  
The One ◽  
European Migration

This chapter discusses social exclusion in European migration from a gendered and historical perspective. It discusses how from this perspective the idea of a crisis in migration was repeatedly constructed. Gender is used in this chapter in a dual way: attention is paid to differences between men and women in (refugee) migration, and to differences between men and women as advocates and claim makers for migrant rights. There is a dilemma—recognized mostly for recent decades—that on the one hand refugee women can be used to generate empathy, and thus support. On the other hand, emphasis on women as victims forces them into a victimhood role and leaves them without agency. This dilemma played itself out throughout the twentieth century. It led to saving the victims, but not to solving the problem. It fortified rather than weakened the idea of a crisis.

Political Matrix and Political Representation: Prolegomenon to a New Departure from an Old Problem

1969 ◽  
Vol 63 (2) ◽  
pp. 427-441 ◽  
Author(s):  
Kenneth Prewitt ◽  
Heinz Eulau
Keyword(s):  
Twentieth Century ◽  
Empirical Research ◽  
Political Representation ◽  
Scientific Work ◽  
The Other ◽  
Past Century ◽  
City Councils ◽  
Political Units ◽  
The One ◽  
Special District

Scholars interested in theorizing about political representation in terms relevant to democratic governance in mid-twentieth century America find themselves in a quandary. We are surrounded by functioning representative institutions, or at least by institutions formally described as representative. Individuals who presumably “represent” other citizens govern some 90 thousand different political units—they sit on school and special district boards, on township and city councils, on county directorates, on state and national assemblies, and so forth. But the flourishing activity of representation has not yet been matched by a sustained effort to explain what makes the representational process tick.Despite the proliferation of representative governments over the past century,theoryabout representation has not moved much beyond the eighteenth-century formulation of Edmund Burke. Certainly most empirical research has been cast in the Burkean vocabulary. But in order to think in novel ways about representative government in the twentieth-century, we may have to admit that present conceptions guiding empirical research are obsolete. This in turn means that the spell of Burke's vocabulary over scientific work on representation must be broken.To look afresh at representation, it is necessary to be sensitive to the unresolved tension between the two main currents of contemporary thinking about representational relationships. On the one hand, representation is treated as a relationship between any one individual, the represented, and another individual, the representative—aninter-individualrelationship. On the other hand, representatives are treated as a group, brought together in the assembly, to represent the interest of the community as a whole—aninter-grouprelationship. Most theoretical formulations since Burke are cast in one or the other of these terms.

Voltaire, Philosopher of Human Progress

PMLA ◽  
1959 ◽  
Vol 74 (4-Part1) ◽  
pp. 356-364
Author(s):  
Virgil W. Topazio
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Human Mind ◽  
The Other ◽  
Single Addition ◽  
The One ◽  
Natural Philosophers ◽  
Popular Consent ◽  
Positive Knowledge ◽  
Separate Discipline

With the emergence of philosophy in the nineteenth century as a separate discipline which stressed primarily questions insoluble by empirical or formal methods, Voltaire's reputation as a philosopher has gone into gradual eclipse. It has become unfashionable and degrading for philosophers to concern themselves with the practical aspects of philosophical enquiry. In eighteenth-century France, on the other hand, the identification of philosophy with science, which by twentieth-century standards had vitiated philosophical thought, produced the “philosophes” or natural philosophers who were on the whole more interested in human progress than in the progress of the human mind. And Voltaire was by popular consent the leader of this “philosophe” group, the one who had unquestionably contributed the most in the struggle to make man a happier and freer member of society. Yet, ironically, despite a lifelong effort in behalf of humanity, Voltaire's reputation as a destructive thinker has steadily grown even as the critics have pejoratively classified him as a “practical” rather than a “real” philosopher. Typical of this criticism of Voltaire is Macaulay's statement: “Voltaire could not build: he could only pull down: he was the very Vitruvius of ruin. He has bequeathed to us not a single doctrine to be called by his name, not a single addition to the stock of our positive knowledge.”

Concept of Rivalry in D.H. Lawrence’s Sons and Lovers

2020 ◽  
Vol 12 (4) ◽  
pp. 443-454
Keyword(s):  
Twentieth Century ◽  
Attachment Theory ◽  
Sibling Rivalry ◽  
Oedipus Complex ◽  
The Other ◽  
The Novel ◽  
Men And Women ◽  
Qualitative Pattern ◽  
The One ◽  
Theory Competition

Sons and Lovers (1913) is one of D.H. Lawrence’s most prominent novels in terms of psychological complexities characteristic of most, if not all, of his other novels. Many studies have been conducted on the Oedipus complex theory and psychological relationship between men and women in Lawrence’s novels reflecting the early twentieth century norms of life. This paper reexamines Sons and Lovers from the perspective of rivalry based on Alfred Adler’s psychological studies. The discussion tackles the sibling rivalry between the members of the Morels and extends to reexamining the rivalry between other characters. This concept is discussed in terms of two levels of relationships. First, between Paul and William as brothers on the one hand, and Paul and father and mother, on the other. Second, the rivalry triangle of Louisa, Miriam and Mrs. Morel. The qualitative pattern of the paper focuses on the textual analysis of the novel to show that Sons and Lovers can be approached through the concept of rivalry and sibling Rivalry. Keywords: Attachment theory, Competition, Concept of Rivalry, Favoritism, Sibling rivalry.

Fielding and Richardson

PMLA ◽  
1966 ◽  
Vol 81 (5) ◽  
pp. 381-388
Author(s):  
William Park
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Human Nature ◽  
General Type ◽  
Common Ground ◽  
The Other ◽  
The Novel ◽  
Tom Jones ◽  
The Common ◽  
The One

But the Discovery [of when to laugh and when to cry] was reserved for this Age, and there are two Authors now living in this Metropolis, who have found out the Art, and both brother Biographers, the one of Tom Jones, and the other of Clarissa.author of Charlotte SummersRather than discuss the differences which separate Fielding and Richardson, I propose to survey the common ground which they share with each other and with other novelists of the 1740's and 50's. In other words I am suggesting that these two masters, their contemporaries, and followers have made use of the same materials and that as a result the English novels of the mid-eighteenth century may be regarded as a distinct historic version of a general type of literature. Most readers, it seems to me, do not make this distinction. They either think that the novel is always the same, or they believe that one particular group of novels, such as those written in the early twentieth century, is the form itself. In my opinion, however, we should think of the novel as we do of the drama. No one kind of drama, such as Elizabethan comedy or Restoration comedy, is the drama itself; instead, each is a particular manifestation of the general type. Each kind bears some relationship to the others, but at the same time each has its own identity, which we usually call its conventions. By conventions I mean not only stock characters, situations, and themes, but also notions and assumptions about the novel, human nature, society, and the cosmos itself. If we compare one kind of novel to another without first considering the conventions of each, we are likely to make the same mistake that Thomas Rymer did when he blamed Shakespeare for not conforming to the canons of classical French drama.

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