scholarly journals Unveiling the Tausug Culture in Parang Sabil through Translation

2021 ◽  
Vol 26 (2) ◽  
pp. 97-108
Author(s):  
Sajed Ingilan ◽  
Nena Abdurajak
Keyword(s):  
English Translation ◽  
Cultural Context ◽  
Cultural Issues ◽  
Holy War ◽  
Folk Narrative ◽  
The People ◽  
Semantic Transfer

Translation communicates through language and facilitates the spread of information and culture.It is a conscious semantic transfer of culturalitems from one culture to another. In this paper, it aims to unveil the culture of the Tausugs, the people of Sulu, Philippines, in doing the jihad (holy war) through the translation of the parang sabil, a folk narrative song. Anchored on the interpretative theory of translation, this study translates the contemporary parang sabil titled Kissa sin Pagbunu ha Zambo written in Bahasa Sug, a language spoken among the Tausugs, into English. Performed by the Tausug lady named Indah Anjam, Kissa sin Pagbunu ha Zambo (The Story of War in Zambo) talks about the heroic act of Ustadz Habir Malik during the Zamboanga siege in 2013. By mobilizing the researchers’ knowledge in Bahasa Sug, English, and Tausug history and culture, linguistic and cultural issues were addressed in the English translation to maintain the sense or culture of doing the Tausug jihad. The researchers faithfully expressed in the English translation the culture of the Tausugs by maintaining the identity of the Tausugs as Muslims, by showing that the Tausugs are in unity to defend their homeland and religion, and by projecting that they are brave warriors in defense of Islam. Hence, translating this particular Tausug parang sabil placed in its cultural context is an urgent work to do in order to enlarge our consciousness on Tausug culture and history.

scholarly journals Displaced Art and the Reconstruction of Memory: Ukrainian Artists from Crimea and Donbas

2018 ◽  
Vol 2 (1) ◽  
pp. 700-709
Author(s):  
Iuliia Lashchuk
Keyword(s):  
Cultural Context ◽  
Main Idea ◽  
Personal History ◽  
Local Memory ◽  
Multicultural Identity ◽  
Left Behind ◽  
The People

Abstract After the occupation of Crimea and the conflict in Eastern Ukraine, many people were forced to leave their homes and look for a new place to live. The cultural context, memories, narratives, including the scarcely built identity of artificially made sites like those from Donbas (Donetsk and Luhansk regions) and the multicultural identity of Crimea, were all destroyed and left behind. Among the people who left their roots and moved away were many artists, who naturally fell into two groups-the ones who wanted to remember and the ones who wanted to forget. The aim of this paper is to analyse the ways in which the local memory of those lost places is represented in the works of Ukrainian artists from the conflict territories, who were forced to change their dwelling- place. The main idea is to show how losing the memory of places, objects, sounds, etc. affects the continuity of personal history.

The same roles adopted by people involved in mass media enterprises, such as producers or distributors of feature films, are involved in practices surrounding personal memory artefacts such as photographs, home videos or diary entries. When the social context of such practices changes, these roles are renegotiated in relation to the people with whom we communicate and the tools we use to help us. A pilot study combined an analysis of sets of photographs taken by different participants at the same event – a wedding – with interviews that explored the phenomenological experience of engaging in memory practices connected to these photo sets. Focusing on personal photography, seven media roles were selected as a framework for examining changes in artefact-related memory practices due to shifting socio-cultural contexts and technological affordances. These roles – Creator, Director, Archivist, Gatekeeper, Distributor, Consumer and Critic – were found to be useful in highlighting individual differences in capturing, organising, reviewing and sharing photographs amongst people with varying technological engagement in varying social groupings. Preliminary findings suggest that technological affordances and constraints can change the social and cultural context of communication as well as personal goals of media production and consumption. Different media tools create subjective triggers and barriers for the adoption of roles, making some processes of media production or consumption easier or more accessible to certain types of people while other processes may become more complex or culturally inappropriate. These triggers and barriers, in combination with a continuous reconfiguration of related cultural norms, affect the adoption of roles and these roles directly affect engagement with memory artefacts. This paper forms part of a larger project that aims to explore how our changing engagement with technology is affecting our individual and collective memory practices.

2012 ◽  
pp. 27-40
Keyword(s):  
Cultural Context ◽  
Cultural Norms ◽  
Media Production ◽  
Home Videos ◽  
Feature Films ◽  
The People ◽  
Production And Consumption ◽  
The Social ◽  
Memory Practices ◽  
Technological Affordances

scholarly journals Konsep Hidup Kekal Menurut Pandangan Dunia Etnis Baliem, Papua Sebagai Potensi dan Krisis Bagi Kontekstualisasi Injil

2021 ◽  
Vol 5 (1) ◽  
pp. 51
Author(s):  
Marde Christian Stenly Mawikere
Keyword(s):  
Cultural Values ◽  
Cultural Context ◽  
Relevant Literature ◽  
Eternal Life ◽  
The People ◽  
Ideal Situation ◽  
Ideal Person ◽  
Traditional Societies ◽  
Participant Observer ◽  
Gospel Message

This study reveals the Baliem ethnic concept of "eternal life" and how it relates to contextual gospel preaching (both potential and crisis). The study was conducted using a qualitative approach with a participant observer method supported by a study of a variety of relevant literature with a discussion of the concept of eternal life of Baliem people in Papua. As for the Baliem Society, Papua with a background of traditional societies with a worldview of animism has an eternal view of life which is lived out as an "ideal situation and condition" in the Nabelan-Kabelan myth and "an ideal person or figure" in the Naurekul myth. Through this view of eternal life, there is a "meeting point" and "difference" with the gospel message and Bible values. Because it is possible to be able to advocate and implement a contextual evangelistic approach for the Baliem people in Papua by touching and empowering their cultural values, Thus the Gospel and Christianity are not just a history or monument but are still present and change society while still paying attention to the integrity of the socio-cultural context, especially the people of Baliem, Papua.  ABSTRAKStudi ini mengungkapkan konsep etnis Baliem mengenai “hidup kekal” dan bagaimana kaitannya dengan pemberitaan Injil yang kontekstual (baik potensi maupun krisis). Penelitian dilaksanakan dengan  pendekatan kualitatif melalui metode pengamatan partisipan yang didukung dengan kajian kepada beragam literatur yang relevan dengan pembahasan mengenai konsep hidup kekal orang Baliem di Tanah Papua. Masyarakat Baliem, Papua dengan latar belakang masyarakat tradisional dengan pandangan dunia animisme memiliki pandangan hidup kekal yang dihayati sebagai “situasi dan kondisi yang ideal” pada mitos atau legenda Nabelan-Kabelan dan “pribadi atau sosok yang ideal” dalam legenda Naurekul. Melalui pandangan mengenai hidup kekal seperti ini, maka terdapat “titik temu” maupun “perbedaan” dengan berita Injil dan nilai-nilai Alkitab. Karena itu memungkinkan untuk dapat menganjurkan dan melaksanakan pendekatan kontekstualisasi Injil bagi etnis Baliem di Papua dengan menyentuh, memanfaatkan dan memberdayakan nilai budaya etnis Baliem, Dengan demikian Injil maupun kekristenan bukan hanya akan menjadi sejarah atau monumen namun akan tetap hadir dan mengubahkan masyarakat dengan tetap memperhatikan keutuhan konteks sosial budaya, khususnya etnis Baliem, Papua.

scholarly journals On the Acceptability of English Translation of Public Signs

2019 ◽  
Vol 9 (10) ◽  
pp. 1315
Author(s):  
Zhengjun Yang
Keyword(s):  
English Translation ◽  
Cultural Context ◽  
Cultural Awareness ◽  
Cross Cultural ◽  
The Public ◽  
Cross Cultural Communication ◽  
Scenic Spot ◽  
Informative Role ◽  
Communication Activity ◽  
The Common

The public sign, a “window” of a city or scenic spot, carries more information and plays the informative role in people’s daily life. The translation of public signs not merely transfers the linguistic information of the signs, but also acts as a cross-cultural communication activity. The study analyzes the types of public signs, investigates the common mistakes of English translation of public signs, and puts forward some suggestions for the public signs translation. The improvement of translators’ competence and cross-cultural awareness, the uniformity of the text, readers’ response, and the cultural context should be taken into consideration. They can contribute to the greater acceptability of public signs translation.

scholarly journals Exploring Successful Small Urban Spaces’ Criteria with Emphasis on Cultural Context

2021 ◽  
Vol 15 (4) ◽  
pp. 475-482
Author(s):  
Parvin Partovi ◽  
Kebria Sedaghat Rostami ◽  
Amir Shakibamanesh
Keyword(s):  
Conceptual Model ◽  
Public Space ◽  
Urban Space ◽  
Cultural Context ◽  
Public Spaces ◽  
Urban Spaces ◽  
Cultural Issues ◽  
Human Needs ◽  
Short Time ◽  
The City

In the crowded cities of the present age, public spaces can provide a quiet area away from the hustle and bustle of the city that citizens can interact with by incorporating utility features and meeting human needs and Relax there. Small urban spaces are among the most important and effective urban spaces to achieve this goal. Because these spaces due to their small size and lower costs (compared to larger spaces) for construction can be created in large numbers and distributed throughout the city. In this way, citizens will be able to reach a public urban space on foot in a short time. If these spaces are well designed, they can encourage people to stay in and interact with each other. It is not difficult to identify and experience high-quality successful places, but identifying the reasons for their success is difficult and even more difficult, understanding if similar spaces in other places can be considered successful. This question is important because public space with deep social content is considered a cultural product. Public space is the product of the historical and socio-cultural forces of society. Therefore, one of the most important issues that should be considered in the study of public spaces and the reasons for their success is the cultural context. In Iranian cities that have been influenced by the values and principles of Islam,recognizing Islamic principles and their role in shaping public spaces can lead us to desirable results. The purpose of this article is to develop a conceptual model of successful small urban spaces with an emphasis on cultural issues, especially in Iranian-Islamic cities. In this regard, the effective criteria for the success of urban spaces in general and small urban spaces in particular in the two categories of Western countries and Iranian Islamic cities were examined and then, taking into account the criteria derived from cultural theorists, the conceptual model of research with 38 subcriteria is provided.

Introduction: Transnational Film Remakes

2017 ◽  
Author(s):  
Iain Robert Smith ◽  
Constantine Verevis
Keyword(s):  
Ethnic Identity ◽  
Cultural Context ◽  
Political Context ◽  
Critical Discourse ◽  
National Context ◽  
Cultural Issues ◽  
Cultural Power ◽  
Transnational Film

Film remakes are often dismissed within critical discourse as unoriginal, derivative and inferior to their source texts, yet this mode of critique takes on additional layers of meaning when films are remade transnationally as this process raises further issues surrounding national and/or ethnic identity and questions of cultural power. In order to investigate these kinds of complexities, this chapter focuses its attention on the phenomenon of transnational film remakes and the wider social and cultural issues that they raise. What happens when a film is remade in another national context? To what extent can a film embedded within one cultural context be adapted for another? How might a transnational perspective offer us a deeper understanding of a specific socio-political context, and of the politics underpinning film remaking more generally? Given the increasing emphasis on reworking existing material within global film (and screen) culture, there is a pressing need for scholarship to address this phenomenon in a rigorous and systematic way.

Introductory Remarks on Georg Langer’s “On the Function of the Jewish Doorpost Scroll” from 1928

Images ◽  
2020 ◽  
Vol 13 (1) ◽  
pp. 77-88
Author(s):  
Batsheva Goldman-Ida
Keyword(s):  
Indigenous People ◽  
English Translation ◽  
Jewish Studies ◽  
Explanatory Model ◽  
Scholarly Work ◽  
Current Field ◽  
Tel Aviv ◽  
The People ◽  
Background Material ◽  
First Time

Abstract Batsheva Goldman-Ida, art historian and museum curator, introduces the article by Jiří Mordechai Georgo Langer (1894, Prague–1943, Tel Aviv): “On the Function of the Jewish Doorpost Scroll,” presented for the first time in English translation, and originally written for the Freud journal Imago in 1928. Langer, a Hebrew poet and teacher of Jewish studies was a friend of Franz Kafka. Langer joined the Belz Hasidism from 1913–16 and was one of the people who introduced Kafka to Hasidism. Langer suggests an explanatory model for Jewish religious artifacts such as the Mezuzah and Phylacteries in the context of compulsion neuroses, referencing the rites of indigenous people and totem theory. The introduction provides background material on the author and details of his other books and endeavors, as well as a framework to better appreciate his poetry and scholarly work. Langer sought a revival of “comrade love” whose homerotic bias is of interest today. His essay on the Mezuzah opens up a range of questions on Jewish artifacts, psychoanalysis, and the origins of Jewish rites. Long left unnoticed, it challenges the current field of Jewish scholarship to rethink its methodology.

Privileges and Problems of Female Sex Tourism

2015 ◽  
pp. 382-405
Author(s):  
Brent Smith
Keyword(s):  
Developing World ◽  
Economic Empowerment ◽  
Anecdotal Evidence ◽  
Sex Tourism ◽  
Cultural Issues ◽  
Scholarly Research ◽  
Female Sex ◽  
The People ◽  
Domestic Constraints ◽  
Romance Tourism

This chapter provides an exploration of female sex tourism, or romance tourism, a global consumer phenomenon that has evolved over several decades. Amidst forward strides in their social and economic empowerment, many women in advanced countries still experience marginalizing constraints to their freedom, mobility, and expression in many aspects of life. Yet, scholarly research and anecdotal evidence suggest that some women have utilized sex tourism as a means to escape such domestic constraints and find entrée to myriad social and cultural privileges at certain destinations abroad. Moving beyond tenured, clichéd stereotypes that typically associate sex tourism with male consumers, this chapter brings to light the rationale, justifications, criticisms, and cultural issues pervading this institution. Despite its liberating potential for women, female sex tourism does, at least somewhat, rely upon and reinforce historically entrenched national and cultural demarcations that tend to marginalize the people (partners, families, communities) of targeted destinations in the developing world.

For the People

2021 ◽  
pp. 81-128
Author(s):  
Naomi Graber
Keyword(s):  
Cultural Context ◽  
World's Fair ◽  
The Political ◽  
Federal Theatre Project ◽  
Political Issues ◽  
Political Ideas ◽  
The People ◽  
Political Center ◽  
Federal Theatre

Several projects from the late 1930s saw Weill writing in American folk idioms in ways that he carried over into the 1940s. One Man from Tennessee (1937, unfinished), written for the Federal Theatre Project, uses Leftist language to address contemporary political issues, although problems with the libretto doomed the endeavor. The World’s Fair pageant Railroads on Parade (1939, rev. 1940) represents Weill’s willingness to work within the political center, which coincided with mounting tensions with Germany. After the war (and his naturalization), Weill returned to folk idioms with Down in the Valley (1948), which draws on some of the same musical, theatrical, and political ideas as One Man from Tennessee, but in a drastically different cultural context.

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