Suchergebnisse

This paper attempts to describe the different orientations in architectural decoration that arose as a result of human existence and its relation to his environment. Throughout history, decoration has been a bridge connecting the building to the environment, connecting people with history and culture. And it has been an instrument of the local identity of the building and the whole environment within the framework of the idea of sustainability, which consists of three foundations (economic, environmental and cultural). Within this texture in this study, decorative details and patterns are evaluated, in order to understand the effects of factors on cultures. From one culture to another, it is discussed in connection with the comparison of the Moorish and Greek decoration. As a result, this study has determined decorative orientations in the Mediterranean architecture and its influence on sustainable development.
Keywords: Decoration, Cultural Sustainability, Style, Identity, Greek, Moorish

Undergraduate literary publications not only reflect the environment of the campuses on which they are published but also reveal the authors' visions of the world in which they live. By examining submissions to Mississippi University for Women's fine arts publication, Dilettanti, from 1954 to 1989, this research explores the ways broader social changes and local developments influence expressions of sexuality and gender. Yet, since the publication is specific to a women's college in Mississippi, students' concerns reflect campus life as the university navigated desegregation, changes in campus regulations, and coeducation. Through the decades covered, such changes as the rise of the women's movement, the emergence of the birth control pill, and the resurgence of conservatism in national politics are referenced in submissions and reveal some of the students' reactions to movements occurring nationwide. Focusing on themes of conventional gender roles, alternate sexualities, reproductive control, and the use of feminist rhetoric in submissions, this analysis highlights the shifting attitudes toward sexuality and gender as well as the attitudes that stay the same over this 35-year period. While the topics discussed change over the years, student submitters view themselves as connected to larger societal and cultural forces between the 1950s and 1980s.

The purpose of the article consists of considering a wedding as a form of ceremonial-ritual "entertainment" in the fine arts of Ukraine of the XX-XXI centuries. The research methodology consists of the application of the hermeneutic method in the aspect of interpreting a wedding as a form of ceremonial-ritual "entertainment" in the works of Ukrainian artists of the XX-XXI centuries, and as a way to preserve the national cultural code and folk traditions; analytical method - to determine the theoretical foundations of the study of the wedding as a form of ceremonial-ritual "entertainment" in the works of G. Akishina, G. Verbitsky, M. Guyda, T. Danylych, E. Neuman and other Ukrainian artists of the XX-XXI centuries. The scientific novelty of the work is that the first time the wedding is considered as a form of ceremonial-ritual "entertainment" in the works of Ukrainian artists of the XX-XXI centuries, as a means of preserving the national Ukrainian cultural code and Ukrainian folk traditions. Conclusions. Wedding as a form of ceremonial-ritual "entertainment" in the works of Ukrainian artists of the XX-XXI centuries F. Krichevsky, A. Kulchytskaya, M. Primachenko, G. Akishina, I. Verbitsky, G. Galaganov, M. Guyda, I. Ilko, and others, occupied a special place, not only as a rite in the system of family rituals but as one of the elements of preserving the national cultural code, a means of transmitting and preserving Ukrainian folk traditions. The works made in the style of primitivism, realism, socialist realism reflect wedding ceremonies as a dynamic spectacle that carries a magical type of thinking, combining individual self-consciousness and the collective unconscious, preserving the folk traditions of Galicia, Carpathian, and Hutsulshchyna, acquired by numerous generations of Ukrainians. A wedding as a form of ceremonial-ritual "entertainment" acts not only as a plot theme in the visual arts of the XX-XXI centuries, but also art exhibitions, art projects dedicated to the wedding theme in the visual arts, themselves act as "entertainment" since they are accompanied by a corresponding performance that carries the historical meaning of the revival of Ukrainian national traditions. An example is the exhibition of N. Onatsk "Wedding in Poltava region", which was accompanied by an interactive presentation of a fragment of the wedding ritual with the participation of the folk ensemble of Ukrainian music "Roksolania".
Key words: fine arts, Ukrainian artists of the XX-XXI centuries, "entertainment", wedding, ceremony, ritual, Ukrainian folk traditions.

This research attempts to dismantle the meaning in the Ponogogo Reog symbol by using Javanese tradition studies, both in asthabrata teachings and Javanese cosmogony: keblat papat kelimo pancer. This research is important because not many people understand the meaning contained in the Reog symbols. On the other hand, the Reog symbols are now being reduced by the interests of commercialism so as to eliminate the valuable values in them. This can be seen in the use of Reog symbols which are used as a citybranding media in the city of Ponorogo and performances that come out of the standards Reog tradition. Reog's art has turned into a commodity that is traded to the market. This study uses qualitative methods using a critical paradigm. A paradigm that assesses social reality is not a neutral reality, but is deliberately shaped by and for political, economic, and social interests that are dominated by dominant groups in society by collecting data through observation and in-depth interviews with experts in the field of Javanese culture, specifically about Reog to obtain the meaning of the Reog Ponorogo symbol from Javanese tradition. The results of this study describe the meaning in the Reog symbol and see the development of traditional Javanese art is reduced by market interests. The symbols in Reog Ponorogo have meanings related to lust that exists in humans. Symbolization in Reog's art forms valuable meanings and values in society. in general, Reog Ponorogo is a show that can provide guidance in living life for those who see it or understand it deeply. Reog is no longer an art and culture that requires special rituals in every performance but is commodified into a commercial merchandise. At this stage, Reog's products are adjusted to market demands with market standards as well. Products related to Reog are then mass-produced and even made replicas that resemble Reog.

Studies of environmental injustice have been intensely scrutinized by social science researchers since the publication of the United Church of Christ's Commission for Racial Justice report entitled Toxic Wastes and Race in the United States in 1987. Importantly, there has been an emphasis on analysing longitudinal data to answer the question 'which came first, people or pollution?' In addition, determining where environmental hazards are located and how demographics around those hazards are estimated has become central to any empirical enquiry on the topic. This new letter by Mohai and Saha (2015 Environ. Res. Lett. 10 115008) adds to our emerging understanding of environmental justice by analysing the distribution of Treatment, Storage and Disposal Facilities across the United States to determine why they are concentrated in non-white and low income neighbourhoods. The researchers clearly demonstrate how longitudinal analysis and advances in geographic information system methodology can help address meaningful social questions about environmental inequality that are central to environmental policy and practice.

The Traffic in Culture: Refiguring Art and Anthropology. George E. Marcus and Fred R. Myers. eds. Berkeley: University of California Press, 1995. 380 pp.The Death of Authentic Primitive Art and Other Tales of Progress. Shelly Errington. Berkeley: University of California Press, 1998. 309 pp.

This paper seeks to address effective aggressiveness and the treatment of aggressive behaviour in the context of MMA in comparison to the balance of the formal Canadian legal landscape. I choose anti-bullying legislation, and its treatment of aggressive behaviour, as a counterexample to the treatment of aggressive behaviour within the MMA regulatory framework. By intertextually linking and superimposing these two categories of legislation, a critical lens drawing on institutional ethnography is applied. This is done to question and deconstruct the differential treatment of aggressive behaviour and the rationale behind the legislative mixed message sent. This lens also allows me to show the importance of a more thorough analysis and understanding of the imported internal frameworks of regulated activities that are candidates for decriminalization through amendments to Canada's Criminal Code intended to ensure the Criminal Code is current to today's reality. The quandary faced within the fabric of the MMA community regarding its own treatment of aggressive behaviour, where it is both reified as well as castigated through anti-bullying advocacy, will also be examined.

ABSTRACTThe atraumatic restorative treatment (ART) technique or approach for the restoration of primary and permanent teeth has been widely adopted in, but not limited to, developing countries. However, the requirement for the placement of the restorative materials under often less‐than‐ideal conditions imposes significant restrictions on their selection; and there have been very few randomized clinical trials or reports comparing different types of restorative materials and treatments. Although conventional glass‐ionomer cements (GICs) have relatively poor mechanical and adhesive strengths, their satisfactory biological features, ease of use, and low costs are distinct advantages. Most of the published reports of the clinical performance of the newer, high‐strength esthetic conventional GICs specifically marketed for the ART approach have been from short‐term studies. Satisfactory clinical performance has been demonstrated for single‐surface posterior restorations only, over three years. Findings indicate that further improvements in restorative materials are still required for their use with the ART approach, together with further clinical investigations of the remineralization of shallow open caries lesions, as an alternative to placing definitive restorations.