Effect of Egyptian Culture on the Design of Jewelry (Cultural Design Based on Ancient Egyptian Patterns)

We are now living in an era in which modern media and advanced technology, including satellites, satellite channels, and the information network, are intensifying, all of which are working to dissolve cultural subjectivity and remove popular legacies to replace them with Western cultural values ??and behavior patterns. Hence, the Egyptian researcher sees the necessity of reviving contemporary inspired, where every civilization in history has its own culture and pattern which always reflects civilization and expresses their lives and beliefs. Herein, we will mention about the ancient Egyptian civilization, in northeastern Africa that dates from the 4th millennium BCE. It has many achievements, which preserved in its art and monuments. It holds a fascination that continues to grow as archaeological finds expose its secrets. This article focuses on ancient Egyptian culture through the patterns of their beliefs, and how did these patterns affect the designs of the jewelry, and how we can benefit from these patterns in the creation of innovative designs. Here, we focused on the Egyptian pattern because of its great importance in ancient Egypt. Besides, its distinctive shapes enable us to create new modern designs for this era.

Hegemonic Mimicry

In Hegemonic Mimicry, Kyung Hyun Kim considers the recent global success of Korean popular culture—the Korean wave of pop music, cinema, and television, which is also known as hallyu—from a transnational and transcultural perspective. Using the concept of mimicry to think through hallyu's adaptation of American sensibilities and genres, he shows how the commercialization of Korean popular culture has upended the familiar dynamic of major-to-minor cultural influence, enabling hallyu to become a dominant global cultural phenomenon. At the same time, its worldwide popularity has rendered its Koreanness opaque. Kim argues that Korean cultural subjectivity over the past two decades is one steeped in ethnic rather than national identity. Explaining how South Korea leaped over the linguistic and cultural walls surrounding a supposedly “minor” culture to achieve global ascendance, Kim positions K-pop, Korean cinema and television serials, and even electronics as transformative acts of reappropriation that have created a hegemonic global ethnic identity.

Language and Colour of Skin: A Frantz Fanonian Cultural Study

This study is an extraction from the cultural theory of Frantz Fanon, who is regarded as the father of the theory of violence. In the Frantz Fanonian cultural study, discrimination is noticed on the basis of the colour of skin and the exercise of languages and literature, and these are the proposed areas and explained in this article. In the cultural study, for the indigenous background, the black people lead an absurd life in the white cultural society and as well as in the black cultural community in the presence of their white masters. The present study attempts to find out Fanon’s ideologies on the roles of languages, literature, and colour to explain the relation between black and white people and the cultural subjectivity and objectivity. It attempts to fill the gap of the neglected areas in the Frantz Fanonian study in the Manichean society. These neglected areas are the roles of language, literature, and skin colour for the cultural discrimination in the postcolonial cultural study. It also finds out the reasons behind abolishing the black culture at the presence of the white culture and recognising the issues for the black cultural revival after its abolishment in newly liberated countries. Submitted: 26 January 2021; Revised: 28 February 2021; Accepted: 9 April 2021

Philosophical expertise of πολιτικής in the post-truth era

The article discusses the transformation of the world system of the post-truth era, which is affecting the central meanings of culture. The necessity of a philosophical analysis of semantic interventions which are becoming the part of the strategy of conscious construction of reality is substantiated. Basing on the transcendentalist tradition, phenomenological sociology in particular, the author shows that the crisis of legitimacy of universal reason leads to the possibility of conscious construction of a social reality as a value-semantic universe, which is becoming one of the tools of ideological confrontation and political struggle in modern conditions. The ideological narratives used both for self-justification of cultural subjectivity and for influencing the subjectivity of competitors are linked into integral systems, which are built around the central meanings of culture, and serve, on the one hand, as the basis for the interpretation of individual events, and on the other, as a factor of the identity’s formation and the basis of the entire communities’ practical activities, to the extent of national and civilization projects. This approach allows to: 1) associate the construction of social reality with its semantic dimension; 2) see the principles, methods, goals, beneficiaries, etc. of a conscious construction of reality; 3) suggest ways of countering the conscious interference in the semantic sphere of culture. As a result, the need for a philosophical examination of the geopolitical process and national (civilizational) development strategies is argued, which makes the paradigm narratives and the semantic dimension of social reality more coherent and stable as a whole with respect to the external interference.

Confucianism as a cross-cultural integration in the context of globalization

This article examines the development of Confucianism in the conditions of globalization. Globalization represents one of the most discussed in recent decades mainstream trends of global development. For quite a long time it remained one of the least strongly identified social and political phenomena. The article determines that in the process of globalization, the ideas of Confucianism ensure theoretical support for the development of cultural diversity. It is underlined that the fundamental principles of Confucianism coincide with the core moral-ethical principles of the “global ethos”. The article also describes the peculiarities of the concept of Chinese culture in the conditions of modern globalization processes. The main vector of research among Chinese scholars dealing with the questions of globalization, is the analysis of the process of cultural globalization and the pursuit of their place within it. Such analysis is based on the concept of culture accepted in Chinese science; however, there is yet to unified assessment of cultural globalization among the Chinese researchers. The key role of moral norms and cultural principles in governance is established. At the same time, based on the the analysis of status quo of globalization, it is suggested that the development and integration of culture should rely on the maintenance of cultural subjectivity. The author assumes that in future, the development of cultural globalization and Confucianism in order to fulfill the needs of modern society, would greatly impact cultural diversity with regards to preservation of cultural identity.

“Dear Friends”: From People’s Cultural Exchange to People’s Cultural Production

The article explores how the politics of South-South cooperation, namely between Africa and China, play out at the level of cultural subjectivity, implicating modes of affect and identities that are not captured by the more commonly employed binary framework of “friend” or “enemy.” It asks whether it is possible for the Africans and Chinese to imagine each other without the West as its geocultural dominance diminishes; and if so, how is this being made possible? As modes of transmitting and learning, cultural initiatives under the Forum on China-Africa Cooperation and “Belt and Road Initiative” provide a window into both people’s understandings of one another. While necessary for building people-to-people relations, the article, relying on an analysis of data collected from Chinese websites, argues that the state-sponsored cultural exchanges largely reify existing racialized ideas of “the African” and Orientalist views of “the Chinese.” However, building on Simbao’s (2019) point about artists’ works that “push back” against dominant discourse, the article further argues and demonstrates through the journey and works of three artists (Chinese, Kenyan, and Ghanaian) that radical imaginaries reflecting the inner states of acting subjects of China-Africa engagements are available in local cultural productions, uncompromising in communicating shared beliefs and posing challenges to power relations on multiple scales.

Boredom, Bovver, Subjectivity: Pathostream as Genre

With the rise of live broadcasts, the generic complexity of Internet communication has reached a new crescendo. „Pathostreams”, or pathological streaming channels, are Polish-language, culture- and medium-specifc Youtube profi les run by individuals who broadcast radically violent, odd, transgressive content to a relatively small audience in order to solicit fi nancial support. The article describes the generic features of this new emergent form, discusses its aesthetics, and demonstrates that the emergence of the „pathostream” as a new transmedial, performative genre is an attempt to develop a specifi c cultural subjectivity.

That’s All It Does

Though integral to his formation as a composer, Steve Reich’s studies of Balinese gamelan have been overlooked. In part this is because of a certain redundancy: features of Balinese overlap significantly with the West African music whose impact on Reich’s formative works of the 1970s has been amply demonstrated. These include predominance of percussion, repetitive cyclic structures, interlocking rhythms, systems of oral transmission, and the nonprofessional ethos of the performing ensemble’s interactive behaviors. But what of the features of the Balinese music Reich studied and did not assimilate? Among these are malleable tempo, extended and minimally repetitive cycles, and tonally hierarchic melodies rooted in Southeast Asian traditions of sung poetry. Their eschewal opens pathways for insight into Reich’s music, as well as his cultural subjectivity, in the process illuminating unsuspected aesthetic affinity between his detractors among “uptown” composition apologists of the time and traditional Balinese musicians.