Realm Of Culture Research Articles

Co-Option and Erasure

Much of the rhetoric around racism and racialized discrimination in Israel centers on Israeli Jewish treatment of Palestinians. However, an examination of the experience of Mizrahi Jews can also be instructive as to the ways that racism and white supremacy function within Israel—through a privileging of Ashkenazi Jews, whose experiences are used to define the contemporary Israeli Jewish experience. For example, Israeli Jewish artist of Yemeni descent Leor Grady’s work addresses the marginalization, erasure, and exile of Yemeni Mizrahi Jews in Israel. In his video work Eye and Heart, Grady highlights how, in its absorption into Israeli folk dance, traditional Yemeni dance has been uprooted from its site of origination and “whitewashed.” Through a discussion of this work and others alongside which it was shown in the exhibition Natural Worker, I argue that Grady’s articulation of the co-option of Yemeni culture by the dominant Ashkenazi (white) Israeli mainstream demonstrates how racialization plays out in the cultural realm of Israel. This method of privileging whiteness can be seen in the Israeli co-option of other Mizrahi and Palestinian cultural elements, such as couscous, hummus, and Arabic words such as “yalla.” This examination of Grady’s work allows for an understanding of how this privileging of whiteness functions within the Jewish Israeli context.

Pioneering Sand Motor

Now that people all around the world are slowly starting to rethink how humanity and the planet are interrelated, new questions have arisen around the understanding of time and the perception of place. It’s not merely a technical or a political challenge that we are facing, it is also a cultural one. The Sand Motor - as the first of its kind - uses the forces of the wind and waves as active agengies of change, but can it be valued as a driving force for humanity to change as well? Drawing from primary artistic research of the sea, coastal transitions, climate change and human appropriations in The Netherlands and abroad, we can state that the ephemeral nature of the Sand Motor itself challenges a polyphonic discourse for co-creation of experiential knowledge. The Sand Motor can be perceived as a man-made intervention in public space, an open-air, publicly accessible research site. Over the past 10 years, Satellietgroep redefined the Sand Motor as a cultural phenomenon, connecting the Sand Motor to the realms of art, culture, and heritage. This essay discusses a series of human-inclusive art projects, in which the Sand Motor evolves from a non-place into a vital learning environment for the cross-pollination of ideas and experimentations to rethink culture and nature. They demonstrate that pioneering with the Sand Motor should include pioneering with the social and cultural values of this artifact, not only to raise public and professional climate-consciousness, but also to adopt it as a human-inclusive landscape. This may well be the most underestimated value of the Sand Motor itself, and of the concept of Building with Nature in general.

A COMPARISON: AMIR ALISHIR NAVA’I THE COUNTERPART OF KHAWAJA NIZAM AL-MULK TUSI OR KHAWAJA RASHID AL-DIN FADLULLAH HAMADANI

Throughout Iran’s1 ancient and long history, the number of people who has become prom-inent in political and cultural activities is not few. Khawaja Nizam al-Mulk Tusi, a prominent politician and minister (Vizier/Divansalar) of the Seljuq era, Khawaja Rashid al-Din Fadlullah Hamadani, the great man in the realm of politics and culture in the Ilkhanid era and Amir Alishir Nava’i, a politician and a cultured man in the Timurid era, are three renowned personalities who have a high profile from the perspective of scholars in history.In addition, a number of schol-ars by comparing the performance of Khawaja Nizam al-Mulk Tusi and Amir Alishir Nava’i in their researches and studies claimed that Amir Ali Sher can be called Khawaja Nizam al-Mulk al-Thani (The second or another Khawaja Nizam al-Mulk

Ital Hermeneutics: The Innovative Theological Grounding of Rastafari Dietary (Ietary) Practices

ABSTRACT The Rastafari movement stands as one of the most instantly recognizable and socially influential spiritual groups of the last century. Having successfully crossed into the realm of popular culture with the worldwide popularity of reggae music, the movement has been able to achieve a level of recognition from the global public that other contemporary religious groups have not. However, knowledge of the groups’ practices and beliefs beyond reggae, the veneration of ganja (cannabis) and recognition of the divinity of His Majesty Haile Selassie remains limited. This is very much the case amongst Rastafari dietary practices, something central to the daily observance of all Rastafari, and yet a facet underexplored in academic circles. As such, this study aims to draw attention to an integral component of Rastafari spirituality through interviews conducted in Jamaica and the UK, whilst also formulating and exploring an innovative Rastafari hermeneutical approach.

Of Vagabonds and Fellow Travelers: African Diaspora Literary Culture and the Cultural Cold War by Cedric Tolliver, and: Everything Man: The Form and Function of Paul Robeson by Shana L. Redmond

Reviewed by: Of Vagabonds and Fellow Travelers: African Diaspora Literary Culture and the Cultural Cold War by Cedric Tolliver, and: Everything Man: The Form and Function of Paul Robeson by Shana L. Redmond Samantha Pinto Cedric Tolliver. Of Vagabonds and Fellow Travelers: African Diaspora Literary Culture and the Cultural Cold War. Ann Arbor: U of Michigan P, 2019. 244 pp. $24.95. Shana L. Redmond. Everything Man: The Form and Function of Paul Robeson. Durham: Duke UP, 2020. 208 pp. $24.95. When I was an undergraduate at Rutgers in the late 1990s, June Jordan came to give a reading in the Paul Robeson Lounge. She opened her talk by way of a joke—that this man who spoke so many languages, lettered in so many sports, was so incredibly multitalented, could have a lounge named after him. A lounge! Paul Robeson, critically understudied, and the time period he most saliently represents in Black arts and culture—the Cold War era—are finally getting their due in two new monographs: Cedric Tolliver's Of Vagabonds and Fellow Travelers and Shana Redmond's Everything Man. Joining recent work on the Black feminist political history of this time period by scholars such as Keisha Blain, Cheryl Higashida, Mary Helen Washington, and Carole Boyce Davies, as well as the literary studies work of Michelle Stephens, Cherene Sherrard-Johnson, and Eve Dunbar, Tolliver and Redmond map deeply different takes on the legacies of an unsung era of African American cultural and political work. The Cold War era is a time of unprecedented political change and artistic production, sitting as it does amid World War II and burgeoning global decolonization movements. Tolliver and Redmond want to retrace figures in Black literature and culture who didn't toe even liberal lines around Black freedom struggles of the period, rewriting Robeson and others into the legacy of figures like W. E. B. Du Bois, who also recurs throughout Tolliver's text as a key theorist of the significance of culture and class to Black political movements. Tolliver thinks deeply around those who incorporated class and economic struggles as at the center of African American bids for equality with stunning archival work and a nuanced Marxist approach to difference within the African diaspora. He centers "those confrontations in the cultural realm between the US and the Soviet Union that paralleled and reinforced operations in the political, economic, and military spheres" (5) to capture the 'hearts and minds' of a global populace. This populace, particularly in decolonial Africa, was skeptical of the US not least because of its continued racist policies and politics, including legal segregation in the South and economic injustice nationwide. Tolliver's thick (re)description of the history of Black cultural expression in the Cold War political context is both forceful and eloquent in its open insistence on "restor[ing] culture to a primary site of struggle, refusing the capitalist society imperative, intensified during the Cold War, of according culture an autonomous [End Page 343] function removed from the materiality of social reproduction" (16) and claiming some Black artists (and activists) as particularly "disruptive" (17) to this equation and political economy as usual, even as it was difficult to escape what he refers to as its ideological—and often material—enclosures. Tolliver reframes this period of African American literature around the Cold War era in a first chapter that anchors scholarly work on the diaspora by critics like Brent Hayes Edwards in his The Practice of Diaspora into the frame of the Cold War, and engages important thinkers in diaspora literature such as Aimé Césaire through Cold War politics and critiques. From here, Tolliver moves to Anglophone and Francophone Caribbean engagements with US imperial histories in the region. His reading of George Lamming's classic In the Castle of My Skin recasts it as a primer on Cold War development in the shadow of a century of American occupation. The emphasis on US foreign policy in Lamming's and Jacques Stephen Alexis's work here is thought-fully and thoroughly sutured to close readings of their texts that open up African diaspora and Cold War studies of the period's literature. Robeson appears as a...

Gender, Social Media, and the Labor of Authenticity

Gender, Social Media, and the Labor of Authenticity Sarah Banet-Weiser (bio) In 2012 I wrote Authentic™: The Politics of Ambivalence in a Brand Culture, where I thought through what it means to organize our lives—politically, culturally, socially—in an age of branding and commodity activism that centered on a concept of the “authentic.”1 I argued that in contemporary capitalism, corporate marketing efforts are about building an affective relationship with a consumer, one based on a set of memories, emotions, personal narratives, and expectations that resonate in a felt, “organic” way. Throughout the book I focused on the branding of authenticity in these cultural realms, where brands become the setting around which individuals weave their own “authentic” stories, where individuals position themselves as the authentic characters in the narrative of their constructed self-brand. In recent years, this imperative to build an authentic relationship as part of a brand has shifted from a product-based corporate sensibility, where corporations craft relationships with consumers, to a more personalized—though no less corporate—sensibility, where social media and the rise of the “influencer” create an intensified version of authenticity in the production of culture. In many ways, influencers on social media now exemplify the most developed form of brand authenticity (for themselves as brands). Though of course social media was around in 2012, some of the major platforms like Instagram had not yet achieved the heightened visibility they enjoy today, and the imperative to present oneself and to produce a self-brand on social media was not nearly as normative as it is in 2020. Instagram, which launched in 2010, is a site where one posts photos and videos of oneself; its original mission was “to capture and share the world’s moments.” But rather than capturing the world’s moments, Instagram is much more about carefully and strategically curating individual lives; along with YouTube, it has become the key place for “influencers” to launch their careers, as people who are “paid to use their personal magnetism to promote specific agendas online.”2 Instagram influencers craft their self-brand around discourses of “authenticity,” where they are more commercially successful the more relatable, intimate, and vulnerable [End Page 141] their self-presentation. Yet at the same time, to be “authentic” for influencers also means to strictly conform to dominant white, cis-gender norms. Indeed, authenticity has a heightened, and complex, significance in the context of social media. In this era of fake news, deepfakes, and the wide circulation of misinformation, where particular concepts of the “truth” are questioned, authenticity means both more and less: the mandate to present as “authentic” has become more urgent, even as we increasingly no longer believe in the concept of the authentic. Of course, authenticity has always been a messy concept, and one that is deeply contextual, contingent, and cultural. Yet even within these contingencies, authenticity has always depended on the actors who are presenting themselves as authentic. Thus, positioning oneself as authentic has been a necessity for successful influencers on social media. Influencers promise their followers authenticity, where their selves are mediated apparently by us rather than by content-producing media institutions. Social media assures users that what they are seeing is, somehow, unmediated and authentic. Yet of course, all representations are mediated, and perhaps even more so on social media, where programs and apps enable us to create an “authentic” yet fabricated identity. Social media, in other words, makes this production of a contrived authenticity easy. Importantly, the stakes are higher for women to create an authentic persona. Obviously there is no “authentic self” circulating in social media, but the price women pay for not being authentic is high. Women have been historically told (through all sorts of media and institutions) that their “real” selves are not good enough, and certainly not to be trusted. So within institutions (such as politics, media, and the law) women are routinely not believed, and on social media, the media platforms continually authorize how to “fake” one’s identity to make it, ironically, more believable—and more profitable. The role of professional influencer has been particularly profitable for women (especially white, cis-gendered women), but this success...

Nietzsche: for a Politics of the Individual

Aunque Nietzsche nunca formuló una teoría política real, su crítica de la modernidad y la búsqueda de soluciones alternativas para una elevación del “tipo humano” son ciertamente parte de un proyecto de “große Politik”, que sin embargo pertenece más a la esfera de la filosofía y la cultura que a la de una ciencia del gobierno. En oposición a las organizaciones homologadoras –políticas, económicas, morales– que han robado las energías más peculiares del hombre, Nietzsche trabaja por la promoción de una individualidad fuerte que por sí sola pueda puede prometer construcciones duraderas. La originalidad y la capacidad de incorporar elementos disonantes son para Nietzsche síntomas de una cultura superior: el “buen europeo” del futuro será, por tanto, quien, más allá de las estrechas fronteras personales y nacionales, sabrá abrirse a fructíferas hibridaciones.

On the Comedy of Race

On the Comedy of Race Albert Sergio Laguna (bio) Early on in my research for this article on race and comedy, I came upon a novel by Jessie Redmon Fauset titled Comedy: American Style (1933). Fauset, a prominent yet understudied writer and editor active during the Harlem Renaissance, tells the tragic story of Olivia, her family, and their relationship to the shifting nature of the color line through the prism of "passing" and social class. Critics debate the effectiveness of Fauset's treatment of these issues, but for me it is the title that is most provocative. Because, you see, Comedy: American Style is not funny at all. Cherene Sherrard-Johnson puts it plainly in her introduction to the latest print edition, calling the novel "anything but humorous" and explaining the title by suggesting that Fauset may have had a "Shakespearean understanding of comedy as a form in which the conflict revolves around marriages plots" (xvi). A plausible explanation, but this doesn't change the simple fact that the book is not funny. It is not even trying to be. What was Fauset suggesting about the relationship between comedy and race? With that title, Fauset asks the reader to think about a tragic passing narrative filled with familial tension, estrangement, and even suicide as a kind of "American" comedy. Though laughs are hard to come by, there are elements of the novel that gesture toward the comic: the passing narrative as a kind of misdirection or misidentification so popular in stage comedies; characters who are often single-minded and flat in their representation of particular ideas or traits; and most bluntly, the moment when the narrator conveys the thoughts of a character who has explained the phenomenon of passing as "a sense of perpetrating a huge joke" (70).1 For Fauset, then, race is not simply a topic for comedy but comic unto itself on the level of form. Race is a kind of "American style" of comedy at its core. [End Page 104] The goal of this article is to take Fauset's provocation seriously and to begin to think about the relationship between comedy and race on the level of form.2 To do this work, I take Fauset's insight out of the world of literature and her novel and into the realm of popular culture where the intersections of comedy and race have been a fertile source of creativity and consternation. I propose the term "the comedy of race" to explain how comedy is of race, how the very architecture of comedy and what makes us laugh can help us better understand how race itself works with, and independent of, comedy. Comedy stages the mechanics of racialization. By invoking comedy, I do not seek to pin it down to a single kind of manifestation.3 I am more interested in comedy as a mode that suffuses a range of genres, cultural production, and the everyday forms of relationality that constitute quotidian experience. Instead of trying to define lines where comedy might begin and end, this essay concerns itself with the signifying strategies comedy and race hold in common.4 Ultimately, I argue that race and comedy share formal qualities for producing meaning in the world—excess, ambiguity, and repetition—to advance two objectives. First, I explain the challenges that these formal similarities between comedy and race have posed to race and ethnic studies and how and why that has limited scholarly investigation. To understand form in this context is to better grasp why race and comedy have been such a provocative and often explosive pairing. Second, I aim to begin to imagine the critical possibilities that arise when the comic structure of race becomes the analytical emphasis. In addition to formal considerations, the critical productivity of pairing race and comedy together is enhanced by how deeply they imbue quotidian life on their own and when they intersect to produce racial comedy. Race and comedy inform how we imagine, and relate to, ourselves and others. From on-demand streaming entertainment and satirical news shows to our lives online mediated by memes, viral videos, and Twitter ripostes, comedy is what "people increasingly come to expect in the kinds...

ФОРМУВАННЯ ЕСТЕТИЧНОЇ КУЛЬТУРИ МАЙБУТНЬОГО ВЧИТЕЛЯ МУЗИЧНОГО МИСТЕЦТВА З ВИКОРИСТАННЯМ ЦИФРОВИХ ТЕХНОЛОГІЙ

The paper considers one of the relevant issues of introducing and using digital technologies by a future music teacher. It is proven that the realm of aesthetic culture of a future music teacher requires the introduction of innovative forms of education and their active application. It is substantiated that digital technologies are a means of professional development of future music teachers in the process of professional training and become an integral part of society at all levels and centers, and digital competence is recognized as one of the priorities in educational activities. The paper emphasizes that modern education is the mastery of electronic, multimedia textbooks and guides, e-courses, interactive complexes, therefore learning with the use of digital technologies is not a novelty but a requirement of the time. The structural components of aesthetic culture such as aesthetic consciousness, aesthetic activity, aesthetic self-organization are analyzed and singled out, and the author believes that such components are designed to implement strategic ideas in the field of education and culture into public life, to develop values, to apply and use modern technologies in professional activities, and this requires active skills in using ICT, as well as information, music and technological competencies, critical thinking, behavioral strategies, response to changing needs and interests of society. In this paper, the author considers digital, music and computer technologies as a means of professional development of a future music teacher in the process of professional training, because the use of such technologies increases motivation for professional activity and develops positive beliefs in selected music disciplines and areas of music research. The paper studies the SAMR approach that allows assessing the level of digital technologies use in educational institutions for teaching and learning. A review of current trends in digital technologies organization and application has identified their most common forms in the training of future music teachers and proven the effectiveness of their use, which affects the development of pedagogical mastery of music teachers.

Precarious Times: Temporality and History in Modern German Culture by Anne Fuchs

MLR, .,   character who speaks. Chapter  examines the difficulties of conveying the shis in tone and situation that this rich polymetric verse marks in the original. Jeffs examines the opening stanzas of the four plays that were staged in the Swan to exemplify the kinds of decisions that were taken to preserve some sense of the original verse structure. Chapter  augments the analysis of these decisions with respect to characterization, while Chapter  analyses the deployment of metatheatrical moments, particularly with respect to the play-within-the-play sequences, ceremonies, and role-play. ese two chapters offer a wealth of individual case studies of how the texts were explored in rehearsal and how they worked in performance. e final chapter considers the impact that the RSC’s Golden Age season has had on subsequent productions in the US, Spain, and, more centrally, the UK until . Apart from briefly considering two American stagings of e Dog in the Manger, it traces Boswell’s subsequent comedia productions, first in Madrid with Rakatá (El perro del hortelano in – and Fuente Ovejuna in , both performed in Spanish) and then in Bath. As Artistic Director of the Ustinov Studio in the latter city, he produced e Phoenix of Madrid (a reworking of No hay burlas con el amor) by Calderón in , and then a three-play season in : A Lady of Little Sense (La dama boba) by Lope de Vega, Don Gil of the Green Breeches (Don Gil de las calzas verdes) by Tirso de Molina, and Punishment without Revenge (El castigo sin venganza) by Lope de Vega. Jeffs’s book is a stimulating and hugely detailed account of the making of the landmark RSC’s Spanish Golden Age season. It analyses the challenges of working on the interface between two very different dramatic traditions and languages, displaying rigorous linguistic, cultural, and scholarly awareness of the processes of translation and adaptation. is book proposes a model to foster more widespread production of these plays, a kind of collaborative toolbox to revive Spanish comedias for modern English-speaking audiences in the twenty-first century. We can only hope that theatre practitioners and producers may draw inspiration from Jeffs’s painstaking work to revive more of the hidden treasures of Spain’s rich dramatic heritage. U  L J A. P D Precarious Times: Temporality and History in Modern German Culture. By A F. Ithaca, NY, and London: Cornell University Press. . xx+ pp. $.. ISBN ––––. Precarious Times takes as its starting point fundamental shis in the temporal conditions of the twenty-first century brought about by the interconnected forces of digitization, globalization, and accelerated capitalism. As Anne Fuchs observes, much recent criticism on these matters is imbued with ‘temporal anxieties’ (p. ) and pervaded by a crisis narrative that paints present-day experiences of time as stagnant, flat, disembedded, or atomized. Wary of such ‘monolithic and deterministic ’ (p. ) perspectives, Fuchs turns to the realm of culture to draw a more  Reviews multifaceted picture of our contemporary timescapes. Engaging with a remarkable collection of authors and genres, ranging from the late nineteenth to the early twenty-first century and focusing on German-language literature and culture in particular, Fuchs interrogates the alarmism underpinning much of the recent temporal diagnostics. She convincingly illustrates that temporal anxieties and complexities ‘are part and parcel of the complicated story of modernity’ (p. ) and hence not solely a problem of the here and now. Moreover, she emphasizes that artistic practice has since modernity provided opportunities for questioning dominant time regimes, allowing for the exploration of alternative temporal trajectories and the recuperation of Eigenzeit (pp. –). Fuchs is careful, though, not simply to celebrate art as a panacea for modern culture’s continuing struggles with time. While contemporary art in particular is deeply committed to the possibility of alternative experiences of time, oen accompanied by more attentive relationships with the world and others, these attempts oen remain fleeting and precarious. e book’s first chapter introduces key theoretical engagements with time in the era of digitization, including seminal accounts by Hartmut Rosa, Byung-Chul Han, John Tomlinson, Hans Ulrich Gumbrecht, David Harvey, and Robert Hassan. Fuchs identifies...

THE MANY FACES OF GENERALIZING THE THEORY OF EVOLUTION

AbstractEver since proposals for generalizing the theory of natural evolution have been put forward, the aims and ambitions of both proponents and critics have differed widely. Some consider such proposals as merely metaphors, some as analogies, some aim at a real generalization and unification, and some have even proposed to work out full reductions. In this paper it is argued that these different forms of generalizing the theory of evolution can be systematically re-framed as different approaches for transferring justification from the natural to the cultural realm, and that their differences are basically a matter of degree. With the help of such a classification it should become clearer what to expect, but also what not to expect from the different approaches.

Idiom and innovation in the ‘Gupta Period’: Revisiting Eran and Sondhni

To show how kingship was enacted and materialised in specific contexts within the ‘Gupta Ecumene’, writ large, this article presents a detailed analysis of two sites that served as centres for political performance, devotional practice, and artistic production between the fourth and the sixth century CE: Eran and Sondhni in the Indian heartland of Madhya Pradesh. Eran is commonly held to be a key site for the study of Gupta art and architecture and holds several important inscriptions from the beginning to the end of the Gupta period, including one issued by Samudragupta. Sondhni is marked by two inscribed columns of Yaśodharman, a former Gupta subordinate who challenged the imperial rulers using metaphors borrowed from Samudragupta’s Allahabad Pillar Inscription. Examining these two sites in dialogue presents an opportunity to identify a shared cultural realm in which local polities participated and developed a transregional ‘Gupta’ political discourse. This study normalises a Gupta-centred imperial history and, in doing so, participates in a wider departure from dynastic history by emphasising the ways in which localised polities and rulers negotiated the political idioms of their day, challenged them, and created spaces for innovation.

Fértil provincia y señalada: Raúl Ruiz y el campo del cine chileno ed. by Verónica Cortínez

Reviewed by: Fértil provincia y señalada: Raúl Ruiz y el campo del cine chileno ed. by Verónica Cortínez Andreea Marinescu Cortínez, Verónica, ed. Fértil provincia y señalada: Raúl Ruiz y el campo del cine chileno. Editorial Cuarto Propio, 2018. 265 pp. This edited collection seeks to bring Raúl Ruiz's filmic work into conversation with the field of Chilean cinema. Ruiz (1941–2011), exiled to France since 1973 after Pinochet's military coup, is a towering presence in the field of global cinema, his importance attested by numerous scholarly works dedicated to his prolific and multifaceted artistic production, as well as by captivating cinephiles and inspiring independent filmmakers around the world. In fact, the Prologue to the collection states that the critical attention received by Ruiz threatens to eclipse other Chilean independent films. Indeed, it is a worthwhile effort to both consider Ruiz's work in the context of Chilean independent film production and to pay attention to other independent films produced in the past decades. The book is divided into two parts: "Raúl Ruiz: un chileno en el mundo" is comprised of four chapters on Ruiz while "Fértil provincia: el mundo chileno en el cine" features another four chapters on several Chilean-made independent films. The first chapter, "El cine chileno en el contexto mundial: Raúl Ruiz en Locarno," by Manfred Engelbert, offers a necessary corrective to the dominant claim that European cinema shaped Latin American cinema, and seeks to demonstrate how Ruiz's original films were an integral part of a world phenomenon of new filmmaking and provided an important reference for the development of European cinema. The second essay, "Las funciones del plano según Raúl Ruiz," by Cortínez, discusses Ruiz's work as a film theorist, tracing the trajectory of his ideas on the relative autonomy of the shot through several books, interviews, and films. Ruiz's practice anticipates its theorization; it is a way to conceptualize his own filmic praxis. In the third essay, "Cuatro guiños para Ruiz," Roberto Castillo Sandoval develops the theme of death—or, more accurately, the constant interaction among the living and the dead—as a constant feature throughout Ruiz's work, as a means to express a certain way of being in the world, allowing him to move with facility from the experimental realm to the popular culture realm. The last piece in this section, "La amistad es un misterio insondable," is provided by filmmaker Miguel Littín, who recounts memories from his longstanding friendship with Ruiz, defined by early activism and a shared iconoclastic filmic style during the New Latin American Cinema, exile, and ultimately death. This first part offers a variety of texts developing specific aspects of Ruiz's work; however, the overreliance on Tres tristes tigres (1968) in the first two essays undercuts the more expansive claims and this first section as a whole does not cohere into a unified thesis. Unfortunately, the second part suffers from similar problems as well as new issues. Providing an abrupt departure from Ruiz, it is dedicated to a number of independent Chilean films made several decades apart from each other. The loose theme that unites them is an implied sense of "Chileanness," mainly based on the evocation of the countryside and rural popular culture. Two scholarly essays in the second part provide valuable analyses of two intriguing documentaries. The first, "Mimbre: Sergio Bravo y Violeta Parra" by Claudio Guerrero y Alekos Vuskovic, highlights the 1957 legendary collaboration [End Page 298] of Bravo and Parra, two foundational figures of the Nuevo Cine Chileno and the Nueva Canción Chilena. The 10-minute documentary is an ethnographic and aesthetic study of Manzanito, a wicker-weaving master representative of a newly found appreciation for popular art by urban intellectuals and artists at the time. Even though the problematic potential of this fascination with popular art is not examined, the essay analyzes and highlights the impressive merits of this early experiment in filmic montage and musical improvisation. Hernán Delgado's piece, "Luchando por el derecho de un suelo para vivir: Cine documental regional y memoria hist...

РОССИЯ И ЮНЕСКО: ОТВЕТСТВЕННОЕ ПАРТНЕРСТВО, ИННОВАЦИОННЫЕ ФОРМЫ ВЗАИМОДЕЙСТВИЯ И ПЕРСПЕКТИВНЫЕ ВЕКТОРЫ СОТРУДНИЧЕСТВА

The article focuses on a series of objective and subjective trends of UNESCO instituting on the social and cultural realm of Russia. It is important to consider the characteristics of the development of the problem and current functioning and to identify the streamlining activities of this international body; to suggest models for the cooperation development that could strengthen the possibility of undertaking UNESCO tasks.

Living Deaths: Anthropological Analysis of Death Rites in Paubokol Community, Regency of Lembata, NTT

Death is a part of the reality that will come to everyone. It is not a silly reality and it is not the reality that ends one’s life, instead the reality carries oneself to the two-dimensional new life. First, dimension of eternal life that is personally lived by oneself and at the same time related to theology and the religion studies. Second, the dimension of social life among the one’s living family and at the same time related to the realm of customs and culture. By the ethnographic methods, this research is more focused on tracing the practices of death rites to uncover the power of death to revive the community. The results of the research show that the death rites are aimed at the organization for better community to live together. Through the death rites, the relatives are asked to be introspective, open, and ready to reconcile with anyone not only with those who are directly in conflict, but also with all people who are potential for conflict as anticipatory actions.

Covid-19 and the civilizing process

This article outlines the key elements of Norbert Elias’s theory of the civilizing process that can usefully be drawn upon to develop a detached, less present-focused sociological understanding of the Covid-19 pandemic. Three ideas are highlighted: first, this is in fact an old story, in the sense that we’re in the middle of a constellation of long-term processes, and this matters in a number of ways. Second, human civilization, understood as based on expanding and intensifying forms of global interdependence, is both a cause and part of the solution to the problems we are facing. Third, the causes, effects and possible responses to the Covid-19 pandemic are tightly bound up with what kinds of persons we are. It concludes that a sustainable response to crises like pandemics will only be organized around rational reflection to a limited extent: in significant ways it will be constituted by shifts at the emotional and psychological level, in the realm of culture and habitus, by the formation of particular ways of being a person.

الإختلاط في التعليم وانعاكسه السلبي على العملية التربوية

Islam provides a comprehensive guideline to educate the humankinds, to cultivate a generation, to build a nation and civilization. It also bestows dignity for the whole mankind men and women alike. All Islamic scholars agree that there is no difference between man and woman when it comes to acquiring knowledge as a religious obligation. Muslim women had made tremendous headway in the realm of education and culture under the shadow of Islam throughout the history. However, Islam puts considerable emphasis on the importance of women's modesty and on the prevention of free mixing. The idea has been reinforced by the scholars of Islam such as Imam Al-Qabisi and Ibn Sahnun. They contend that in order to maintain women's dignity and honor and to prevent extramarital affairs, female education should be segregated from male.

Regional variations of context‐based association rules in OpenStreetMap

AbstractAs a user‐generated map of the whole world, OpenStreetMap (OSM) provides valuable information about the natural and built environment. However, the spatial heterogeneity of the data due to cultural differences and the spatially varying mapping process makes the extraction of reliable information difficult. This study investigates the variability of association rules extracted from OSM across different geographic regions and depending on different context variables, such as the number of OSM mappers. The focus of this study is the spatial co‐occurrence of OSM tags mapped inside of parks within eight different cities. Without considering any context variable, most association rules were very region‐specific without any rule being valid across all cities. Limiting the association rule analysis to parks based on specific context variables increased the number of rules which are applicable across multiple cities. Furthermore, additional region‐specific association rules emerged. The most important context variables were found to be the number of features mapped inside the park, the number of tags and the park size. These results suggest that the mapping process has a significant influence on the emergence of association rules within user‐generated data. Therefore, this subject needs further investigation to enable effective usage of OSM data across different cultural realms.

문화 영역 PCK에 따른 한국어 교사용 문화 교재 내용 분석

문화 영역 PCK에 따른 한국어 교사용 문화 교재 내용 분석

Rank-and-File Antiracism

Abstract This review essay on recent scholarship on Rock Against Racism argues that the original scholarship on the topic misunderstood the relationship of punk rock and Rock Against Racism to the Left and to transformations in capitalism in Great Britain and beyond in the 1970s. This review offers a reinterpretation of punk rock as a rank-and-file mobilization in the realm of culture at a moment when more traditional venues for rank-and-file mobilization became unavailable.