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Mushkina, Natalia. "SONGS-PRESENTATIONS IN THE FOLK-SONG CULTURE MARI." Финно-угроведение, no. 1 (2020): 134–42. http://dx.doi.org/10.51254/2312-0312_2020_61_12.
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Soetanty, Etik, and M. Shoim Anwar. "GAYA BAHASA DALAM LIRIK LAGU POP GAYA BAHASA DALAM LIRIK LAGU POPULER YANG DINYANYIKAN OLEH SYAHRINI." Buana Bastra 2, no. 1 (February 3, 2022): 75–81. http://dx.doi.org/10.36456/bastra.vol2.no1.a4992.
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The language style or known the Figure of Speech is an expression of feelings that have deep meaning for others. This research was conducted to look at the style of the language in the lyrics of popular songs by Syahrini. The analuses covered were stylistic repetition, alliteration, assonance, parallelism, “Simploke”, and redundancy. Analysis methods of this research used descriptive qualitative method. Based on the analysis of the lyrics of a popular song Syahrini explained that the style of repetitipn languange is a classification of words in a few times to amplify the pressure. We can see the lyrics of the songs, entitled: My Lovely, Aku Tak Biasa, Bohong, Kau Yang Memilih Aku, Semua Karena Cinta, Sesuatu, Cinta Tapi Gengsi, Pusing Setengah Mati, Aku Tak Biasa (Cover Alda) dan Kau Cetarkan Hatiku. While the other songs on the album are Tatapan Cinta, Kau Sengaja, Kau Sengaja, Sang Pencipta, Tak Terganti, Aku Pergi, Tak Memilih, Memilih Aku, Kau Bohong, Taubatlah Taubat, Ya Robbi, Cinta Terakhir, dan Jangan Memilih Aku. In the alliteration style is a kind of language style that is concrete use of the word tahat have teh begining of the same consonant. Analysis of language style of the lyrics songs by Syahrini is titled Kau Yang Memilih Aku, Sesuatu, Pusing Setengah Mati, dan Aku Tak Biasa (Cover Alda). Whereas in the others Syahrini song lyrics are entitled: Tatapan Cinta, Habislah Sudah, Sang Pencipta, Tak Terganti, Tak Memilih, Melewati Batas, Kau Bohong, Taubatlah Taubat, Ya Robbi, dan Jangan Memilih Aku. In stylistic assonance of vocal style is similar in the wording. In Syahrini song lyrics have stylistic analysis of a popular song titled: My Lovely, Aku Tak Biasa, Kau Yang Memilih Aku, Semua Karena Cinta, Sesuatu, Cinta Tapi Gengsi, dan Aku Tak Biasa (Cover Alda). According to other Syahrini song lyrics titled: Habislah Sudah, Sang Pencipta, Tak Terganti, Tak Memilih, Memilih Aku, Taubatlah Taubat, Cinta Terakhir, Suasana Dikota Santri. In the parallelism style is a confirmation of language pronunciation used to clarify a statement as the seriousness. In the Syahrini song lyrics have stylistic analysis of a popular song titled: Aku Tak Biasa, Bohong. “Simploke” is repeated word in the sentence at the beginning or end of the line or continued sentences. In the Syahrini song lyrics have stylistic analysis of a popular song titled: My Lovely, Aku Tak Biasa, Bohong, Kau Yang Memilih Aku, Semua Karena Cinta, Sesuatu, Cinta Tapi Gengsi, Pusing Setengah Mati, Aku Tak Biasa (Cover Alda), dan Kau Cetarkan Hatiku. While the lyrics of other songs titled: Kau Sengaja, Habislah Sudah, Tak Terganti, Aku Pergi, Melewati Batas, Memilih Aku, Kau Bohong, Taubatlah Taubat, Cinta Terakhir, Jangan Memilih Aku, dan Suasana Dikota Santri. Pleonasme is an excessive use of the word re-added the next sentence with a view to better of the meaning of the lyrics in a song. In the Syahrini song lyrics have stylistic analysis of a popular song entitled Bohong.
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Ranabumi, Raditya. "Metafora Pada Lagu Nyidham Sari dan Yen Ing Tawang ono Lintang." Ranah: Jurnal Kajian Bahasa 7, no. 2 (December 20, 2018): 247. http://dx.doi.org/10.26499/rnh.v7i2.659.
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The study of metaphors in semantics is indeed worth discussing in the world of linguistics, languages that are not straightforward make many people rethink to understand a meaning. In general, the metaphor is an expression of language to say something that lives for something else that lives, that lives for something that dies, something that dies for life, and something else that dies. When talking about keroncong songs in Indonesia, almost all songs mean straightforward. However, if it refers to the songs of Nyidam Sari and Yen Ing Tawang Ono Lintang, the work of artist Andjar Any seems to need to be studied more deeply because in the lyrics delivered there are a lot of visible metaphors. Based on this background, the purpose of this research is to understand the meanings implied in the two songs. In this study researchers used descriptive qualitative methods because the object of this research is the song contained in the text. Then, based on the results of the research that has been done, it can be concluded that 13 metaphors in both songs have been found, namely 4 nominative metaphors, 4 complementative metaphors, 4 predictive metaphors, and 1 calimative metaphors. Thus it has been answered that the meaning of some song lyrics was previously poorly understood by the general public.AbstrakKajian metafora dalam semantik memang layak untuk diperbincangkan dalam dunia linguistik, bahasa-bahasa yang tidak lugas membuat banyak orang berfikir ulang untuk memahami suatu makna. Pada umumnya metafora itu adalah ungkapan kebahasaan untuk mengatakan sesuatu yang hidup untuk sesuatu lainnya yang hidup, yang hidup untuk sesuatu yang mati, sesuatu yang mati untuk hidup, dan sesuatu yang mati lainnya yang mati. Jika berbicara tentang lagu keroncong di Indonesia, hampir semua lagu bermakna lugas. Akan tetapi jika mengarah pada lagu Nyidam Sari dan Yen Ing Tawang Ono Lintang karya seniman Andjar Any tampaknya perlu dikaji lebih dalam karena dalam lirik-lirik yang disampaikan banyak sekali metafora yang tampak. Berdasarkan latar belakang tersebut, tujuan penelitian ini adalah memahami makna-makna yang tersirat dalam kedua lagu tersebut. Dalam penelitian ini peneliti menggunakan metode kualitatif deksriptif karena objek penelitian ini adalah lagu yang tertuang dalam teks. Kemudian, berdasarkan hasil penelitian yang sudah dilakukan dapat disimpulkan bahwa telah ditemukan 13 metafora dalam kedua lagu tersebut, yaitu 4 metafora nominatif, 4 metafora komplementatif, 4 metafora predikatif, dan 1 metafora kalimatif. Dengan demikian terjawab sudah makna dari beberapa lirik lagu yang sebelumnya kurang dipahami masyarakat awam.
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Abukaeva, Lubov Alekseevna. "Representation of the Concept Jumo "God" in Mari Folk Songs." Ethnic Culture, no. 1 (1) (December 26, 2019): 40–44. http://dx.doi.org/10.31483/r-64071.
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The article is devoted to the analysis of the religious views of Mari, which are reflected in such genres of folklore as guest and wedding songs. The purpose of the article is to identify ways and means of representing the concept of humo «god» in Mari folk songs. Research methods: continuous sampling, comparative method, component analysis. Results, discussion. The following characters of the Mari pantheon are represented in the songs: the Bright God, the predecessor, the mother of God, the mother of the earth, the mother of wealth, the angel, the daughter of God, the prophet, the daughter of the prophet, the son of the prophet, and the bridegroom prophet. Conclusion. The content of folk songs also presents some stories from mythology, fragments of religious rites and the foundations of the creed of the Mari traditional religion.
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Glukhova, Natalia. "Colour Symbols in Mari Songs." Folklore: Electronic Journal of Folklore 64 (June 2016): 109–24. http://dx.doi.org/10.7592/fejf2016.64.glukhova.
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Kutsaeva, Marina Vasilevna. "Ethnic Musical Culture of Moscow Mari (I)." Ethnic Culture, no. 2 (3) (June 20, 2020): 24–30. http://dx.doi.org/10.31483/r-75842.
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The article deals with the problem of maintaining and preserving the ethnic musical culture of the Mari people in the conditions of the diaspora. The purpose of the article is to determine the prospects for preserving the ethnic musical culture of members of the Mari diaspora in the framework of integration processes in the multicultural Moscow region. Methods. The article is based on the data obtained when conducting a sociolinguistic survey in the Mari diaspora of the Moscow region; the selective sampling includes 100 respondents, all of them are natives of the Republic of Mari El or places of traditional compact settlement of the Mari ethnic group, currently living in Moscow or in the Moscow region. One of the aspects of the survey was to study the respondents’ language loyalty, which indirectly manifests itself in in the knowledge and observance of ethnic musical culture. In particular, the respondents were asked questions about the language or languages in which they are likely to sing or listen to songs, about the value and significance of Mari songs in their lives. Based on their answers, tables, reflecting the results, were drawn. Results. According to the results of the sociolinguistic survey in the Mari diaspora, a vast majority of the respondents (96%) listen to (and/or sing) songs in their ethnic language one way or another, under completely different circumstances and using a wide range of modern technologies and telecommunications. The representatives of the Mari Diaspora take an active part in various cultural and musical events, which are held not only within the framework of the ethnic Mari community in Moscow, but also on the private initiative of young Mari activists. The author concludes that the ethnic musical culture, which the members of the Diaspora maintain both independently and in groups, undoubtedly plays an important role in uniting the Moscow Mari people and attracting new members of the Mari Diaspora, it slows down assimilation processes and contributes to the preservation of their ethnic and cultural identity.
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Kutsaeva, Marina Vasilevna. "Ethnic Musical Culture of Moscow Mari (II)." Ethnic Culture, no. 3 (4) (September 29, 2020): 11–18. http://dx.doi.org/10.31483/r-75887.
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The article deals with the problem of maintaining and preserving the ethnic musical culture of the Mari people in the conditions of the diaspora. The purpose of the article is to determine the prospects for preserving the ethnic musical culture of members of the Mari diaspora in the framework of integration processes in the multicultural Moscow region. Methods. The article is based on the data obtained when conducting a sociolinguistic survey in the Mari diaspora of the Moscow region; the selective sampling include 100 respondents, all of them are natives of the Republic of Mari El or places of traditional compact settlement of the Mari ethnic group, currently living in Moscow or in the Moscow region. One of the aspects of the survey was to study the respondents’ language loyalty, which indirectly manifests itself in in the knowledge and observance of ethnic musical culture. In particular, the respondents were asked questions about the language or languages in which they are likely to sing or listen to songs, about the value and significance of Mari songs in their lives. Based on their answers, tables, reflecting the results, were drawn. Results. According to the results of the sociolinguistic survey in the Mari diaspora, a vast majority of the respondents (96%) listen to (and/or sing) songs in their ethnic language one way or another, under completely different circumstances and using a wide range of modern technologies and telecommunications. The representatives of the Mari Diaspora take an active part in various cultural and musical events, which are held not only within the framework of the ethnic Mari community in Moscow, but also on the private initiative of young Mari activists. The author concludes that the ethnic musical culture, which the members of the Diaspora maintain both independently and in groups, undoubtedly plays an important role in uniting the Moscow Mari people and attracting new members of the Mari Diaspora, it slows down assimilation processes and contributes to the preservation of their ethnic and cultural identity.
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Sujatmiko, Bagus, and Ropingi El Ishaq. "PESAN DAKWAH DALAM LAGU “BILA TIBA”." KOMUNIKA: Jurnal Dakwah dan Komunikasi 9, no. 2 (January 26, 2017): 181–95. http://dx.doi.org/10.24090/komunika.v9i2.848.
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Music is one of the media to deliver a message. Music can contain norms of life, one of which is message of da’wah. Music containing da’wah messages is commonly called Religious Music. In Indonesia, such music started in a the 70s by the legendary band Sam Bimbo with the song Sajadah Panjang, and Nasyida Ria Nasyid group with the song Perdamaian. Many of their songs contain da’wah messages that could attract many listeners. At present, there is also a top Indonesian pop band, named Ungu, that always succeeded in making religious songs. Religious songs from Ungu contain many Da’wah messages with touching lyrics, combined with appropriate music. One of Ungu’s latest songs is “Bila Tiba”. This song has a blend of ballad tones and poetic lyrics, as efforts to deliver da’wah messages contained therein. The song that became the soundtrack of the movie “Sang Kyai” is much in demand as a soft tone and the lyrics are evocative. For that reason, this study intends to analyze da’wah message contained in a fusion of tones and lyrics of the song. To analyze the song Bila Tiba, the researcher used Charles Sanders Peirce’s Theory of Semiotics. His classification of signs can be used to peel the tones and lyrics to understand da’wah messages of the song in a complex and profound way. Classifications of signs used in this research were Qualisign, dicent Sinsign, Rhematical Indexical Legisign, dicent Symbol, and Argument. Result of this research is that this song reminds the listener to remember the events of death. Meanwhile, the emphasis of da’wah message contains in the main rhyme of this song, which explains that when death comes, man cannot run away from it. The message of this song is delivered with the poetic lyrics and soft tones and this makes this song a means of contemplation for the listeners. Furthermore, this song also invites the listeners to correct their deed during life, to prepare for the coming death, and to pray for a good death (khusnul khotimah). Musik merupakan salah satu media penyampai pesan. Dalam musik dapat disematkan norma-norma yang terkandung dalam kehidupan salah satunya Pesan Dakwah. Musik yang mengandung Pesan Dakwah biasa disebut Musik Religi. Musik Religi di Indonesia dimulai pada tahun 70-an oleh band legendaris Bimbo dengan lagu Sajadah Panjang, dan grup Nasyid Nasida Ria dengan lagu Perdamaian. Banyak dari lagu-lagu mereka berisikan pesan dakwah yang banyak diminati pendengar. Dan saat ini, terdapat juga band papan atas Indonesia yang selalu berhasil dalam membuat lagu religi dari aliran pop, yaitu Band Ungu. Lagu-lagu religi dari Band Ungu banyak berisikan pesan dakwah dengan lirik yang menyentuh, diiringi dengan musik yang sesuai. Dan salah lagu religinya yang terbaru yang berjudul “Bila Tiba”. Lagu ini memiliki perpaduan antara nada Ballad dan lirik yang puitis, sebagai upaya maksimal untuk menyampaikan pesan dakwah yang terkandung di dalamnya. Lagu yang menjadi soundtrack film “Sang Kyai” ini banyak diminati karena nadanya lembut dan liriknya yang menggugah. Untuk itu penelitian ini bermaksud untuk menganalisis Pesan Dakwah yang terkandung dalam perpaduan nada dan lirik lagu tersebut. Untuk menganalisis lagu “Bila Tiba”, peneliti menggunakan Teori Semiotika Charles Sanders Peirce. Klasifikasi tanda dari Charles Sanders Peirce dapat digunakan untuk mengupas simbol nada dan lirik lagu, untuk kemudian dapat diketahui pesan dakwah lagu secara kompleks dan mendalam. Klasifikasi tanda yang digunakan antara lain Qualisign, Dicent Sinsign, Rhematical Indexical Legisign, Dicent Symbol, dan Argument. Dari hasil analisis terungkap bahwa pesan dakwah dalam lagu ini menyampaikan kepada pendengarnya untuk mengingat peristiwa kematian. Sementara penekanan dari isi pesan lagu terdapat pada bait utama, yang menerangkan ketika ajal datang, manusia tidak bisa lari darinya. Pesan lagu disampaikan dengan lirik yang puitis dan nada yang lembut, menjadikan lagu ini sebagai sarana perenungan bagi pendengarnya. Lagu ini juga mengajak pendengarnya untuk memperbaiki amal perbuatannya selama hidup, untuk mempersiapkan diri ketika kematian datang menghampirinya. dan senantiasa berdo’a agar mati dalam keadaan khusnul khatimah.
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Abukaeva, Lyubov A. "Functions and functioning of Mari guest songs." Vestnik of the Mari State University 14, no. 3 (2020): 344–50. http://dx.doi.org/10.30914/2072-6783-2020-14-3-344-350.
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Ivanytskyi, Anatolii. "Sacred Foundations of Folk Song Art." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (June 6, 2022): 14–23. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258134.
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The purpose of the research is to determine the influence on the spontaneous and creative formation of song symbolism (in particular, musical-typological), which took place through instincts. The research methodology uses scientific methods to emphasise that folklore is an extremely complex and much more difficult system to be systematized than literature and music. Therefore, the criteria of genre classification of written works to folklore can be used in part, aware of their conditionality. In folklore, which is the bearer of the pre-written experience of mankind, in addition to mental formative and aesthetic achievements, biological instincts are also reflected. Instincts influenced the intuitive and creative formation of song symbolism (in particular, musical and typological). The scientific novelty of the research is that it emphasizes the folklore to be a legacy of the Neolithic worldview (phenomena: magical, religious, organizational and social, legal – like a wedding). For several thousand years under the influence of historical circumstances, and then Christianity in the Neolithic and folklore heritage has undergone significant distortions. The most significant changes have affected the vocabulary of lyrics and melodies of songs: they are the least stable components of the song in the race of time. Much less time affected the rites, beliefs and especially musical forms of songs. The rhythmic structure of musical forms has been preserved the most, as well as the compositional structure of song texts, which is always organically combined with musical rhythmics. Conclusions. The stability of ritual actions over the millennia, which is inherent in all religions (and paganism as well), is due primarily to the influence of sacredness. But sacredness does not affect the mind, but the senses. In order to assert it, the magic of the cycle of the agricultural year and the linear movement of human life (from the cradle to the grave) was worked out. To consolidate in the minds of the genus (tribe) through magic the laws of the annual agrarian cycle, the Magi-priests intuitively developed a perfect musical system of cognitive signs: winter, spring, and summer. The same applies to family rites. In fact, ritual melodies have clearly defined rhythmic structures that are associated with a certain time of year, with family events.
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Solntseva, Natalia. "Mari Folk Songs in Translation by S. Klychkov." Stephanos. Peer reviewed multilanguage scientific journal 22, no. 2 (March 30, 2017): 38–43. http://dx.doi.org/10.24249/2309-9917-2017-22-2-38-43.
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Abukaeva, L. A. "Representation of hospitality traditions in Mari guest songs." Vestnik of the Mari State University 13, no. 2 (2019): 220–27. http://dx.doi.org/10.30914/2072-6783-2019-13-2-220-227.
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Damayanti, Maya Ariska, Saharudin, and I. Nyoman Sudika. "Bentuk Lingual dan Makna Konotasi pada Lirik Lagu Ebiet G. Ade dalam Album Masih Ada Waktu." Jurnal Bastrindo 1, no. 1 (June 30, 2020): 51–66. http://dx.doi.org/10.29303/jb.v1i1.10.
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Abstrak: Ada dua hal yang menjadi permasalahn dalam penelitian ini. Pertama, bagaimana bentuk lingual yang terdapat pada lirik lagu Ebiet G. Ade dalam album “Masih Ada Waktu”. Kedua, bagaimana makna konotasi pada setiap bentuk lingual yang bermakna konotasi pada lirik lagu tersebut. Adapun tujuan dari penelitian ini ialah untuk mengidentifikasi bentuk lingual bermakna konotasi yang terdapat pada lirik lagu dalam album tersebut serta mendeskripsikan makna konotasi pada setiap bentuk lingual tersebut. Metode yang digunakan dalam pengumpulan data adalah metode dokumentasi dan metode simak. Sementara itu, metode analisis data yang digunakan adalah metode padan intralingual dan ekstralingual. Hasil analisis data disajikan secara informal atau penyajian dengan kata-kata biasa. Data-data yang ditemukan berupa bentuk lingual morfologi dan sintaksis. Setelah dilakukan analisis makna konotasi ditemukan bahwa lagu-lagu dalam album tersebut mengandung nilai-nilai kehidupan seperti nilai keagamaan dan sosial. Selain itu, lagu-lagu tersebut juga memberikan nasihat kepada pendengar agar tetap bersyukur atas segala nikmat Tuhan serta selalu patuh dan taat pada aturan dan perintah Tuhan. Selain itu, lagu-lagu tersebut juga memperingati kita untuk segera bertaubat pada Tuhan selagi masih ada kesempatan serta memasrahkan hidup dan mati kita pada-Nya karena hanya Tuhanlah Sang Pemberi Pertolongan dan Pemberi Cinta Yang Maha Luas. Abstract: There are two things that become the problem in this study. First, how the lingual form in the song lyrics of Ebiet G. Ade in the "Masih Ada Waktu" album. Second, how the connotation meaning of each lingual form which means connotation in the song lyrich of the album. The purpose of this study is to identify meanin connotations of lingual forms were found in the song lyrics in the album and describe the connotation meaning in each of those lingual forms. The method used in data collection is the documentation method and refer to the method. Meanwhile, the data analysis method used is the intralingual and extralingual equivalent method. The results of data analysis are presented informally or presented in ordinary words. The data found wete lingual form of morphology and syntax. After analyzing the connotation meaning it was found that the songs in the album contained life values ??such as religious and social values. In addition, the songs also provide advice to listeners to remain grateful for all the blessings of God and always obey and obey God's rules and commands. In addition, these songs also warn us to immediately repent to God while there is still a chance and surrender our life and death to Him because only God is the Giver of Relief and the Giver of Love in the Most Widespread.
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Abukaeva, L. A. "COMPARATIVE MODELS AND IMAGES IN EASTERN MARI MAJESTIC SONGS." Vestnik of the Mari State University 12, no. 3 (2018): 124–30. http://dx.doi.org/10.30914/2072-6783-2018-12-3-124-130.
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Dagaura, Mohan. "The Performance of Jhumra as the Tharu Folk Ballad: A Study in Angst and Eco-Romance." JODEM: Journal of Language and Literature 13, no. 1 (August 25, 2022): 92–106. http://dx.doi.org/10.3126/jodem.v13i1.47466.
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This paper critically unravels the themes of Jhumra folk dance-songs of Dangaura Tharu of Nepal. On its interpretation, it discusses the imaginative representation of nature and human relationship in Jhumra songs appropriating the notions of the folklore performance of Richard Schechner and Alan Dundes. The paper appropriates Tharu Jhumra dance songs: Chhaila To, Jone Panah Gaili, Baigam Ture and Karam Lage Aag voiced by Mani Ram Tharu. The songs reflect the romantic fantasy and the suffering of the folks. Jhumra serves as the distinct dance repeatedly performed by the community throughout the year. Along with this, the brief reference of Robert Burns has also been fetched to spell out the modern revival and revisualization of folklores by the medium of YouTube and other commercial online platforms. Jhumra songs comprise the lyrics that romanticize and de-romanticize nature with the human–nature union. I have used Schechner's idea of performance as the way of life to signify the eco-centric romance of Tharu community. Schechner believes that performance is embedded in everydayness of each activity that a folk performs. This research will help to assimilate the eco-friendly nature of Tharu ethnicity and other different ethnicities of Nepal urging us to be more eco-conscious individuals.
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Pali, Agustina, Finsensius Mbabho, and Marselina Wali. "English for the Beginners di Era New Normal melalui Joyful Learning di SDI Turekisa, Ngada-Flores, NTT." Publikasi Pendidikan 11, no. 1 (February 28, 2021): 1. http://dx.doi.org/10.26858/publikan.v11i1.16394.
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Dunia pendidikan seolah-olah “mati suri” di tengah-tengah bergejolaknya wabah covid-19. Hal ini berdampak pada menurunnya minat belajar bahasa Inggris bagi para pembelajar pemula (English for the beginners) di SDI Turekisa, Kabupaten Ngada, Flores-NTT. Kegiatan ini melibatkan English for the beginners di SDI Turekisa dengan rata-rata usia 10-11 tahun melalui metode joyful learning. Hasil dari kegiatan ini memberikan dampak yang positif terhadap minat belajar dan peningkatan English skills bagi para peserta kegiatan. Untuk itu, kegiatan English for the Beginners di era new normal melalui metode Joyful Learning dengan beberapa teknik pendekatan antara lain ceramah interaktif, songs and games, drilling dan demonstrasi dapat dijadikan pilihan alternative dalam kegiatan ini untuk mengembalikan mood belajar siswa yang terlanjur “mati suri”.
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Enkerli, Alexandre, and Elisabeth den Otter. "Donfoli, Play the Music: Bamana and Bozo Songs from Kirango, Mali." Yearbook for Traditional Music 32 (2000): 226. http://dx.doi.org/10.2307/3185275.
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Schulz, Dorothea E. "Music Videos and the Effeminate Vices of Urban Culture in Mali." Africa 71, no. 3 (August 2001): 345–72. http://dx.doi.org/10.3366/afr.2001.71.3.345.
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AbstractThis article focuses on a number of highly successful female pop singers in Mali whose video music clips and music shows make up a major share of urban people's daily broadcast consumption. The article explores the reasons for the astonishing success of the singers by locating the consumption and interpretation of their songs in Malian popular and scholarly discourses on cultural authenticity and moral decline. Some Malian scholars emphasise that women's pop songs reflect the corruption and mixing of traditional oral genres characterised by historical knowledge, textual complexity and regional specificity. Their criticism is echoed by a number of older people in town and countryside. It is reminiscent of a tendency among urban consumers to express their fascination with and fears of life in town in the icon of the seductive, dangerous and immoral town woman. To many women of the urban middle classes, in contrast, the pop singers embody a desirable solution of women's daily dilemma: a Malian morality dressed up in the fashionable outfit of a ‘modern’ urban woman. Middle-class women respond enthusiastically to this art form because it praises them for upholding ‘traditional’ values in the face of adversity while absolving them of complicity in undermining such values.
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Pozdeev, I. L. "Mari of Udmurtia: Factors of Preserving Traditional Culture in Modern Conditions." Nauchnyi dialog, no. 12 (December 29, 2021): 380–95. http://dx.doi.org/10.24224/2227-1295-2021-12-380-395.
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The factors of preservation and intergenerational transmission of the traditional culture of the local group of Mari living in the territory of Udmurtia in a different ethnic environment is examined in the article. The source basis of the article was the field ethnographic materials collected in 2007 among the Mari of the Karakulinsky region of the Udmurt Republic and introduced into scientific circulation for the first time. The socio-economic situation of the respondents, the established mechanisms of adaptation to market relations, the preservation of traditional rituals and holidays, material and spiritual culture, the use of the native language, ethno-demographic processes, the activities of the Mari community to support ethnic culture are showed in the work. The author notes that the historically formed mechanism for ensuring the viability of the Mari society includes practices of demographic behavior, ethnic socialization of youth, reproduction of elements of spiritual and religious culture (prayers, family and calendar rituals, songs) and the material world (national costume, elements of architecture, musical instruments, national cuisine), the use of the Mari language. It has been proven that the ritual sphere of the Mari is undergoing transformations, but at the same time it continues to remain an inseparable part of the life of the people. In the course of the work, it was also revealed that the local group of Mari in modern conditions for self-preservation needs to constantly generate ethnic markers based on traditional culture. The key role in this is assigned to the village community, educational institutions and public organizations.
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Pchelovodova, Irina Vyacheslavovna, and Nikolai Vladimirovich Anisimov. "THE PERFORMER AND TRADITION: PERSONALITY AS A PHENOMENON IN TRANSMISSION OF THE UDMURT CULTURAL HERITAGE." Yearbook of Finno-Ugric Studies 14, no. 3 (October 2, 2020): 418–33. http://dx.doi.org/10.35634/2224-9443-2020-14-3-418-433.
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For the first time, this article concentrates on the phenomenon of personality in the Udmurt ethnical culture. This is a good framework to talk about Olga Nikolaevna Solovyova (1932-2018), well-known among the Udmurt as Dzhaky/Dzhakapay/Dzhakyapay (litt.: Jay/aunt Jay). There are several reasons for scientific interest about her: she had a huge knowledge of singing repertoire and rituals, she was able to improvise freely within her local tradition, she had exceptional musical abilities. The analysis of Olga Solovyova’s character as a performer allows to connect the songs in her repertoire with her singer’s fate. Many of her non-ritual songs are indeed autobiographic narratives with her reflections about her unhappy life, her fate as an orphan. A large corpus in her songs belongs to the so-called personal songs, a kind of memory about a person in musical, singing form. Another original feature in her singing art was the knowledge of other communities’ songs (Russian, Mari, Tatar), from the surrounding villages, both in the original languages as in translation into Udmurt. Because of her knowledge of the local ritual tradition, Olga Solovyova was a significant and respected member of her village community. Until her life’s last day, she respected the traditional worldview positions, the behavioural rules, the canons of ritual and singing performance, which she endeavoured to instil in her entourage. All this arose genuine interest in social and scientific circles. And today, when she is no more among us, her name comes back to life in numerous different projects.
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Klyucheva, M. A. "Zoonyms in the names of the characters in Mari folk games." Bulletin of Ugric studies 10, no. 3 (2020): 462–71. http://dx.doi.org/10.30624/2220-4156-2020-10-3-462-471.
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Introduction: zoonyms occupy important place in the semiotic system of folklore. They encode basic mythological ideas and, at the same time, reflect economic activity of people traditionally associated with animals. The game vocabulary correlates with the general system of folklore and mythology. Zoonyms are used in games as the names of characters, game items and toys, movements, as well as they are widely represented in texts of chits, game sentences, dialogues, songs. Objective: to reveal zoonyms in the names of the characters in the Mari folk games, to systematize them according to their functions, thematic groups and etymology. Research materials: almost the full volume of texts with descriptions of the Mari folk games is taken from publications in Russia and other countries, from the hand-written Archive of the Mari Research Institute of Language, Literature and History, field records, the personal collection of the author. Results and novelty of the research: the article for the first time reveals a complete system of zoonyms in the names of the characters of the Mari games. Their functions in the game are revealed: most often, zoonyms are used in the games like catch-up, blind man etc. as the name of the catcher, his antagonists, as well as an offensive nickname for the losing player; they also indicate the similarity of the movements of the gamer and the animal; used in round dances and imitative improvisational games. Thematically, most of them are the names of mammals and birds, which Mari children most often met in everyday life and in native nature. There are almost no names of reptiles, amphibians, fish and insects. Etymologically, most of the reviewed zoononyms are Turkic borrowings in the Mari language, fewer of them are words of Finno-Ugric origin and borrowings from Russian; and these data indirectly indicate the genesis of specific animal images in the Mari game culture.
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Chahdi, Chadi, and Jamal Akabli. "On How Certain Films and Songs Contain Otherness." Arab World English Journal For Translation and Literary Studies 6, no. 2 (May 24, 2022): 43–53. http://dx.doi.org/10.24093/awejtls/vol6no2.3.
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This article comes as a sort of voyage in the sense that it tries to go beyond the simple definitions that pin video clips down to being a mere form of entertainment and a mode of commercialization and instead shows them to be part and parcel of a well-established concourse of texts which repeat themselves with a difference. The study is thus an exploratory odyssey in the quest for the insinuations, intimations and nuances which impregnate a host of video clips made in and presumably about Morocco by a myriad of American and European artists whose works, considered in entirety, give way to what Barthes labels as the mythical, a phraseology studded with the stereotypical, which is no less insidious than the myth with its grand narratives as encapsulated in film or prose. Based on a qualitative approach, Babel, Marrakech Express, and Sex and the City are the three film samples we will set out to explore in juxtaposition with several singles: Do it Again by The Chemical Brothers, The World I Know by Collective Soul, Yalla by Inna, Marrakesh Express by Nash, Crosby, and Stills, Misere Mani by Era, and Nothing to Fear by Chris Rea
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Золотова, Татьяна Аркадьевна, Наталья Игоревна Ефимова, and Екатерина Андреевна Плотникова. "Traditions of Russian Folklore in Mari El Republic (Folk Calendar of Russian Migrants)." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 5 (December 10, 2019): 35–52. http://dx.doi.org/10.26158/tk.2019.20.5.003.
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В настоящей статье предложено описание календарных обрядов (зимних, весенних, летних и осенних) в пределах одной локальной традиции. В основе статьи - материалы, собранные на территории северо-восточной части Республики Марий Эл (Мари-Турекский, Новоторъяльский, Сернурский, Куженерский, частично Килемарский районы) по единой программе фольклорными экспедициями Марийского государственного университета в Республике Марий Эл (руководитель - профессор Т.А. Золотова) на протяжении последних десятилетий ХХ в. и первых десятилетий XXI в. Они представляют собой хронологический срез календарного фольклора 20-30-х годов XX века. Выводы о региональном своеобразии народного календаря вятских переселенцев РМЭ делаются на основе сопоставления определенных обрядовых действий всех населенных пунктов в пределах одного района, затем районов между собой и, наконец, всего контента календаря вятских переселенцев с календарно-обрядовыми традициями и фольклором Кировской области. Среди обрядовых действий и текстов для специалистов в данной области интерес могут представлять описания традиций ряженья и гаданий в период зимних Святок, катаний на шестах на Масленицу, действий с троицкой березкой, а также текстов подблюдных гаданий, вечерочных (гулевых) песен, хороводных (круговых) и троицких песен. The given article contains a description of calendar rites (winter, spring, summer and autumn) within one and the same local tradition. The material presented was collected in the area of the northeastern part of Mari El Republic (Mari-Turekskiy, Novotorjal'skiy, Sernurskiy, Kuzhenerskiy, partially Kilemarskiy regions) according to a programme of ethnographic expeditions of Mari State University conducted by professor Tatyana Zolotova from 1980s till present. Chronologically, the materials correspond to the calendar folklore of the 1920-1930s. Conclusions concerning regional peculiarities are drawn on the ground of consistent juxtaposition of certain ritual actions of all settlements within one region, of regions themselves, and of the whole calendar of Vyatka’s migrants with calendar rites and folklore of Kirov region. Among the ritual actions and texts, descriptions of fortune telling and mummers on Christmastide, katanie na shestah on Maslenitsa, actions with the Trinity birch tree, texts of podbljudnye fortune telling, youth party songs (vecherochnye, gulevye), round dance and trinity songs might be of a peculiar interest to a specialist in the field of ethnography.
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Mushkina, Natalia. "RITUAL SONGS OF MEADOW AND EASTERN MARI IN THE RECORDS OF Y.A. ESHPAI." Финно-угроведение, no. 1 (2021): 111–24. http://dx.doi.org/10.51254/2312-0312_2021_62_11.
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Stebbins, Tonya, and Mark Planigale. "‘Explaining the Unknowable’: Accessibility of Meaning and the Exegesis of Mali Baining Songs." Australian Journal of Linguistics 30, no. 1 (January 2010): 141–54. http://dx.doi.org/10.1080/07268600903134103.
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Wong, Shia Ho, and Nor Hashimah Jalaluddin. "Figurative Language in “Mati Hidup Semula” Song: A Semantic Inquisitive Analysis." Jurnal Bahasa 19, no. 2 (December 2, 2019): 231–58. http://dx.doi.org/10.37052/jb.19(2)no3.
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Apriati, Yuli, Laila Azkia, and Alfisyah Alfisyah. "Upaya Meningkatkan Kepedulian Siswa MIN 5 Barito Kuala Terhadap Lingkungan Hidup Melalui Edukasi Lingkungan." Bubungan Tinggi: Jurnal Pengabdian Masyarakat 3, no. 2 (May 31, 2021): 152. http://dx.doi.org/10.20527/btjpm.v3i2.3381.
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Pengabdian kepada masyarakat tentang upaya meningkatkan kepedulian siswa MIN 5 Barito Kuala terhadap lingkungan hidup, khususnya di daerah bantaran sungai di Desa Sungai Kali. Hal ini merupakan salah satu bentuk kepedulian tim pengabdian dari Pendidikan Sosiologi ULM akan permasalahan lingkungan yang semakin tidak terkendali. Melalui kegiatan ini diharapkan dapat membentuk jiwa-jiwa yang peduli terhadap lingkungan. Dimulai dari siswa-siswa kelas empat, lima dan enam sebagai agen perubahan. Media yang dilakukan dalam pengabdian ini melalui kampanye lingkungan lewat lagu dan gerak, karena media ini mudah untuk dicerna dan disukai anak-anak. Kegiatan pengabdian masyarakat ini bertujuan dalam membentuk pola pikir dan meningkatkan kepedulian siswa Sekolah Dasar untuk lebih mencintai lingkungan. Sasaran utama dalam pengabdian ini adalah siswa-siswi kelas empat, lima dan enam. Seluruh peserta terdiri dari 49 anak, yaitu 16 anak dari kelas empat, 17 anak dari kelas lima, dan 16 anak dari kelas enam. Pelaksanaan kegiatan dimulai dengan sosialisasi pentingnya kebersihan lingkungan, pengenalan dan penggolongan jenis sampah, serta cara memanfaatkannya. Selanjutnya pada sesi akhir acara ditutup dengan kampanye lingkungan melalui lagu tentang lingkungan dari Ghea dan Ghia dengan judul Jaga Bumi dan lagu anak dengan judul Mari Berkebun. Pada akhir acara ditutup dengan praktek kerja melalui penanaman pohon rambutan dan jeruk di sekitar sekolah, sebagai upaya pencegahan banjir. Semua peserta sangat antusias dan tertarik mengikuti kegiatan dari awal sampai akhir acara. Community Services on efforts to raise awareness of students min 5Barito Kuala on the environment, especially in riverbank areas in Sungai Kali Village.One form of the dedicated team from ULM Sociology Education about environmental problems that increasingly out of control. Through this activity, it is hoped that it can form souls who care about the environment —starting from the fourth, fifth and sixth-grade students as agents of change. The media carried out in this service is through environmental campaigns through songs and movements because these media are easy to digest and are liked by children. Community Service Event aims to form a mindset and raise awareness of elementary school students to love the environment. The main target of this service is the fourth, fifth and sixth-grade students. All participants consisted of 49 children, 16 children from the fourth grade, 17 children from the fifth grade, and 16 children from the sixth grade. The implementation of activities begins with the socialization of the importance of environmental cleanliness, introduction and classification of types of waste, and how to use them. Then at the end of the session, the event was closed with an environmental campaign through a song about the environment from Ghea and Ghia with the title Jaga Bumi and a children's song entitled Mari Berkebun. At the end of the event, it was closed with practical work by planting rambutan and orange trees around the school to prevent flooding. All participants were very enthusiastic and interested in participating in the activity from the beginning to the end.
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Rothenberg, David. "Whale Music: Anatomy of an Interspecies Duet." Leonardo Music Journal 18 (December 2008): 47–53. http://dx.doi.org/10.1162/lmj.2008.18.47.
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The author played clarinet in accompaniment with a singing male humpback whale off the coast of Maui. A sound spectrogram suggests that the whale may have altered his song in response to the clarinet. This observation is consistent with the fact that humpback whales rapidly change their song during breeding season from week to week. A male humpback whale may be able to quickly match new pitched, musical sounds it has never heard before—a result different from those of most humpback whale playback experiments. This experiment suggests that interspecies music-making might be a valuable tool in helping understand the complex communication strategies of humpback whales, as well as in extending our own music making beyond the human realm.
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Kim, Eungyo. "Mari Bookstore, Yoo Myung Ok, National Library - Kim Sooyoung’s ‘Songs of Myungjeong’, ‘American Times’, ‘National Library’." Hankuk University of Foreign Studies Literature Studies, no. 73 (February 28, 2019): 139–67. http://dx.doi.org/10.22344/fls.2019.73.139.
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Kügler, A., MO Lammers, EJ Zang, MB Kaplan, and TA Mooney. "Fluctuations in Hawaii’s humpback whale Megaptera novaeangliae population inferred from male song chorusing off Maui." Endangered Species Research 43 (December 17, 2020): 421–34. http://dx.doi.org/10.3354/esr01080.
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Approximately half of the North Pacific humpback whale Megaptera novaeangliae stock visits the shallow waters of the main Hawaiian Islands seasonally. Within this breeding area, mature males produce an elaborate acoustic display known as song, which becomes the dominant source of ambient underwater sound between December and April. Following reports of unusually low whale numbers that began in 2015/16, we examined song chorusing recorded through long-term passive acoustic monitoring at 6 sites off Maui as a proxy for relative whale abundance between 2014 and 2019. Daily root-mean-square sound pressure levels (RMS SPLs) were calculated to compare variations in low-frequency acoustic energy (0-1.5 kHz). After 2014/15, the overall RMS SPLs decreased between 5.6 and 9.7 dB re 1 µPa2 during the peak of whale season (February and March), reducing ambient acoustic energy from chorusing by over 50%. This change in song levels co-occurred with a broad-scale oceanic heat wave in the northeast Pacific termed the ‘Blob,’ a major El Niño event in the North Pacific, and a warming period in the Pacific Decadal Oscillation cycle. Although it remains unclear whether our observations reflect a decrease in population size, a change in migration patterns, a shift in distribution to other areas, a change in the behavior of males, or some combination of these, our results indicate that continued monitoring and further studies of humpback whales throughout the North Pacific are warranted to better understand the fluctuations occurring in this recently recovered population and other populations that continue to be endangered or threatened.
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Smart, Mary Ann. "Michel Leiris and the Secret Language of Song." Representations 154, no. 1 (2021): 87–98. http://dx.doi.org/10.1525/rep.2021.154.7.87.
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Best known for his reminiscences of artistic and intellectual life in midcentury Paris and for his chronicle of the 1931 Dakar-Djibouti mission, L’Afrique fantôme (1934), Michel Leiris also wrote obsessively about music, turning to imperfectly recalled fragments of song and opera to evoke key moments of early childhood and to explore affective relationships. This article focuses on two episodes from Leiris’s writings to demonstrate that his highly emotional and anecdotal mode of writing about music anticipates, and quite possibly influenced, the more systematic theories of voice, sound, and language of Roland Barthes and Jacques Derrida. Derrida engaged directly with Leiris in his essay “Tympan” (in The Margins of Philosophy), which quotes at length a text by Leiris on the cognitive and relational dimensions of hearing and writing. Leiris’s experience in the 1930s and 40s developing a lexicon and grammar for the ritual language of the Dogon people of Mali, I argue, fundamentally shaped his conviction that both music and language are most communicative when they permeate and destabilize each other.
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Kornilova, Natalia Alekseevna, and Yana Gennadevna Semenova. "Ethno-cultural Night Festival "Open Your Heart to the World!" in Multicultural Education of Students." Development of education 5, no. 2 (June 27, 2022): 38–41. http://dx.doi.org/10.31483/r-102902.
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The purpose of the article is to describe the experience of Night Fest «Open your heart to the world» at Mari State University. Representatives from 35 countries of the world study here: Azerbaijan, Afghanistan, India, Comoros, Kyrgyzstan, Korea, Kyrgyzstan, Sudan, Tatarstan, Tajikistan, Turkmenistan, Turkey, Uzbekistan, Ukraine and others. Therefore, the university pays much attention to use various methods and forms of work in multicultural education of students. Research material. The main source of research is the experience of conducting ethno-cultural festival with students of different countries in the Federal State Budgetary Educational Institution of Higher Education «Mari State University. The results of the research and their discussion: the specifics of organizing the festival Night Fest of national cultures «Open your heart to the world» on the basis of FSBEI of HE «Mari State University» are analyzed, the step-by-step organization of the festival with reflection of separate components of national cultures (national games, national costume, national song, national dance and national dish) is presented, the conclusions are made about the importance of national culture, customs and traditions of the people in revealing the talents of students in building a single space of personal development through various activities that contribute to the assimilation of knowledge about the peculiarities of different cultures, different behavioral norms, the ability to build relationships with representatives of other cultures.
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Chu, Lea. "The Technology and Economy of Care." Extrapolation: Volume 62, Issue 3 62, no. 3 (December 1, 2021): 269–86. http://dx.doi.org/10.3828/extr.2021.15.
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This paper studies the idea of care in the science fiction of Japanese writer Gen Urobuchi: The Song of Saya (2003), Puella Magi Madoka Magica (2011), and its sequel Rebellion (2013). Utilizing Jacques Derrida’s notion of the gift, Bernard Stiegler’s critique of entropy, and Takeo Doi’s analysis of amae, I examine how these works situate care in relation to thermodynamic and libidinal economy. I demonstrate that care is always an embodied act intertwined with technology and economy, and that by reading care as a pharmakon that both heals and poisons, a "neganthropic" hope can emerge from the entropic system of the Anthropocene.
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Lindblad, Per, Ulf Cronquist, Arne Olofsson, Ronald Paul, Sigrid Dentler, and Ann-Mari Gunnesson. "Reviews and notices." Moderna Språk 100, no. 2 (December 1, 2006): 361–76. http://dx.doi.org/10.58221/mosp.v100i2.9226.
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Includes the following reviews: p. 361-363. Per Lindblad. Silverman, D. A critical Introduction to Phonolgy. p. 364-366. Ulf Cronquist. Tomasello, M. Constructing a Language. A Usage-Based Theory of Language Acquisition. p. 366-369. Arne Olofsson. Leech, G. A Glossary of English Grammar. p. 369-370. Ronald Paul. O'Hearn, D. Bobby Sands: Nothing but an Unfinished Song. p. 371-375. Sigrid Dentler. Rosén, CH. "Warum klingt des nicht deutsch?" - Probleme der Informations-strukturierung in deutschen Texten schwedischer Shüler und Studenten. p. 375-376. Ann-Mari Gunnesson. Sanaker, J. K. Holter, K. & Skattum, I. (2006) La francophonie - une introduction critique.
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Tamari, Tal. "‘Salimu’: From Memory to Literary Narrative in Twentieth-Century Manding Culture." Afrika Focus 32, no. 1 (February 27, 2019): 89–124. http://dx.doi.org/10.1163/2031356x-03201007.
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This essay explores the creation of new literary narratives, many inspired by true incidents, from the late nineteenth century to the present, among Manding- (specifically Maninka-) speakers in Mali and Guinea. It simultaneously queries the relationships between Manding and Western literary categories, showing that the traits typically associated with African ‘epics’ – including poetic language, alternation of sung and recited passages to continuous instrumental accompaniment, and multi-generic qualities – characterise some (but not all) examples of several distinct Manding literary categories (fasa, tariku and maana); furthermore, these traits appear in narratives of various lengths, centred on sentimental as well as heroic themes. It then focuses on the stories and songs inspired by the apparently contradictory personality of Salimou Haidara (ca. 1930-1991), an eccentric who claimed sharifian descent. A performance by Amadou Kouyaté and Jekoriya Doumbia, a bard couple based in the village of Dabadou near Kankan (Guinea), is transcribed, translated, and analysed.
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Rotberg, Robert I. "Africa's liberation generation." Journal of Modern African Studies 60, no. 3 (September 2022): 397–419. http://dx.doi.org/10.1017/s0022278x22000209.
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Today's African political class is much more diverse in character and aspiration than the one that overcame colonial rule and inaugurated independent governments. Sons of early liberation leaders now jostle for power in a few countries (Chad, Kenya), descendants of successful autocrats perpetuate family rule in others (Gabon), several long-serving hegemons remain in control after decades in office (as in Cameroon, Djibouti, Rwanda and Uganda), a clutch of kleptocrats continue to defraud citizens (as in Equatorial Guinea and Zimbabwe), upstart soldiers oust elected placeholders (Burkina Faso, Guinea, Mali), and here and there democratic stalwarts (Botswana, Ghana, Malawi, Senegal, South Africa, Zambia) are delivering authentic, uplifting, leadership to their followers.
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Ismagilova, E. I. "Musical comparative studies of the folklore traditions of Volga region peoples. Book review: Kondratiev M. G. Chuvash music in the mirror of parallels: on the problem of Volga-Urals musical civilization." Languages and Folklore of Indigenous Peoples of Siberia, no. 40 (2020): 119–27. http://dx.doi.org/10.25205/2312-6337-2020-2-118-127.
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The book by the Chuvash musicologist M. G. Kondratiev is one of the generalizing works in ethnomusicological comparative studies of the Volga region peoples’ folklore traditions. The author of the monograph focuses on re- vealing the common phenomena at different levels of organization of folklore works in the traditional cultures of Chuvash, Tatars, Mari, and Udmurts. Musical traditions of the ethnic groups concerned are considered in comparison with the Chuvash folklore by using the specified parameter analysis. The three chapters of the first part consider the peculiarities of the Volga region historic-ethnographical location formation and analyze the musical and aesthetic conceptions of the tradition bearers in specified ethnic groups. The second part, composed of four chapters, is dedicated to analyzing the morphology and text structures of song lines of different lengths. The third part deals with contextual and structural regularities of short plot samples of Chuvash folk poetry shavra youra compared with similar monostrophic forms of Tatar, Mari, and Udmurt folk lyrics. The fourth part thoroughly examines the relations of Chuvash and individual local groups of other Volga ethnic groups at the level of genre correspondences and intonation pattern. In the summary, the author argues for his concept of the Volga-Urals civilization, determining the place of Chuvash culture within this concept as fundamentally important. The methodology approbated in M. G. Kondratiev’s book is expected to be actual for studying the problems of interaction of music-folklore traditions of Siberian peoples.
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Voytovich, Alevtina A. "About the Dominating Role of One Pitch Structure in the Song Traditions of the Field (Sernur) Mari." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2019): 33–43. http://dx.doi.org/10.17674/1997-0854.2019.3.033-043.
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Crawford, Matthew R. "Reading the Diatessaron with Ephrem: The Word and the Light, the Voice and the Star." Vigiliae Christianae 69, no. 1 (January 14, 2015): 70–95. http://dx.doi.org/10.1163/15700720-12341191.
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Through a consideration of the reception history of the so-called “Diatessaron,” Tatian’s second-century gospel compilation, we can learn much about the nature of this peculiar text. Of paramount importance here is the Syriac Commentary on the Gospel attributed to Ephrem of Nisibis. In this article I argue that the ordering of pericopae in the opening section of Tatian’s gospel, which interweaves Matthean and Lukan passages within a broadly Johannine incluisio, prompts the Syriac exegete to an unexpected interpretation of these narratives. By reading these pericopae as a single, continuous narrative, he creatively combines the divine “Word” and “Light” of the Johannine prologue with the Synoptic traditions about John the Baptist as the “voice” and about the star that shone to guide the magi, presenting the star and the voice as extensions of the Son’s own agency. This remarkably original interpretation of the nativity of Jesus illustrates the degree of artistry that went into the making of Tatian’s text and the novel interpretations it elicited from its readers.
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Lucy Durán. "An Jεra Cεla (We Share a Husband): Song as Social Comment on Polygamy in Southern Mali." Mande Studies 19 (2017): 169. http://dx.doi.org/10.2979/mande.19.1.11.
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Jan Jansen, Graeme Counsel, and Brahima Camara. "Sex, Drugs, and Female Agency: Why Siramori Diabaté's Song “Nanyuman” Was Such a Success in Mali and Guinea." Journal of West African History 4, no. 1 (2018): 57. http://dx.doi.org/10.14321/jwestafrihist.4.1.0057.
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Ali, Ijaz, Ommia Kalsoom, Syed Asif Jahanzeb Kazmi, Tahir Ahmad Munir, Zanib Qayyum, Naheed Akhter, and Athar Ahmad Jan. "Effect Of Internet Addiction On Academic Performance And Mental Health Of Medical Students." Journal of Bahria University Medical and Dental College 09, no. 01 (December 27, 2018): 48–52. http://dx.doi.org/10.51985/jbumdc2018063.
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Objective: Objective of this study was to determine internet addiction and its impact on mental health and academic performance in medical students. Methodology: One hundred medical students (male: 50, female: 50) aged 18–21 years were selected by convenience sampling in this cross-sectional study in Mahi-ud-din Islamic Medical college Mirpur AJK. A questionnaire of Young’s internet addiction test was used to identify the prevalence of Internet addiction, the purposes of Internet use, and their priority levels. Frequencies and level of mental health was measured using Mental health Battery by Singh and Gupta. Chi square test was applied and p value <0.05 was considered significant. Results: Out of 100 students, 46 (male: 28, female: 18) were found to be slightly addicted, 53 students were average online users and only 01 male was severely addicted. There was no significant difference between male and female students in addiction level. However, males were more addicted than females. The major use of Internet was to communicate with friends and family and to watch songs and movies. 51 students used the Internet to assess information for their educational and learning activities. Some students with overuse of the Internet lead to insufficient sleep and affected their concentration levels in the class. Conclusion: Medical students experiencing problems due to Internet overuse and experiencing poor academic progress and lack of concentration while studying. The main use of the Internet was to communicate with friends and family and for entertainment.
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Putri, Hadisa. "KONSEP PENDIDIKAN ANAK USIA DINI DALAM PERSPEKTIF ISLAM." Khazanah: Jurnal Studi Islam dan Humaniora 13, no. 2 (November 7, 2017): 215. http://dx.doi.org/10.18592/khazanah.v14i2.1634.
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The purpose of this paper is that early childhood education in the Islamic view is to maintain, assist the growth and development of human nature owned by children, so that the soul of a child born in the state of nature is not polluted by worldly life that can make children as Jews, Christians or Magi. Or in other words that early childhood education in Islamic education aims to instill Islamic values to children from an early age, so that in further development the child becomes a Muslim man who is kaffah, who believe and piety to Allah SWT. In the journal paper will describe how the concept of Early Childhood education in Islamic perspectives both from curriculum, learning materials, methods and environment that affect the Early Childhood from the perspective of Islamic education. The result of the discussion that is proposed is the educational substance that must be given to the child covering the whole teachings of Islam that can be broadly grouped into three, namely aqidah, worship and morals and equipped with education to read Al-Qur'an. The material of Islamic education is the same as Islamic religious material, but about health and body hygiene, body movement (sports), learning to play with peers, learning to read and writing latin, study counting, drawing, folding are also conveyed. While the methods of Islamic education applied to early childhood education activities such as exemplary methods, education with practice and practice, educate through games, songs, and stories, and educate with targhib and tarhib.
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Dmitrieva, T. A. "Evolution of the representation of folk artistic culture in cinema." Northern Archives and Expeditions 4, no. 4 (December 25, 2020): 21–28. http://dx.doi.org/10.31806/2542-1158-2020-4-4-21-28.
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In the presented article, the features of the reflection of folk art culture in the cinema are considered. The author examines films that reflect the folk art culture of the American Indians, Udege, meadow mari, residents of the village of Palekh, as well as the folk art culture of the colonial countries, China and Japan. This article examines the films of both foreign and Russian directors, as the author refers to global trends in cinema. The author identifies several stages, considering the evolution of folk art culture, starting from films of the early twentieth century and ending with modern cinematography: “Folk art culture in early films. Ethnographic cinematography”, “Criticism of the urban industrial space in the cinema of the 20s. XX century»,»Colonial cinema», «Postcolonial cinema», «Cultural appropriation», «Orientalism», «Transnational culture in the postmodern era», «Cinematography of the metamodern». Based on the material of Russian and foreign films, the author notes that folk art culture is manifested in both documentary and fiction cinematography. The author concludes that folk art culture was reflected in the cinema at every stage of its historical development. The author notes that in modern cinema the topic of folk art culture has not simply lost its relevance, but has become one of the most relevant trends in connection with the processes of glocalization in the culture of the 21st century. Each stage considered by the author has its own specific features and reasons for the display of folk art culture. The article describes the main ways of representing folk art culture in cinema – folklore, traditional textiles, embroidery, folk songs.
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M, Gopi. "Tiruppavai Unarttum Tiruvarutnerikal." International Research Journal of Tamil 3, S-2 (April 30, 2021): 50–55. http://dx.doi.org/10.34256/irjt21s210.
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As the man appeared in the world, the native speakers of Tamil language Originated. Humans worship God on religious grounds They went further. God divided worship according to the land Were. Vegetarian and Vaishnavas are two of the greatest religions in Tamil Nadu Both were terrifying. Worship and worship Thirumala as the God of Vaishnava Maui. In the book Nallaira Divya Prabandham sung by twelve persons Four thousand songs highlight the glory of Perumal. Andalus contributes to the Lord in the order of the subordinates Thiruppavai has sung the script for surrender. Awakened in the thread Thirty passions of love to the Lord and to the Lord Sung to surrender. Not just during the dawn of dawn She also mourned the women of the Archdiocese Invites. If the women observe the fasting of the month it is about three months It is raining and the country is thriving. Their life Have a good husband. Everybody lives and lives Should. We use 'Namo Narayana' with her tongue as we pronounce daily, the evil that comes upon us is in the fire burned ashes. Those who surrender to Tirumala for fasting. The body must regret and follow the rules regularly. Women should not eat ghee and beautify themselves. Do as much charity as possible for others. He also sang as a child of universal integrity. Andal, all fasting bearers are clean, fasting with purity in the Lord is easy to surrender. Not just his country and his people Andal Thiruppavai Various benefits of fasting Through the sense of community.
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Pchelovodova, Irina Vyacheslavovna, and Alevtina Vasilievna Kamitova. "WITH MUSIC THROUGH LIFE (TO THE ANNIVERSARY OF I. M. NURIEVA)." Yearbook of Finno-Ugric Studies 13, no. 4 (December 25, 2019): 718–21. http://dx.doi.org/10.35634/2224-9443-2019-13-4-718-721.
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The article is devoted to the anniversary of Irina Murtazovna Nurieva, the prominent ethnomusicologist, Honored scientist, Doctor of Art. The author focuses on her scientific and creative activity and analyzes her contribution to the study of the Udmurt musical and song tradition. During her period of work in the Udmurt Institute of History, Language and Literature UdmFRC UB RAS I. M. Nurieva published five monographs and more than a hundred articles. Her works are in demand not only among the academic community and teachers of higher education, but also of all those who are interested in folk culture. It was established that a high popularity rating of her research was achieved due to the involvement of the rich material from field practices in which she was directly involved During her activities she conducted a large number of expeditions (folklore-dialectological, folklore-ethnographic, folklore-choreographic), the geography of which, in addition to the Udmurt Republic, covers the Republic of Tatarstan, the Republic of Mari El, the Kirov region. The name of the Udmurt ethnomusicologist is known not only on a Russian scale, but also outside of it. I. M. Nurieva is a returning participant in international conferences, congresses.
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Ina, Anita Tamu, Dyah Prastiningtyas, Harry Widianto, Florent Détroit, Ferry Fredy Karwur, Andri Purnomo, Anne-Marie Sémah, and François Sémah. "STUDI KASUS PATOLOGI GIGI: KARIES PADA RANGKA MANUSIA ST1, SONG TERUS, PACITAN, JAWA TIMUR ( Dental Pathology Case Study: Caries On ST1 Human Remains, Song Terus, Pacitan, East Java)." Jurnal Penelitian Arkeologi Papua dan Papua Barat 10, no. 2 (November 30, 2018): 101–15. http://dx.doi.org/10.24832/papua.v10i2.253.
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Human remains found in Song Terus (Pacitan, East Java), known as ST1, presented an opportunity of in-depth study in reconstructing how human lived during Early Holocene period in the area. This article focuses on palaeopathological aspects by examining lesions of disease observable in bones and dentition of human remains found in archaeological context. The research done for this article focuses more on dental remains, as teeth are known to have durability and longevity as archaeological finds, and could also provide information on age-at-death, types of diet, and oral diseases which may occurred during a person’s life. Dental caries is one of the most common type of oral disease found in archaeological context. Research methods used are macroscopic observation and literature reference comparison.. Results showed there were nine dentition on this individual (from a total of 27 identified dentition) suffered from caries with various degree of severity. Other types of oral disease noted during observation and analysis were periodontal disease. ST1 might have been suffering from severe caries due to lack of oral hygiene, as well as minimum dental treatment towards emerging oral disease. Nevertheless, these diseases did not seem to be directly caused by ST1’s dietary habit during lifetime. ABSTRAK Temuan rangka manusia ST1 di Song Terus (Pacitan, Jawa Timur) memberikan peluang untuk menelusuri lebih jauh pola kehidupan manusia pada periode Holosen Awal di wilayah ini. Artikel ini berfokus pada aspek paleopatologi yang merupakan salah satu kajian ilmu dalam menelusuri jejak kehidupan manusia di masa lalu melalui penyakit pada tulang dan gigi manusia yang ditemukan dalam konteks arkeologi. Materi penelitian dalam artikel ini menitikberatkan pada gigi manusia yang merekam informasi mengenai masa hidup seseorang, termasuk aspek-aspek perkiraan usia saat mati, jenis makanan yang pernah dikonsumsi, dan penyakit yang pernah diderita. Kasus patologi berupa karies menarik untuk diteliti sebab penyakit ini merupakan salah satu kasus yang umum ditemukan pada sisa rangka manusia. Metode penelitian yang digunakan adalah observasi makroskopis dan metode pustaka. Hasil analisis menunjukkan bahwa dari 27 gigi tersisa pada individu ST1, terdapat sembilan gigi yang terdeteksi mengalami karies dan beberapa gigi lain yang menderita penyakit periodontal. Karies pada individu ini tampak disebabkan oleh mikro-organisme yang berkembang di dalam mulut akibat minimalnya perawatan kesehatan gigi dan mulut, serta tidak berhubungan langsung dengan asupan nutrisi yang dikonsumsi oleh individu ini pada masa hidupnya.
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Kügler, Anke, Marc O. Lammers, Eden J. Zang, Maxwell B. Kaplan, and T. A. Mooney. "Did humpback whales go missing off Maui, Hawaii? A comparison of song activity between the 2014/15 and 2015/16 breeding seasons." Journal of the Acoustical Society of America 140, no. 4 (October 2016): 3359. http://dx.doi.org/10.1121/1.4970716.
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Erwanto, Erwanto, Emilia Contessa, and Aryanti Agustina. "Analisis Makna Nyanyian Tradisi Diadi Dialek Daya Desa Gedung Wani Kabupaten Ogan Komering Ulu Selatan." Stilistika: Jurnal Pendidikan Bahasa dan Sastra 15, no. 2 (July 31, 2022): 165. http://dx.doi.org/10.30651/st.v15i2.12763.
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Meaning Analysis of Diadi Daya Gedung Wani Village South Ogan Komering Ulu District Dialect Song TraditionABSTRAKDiadi merupakan salah satu warisan budaya lokal yang berasal dari desa Gedung Wani OKU Selatan. Diadi merupakan ritme musik dengan senar gitar tunggal yang berkembang di daerah Ogan Komering Ulu Selatan Desa Gedung Wani Kecamatan Runjung Agung. Lirik dari Diadi ini berupa pantun dengan kata lainnya disebut canggut yang dinyanyikan sedemikian rupa dengan irama gitar tunggal. Pelaksanaan Diadi ini biasanya diadakan pada saat pesta pernikahan Ningkuk’an (bahasa daerah setempat) dan acara sukuran. Peneliti menganggap perlu meneliti heuristik dan hermeneutik dengan harapan supaya setelah diadakan penelitian ini warisan budaya Diadi bisa dilestarikan. Tujuan Penelitian ini untuk mengetahui makna heuristik dan hermeneutik nyanyian diadi dalam dialek Daya desa Gedung Wani kabupaten Ogan Komering Ulu Selatan. Metode yang digunakan adalah metode deskriptif kualitatif dengan menggunakan pendekatan semiotik dan struktural. Sumber data penelitian adalah nyanyian tradisi diadi desa Gedung Wani. Berdasarkan hasil penelitian struktur diadi pembacaan tingkat heuristik dari sepuluh bait diadi terdapat struktur atau susunan, fungsi atau arti dari bait-bait tersebut yang dianalisis berdasarkan susunan yang terdapat dalam diadi tersebut yang disesuaikan dengan bahasa Indonesia. Selanjutnya analisis berdasarkan pembacaan hermeneutik isi nyanyian tradisi diadi ini menceritakan tentang kisah antara dua insan yang ingin menjalin kasih dengan saling menerima segala kekurangan untuk mencapai kehidupan bahagia sampai hidup mati mereka bersama.Kata kunci: Makna Heuristik, Makna HermeneutikABSTRACTDiadi is one of the local cultural heritage originating from the village of Gedung Wani South OKU. Diadi is a musical rhythm with a single guitar string that developed in the South Ogan Komering Ulu area, Gedung Wani Village, Runjung Agung District. Diadi's lyrics are in the form of rhymes with other words called canggut which are sung in such a way with a single guitar rhythm. The implementation of Diadi is usually held at the Ningkuk'an wedding party (local language) and the sukur ceremony. Researchers consider it necessary to examine heuristics and hermeneutics in the hope that after this research, Diadi's cultural heritage can be preserved. The purpose of this study was to determine the heuristic and hermeneutic meaning of Diadi's song in the Daya dialect of Gedung Wani village, South Ogan Komering Ulu district. The method applied in this study is a qualitative descriptive method which used a semiotic and structural approach. The source of the research data is the song Diadi, Gedung Wani village. Based on the research results on the structure of the Diadi, readings Diadi heuristic ten level stanzas consist a structure or arrangement, function or meaning of these verses which are analyzed based on the arrangement contained in the Diadi which is adapted to the Indonesian language. Furthermore, the analysis based on the hermeneutic reading of the Diadi song contents tells that the story of two people who want to make love by accepting each other's weakness to achieve a happy life until they live and die together.Keyword: Heuristic Meaning, Hermeneutic Meaning
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Kultasheva, Olga Mikhaylovna, and Olga Nikolaevna Nikitina. "ETHNOCULTURAL DIRECTIONS IN THE ACTIVITIES OF CULTURAL AND LEISURE INSTITUTIONS IN IZHEVSK (ON THE EXAMPLE OF THE MUNICIPAL BUDGETARY INSTITUTION OF THE CULTURE HOUSE OF CULTURE “VOSTOCHNY”)." Yearbook of Finno-Ugric Studies 14, no. 2 (June 29, 2020): 346–56. http://dx.doi.org/10.35634/2224-9443-2020-14-2-346-356.
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The article raises questions of a historical and cultural nature related to the activities of cultural and leisure institutions of the city of Izhevsk in the Udmurt Republic. One of the features of Udmurtia is its multi-ethnicity. More than 130 nationalities live in this republic. Modern trends connected with the construction of a common world space actualize the problem of preserving the ethno-cultural field, which is a unique example of folk culture. The main attention is paid to the history and main lines of activity of MBIC HC “Vostochny”, which is the Center for cultural services for the population of the “Vostochny” microdistrict of the Industrial District of Izhevsk. The House of Culture has been in existence since 1949. By the moment the House of Culture has created all the conditions for the development of the creative abilities of people of different ages, and the audience has a wide choice of different kinds of performances. One of the main directions of the “Vostochny” House of Culture is work in the field of development and preservation of ethnic traditions and culture. For several years effective cooperation has continued with the Izhevsk city branch of the All-Udmurt Association “Udmurt Kenesh” Interregional Public Organization. Together with this organization the “Vostochny” House of Culture organizes and holds some national festivals and cultural events dedicated to various state dates and public holidays. In the House of Culture one of the leading Udmurt amateur art group of the city of Izhevsk is based - Laureate of the Kuzeby Gerd Prize Folk Ensemble of the Udmurt song “Invozho”. Also within the walls of the “Vostochny” House of Culture another national group works - the Folk Ensemble of the Mari song “Osh Peledysh” (“White Flower”). This ensemble is an active participant in international events, where it acquaints the audience with their work filled with a special ethical flavor. Thus the activity to preserve ethnic traditions and popularization of folk culture is a very important area for many cultural and leisure institutions. Studying folklore and giving it different scenic forms makes it attractive to a wide audience of different ages. Despite many problems (primarily financial) folk groups search for new forms of studying ethnic material.