Clay figurine of an owl of the Lower Pritobolye

The object of this research is the clay figurine of an owl discovered in the course of archaeological excavations in the Yurtobor 9 hillfort on the right bank of the Tobol River. The goal lies in introduction of in the scientific discourse of the new unique sample of small clay plastic, as well as in preliminary determination of the functional purpose of the item. The following tasks were set: morphological and stylistic description of the item; description of the context of discovery of the figurine; establishment of the chronological framework of existence of the item, its cultural affiliation; familiarization with the history of studying the regional clay figurines in the Russian archaeological science; search for analogies in the archaeological sites of Siberia and other territories; assessment of the semantic connotation of the image of an owl in the traditional culture of Ob Ugrians (Khanty and Mansi). To article employs the traditional methods, such as comparative-historical, typological, comparative-typological, formal-stylistic, semantic methods, as well as method of analogies. As a result of the conducted research, the clay figurine of an owl is attributed to the Yudinskaya archaeological culture and dated within the framework of the XI – XII centuries. It is established that it is the only item in Western Siberian region depicting a bird in the technique of small clay plastic. Based on the analysis of ethnographic literature and medieval archaeological finds, it is established that for a long period of time, the image of an owl had positive semantic connotation due to its high sacred status. The author assumes on the use of figurine of an owl in religious rites associated with hearth and home.

The Principles of Interior Organization (A Kitchen in the middle ages of the 1st millennium B.C.)

The present work is an attempt of analyzing the kitchen excavated on Grakliani Gora in 2014. The analysis consits of a detailed description of ceramics found in this area and also trying to find its analogies. Furthermore, the work looks at arrangement of the oven excavated on the territory of the kitchen and provides its comparison to the earliest ovens. Kitchen areas excavated both in the western world (Olynthus, Lefkada) and in the eastern world (Gonur Depe) are used for the research of kitchens and other agricultural dwellings as part of an interior. This is an attempt to determine the cultural affiliation of the kitchen found on Grakliani Gora. Given the fact that there are no such separated kitchen areas found among the sites on the territory of Georgia, this work will give us a basic knowledge to interpret future findings.

Becoming a Confucian in Contemporary Singapore: The Case of Nanyang Confucian Association

Using the Nanyang Confucian Association (NCA) as a case study, this paper explores the multi-faceted processes through which a segment of Singapore’s Chinese community constructs its self-identity based on an understanding of Confucianism that dismisses its religious attributes while underscoring the ethnic and cultural dimensions. Tracing the history of the association since its formation in 1914, the paper hopes to contribute to recent overseas Chinese studies on the rethinking of the notion of the Chinese diaspora within the context of the formation, circulation, and contest of a global Chinese identity by asking the following questions: Does identifying with the Confucian tradition necessarily require one to acknowledge their connection with China? Would a self-proclaimed Confucian be perceived as someone who looks to China for ethnic and cultural affiliation and thus appears less local? The authors argue that, while still acknowledging the spatial–temporal centrality of China as the origin of Confucianism and Chinese civilization, leaders of the NCA clearly intended to simultaneously position the NCA at the center of global Confucian activism. What emerges from the processes initiated by the NCA in constructing its identity is a complex overlay of history, geography, and culture that gives rise to a vision of multiple centers.

The influence of culture on care receivers’ satisfaction and aggressive tendencies in the emergency department

Introduction Reducing aggressive tendencies among care receivers in the emergency department has great economic and psychological benefits for care receivers, staff, and health care organizations. In a study conducted in a large multicultural hospital emergency department, we examined how cultural factors relating to ethnicity interact to enhance care receivers’ satisfaction and reduce their aggressive tendencies. Specifically, we explored how care receivers’ cultural affiliation, individual cultural characteristics, and the cultural situational setting interact to increase care receivers’ satisfaction and reduce their aggressive tendencies. Method Data were collected using survey responses from 214 care receivers. We use structural equation models and the bootstrap method to analyze the data. Results Care receivers’ openness to diversity (an individual cultural characteristic) was positively related to their satisfaction that was associated with lower aggressive tendencies, only when they were affiliated with a cultural minority group and when the cultural situational setting included language accessibility. Conclusion Our results demonstrate that cultural affiliation, individual cultural characteristics, and cultural situational setting can affect care receivers’ satisfaction and aggressive tendencies in a multicultural emergency department context. In particular, high cultural openness of care receivers, and making information accessible in their native language, increased satisfaction and reduced aggressive tendencies among cultural minority care receivers in our study.

Dance in Indian culture: A cosmic manifestation of divine creation and a path to liberation

Dance is a human cultural activity aimed at non-verbal emotional communication, mentioned for the first time in the circle of European culture by Homer in the Iliad (8th/7th century BC). In Indian culture — the most extensive one of four contemporary civilizations of antiquity (next to Egyptian, Mesopotamian, and Chinese), whose cradle is the Indus Valley Civilization — the first material evidence of the presence of dance is dated between 2300–1750 BC. It is a bronze statuette of a dancing girl, making us aware of the fact that this type of activity has accompanied people since the dawn of time, regardless of their origin and cultural affiliation. India and its oldest religion, Hinduism, have made this art highly prized because of its original, pure spiritual character. The first treatise entirely devoted to dance, entitled Natyashastra (Treatise on Performing Arts), was written according to tradition between the 2nd century BC and the 2nd century AD, although many premises indicate that its beginnings date back to the 5th century BC, and the final version — to around 5th century AD. Its author was Bharata Muni, an ancient sage, theatrologist and musicologist who allegedly received knowledge of arts from the god Brahma himself to create a symbolic representation of the world which, by showing good and evil, would persuade both the viewers and the performers to act ethically. From Natyashastra it appears that dance was created by the gods for their worship. In its most original form, dance grew out of the sacrificial ritual, hence the knowledge of it was secret, highly codified and communicated in strict confidentiality. The patron of the dance and its divine performer par excellence is the god Shiva in the aspect of Nataraja (Lord of the Dance), who in one image combines god as the creator, protector and destroyer of the universe, while simultaneously containing the Indian concept of an endless time cycle. Accurate recreation of the mythical dance initiated by Shiva guarantees that the faithful achieve salvation by overcoming sin, ignorance, and laziness represented by the demon Apasmara, on whom the god treads in a dancing trance. For the Indian Hindu culture dance has a highly important ritualistic and mystical meaning, hence it is also present along with music and singing, which is a melodic recitation of sacred verses, in all literature, from the Vedas (sacred books of Hinduism), through encyclopedic Puranas, to epics such as Mahabharata and Ramayana. Dance is indispensable to the theater as well as visual and audiovisual arts, brings relief to those in mourning and sorrow, leads to liberation from samsara (the wheel of incarnations), and is a reflection of divinity in its purest, most dynamic manifestation: movement. Thanks to dance being a rejection of oneself, entering a mystical trance, one can connect with the Absolute here on Earth and experience divinity.

A Proposed Framework for Identification of Indicators to Model High-Frequency Cities

A city is a complex system that never sleeps; it constantly changes, and its internal mobility (people, vehicles, goods, information, etc.) continues to accelerate and intensify. These changes and mobility vary in terms of the attributes of the city, such as space, time and cultural affiliation, which characterise to some extent how the city functions. Traditional urban studies have successfully modelled the ‘low-frequency city’ and have provided solutions such as urban planning and highway design for long-term urban development. Nevertheless, the existing urban studies and theories are insufficient to model the dynamics of a city’s intense mobility and rapid changes, so they cannot tackle short-term urban problems such as traffic congestion, real-time transport scheduling and resource management. The advent of information and communication technology and big data presents opportunities to model cities with unprecedented resolution. Since 2018, a paradigm shift from modelling the ‘low-frequency city’ to the so-called ‘high-frequency city’ has been introduced, but hardly any research investigated methods to estimate a city’s frequency. This work aims to propose a framework for the identification and analysis of indicators to model and better understand the concept of a high-frequency city in a systematic manner. The methodology for this work was based on a content analysis-based review, taking into account specific criteria to ensure the selection of indicator sets that are consistent with the concept of the frequency of cities. Twenty-two indicators in five groups were selected as indicators for a high-frequency city, and a framework was proposed to assess frequency at both the intra-city and inter-city levels. This work would serve as a pilot study to further illuminate the ways that urban policy and operations can be adjusted to improve the quality of city life in the context of a smart city.