Review of the monograph by V.Kh. Akaev "Sufism in the Context of Arab-Muslim Culture. Monograph. Grozny: State Unitary Enterprise "Book Publishing House", 2020. 523 pp."

Монографическое исследование В.Х. Акаева представляет собой самостоятельное авторское исследование, посвященное проблемам генезиса и эволюции суфизма в глобальном и региональном измерении. Отмечается, что суфизм, сформировавшись в лоне арабо-мусульманской культуры, как религиозно-мистический феномен проник в духовное пространство народов Северного Кавказа. Его отличительной чертой в рассматриваемом регионе стало то, что суфистские братства сумели встроиться в структуру традиционных этносоциальных институций ряда северокавказских народов. Однако деформация общественно-политической жизни Северного Кавказа в начале 1990-х гг. привела к активизации деятельности радикалистов и экстремистов в Чечне и Дагестане. В рецензируемой монографии осмыслен деструктивный потенциал религиозного радикализма, который активно продвигался идеологами ваххабизма, оперировавшими концептами шахидизма. Определены принципиальные расхождения ваххабизма и суфизма в интерпретации теологической доктрины ислама. Отдельного внимания заслуживает и авторское описание социально-политического портрета асоциальных акторов радикализма. Делается вывод о том, что наиболее эффективным инструментом профилактики религиозного радикализма является диалог культур, нацеленный на смягчение культурных конфликтов и обеспечивающий их активный обмен при сохранении культурно-исторической самобытности. The monographic study of V.Kh. Akaev is an independent author's research on the problems of genesis and the evolution of Sufism in the global and regional dimension. Having formed in the bosom of Arab-Muslim culture, Sufism as a religious-mystical phenomenon penetrated the spiritual space of the peoples of the North Caucasus. Its distinctive feature in the region under consideration was that Sufi fraternities managed to integrate into the structure of traditional ethnosocial institutions of a number of North Caucasian peoples. However, the deformation of the socio-political life of the North Caucasus in the early 1990s led to the activation of the activities of radicalists and extremists in Chechnya and Dagestan. The peer-reviewed monograph makes sense of the destructive potential of religious radicalism, which was actively promoted by Wahhabism ideologists who operated on the concepts of Shahidism. Fundamental differences between Wahhabism and Sufism in the interpretation of the theological doctrine of Islam were determined. The author's description of the socio-political portrait of asocial actors of radicalism deserves special attention. The research shows that the most effective tool for preventing religious radicalism is the dialogue of cultures aimed at mitigating cultural conflicts and ensuring their active exchange while preserving cultural and historical identity.

E. M. Forster’s A Passage to India: A Tragedy of Cultural Conflicts and Distorted Interracial Relationships

E.M. Forster’s A Passage to India, hereafter (API), offers us an opportunity to realize the mentality of the white imperialist and the grotesque picture of the colonizer-colonized relationship; this picture implies multiple facets of racial vituperations, brutality, and prejudice perpetrated on Indians in the colonial period. In the novel, Forster explores the colonizers’ racist attitudes, and he brings out the racial and interracial conflicts as well as the cultural and ethnic traumas between the colonizer and the colonized. This study is primarily concerned with exploring the cultural clashes and the problematic, deformed interracial relationships, established between the Indians and the Anglo-Indians in a colonial context. The analytical approach and the Postcolonial Theory will be adopted throughout the paper as a framework. A postcolonial reading of the novel debunks the colonizer’s racist ideology and reveals various motifs of partitions, fences, interracial conflicts and gulfs. The article reveals that the different racial, cultural, and social backgrounds of the English and Indian communities create bitter differences and significant gaps that cannot be bridged. The study concludes that the ramifications of the interracial clashes and racial intolerance have a vehement impact on both the colonized and the colonizer alike; however, mutual and interracial love, respect, and understanding are robust solutions that can relatively open the ideological closure of racism, lessen the racial tensions and thus bring people of different racial backgrounds together.

Pancasila as The Basis of The State Unity of The Republic of Indonesia

Indonesia is facing various challenges because some people do not use religious and cultural values as a source of ethics in the nation and state. Socio-cultural conflicts have occurred due to ethnic, cultural, and religious pluralism that the government and society are not appropriately managed and fair. Based on that, Pancasila is needed by all generations of the nation. The type of research method used in this research is normative research, namely research on library materials which are primary data in science is classified as secondary data, which relies on data collection tools in the form of library studies or document studies. The research concludes that generations need Pancasila to unify the nation. Even though the Indonesian people are now united, it does not mean that Pancasila is no longer needed. Because what is called the Indonesian nation is what is currently there and what will exist in the future. As long as the regeneration process continues, we still need Pancasila as a unifying nation.

Existential Definition at the End of the American Road

This article discusses three films that helped landmark American cinema in the 1970s. Although differing in inception and reception, all three belong loosely to the genre of the road movie and are linked by protagonists whose stances of rebellion and alienation were characteristic of the counterculture of the 1970s and by the broader theme of existential self-definition that still influences moviemaking today. A critical and commercial failure on its release in 1970, Michelangelo Antonioni’s Zabriskie Point has been revalorized as an ambitious attempt to represent the political and cultural conflicts that seemed to be fracturing American society at the time. In contrast, Richard Sarafian’s Vanishing Point soon overcame the disadvantage of studio disinterest and established itself as a cult favorite. Arguably the definitive anti-hero of 1970s cinema, the amphetamine-fueled renegade driver played by Barry Newman achieves iconic stature through an act of defiant self-destruction that still leaves viewers of the film stunned. Finally, Clint Eastwood’s The Gauntlet, in which the actor-director breaks with his ‘Dirty Harry’ persona to depict a burned-out cop who redeems a ruined career, and enables himself a new start, not by making his own law but by enforcing the law on the books, and against all odds. In all three films, the still unspoiled landscape of the American Southwest, crisscrossed by its skein of highways, provides the tableau for escapist fantasies that may in fact be real, for high-speed chases and automotive acrobatics that defy the laws of physics, and for vignettes of an ‘outsider’ way of life that was already beginning to perish.

Vacas a matar. De la dicotomía soberana al umbral biopolítico en ficciones ganaderas del Cono Sur.

RESUMEN: Nudo de tensión entre vida biológica e historicidad, la animalidad recorre la serie de mataderos que la crítica argentina ha indagado como ficción soberana, pautada por el dualismo político. La polarización de 1840 plasmada en El matadero de Echeverría, con titubeos narrativos frente a voces y cuerpos animalizados del sector popular, retorna desde mediados del siglo XX en versiones de la dicotomía civilización-barbarie, que mantienen la distinción naturaleza-cultura y las coordenadas de historicidad antropocéntrica, como la crónica de Walsh que en 1967 enmienda el reparto clasista de Echeverría. El umbral crítico de la vida (Agamben) emerge en reescrituras recientes del matadero, donde el flujo del capital atraviesa no solo el cuerpo del trabajador sino lo viviente. Un cuento de Kohan (2009) y una novela de Maia (2013) descubren bajo la dicotomía la complejidad de pasajes entre animales y humanos, donde indagan las economías de relaciones entre vidas protegidas y abandonadas. Confrontando las conflictividades culturales argentina y brasileña, marcadas por el peso de economías agroexportadoras y el dualismo como control de mezclas, estos relatos de trabajadores del ganado inquieren lo difuso del borde vida-muerte tras dos siglos de progreso humanista en América Latina. ABSTRACT: Animality, a knot of tension between biological life and historicity, runs through the series of slaughterhouses that Argentine critics have investigated as sovereign fiction, guided by political dualism. The 1840 polarization embodied in Echeverría´s El matadero (The Slaughterhouse), with narrative hesitations about voices and animalized bodies of popular sector, has returned since the middle of the 20th century in versions of the civilization-barbarity dichotomy, which maintain the nature-culture distinction and the coordinates of anthropocentric historicity, such as Walsh's chronicle that in 1967 amends the class distribution of Echeverría. The critical threshold of life (Agamben) emerges in recent rewritings of the slaughterhouse, where the flow of capital passes through not only the body of the worker but also the living being. A story by Kohan (2009) and a novel by Maia (2013) discover under dichotomy the complexity of passages between animals and humans, where they investigate the economies of relationships between protected and abandoned lives. By confronting Argentine and Brazilian cultural conflicts, both marked by the weight of agro-export economies and dualism as control of mixtures, these stories of cattle workers inquire about the diffuseness of the life-death border after two centuries of humanist progress in Latin America.

From Alienation to Assimilation: Exploring Jhumpa Lahiri’s The Namesake

Jhumpa Lahiri’s novel The Namesake is a kaleidoscope of the different shades of the individual relationships, the conflicts and confusions of the characters along with the cultural dilemma of the immigrants. The novel explores the diasporic conflict of the hyphenated identities of Indian-Americans. The immigrants in the novel live a confused existence as Indian-American, American-Indian and Overseas-Born-Indian. Being a foreigner is a sort of lifelong pregnancy for Ashima- a perpetual wait, a constant burden and an on-going responsibility. The novel focuses on cross-cultural conflicts, trauma and aspirations of the two generations of expatriates, Ashoke and Ashima who are not inclined towards getting Americanised, while Gogol and Sonia, the second-generation migrants face the intense pressure to be loyal to the old world and fluent to the new.

ANALYSIS OF CULTURAL CONFLICTS IN CHINESE STUDENTS OF RUSSIAN LANGUAGE

The most important thing in teaching a language is teaching culture. Language teaching and culture are inextricably linked. Although differences between cultures are a prerequisite and basis for cultural exchange, they also cause conflicts and communication barriers when different cultures come into contact with each other. It is an intercultural language teaching activity. Students should not only learn the Russian language itself, but also face various cultural factors in the context of the Russian language, therefore, resolving cultural conflicts is an urgent task for teaching languages. This article summarizes previous research, takes linguistic and cultural studies as a theoretical basis, analyzes cultural conflicts in language teaching, considers cultural conflicts as a research subject, and analyzes and analyzes the causes of conflicts in order to find suitable ways to reduce conflicts and promote healthy development of Russian teaching. language.

Dänemark – Hollywood – Europa

Thomas Vinterberg is one of Scandinavia’s well-respected contemporary directors. His career is best noted for his involvement in the launch of the Dogma 95 Manifesto and it was his acclaimed Festen (DK 1998) that started the prolific film movement that followed. Yet, as this article shows, Vinterberg repeatedly tried to reinvent himself as an artist, taking on different genres, themes and aesthetic approaches. When his all-star science fiction film It’s All about Love (2003) and his pan-European co-productions met with the disapproval of critics and audiences alike, he returned to realist films. The subsequent success of his dramas – including Submarino (2010), Jagten (2012) and Druk (2020) – reinstated his status of an auteur filmmaker. The three films share a number of continuities, including a penchant for themes of homecoming, dysfunctional family relations and everyday socio-cultural conflicts within the limits of close-knit communities or circles of friends.