In our age of globalization and multiculturalism, it has never been more important for Americans to understand and appreciate foreign cultures and how people live, love, and learn in areas of the world unfamiliar to most U.S. students and the general public. The four volumes in our cultural sociology reference encyclopedia take a step forward in this endeavor by presenting concise information on those regions likely to be most "foreign" to U.S. students: the Middle East, Asia, and Africa. The intent is to convey what daily life is like for people in these selected regions. It is hoped entries.
Cultural historian Carol Siegel provides a fascinating look at Goth, a subculture among Western youth. While the fortunes of Goth culture form a portion of this book's story, Siegel is more interested in pursuing Goth as a means of resisting regimes of sexual normalcy, especially in its celebration of sadomasochism. For Siegel, Goth appears as a mode of being sexually undead--and loving it. The author tracks down Goth, reveals the source of its darkness, and shows that Goth as a response to the modern world has not disappeared but only escaped underground.
This book examines the role played by the media in China?s ongoing cultural transformation. It demonstrates that the media is integral to China?s changing culture in the age of globalization, whilst also being part and parcel of the State and its project of re-imagining national identity.
Organised in collaboration with Ruth Collingwood and Monica Sajeva from the LCC Library. To mark the 50th anniversary of '1968', a year of global protest and unrest, the Design Activism Research Hub (DARH) is staging an exhibition/intervention in the LCC Library with related events for UAL students and staff during the month of May. (See below for details and dates.) 1968 was the year that Martin Luther King Jr. was assassinated and of riots in over a hundred US cities. It was the year that two winning US athletes made a silent protest at the Mexico Olympics medal ceremony with the 'black power' salute, an image that ricocheted around the world. It was the year that Soviet Russian troops invaded Czechoslovakia bringing an end to the 'Prague Spring' as well as of the 'Tet Offensive' which seriously undermined the US's ill fated and barbarous war in Vietnam. And of course it was the year of the 'events of May' – the extraordinary student and worker uprisings in France — with their proliferation of graffiti and radical posters produced in occupied art school studios (Atelier Populaire). It is often these that are the focus for anniversaries of 1968, especially in the context of visual communication. However the focus of the DARH exhibit is London. It was a time of a growing radical ferment in this city too, ranging from protests about the Vietnam War and Britain's complicity with apartheid regimes in Southern Africa, to myriad forms of activism around urgent home grown issues: housing, racism and workers struggles. And there was student revolt in London too with occupations at LSE, Croydon and Hornsey School of Art, as well as the formation of 'revolutionary' student organisations and 'anti-universities'. London's black power movement was gathering ground with new groups, publications and protests. 1968 was also the year of the Conservative MP Enoch Powell's infamous 'Rivers of Blood' speech, which gave succor to the already endemic racism in Britain — and ever more reason to organise against it. (The Labour Government responded to Powell's sentiments with Commonwealth Immigration Act 1968). The London Squatters Campaign was born in 1968, the harbinger of a movement that would grow exponentially in the 1970s. Tenant activism was on the rise with huge marches and rent strikes. (1968 was also year of the Ronan Point collapse, a newly built social housing tower block in Newham). Localism became one of the new radicalisms. 1968 was just one year after homosexuality had been 'decriminalized', and the slow respectable campaigning for legal rights would soon be challenged by the more radical analysis and approach of the Gay Liberation Front. A Women's Liberation Movement was on the brink of emergence. This swell of diverse activism, only hinted at above, generated numerous pamphlets, leaflets, newssheets and posters, produced by whatever means available: duplicators, offset litho, screen printing and which contributed to the diverse alternative radical culture of the time. It was the year that the London listings magazine Time Out magazine started (which had a dedicated section for 'agitation') as well as when the radical newspaper Black Dwarf was launched. New radical and community activist printing shops were set up, such as Poster Workshop in Camden Town and Notting Hill Press in west London. Agit-Prop was formed, a radical information service which also did street theatre as the Agit-Prop Street Players. There were activist film groups in London too, such as Cinema Action, Amber and the Angry Arts Society (See below for details of 68 film night: Agitate-Propagate-Reel!). Print culture though was especially crucial to the dissemination of information, arguments and rallying cries. Recall it was pre internet, social media, and the wide spread availability of video recorders! The exhibition will display a range of this material including pamphlets, magazines, books and newspapers loaned from Bishopsgate Archives, the Feminist Library and from DARH members own collections. These will be shown in the glass display cases on the library bridge. Copies of some of these items as well as more contemporary materials will be available for browsing in the central area in front of the library reception desk. Library staff will be showing a selection of related stock items and DARH have created a series of 'shelf interventions' to highlight further sources within the library. The exhibition coincides with the release of the first book about the above mentioned Poster Workshop who operated between 1968-71. Their posters provide a near index of social and political struggles of the period and we will be displaying some reproductions, alongside other posters produced in a workshop for students led by members of the Propagate Collective. This display will be along the main right wall as you enter the library. (Here we will also show one of Cinema Action's films, GEC). To celebrate the publication of Poster Workshop's book, we are hosting a 'mini' launch and Q&A with ex-members for LCC and UAL staff and students in the library. Copies of the book will be on sale at the event. Agitate-Propagate-68! Exhibition Opening and Poster Workshop, 1968-71 Book Launch Thursday 3 May 2018, LCC library, 5.30 – 7.30pm 5.30pm: Exhibition opening and tour 6pm: Poster Workshop book launch and Q&A (The exhibition runs from 1 to 31 May 2018) Agitate-Propagate-Reel! Thursday 24 May, MLG06A, LCC, 6 – 8pm 1968 themed film night co-organised by Screen School PhD candidate Mario Hamad, more information to follow but it is promised to include a screening of Cinétracts (1968) on a 16mm film projector. STUDENT WORKSHOPS: Agitate-Propagate-Print! Wednesday 2 May This is a limited number sign-up screen-printing poster workshop for students on BA/MA Graphics and Illustration courses (now full). The workshop will be run by members of Propagate Collective, with ex-members of Poster Workshop joining in. It will take inspiration from the political visuals and techniques of the late 1960s ad-hoc protest poster making that spread across many parts of the globe at the time, notably in France in the Atelier Populaires set up in occupied art school studios, but also in the Camden basement of the above mentioned Poster Workshop. The most successful posters produced will form part of the display in the library. This workshop is supported by a SEEF Award. Agitate-Propagate-Read! Tuesday 22 May 2.00-3.30pm Ruth Collingwood and Monica Sajevo from the LCC library team will be running a student workshop with publications from the exhibition and the library's extensive zine collection. Further information to follow.
[spa] El cine es un medio que contribuye a construir y difundir conceptos sobre los territorios que muestra. De esta forma participa en la promoción turística de esos espacios, en ocasiones de manera intencionada. Partiendo de estas premisas, el objetivo de la investigación es estudiar las relaciones cine-imagen/destino-turismo que se dieron en Mallorca con anterioridad al fenómeno del turismo de masas; esto es, de 1898 (año en que se tiene documentada la primera filmación realizada en la Isla, coincidiendo con los inicios de la industria turística en la región) a 1950 (fecha en la que España entra en el modelo turístico internacional coincidiendo con la reavivación de la realización de producciones cinematográficas en Mallorca después de un momento de crisis). El estudio se plantea desde una doble perspectiva: 1. Histórica: se quiere determinar qué filmaciones (ficciones y documentales) colaboraron en la construcción de la imagen de Mallorca y cuál era el perfil de los impulsores de películas promocionales. 2. Conceptual: se busca conocer qué ideas de la Isla se propagan a través de los filmes de producción española. La metodología y el plan de trabajo se apoyan principalmente en la consulta bibliográfica y en fuentes documentales de la época que informan de las circunstancias en las que se realizaron tales filmes; así como en las filmaciones mismas que, tras un análisis de contenido de carácter cuantitativo y cualitativo, revelan los atributos individuales y las percepciones generales de Mallorca con los que se compone la imagen del territorio. Los resultados demuestran que a lo largo del período estudiado en la sociedad mallorquina existió una concienciación del poder del cine como agente inductor al viaje, aunque esto no se tradujo en el impulso de filmes propagandísticos por parte de instituciones locales ni por empresarios del sector turístico. En la imagen resultante se advierte una tensión constante, determinada por factores sociales y políticos, entre dos modos de entender el turismo: uno dominante y aún anclado en el ideal del viaje del Romanticismo, y otro que de forma discreta manifiesta una consciencia más moderna. ; [cat] El cinema és un mitjà que contribueix a construir i difondre conceptes sobre els territoris que mostra. D'aquesta forma participa en la promoció turística d'aquests espais, en ocasions de manera intencionada. Partint d'aquestes premisses, l'objectiu de la investigació és estudiar les relacions cinema-imatge/destinació-turisme que es van establir a Mallorca amb anterioritat a l'esclat del turisme de masses; això és, de 1898 (any en que es té documentada la primera filmació realitzada a l'Illa, coincidint amb els inicis de la industria turística a la regió) a 1950 (data en la que Espanya entra en el model turístic internacional coincidint amb la revitalització de la realització de produccions cinematogràfiques a Mallorca després d'un moment de crisi). L'estudi es planteja des d'una doble perspectiva: 1. Històrica: es vol determinar quines filmacions (ficcions i documentals) col·laboraren en la construcció de la imatge de Mallorca i quin era el perfil del impulsors de pel·lícules promocionals. 2. Conceptual: es cerca conèixer quines idees de la Illa es difonen a través de les filmacions de producció espanyola. La metodologia i el pla de treball es recolzen principalment en la consulta bibliogràfica i en fonts documentals de l'època que informen de les circumstàncies en les que es van realitzar tals filmacions; així com en les pròpies pel·lícules que, després d'un anàlisi de contingut de caràcter quantitatiu i qualitatiu, revelen els atributs individuals i les percepcions generals de Mallorca amb els quals es compon la imatge del territori. Els resultats demostren que al llarg del període de temps estudiat en la societat mallorquina va existir una conscienciació del poder del cinema com agent inductor al viatge, tot i que això no es va traduir en l'impuls de filmacions propagandístiques per part de les institucions locals ni per part d'empresaris del sector turístic. A la imatge resultant s'adverteix una tensió constant, determinada per factors socials i polítics, entre dos modes d'entendre el turisme: un dominant i encara ancorat en l'ideal del viatge del Romanticisme, i un altre que de forma discreta manifesta una consciència més moderna. ; [eng] Cinema is a medium that contributes to building and disseminating concepts about the regions it displays. In doing so, it is participating in the touristic promotion of these areas, sometimes in a deliberate way. In light of these premises, the objective of the research is to study the relationships between cinema-image/destination-tourism, that occurred in Majorca prior to the phenomenon of mass tourism; that is, from 1898 –the year in which a film shooting made on the island was first documented; an event that coincided with the newly emerging tourism industry in the region– to 1950 – a year in which Spain entered the international tourism model, that coincided with the rekindling of cinematographic productions in Majorca after a time of crisis– . The study is presented from a double perspective: 1. Historical: to determine what fiction and documentary films contributed to the creation of the image of Majorca, and to outline the profile of the supporters of these promotional films. 2. Conceptual: to define what images and beliefs of the island are disseminated through Spanish productions. The methodology and work plan are based mainly on: bibliographic research and documentary sources of the time, that inform of the circumstances in which such films were made; and a quantitative and qualitative content analysis of the films themselves. This analysis reveals the individual attributes and general perceptions of Majorca that construct the general image of the island. The results show that throughout the studied period, the Majorcan society of the time was aware of the power of cinema to induce travel; although this did not translate into the promotion of propaganda films by local institutions or by businessmen from the tourism sector. The resulting image, determined by social and political factors, shows a constant tension between two ways of understanding tourism: a dominant one still anchored in the Romanticism ideal of travel, and another that discreetly manifests a more modern consciousness.
La política cultural de la Revolución Cubana en el período 1959-1961 estuvo signada por la coexistencia de tendencias, la amplitud en el uso de formas estéticas, el llamamiento a la intelectualidad a una predominante participación en la organización de la cultura -aun cuando este sector no había contribuido activamente durante el proceso insurreccional-, una democratización del acceso a los bienes culturales y una paulatina propensión a la centralización por parte del Estado de los organismos existentes. El análisis de fuentes primarias tales como las publicaciones Lunes de Revolución, Casa de las Américas, Verde Olivo y Cine Cubano, así como la lectura de los fundamentos de las leyes creadas por el Gobierno Revolucionario que dieron origen al Consejo Nacional de Cultura, la institución Casa de las Américas, la Imprenta Nacional y el Instituto Cubano de Artes e Industrias Cinematográficas, permiten sostener que estos rasgos se establecieron desde el 1 de enero de 1959, mucho antes de las célebres "Palabras a los intelectuales" de Fidel Castro, que sistematizaron y explicitaron la política cultural ejercida por la Revolución en sus inicios. La amplia convocatoria realizada por el liderazgo revolucionario provocó que intelectuales provenientes de diversos, dispersos y en algunos casos enfrentados espacios se integraran y le otorgaran al campo cultural oficial una heterogeneidad que pasó a convertirse en peculiaridad de la cultura revolucionaria. ; The cultural policy of the Cuban Revolution between 1959-1961 was characterized by the coexistence of tendencies, the diversity regarding the use of aesthetic forms, the appeal to intellectuals for a predominant participation in the culture organization -even when they had not actively contributed throughout the insurrectional process-, a democratization of the access to culture, and a gradual inclination to the centralization of existent institutions carried out by the State. The analysis of primary sources like cultural journals Lunes de Revolución, Casa de las Américas, Verde Olivo and Cine Cubano, as well as the study of the grounds of Revolutionary Government laws that created Consejo Nacional de Cultura (National Council of Culture), Casa de las Américas institution, Imprenta Nacional (National Printing Press) and Instituto Cubano de Artes e Industrias Cinematográficas (Cuban Institute of Arts and Cinematographic Industries), allows stating that these features were established as of January, 1 st 1959, years before the well-known Fidel Castro´s "Palabras a los intelectuales" (Words to Intellectuals) that systematized and made the cultural policy performed by the Revolution in its beginnings explicit. The wide call accomplished by the revolutionary leadership caused intellectuals from diverse, disperse and in some cases opposed groups to be integrated to the official cultural field and to provide it a heterogeneity that became a peculiarity of revolutionary culture. ; Fil: Candiano, Leonardo Martín. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Instituto de Filología y Literatura Hispánica "Dr. Amado Alonso"; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina
"The History of Bukhara", written by Abu Bakr Muhammad ibn Ja'far Narshakhi (943-944 CE, with some addendums from 12th c. translators) has long been used as the main source for the study of Central Asian political, economic, urban and socio-cultural life in the early medieval period. The previous research on Central Asian urbanity emphasizes the role of the sedentary population of the cities in the larger Soghdiana region. Using Narshakhi's narrative as the main source, this paper investigates how the symbiotic relation of nomadic Turks and sedentary Sogdians impacted the emergence and the rise of pre-Islamic and Islamic Central Asian cities, and how this influence was manifest in such cities as Bukhara. By viewing Narshakhi's narrative in the light of Byzantine and Chinese sources, and comparing the different translations of the manuscript, this new paper sheds light on the nomad-sedentary relationship of Central Asian people in the urban milieu and beyond. This new perspective on Narshakhi's narrative will advance the readers' understanding of that nomad-sedentary relationship which is present in the political debates between modern-day Uzbeks and Tajiks – those who have inherited the civilization of medieval Central Asia. ; «История Бухары», написанная Абу Бакром Мухаммадом ибн Джафаром Наршахи (943–944 гг. н. э., с некоторыми добавлениями от переводчика12-го вв.), уже давно используется в качестве основного источника для изучения политических и экономических событий, городской и социально-культурной жизни Центрально Азиатских городов в раннем средневековье. Предыдущие исследования по урбанизации в Центральной Азии подчеркивают роль оседлого населения городов в регионе Согдиана. Используя манускрипт Наршахи в качестве основного источника, автор статьи рассматривает, как симбиотическое отношение кочевых Турок и оседлых Согдийцев повлияло на возникновение и рост доисламских и исламских Центрально Азиатских городов и как это взаимовлияние отражалось в урбанистической морфологии городов Централной Азии в примере Бухара. «История Бухары» в свете Византийских и Китайских источников проливает свет на отношения кочевников и оседлого населения в городской среде и за ее пределами. Эта новая перспектива книгу Наршахи будет способствовать пониманию особенности кочевого и оседлого отношения, которое присутствует в политических дебатах между современными узбеками и таджиками – те, кто унаследовал цивилизацию средневековой Средней Азии.
"Elisa Giomi and Sveva Magaraggia propose that men engage in violent conduct at a higher rate than women because they are socially and culturally 'programmed' to do so. Popular culture representations play a crucial role in this process: TV series, films, pop music and videos, advertising commercials and tabloids all tend to 'normalise' violence against women as an allegedly natural inclination of males. Violent women, on the other hand, are believed to transgress both criminal and 'natural' laws, according to which they are supposed to give life, not death. By examining popular culture's depiction of men and women in their opposite, yet complementary, roles of perpetrators and victims, the authors show unexplored interconnections, namely that gender 'does' violence and violence 'does' gender. Empirical evidence is presented drawing on the following case studies: - male violence in contemporary Italian pop music - female violence in crime TV series including The Killing (Denmark, 2007-2012),The Fall (UK, 2013-2016) and True Detective (USA, 2015) - the use and abuse of gendered violence in Italian and international advertising images such as billboards and posters - male and female intimate partner violence in factual entertainment (Who the (bleep) Did I Marry? (Investigation Discovery, 2010-2015))"--
Estonian community houses were built in towns and the countryside by the local people, who had been joining cultural and other societies since the second half of the 19th century. These cultural centres supported the process of building the Estonian state. The space for culture became basis for the lifelong learning system of informal education, which later was regulated and developed according to the politics of culture and education in the Estonian nation-state (1918–40) and the Soviet Union (1940–91). After the invasion of the Baltic States by the Soviet Union in 1940, extensive restructuring or sovietization of the Estonian public administration, economy and culture began. The article examines the sovietization process of Estonian community houses, i.e., how they were turned into the ideological tools of Soviet totalitarian propaganda.
Activities of Culture Animators during the COVID-19 Pandemic. Reflections of People Implementing Projects on the Internet
The paper deals with the topic of culture organisation/coordination during the COVID-19 pandemic. The proposed perspective is related to the recognition of the activities of cultural animators and presents the individual experiences of people involved in project implementation. The text presents the results of an empirical study based on interviews with culture animators. The topics discussed include: ways of adapting to the situation, challenges and barriers to implementing projects on-line, forecasting the use of new tools and acquired skills in the future, building a physical and mental work space, acquiring new competences, personal reflections about oneself, and, finally, relationships with recipients and in work environments.
Liminality as an Archetype in Federico Fellini's Art (by Patimat Gamzatova) analyzing a number of typical structural features of Federico Fellini's films (non-linear narrative, purposelessness, randomness), the conflicts of the plot (moments of crisis of the society and personal psychological crisis), the nature of the characters (marginality, the culture of laughter and its characters, creative persons), the peculiarity of the main character and the alter ego of Fellini himself (Marcello Mastroianni) that represents the perplexed, shapeless, meaningless face in the world of «faces-meanings», the author of this article comes to a conclusion that liminality (state of transition - the concept that has been formed and analyzed in Ethnology) is one of the archetypes of consciousness that forms artistic structures and is most vividly manifested in the work of Fellini.
In this article, I analyze the factors influencing the motivation of tourists for purchasing regional and traditional products, which are a significant element of the tourist culture of a given region. According to a poll, tourists visiting West Pomerania are interested in such products, although their knowledge of local specialties is limited. The market is characterized by an increasing demand for local products related to local traditions and culture.
This research aims to find out how far the Effectiveness of School Principal's Leadership in Developing Culture of Literacy at Aziziyyah Islamic High School, Tangerang. The methods used is qualitative approach.The results of this study indicate that the design of literacy culture development in MA Aziziyyah Tangerang has been adapted to the GLS guidelines formulated by the Ministry of Education and Culture. Includes stages: Habituation Stages, Development Stages, and Learning Stages. Indicators of achievement in these stages were met with 30 items out of a total of 37 items. These results indicate that each stage in the design of literacy culture development runs optimally in accordance with the objectives to be achieved. Several factors influence the development of literacy culture in MA Aziziyyah Tangerang, including: psychosocial factors, leadership factors, environmental factors, organizational factors, ecological factors, and government policies. These factors tend to have a positive impact on the process of developing literacy culture in MA Aziziyyah. The effectiveness of the principal's leadership is the main foundation for optimizing the development of literacy culture. Indicators of achievement related to the effectiveness of MA Aziziyyah school principal leadership in developing a literacy culture fulfilled 6 items out of a total of 7 items. The results showed that the leadership carried out by the principal was quite effective.
This book explores professional women's experiences of gender in the Taiwanese workplace in the wake of the rapid transformation of the country's economy, identifying attitudes to gender in a heterosexist and heteronormative social culture. It contributes to understanding women's relationships with their superiors and peers at work and the strategies that they have used to negotiate with these role partners to achieve their own personal and career goals. It notes that compared to women in other East Asian economies, women in Taiwan have a more consistent career trajectory and that the local women's movement and activism has brought Taiwan a long way in improving women's employment rights, but argues that it is too soon to claim that gender inequality has been banished from the workplace. Based on qualitative, indepth interviews, the book explores the participants' accounts, gendered and heteronormative practices at work, in two contexts: organizational management and everyday social encounters. It investigates gener inequality at work by focusing on women employees' everyday experiences, and examines structural and institutional factors affecting gendered arrangements, as well as personal experiences in negotiating gender. A key read for students and scholars in gender and employment studies, this book will also be of interest to those working within the field of employment sociology and organisational culture--back cover
Objective: This study aimed to understand the dynamics of self-identification and racial preference in urban and rural primary school children in southern Peru, and to discern the underlying causes of discrimination and racism in these contexts. Materials and Methods: The research adopted a naturalistic paradigm with a qualitative approach and a case study design. Participants included 24 students from urban and rural educational institutions in the southern highlands of Peru. Data was collected using the "Doll Test" questionnaire, based on the original "Doll Test" designed in the 1940s in the USA. Re-sults: The study revealed a concerning trend in students' perceptions of beauty related to the skin color of dolls. Stereotypes were evident in students' perceptions, associating the black doll with "bad" and the white doll with "good". A marked preference was identified for the blonde doll, but a majority identified with the black doll in terms of similarity. Most students anticipated an economically disadvantaged future for the black doll and a privileged one for the blonde doll. Discussion: The findings unveil the palpa-ble presence of racial stereotypes and prejudices in students' perceptions and preferences regarding skin color. This underscores the urgent need to promote a culture of inclusion and respect from childhood and the importance of implementing educational and cultur-al interventions to eradicate these stereotypes.
