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Journal articles on the topic 'Oral and ritual expressions'
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1
Adenuga, Tayo Joan. "CULTURAL HYBRIDITY IN IWOLORI RITUAL DANCE OF EKINRIN-ADDE QUEENS." Cognizance Journal of Multidisciplinary Studies 5, no. 3 (March 30, 2025): 283–308. https://doi.org/10.47760/cognizance.2025.v05i03.022.
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This study examines the under-researched area of women-centered ritual performances within Indigenous African communities, with a specific focus on the cultural hybridity evident in Iwolori ritual dance of Ekinrin-Adde queens. While broader African ritual practices have received scholarly attention, women-specific rituals remain significantly under-explored. This study therefore illuminates the processes of cultural blending and modification that have resulted in new expressive forms in Iwolori, thereby ascertaining the elements of hybridity in the ritual dance. Drawing upon Homi Bhabha's (1994) theory of hybridity, this study employs a descriptive research design to analyse the form and composition of Iwolori. Data were collected through semi-structured oral interviews with selected Ekinrin-Adde queens, traditional chiefs, and community members. Non-participant observation of the Iwolori ritual dance was also employed as method of gathering data. Findings revealed that dynamic negotiation of tradition, modernity, and female agency are the principal elements of hybridity responsible for the emergent cultural expressions in Iwolori, which have profoundly shaped the cultural landscape of Ekinrin-Adde community. This study contributes to a deeper understanding of the complexities and significance of women's cultural expressions in Africa. It recommends the continued documentation of women-based practices, rituals, and performances across Africa to promote global recognition and foster interdisciplinary scholarly engagement.
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Fauzi, Nurul Atikah. "The Concept of Gender in Cirebon Oral Literature and Its Transformation in the Memitu Slametan Rituals." Journal of World Science 3, no. 12 (December 19, 2024): 1699–709. https://doi.org/10.58344/jws.v3i12.1254.
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Cirebon oral literature, specifically tembung éntar, is an essential cultural resource that reflects societal values, particularly concerning gender roles. However, previous studies have not thoroughly examined how these expressions play out in ritual practices, highlighting a gap that this research seeks to fill. This study investigates the concept of gender found in tembung éntar and how it changes within the traditional ritual of Slametan Memitu. Employing a qualitative descriptive approach with semiotic analysis, 412 tembung éntar texts were analyzed. The data collection process involved documentation and analysis performed in four stages: gathering data, reducing it, presenting findings, and verifying the results. The findings showcase symbolic representations of gender roles in which tembung éntar indicates masculine and feminine qualities, including persistence, diligence, care, and obedience. The Slametan Memitu ritual transforms these symbolic meanings into cultural practices, illustrated by expressions such as “Asah, Asih, Asuh” and “Manek gunung temurub jurang,” which emphasize mutual support and resilience. This research offers a fresh perspective by connecting oral literature with ritual performance, stressing the cultural representation of gender roles. Upcoming studies could investigate similar transformations in different cultural settings.
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Pimenova, Ksenia. "Lieux sacrés de la vallée du Haut Iškin (Touva)." Études mongoles et sibériennes, centrasiatiques et tibétaines 38, no. 1 (2007): 197–223. http://dx.doi.org/10.3406/emong.2007.1185.
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Sacred sites in the valley of the Üstüü-Iškin (Tuva): oral traditions and ritual practices This article explores the role played by sacred places and local oral tradition in preserving the collective memory of the inhabitants of the valley of the Üstüü-Iškin (Western Tuva). I distinguish between two particular types of places: those which are ‘positive’ and where rituals are conducted regularly and ‘negative’ places, where harmful spirits roam. For the inhabitants of the valley, each particular place has its own history and specific features, which are embodied in ancient legends and in more recent personal accounts that are narrated and perceived as truth, not as fiction. The truthful aspect of these expressions of oral tradition has made possible the preservation of particular places and the corresponding beliefs, and in this way, of the whole system of relations between man and nature which seems to survive and to manifest itself in the most evident way at the level of small and relatively isolated local communities.
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Sarmadan, S., and Siti Gomo Attas. "Structural Analysis of Katoba Ritual Text Speech in Muna Communities." Journal of Indonesian Language Education and Literary 4, no. 2 (January 1, 2020): 36–44. http://dx.doi.org/10.31327/jilel.v4i2.1132.
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The katoba ritual as a form of oral tradition from the Muna tribe is an integral part of the culture of the supporting community. The purpose of this study is to describe the structure of the ritual text speech of the Muna communities. The structure of the ritual speech utterances in this study is called the pogau toba text (PTT). This study uses a qualitative method with a Van Dijk structural approach that focuses on three frameworks of text structure, namely macro structure, superstructure, and microstructure. The results showed that 1) the macro structure, which is the overall meaning, global meaning, or general meaning of the PTT. The macro structure found in the PTT is the inauguration of a child as a Muslim. This is reflected in the pronunciation of the two words of the shahada of Asyhadu Allah ilaha Ilallah wa ashadu anna Muhammadar Rasulullah which marks a person's Islamic status; 2) superstructure, namely the four main flow structure of PTT in the context of the katoba ritual, namely opening “pembukaan”, toba conditions “syarat-syarat toba”, core of toba “inti toba”, and the closing “penutup”; and 3) microstructure, which is limited to the style of the PTT language, namely diction or choice of words in the katoba ritual emphasizing religious and moral elements that are concrete through the use of polite and gentle language, found also a parallelism in grammatical structure, and expressions metaphorical expressions that take the symbols of flora and fauna or other natural objects are presented to convey an idea, concept, or specific purpose.
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Lobanova, Lyudmila S. "“GRAB IL’INSKY MEAT”. FROM RITUAL REALITY TO THE LEGEND MOTIF." Folklore: structure, typology, semiotics 6, no. 2 (2023): 49–68. http://dx.doi.org/10.28995/2658-5294-2023-6-2-49-68.
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The article considers a special ritual behavior – grabbing meat, which was an integral part of the animal sacrifice rite on Elijah’s Day of the village Noshul of Priluzsky district of the Komi Republic until the 1930s, and also determines the role of the “grabbing meat” motif in the modern oral local tradition. Based on an analysis of ethnographic materials, it was revealed that grabbing meat was a kind of ritual element of summer vow holidays with the sacrifice of animals not only in the village Noshul, but also in certain areas of Karelians and Northern Russians. Considering it in a number of other unusual ways of distributing sacrificial meat, such as throwing it from the roof of a building and issuing it through a church fence, makes it possible to compare ritual behavior with fights and fist battles of rural patronal holidays. Grabbing meat adds to the ritual of sacrificing an animal “strangeness”, “casus”, so that information about the sacrifice is preserved in oral tradition. The analysis of the content and form of oral stories recorded during the folklore and ethnographic expedition in 2006 allows the author to conclude that the collective memory retains not the story of the sacrifice on Elijah’s Day, but a fixed expression – “grab Elijah’s Day meat”, which becomes the plot-forming motif of narratives about Elijah’s Day. The language form of expression provides a relationship with Elijah’s Day and leads to annual updating, which creates the conditions for the motif preservation and translation in the local oral tradition.
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Lebaka, Morakeng Edward Kenneth. "Ethnographic Research of the use of Music in Healing as a Cultural Phenomenon in Greater Sekhukhune District Municipality, Limpopo Province in South Africa." DIALOGO 7, no. 2 (June 30, 2021): 60–66. http://dx.doi.org/10.51917/dialogo.2021.7.2.5.
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This study investigates the relationship between music and healing in the African context, as well as the relationship between music, culture, and identity. Since the traditional approach to music-making makes it a part of the institutional life of the Bapedi community, among the Bapedi people, the music itself was and is thought to enable communication with the living-dead, often inducing ancestral spirit possession, ‘causing the spirits to descend’. We observe in this study how traditional healers in the Greater Sekhukhune District Municipality express their emotions through music, and how they use music for regulating their emotions during malopo religious rituals. The main goal of the study was to examine how these emotions relate to traditional healers’ mental health and wellbeing. A range of data collection and analysis were employed in this study. The research employed a naturalistic approach and the primary source for data collection was oral interviews. The data was collected through video recordings of malopo religious rituals, interviews, and observations. Relationships between music, expression, and movement, as well as music, culture, and identity were elucidated. The results have demonstrated that during the dance itself, the healing power of the dance, is shown by both the trainees and their traditional healers, for example, during malopo ritual, after reaching a state of trance, they become spiritually healed. Villagers who witnessed the dance and participated only as an audience, also indicated a feeling of wellbeing after participating in the malopo ritual. The study has revealed that music is an integral part of the Bapedi culture and heritage. Furthermore, it was found that malopo ritual is a performance for appeasing possessing ancestral spirits such as those of the traditional healers and their trainees, which may cause illness if displeased, but on the other hand, may empower the traditional healers to execute the healing process. The research suggests that malopo ritual binds the people to their ancestors (the ancestral realm) and also provides healing therapy. Songs are sung and recited in order to create harmony between the living and the living-dead.
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Rosidin, Odien, Erwin Salpa Riansi, and Asep Muhyidin. "LEKSIKON KULINER TRADISIONAL MASYARAKAT KABUPATEN PANDEGLANG." LITERA 20, no. 1 (April 29, 2021): 45–71. http://dx.doi.org/10.21831/ltr.v20i1.33908.
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Kuliner tradisional bukan sekadar mencerminkan khazanah makanan, bahan yang digunakan, cara pengolahan, dan cita rasa olahan lokal yang unik, tetapi juga merepresentasikan entitas budaya masyarakat secara utuh. Leksikon nama kuliner tradisional menyiratkan makna budaya yang penting untuk digali dan diinterpretasikan dalam kaitannya dengan pengungkapan nilai -nilai simbolik dan budaya yang dikandungnya. Penelitian ini bertujuan mendeskripsikan kuliner tradisional masyarakat Kabupaten Pandeglang berdasarkan tinjauan bentuk leksikon, fungsinya dalam upacara atau ritual adat, dan pandangan masyarakat terhadap simbol dan makna kuliner tradisional sebagai pelengkap dalam upacara atau ritual adat. Penelitian ini didesain dengan menggunakan pendekatan kualitatif dengan memakai metode etnografis berancangan antropolinguistik. Sumber data penelitian adalah tuturan lisan para informan sebagai narasumber. Pengumpulan data dengan teknik observasi partisipan dan wawancara. Analisis data dengan empat kegiatan, yaitu pengumpulan, reduksi, penyajian, dan verifikasi. Hasil penelitian sebagai berikut. Pertama, ditemukan 25 leksikon nama makanan; 14 leksikon nama makanan pelengkap upacara atau ritual adat; 32 leksikon nama alat pembuatan, 35 leksikon nama bahan, dan 38 leksikon nama proses pembuatan. Kedua, kuliner tradisional dalam fungsinya sebagai pelengkap upacara atau ritual adat mencerminkan tiga dimensi nilai, yaitu individual, sosial, dan pengetahuan. Ketiga, kuliner tradisional sebagai pelengkap upacara atau ritual adat merepresentasikan simbol dan makna yang berhubungan erat dengan identitas sosial budaya masyarakat Kabupaten Pandeglang. Temuan penelitian bermanfaat untuk dokumentasi produk budaya kuliner lokal dan upaya revitalisasi dan pemertahanan budaya tradisional menghadapi moderninasi dan globalisasi.Kata kunci: leksikon, kuliner tradisional, sosial budaya, ritual adatLEXICON OF THE COMMUNITY TRADITIONAL CULINARY IN PANDEGLANG REGENCYAbstractTraditional culinary not only reflects the food treasures, ingredients used, processing methods, and unique local processed flavors, but also represents the cultural entity of the community as a whole. The lexicon of traditional culinary names implies cultural meanings that are important to explore and interpret in relation to the expression of the symbolic and cultural values they contain. This study aims to describe the traditional culinary delights of the people of Pandeglang Regency based on a review of the lexicon forms, their function in traditional ceremonies or rituals, and people's views on traditional culinary symbols and meanings as a complement to traditional ceremonies or rituals. This study was designed using a qualitative approach using ethnographic methods with anthropolinguistic design. The data source of this research was the oral speech of the informants as sources. Data collection was done by participant observation and interview techniques. Data were analyses were conducted in four activities, namely collection, reduction, presentation, and verification. The research results are as follows. First, the following are found: 25 lexicons of food names, 14 lexicons of names of complementary foods for traditional ceremonies or rituals, 32 lexicons of manufacturing tool names, 35 lexicons of material names, and 38 lexicons of manufacturing process names. Second, traditional culinary in its function as a complement to traditional ceremonies or rituals reflects three dimensions of value; namely individual, social, and knowledge. Third, traditional culinary as a complement to traditional ceremonies or rituals representing symbols and meanings are closely related to the socio-cultural identity of the people of Pandeglang Regency. The research findings are useful for documenting local culinary culture products and efforts to revitalize and maintain traditional culture in facing modernization and globalization.Keywords: lexicon, traditional culinary, social culture, traditional rituals
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Watts, James W. "One Text in Two Bodies." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 15, no. 1 (August 30, 2024): 36–48. http://dx.doi.org/10.1558/post.27474.
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Reading scriptural texts aloud to congregations is a common practice in many religious traditions, yet receives little scholarly attention. This article encourages more scholarship on this phenomenon by focusing on the ritual manipulation of books of scriptures while reading. It analyses the social force of this religious practice by combining a theory of ritualizing scriptures in three dimensions with studies of oral readings by literacy scholars. Reading visible scriptures aloud to congregations mixes expressive and iconic ritualization, which makes it both inspiring and legitimizing. It also combines the divine voice of scripture and the community’s voice in the reader, whose voice speaks for both. Religious communities use scriptural expression as a means to include more people into congregational leadership. Literacy studies document how group reading experiences cast oral readers as representing the audience as much as the author. In reading aloud to a group, the reader expresses the group’s voice. Oral readings of visible scriptures can therefore inspire people and foster a sense of congregational unity through the ritual acceptance of scriptural authority.
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IVANOVSKA, Olena. "FOLKLORE AND CUSTOMARY LAW: LEGAL MEANINGS IN UKRAINIAN FOLK TRADITIONS." Folia Philologica, no. 6 (2023): 13–22. http://dx.doi.org/10.17721/folia.philologica/2023/6/2.
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Folklore is a key source for understanding the fundamentals of legal relations in the traditional Ukrainian society. The proposed article focuses on customary law as an archaic form of legal relations that developed as a creative product with characteristic features of a folklore text, namely variability, anonymity, syncretism, where ritual becomes a tool for manifesting and implementing the custom, making it public. In this context, folk poetic creativity emerges as the oldest source of the Ukrainian legal culture. The research highlights that folklore texts contain significant elements that help reveal the characteristic features of traditional legal systems, including labor relations, rituals, social contracts, and sales agreements. A philological approach to deciphering legal relics, based on the analysis of folk tales, songs, proverbs, sayings, and rituals, is a novel direction in folklore and humanities research in general. Through this approach, the article reveals the diversity of cultural traditions that served as a legal basis in the Ukrainian society and shows how customs regulated labor and social relations. The study offers a new perspective on the importance of folk poetic texts as a source of legal culture demonstrating how they reflect and shape societal norms, reinforcing them with collective rituals and ceremonies. This approach helps uncover hidden meanings and legal principles that define traditional life, making them accessible to the modern reader. The study draws attention to the underexplored ways of understanding the specificity of the unique Ukrainian legal culture through the decoding of the legal semantics in oral texts and ritual actors’ regular practices. The proposed ideas are based on the experience of studying the history of the Ukrainian customary law by scholars from the University of Saint Volodymyr and the author’s interpretation of folklore as a semiosphere of traditional meanings, where legal senses are significant, and their variable, as well as public expression through ritual texts has sanctioning power and is part of collective communication.
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Ramadani, Fikret, and Vjollca Dibra. "Songs and the cult of fire on the summer day in Opoja." Multidisciplinary Science Journal 7, no. 9 (March 28, 2025): 2025549. https://doi.org/10.31893/multiscience.2025549.
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This study analyzes two key elements of the summer day (Verza Day) festival in Opoja: song and the cult of fire. The Verza festival, held annually on March 13th in this region of the Sharri municipality, represents a rich cultural heritage with ancient historical roots. Songs and rituals related to fire have played a fundamental role in the spiritual experience of the community, representing early forms of communication with nature and supernatural forces. In this paper, song is examined as an artistic creation of oral literature with a distinct function. Through analysis, the artistic and cultural values embedded in these songs are highlighted. The ritual of singing is intertwined with specific symbolic actions, which contribute to maintaining spiritual and social balance within the community. On the other hand, this study explores the cult of fire as a widespread phenomenon in Albanian folk culture. In the context of Dita e Verzës, fire symbolizes purification, renewal, and protection from evil. Practices such as lighting bonfires and jumping over flames are interpreted as expressions of the inhabitants' belief in the transformative power of this natural element. By employing an ethno-psychological and historical approach, this study aims to provide a broader and deeper understanding of these rituals and their role in the cultural identity of Opoja. The preservation and documentation of these traditions remain essential to ensuring their continuity for future generations as part of historical memory.
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Julianto, Toni, Risky Setiawan, and Rufer Firma Harianja. "Local-Social Wisdom in the Nyadran Tradition as a Means of Gathering." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 4, no. 2 (April 22, 2021): 830–36. http://dx.doi.org/10.33258/birle.v4i2.1862.
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Since ancient times the Javanese people have been familiar with the belief system. Before Islam came the beliefs of Animism and dynamism as well as Hindu and Buddhist religions had already developed in Javanese society. Islam is accepted in Javanese society with youth and peace, because preachers have a high tolerance for Javanese culture. One of the forms of cultural acculturation or inherent in the soul of Javanese society is the Nyadran tradition. The Nyadran tradition is a symbolic ritual that is full of meaning Nyadran traditional ceremony includes partially oral folklore because in it there is a form of oral fochlor, namely the prayers used in the ceremony and there is also a form of non-verbal folklore in the form of uba rampe in the ceremony. In socio-cultural terms, the implementation of nyadran tardisi is not only limited to ceremonial cleaning of ancestral burials , salvation (kenduri), making apem cakes, compote, sticky rice, and various snacks from the market which are used as elements of "offerings" as well as being a prerequisite for the ritual prayer procession. However, the nyadran ritual in a socio-cultural context has also become a medium of friendship between families and communities, as well as a social, cultural and religious transformation. Nyadran is an expression and expression of social piety in a society where a sense of mutual cooperation, solidarity, and togetherness is the main pattern of this tradition.
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Widadi, Zahir. "PEMAKNAAN BATIK SEBAGAI WARISAN BUDAYA TAKBENDA." Pena Jurnal Ilmu Pengetahuan dan Teknologi 33, no. 2 (September 27, 2019): 17. http://dx.doi.org/10.31941/jurnalpena.v33i2.897.
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This research aims to improve the knowledge and understanding of the intangible culture heritage because many people do not understand the meaning of the confirmation of Indonesian batik as a intangible cultural heritage by UNESCO. This research uses qualitative research methods with descriptive format. The intangible cultural heritage means the practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognize as part of their cultural heritage. The intangible culture heritage comprises of domains oral traditions and expressions, including language as a vehicle of the Intangible cultural heritage, performing arts, social practices, rituals and festive events, knowledge and practices concerning Nature and the universe, and traditional craftsmanship. Domains of the intangible cultural heritage in accordance with Indonesian batik consist of the domain oral traditions and expressions, including language as a vehicle of the intangible Cultural heritage, social practices, rituals and festive events, and traditional craftsmanship.
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Yuliana, Bustamin Wahid, Nanik Purwanti, and Uswatul Mardliyah. "Olebolo: Sastra Lisan dan Ritus Petani (Kolaborasi Kearifan Lokal dan Rekayasa Sains dalam Praktik Petani di Tidore)." Jurnal Noken: Ilmu-Ilmu Sosial 7, no. 2 (June 21, 2022): 249–62. http://dx.doi.org/10.33506/jn.v7i2.1773.
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This article aims at describing two important things in the agricultural tradition in Tidore, namely about olebolo as an oral literary expression of the Tidore farmer entity and farmer rites in agricultural practice in Tidore. This study used a folklore perspective with a phenomenological research type. The author used the Indonesian oral literature expert Endaswuara as a theoretical basis, besides that the author used the economic theory of farmer J. Scott to read, and direct the research in depth. Our findings show that olebolo is an oral literature of farmers singing when they are in the fields and gardens, olebolo is also an encouragement and has mystical and moral content as a true farmer and is able to bring strong solidarity between humans. In addition, the agricultural process in Tidore, especially in Gurabunga, still carries out rituals in the farming process, such as determining the good day during the process of land clearing, planting and harvesting, all of which contain a mystical dimension. Although this ritual is filled with a mystical mechanism, the farmers in Gurabunga also prioritize science, especially the engineering problem of farmers through fertilizers, agricultural bricks can improve the quality and quantity of the harvest. This integration of practice in the world of agriculture shows that the farming community in Gurabunga, cassava with local wisdom but they are so open to the presence of knowledge.
Keywords: Oral literature, Farmer’s rite, Tradition-science collaboration
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Alfarisi, Tsalits Abdul Aziz. "BUDAYA DAN FUNGSI DALAM LEGENDA GUA TAN TIK SIU DI DESA SUMBERAGUNG KECAMATAN REJOTANGAN KABUPATEN TULUNGAGUNG." HUMANIS: Jurnal Ilmu-Ilmu Sosial dan Humaniora 11, no. 1 (January 31, 2019): 45–52. http://dx.doi.org/10.52166/humanis.v11i1.1422.
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Literature is an expression of feeling and of thought written by contextual value of a language. It refers to the concept of oral or folk literature which includes the literature expression of society’s culture passed on upon descend and through spoken word. The legend of Tan Tik Siu cave is one of oral literature originated from Tulungagung which grew and expanded in Sumberagung village Rejotangan subdistrict. The originality and cultural value of the phenomenon are feasible to investigate due to its uniqueness. There is a cycle when the society should and should not do some rituals in the cave. Thus, they should not do the ritual every day. It is believed that there will be a danger for Sumberagung villagers whenever they break the conviction. The problem of the study focused on how are the cultural values and its functions for the society. A descriptive qualitative approach is employed through observation, interview, audio-recording and note-taking. The analysis of cultural value suggested four kinds of cultural values including: (1) magic value, especially the society’s belief on pesugihan /a particular magic, (2) behavior value applied to the surrounding society, and (3) religious value. The result function analysis found four kinds of functions which cover: (1) projection system as a one’s thoughts on the future doing, (2) validation instrument of cultural research organization (3) education instrument (4) entertainment instrument
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Ćurguz, Jelena. "Orality in the cultural area of Bosnia and Herzegovina." CM: Communication and Media 19, no. 55 (2024): 153–78. https://doi.org/10.5937/cm19-46009.
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Starting off from Ong's theory of orality and literacy (Ong, 1982/2012), the aim of this paper is to show that in social communication in the cultural area of Bosnia and Herzegovina, oral communication has been significantly preserved with the features of the primary orality, which is often ritualistic (Carey, 2009) and high-context (Hall, 1981). The study demonstrates that there are numerous traces of the primary orality in the celebration of family and religious holidays (such as Slava), as well as various folk customs (local celebrations, feasts and fairs, folk competitions, masquerades, carolers, weddings and funerals), and in everyday socializing (e.g. in cafes and among neighbors). Most customs are permeated with verbal and non-verbal ritual communication - established greetings and congratulations, toasts, jokes, songs, dances, processions, shared meals, gift-giving and decorations, and sometimes piercing sounds. Also, the old oral literature and expressions are still alive today, which are passed down from generation to generation - e.g. songs, fairy tales, proverbs, sayings, anecdotes, curses, rhymes and lullabies, and many people have specific nicknames. Cultivating orality is one of the ways of preserving heritage, maintaining close interpersonal relationships and strengthening ties in the community, which is especially important today, when human communication is increasingly mediated by different technologies, which can lead to loneliness.
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Kruger, Marie. "The Relationship between Theatre and Ritual in the Sogo bò of the Bamana from Mali." New Theatre Quarterly 25, no. 3 (August 2009): 233–40. http://dx.doi.org/10.1017/s0266464x09000414.
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The Sogo bò, primarily an animal masquerade, can be distinguished from Western theatre through its use of a fluid space with shifting boundaries between spectator and performer. An oral tradition dictates the characterization, scenario, and content. The resemblance to ritual can be found in structural elements such as its repetitive nature and the use of non-realistic performance objects and motions. As in ritual, there is a clear sense of order, an evocative presentational style, and a strong collective dimension. The functional resemblance lies in the complex metaphorical expression through which relationships and values are symbolized, objectified, and embodied in a highly artistic way. Marie Kruger is an associate professor and the Chair of the Department of Drama at the University of Stellenbosch, South Africa, where puppetry is offered as a performance and research option. Her research is focused on masquerades in Africa and the various contemporary applications of puppetry in sub-Saharan Africa.
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Podyukov, Ivan A. "Peculiarities of the Phraseological Content of Perm Old Believer Dialects." RUDN Journal of Language Studies, Semiotics and Semantics 11, no. 2 (December 15, 2020): 285–300. http://dx.doi.org/10.22363/2313-2299-2020-11-2-285-300.
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The article devoted to the underinvestigated problem of folk religious speech is addressed to the peculiarities of set expressions and word-combinations, their thematic stratification, figurativeness and symbolism recorded in the verbal communication of Old Believers of Perm Krai. Phraseological nominations of different forms of Old Believer ritual practice (names of prayer modes, kinds of religious texts, holidays, naming of attributes of religious ritualism, ritual clothes, etiquette formulae of food and behavioural prohibitions) are investigated. The aim of the description of the Old Believer phraseology is discovering its connection with categories and attributes of old Belief, its modern state characteristics. It has been stated that the significant part of Old Belief phraseology is imparted by the existential semantics and reflects dominating of the religious basis in everyday life typical of Old Believer culture. With the help of phraseological facts there have been noted specific features of sacral (wedding and funeral) tradition of Old Believer consents. The conclusion is drawn that the phraseological layer in question in content and ways of expression differs from the set component nominations of folk Orthodoxy. It has fixed phraseological units that discover the main faith dogmata (God, sin, salvation) and formulate ideological convictions of its followers. Phraseological units of Old Believer dialects can be considered to be the means of identification of a confessional group, as a source of knowledge about the clergy experience of tradition bearers and about the peculiarities of way of life of Old Believers. It has been stated that the functioning of phraseological units is characterized by the variety that is mainly determined by the oral being of this form of culture, by the presence of different Old Believer dissents in Perm Krai. The modern state of folk Old Believer phraseology is explained by the fact that many consents don’t have any worked out dogmatics and a rigid canonical form, it indicates gradual abolishing of tradition.
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Magomedov, Amirbek Dj, and Aida R. Gasharova. "REFLECTION OF FOREIGN CULTURAL INFLUENCES IN THE FOLKLORE AND LANGUAGES OF THE PEOPLES OF DAGESTAN." Vestnik of Kostroma State University 28, no. 3 (February 28, 2023): 194–99. http://dx.doi.org/10.34216/1998-0817-2022-28-3-194-199.
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The article examines the influence of the Russian language and culture on the folklore and language of the peoples of Dagestan. It is noted that with the direct participation of otkhodniks at the beginning of the 20th century, the number of neologisms increases in the folklore and lexical composition of the Dagestan languages. This is explained by the fact that the dynamics of the phenomena of everyday life of otkhodniks of that period was associated with the city. The purpose of the study is to show the foreign cultural, urban, exotic influences reflected in the oral and poetic creativity, the languages of Dagestan. The authors made an attempt to identify the role of intercultural communication in these processes. Most clearly, other cultural, urban motifs are manifested in folklore, namely, in oral stories and non-ritual lyrics (songs about otkhodnichestvo). The otkhozhny trade has become widespread among a number of Dagestan peoples (Dargins, Lezgins, Laks and Tabasarans). Borrowed words and expressions found in folklore texts make it possible to trace the processes of interethnic contacts and intercultural communications of that era. Folklore and linguistic picture of the world in the late nineteenth and early twentieth centuries. become a mirror of such communications. In general, the topic did not become the object of a special study. The issue of borrowing Russianisms is considered in monographs devoted to the branch vocabulary of the Dagestan languages, in articles on folklore.
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Siqueira, Henrique Pereira de Figueiredo, Fábio Pinto Gonçalves dos Reis, Kleber Tüxen Carneiro, and Rubens Antonio Gurgel Vieira. "CULTURA CORPORAL E RELIGIÃO: A PUJANÇA DO BAILADO NO SANTO DAIME." COLLOQUIUM HUMANARUM 21, no. 1 (January 31, 2025): 1–25. https://doi.org/10.5747/ch.2024.v21.h612.
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The Santo Daime religion, inspired by ayahuasca traditions, has as its central practice the dance, a ritual characterized by synchronized and expressive body movements imbued with symbolic and aesthetic meanings. These movements enable practitioners to develop a deep body awareness, fostering the integration of mind, body and spirituality. Beyond its mystical dimension, the dance stands as a rich cultural manifestation, blending elements of resistance and identity reaffirmation. In this context, a scientific investigation was conducted to explore potential formative correlations between the Santo Daime dance and body culture, which constitutes the object of study in school Physical Education. This qualitative study employed oral history as an analytical method and included a semi-structured interview with a participant. Findings revealed that the dance can serve as a form of body education, promoting identity construction and providing a space for cultural resistance against hegemonic narratives. Moreover, the study emphasized the importance of valuing and understanding body practices from diverse cultural contexts, enriching diversity and inclusion within the field of Physical Education. By recognizing these expressions, the discipline contributes to a more holistic human formation and acknowledges the multiple cultures that shape contemporary society.
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Font-Navarrete, David. "Writing Orisha Music: Text, Tradition, and Creativity in Afro-Cuban Liturgy." Religions 12, no. 11 (November 3, 2021): 964. http://dx.doi.org/10.3390/rel12110964.
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This essay examines the flow of music associated with orisha—anthropomorphic deities—across networks defined variously by art, scholarship, folklore, and religion, all of which overlap and nourish each other. Transmitted via oral tradition, written texts, and multimedia technologies, a handful of orisha-themed songs are analyzed as case studies in the subtle nexus of liturgy and cultural authenticity. Taken together, the songs shed light on a broader phenomenon in which creatively-minded, ostensibly-secular iterations of culture play a significant role in the dissemination and ongoing codification of ritual orthodoxy. Orisha music traditions are analyzed as a fertile ground for a multitude of devotional and/or artistic expressions, many of which have a particularly ambiguous relationship to the concept of religion. In this context, the fluid movements of orisha music between ostensibly sacred and secular contexts can be usefully understood as not only common, but as a conspicuous and characteristic aspect of the tradition. The essay’s structure and rhetorical strategies offer distinct layers of cultural and historical commentary, reflecting a multi-vocal tradition of exchanges among orisha music scholars, artists, and ritual experts. The essay’s historical analysis of orisha music further suggests that a host of subtle, seldom-discussed phenomena—multilingualism, liturgical ambiguity, and transmission via multimedia technologies—are not necessarily aberrant or irregular, but rather vital themes which have resonated clearly across the Afro-Atlantic for at least a century. By obligating us to attend to both musical meaning and cultural context, the essay’s case studies of orisha music shed light on the mingling and synthesis of elements from varied historical sources, languages, and cultural idioms, each of which represent distinct notions of tradition, creativity, religiosity, and secularism.
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Ledovskikh, Antonina Yurevna. "Objective semantics of oral utterances in the religious hymns of the Rigveda." Philology. Theory & Practice 18, no. 3 (March 28, 2025): 1157–65. https://doi.org/10.30853/phil20250167.
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The aim of this research is to determine the characteristic features of objective semantics in words denoting oral messages, based on the material of ancient Indian religious hymns. The article presents quantitative results demonstrating the extralinguistic denotations involved in the creation of metaphorized metalexicon – "word," "speech," "voice," "song," "praise," "hymn," "prayer" – and identifies semantic groups of features of corporeal objects: movement and location in space (23.8%), influence by/on the word (21.2%), creation and transformation (18.1%), object (11.3%), animal (10.8%), body of water (6.2%), human (2.5%), birth (2.5%), battle (2%), coitus (0.5%), protection (0.5%). The scientific novelty lies in the fact that the symbolic representation of oral utterances in correlation with objects of extralinguistic reality is investigated for the first time on the archaic material of oral tradition. As a result of the analysis of the Rigveda, it was established that significant objects and phenomena of culture serve as denotations in the poetic formation of the objective semantics of lexemes, and the more important the social, ritual, or directly frequently repeated physical action, the more diverse the means of lexical expression in the language.
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Lysenko, Viktoria G. "Grammar and Ritual in Indian Theoretical Culture and the Western Ideal of “Pure Theory”: an Intercultural Approach." Voprosy Filosofii, no. 2 (February 8, 2023): 15–26. http://dx.doi.org/10.21146/0042-8744-2023-2-15-26.
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The article reveals the intercultural significance of the impact of the Paninean grammar of Sanskrit (ca. IV century B.C.) on the formation of Western linguistics – the general theory of language, comparative historical linguistics, other comparative disciplines, as well as generative grammar, structuralism and formalism. We are dealing here with a specific contribution of Indian theoretical knowledge to a number of important areas of Western science and philosophy. In ancient India itself, the genesis of grammatical and linguistic discourse was closely connected with the Brahmanical theory of Vedic sacrifice, which had the character of ritual- and sound-centrism. Ritual was regarded as a model of activity and behavior under the condition of an unstable confrontation between the forces of chaos and order. Sound-centrism constituted a priority of the oral transmission of knowledge in ancient India. The author associates ritual- and sound-centric doctrines with the conceptual expression of the dynamic nature of reality by means of the “perfect language” – Sanskrit. The fact that in ancient India the grammar was a part of the “software” for ritualistic discursive practices introduces some new perspectives within the study of the genesis of theoretical knowledge. In contrast to the hypothesis of “pure theory” suggested in Ancient Greece and acknowledged as a trigger for the development of philosophy and science in the West, an opportunity opens up to study the genesis of theoretical culture within the framework of justifying religious praxis (F. Staal’s hypothesis). This may actualize the reflection of “Indo-European language family relations” between Western civilization and Indian culture and enrich their self-understanding by the introduction of an intercultural perspective.
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Mathews, Jennifer P., and James F. Garber. "MODELS OF COSMIC ORDER: Physical expression of sacred space among the ancient Maya." Ancient Mesoamerica 15, no. 1 (January 2004): 49–59. http://dx.doi.org/10.1017/s0956536104151031.
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The archaeological record, as well as written texts, oral traditions, and iconographic representations, express the Maya perception of cosmic order, including the concepts of quadripartite division and layered cosmos. The ritual act of portioning and layering created spatial order and was used to organize everything from the heavens to the layout of altars. These acts were also metaphors for world creation, world order, and establishing the center as a position of power and authority. This article examines the articulations of these concepts from the level of caches to the level of regions from the past and present in an attempt to understand these ancient perceptions. We emphasize that basic organizational notions of the cosmos permeate all societal levels and argue that scholars should expand their focus to include how the sacred landscape and its related ideology were reproduced in the lives of everyday people.
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Romio, Silvia. "Denied funeral rituals in pandemic times." Human Remains and Violence 9, no. 1 (April 2023): 91–109. http://dx.doi.org/10.7227/hrv.9.1.6.
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The extremely high death rates in northern Italy during the 2020 COVID-19 pandemic called for exceptional rules and suspension of funeral practices and burial rites. Additionally, forms of collective burial, typical of a wartime scenario, and mechanical methods and timing were reintroduced into the handling of corpses. Although several academic studies have highlighted how the absence of funeral ceremonies and ‘dignified burials’ has caused prolonged and deep suffering for the mourners and for many of the caregivers and health workers, few have so far focused on funeral workers. This article focuses on the intimate, emotional and ethical experiences of a group of funeral workers in northern Italy who handled COVID corpses and had to take the place of the mourners at the time of burial. Through an anthropological analysis of their oral memories, this work attempts to analyse their expressions of discomfort, frustration, fear and suffering.
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Malkova, Liliana Yu. "Information Requirements of Society and Expressivity of Audiovisual Media." Journal of Flm Arts and Film Studies 9, no. 4 (December 15, 2017): 134–44. http://dx.doi.org/10.17816/vgik94134-144.
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Contemporary realization of enlightenment tasks of TV is considered in the article in context of cultural contradictions, stimulated by screen mediation of social communications. The request of society for audiovisual information grows outside mass media today: it has entered into document flow, mediates social ritual, in a new way enters culture. At the same time there is a devaluation of authenticity of a documentary shot in television practice, complication of the visual figurativeness built around oral forms of expression. The culture of oral communication presupposes that TV shows are meant mainly for acoustical perception, submitting their visual component to the spontaneity of oral speech at the different levels. To the person, whose social activity, work, daily routine are mediated by screen and do not lose at the same time their authenticity, today it is harder and harder to differentiate the sphere of journalism or art as conditional, "other" environments in which he himself becomes an object of the influence, a target of transformed audiovisual representation of reality. Broadcasters by all means raise the perceptual attractiveness of content in fight for the viewer, whose own activity grows in the media field and his communicative status loses definiteness. At the same time the priority of enlightenment tasks even in political segment of broadcasting is lost, and the social mission of the leading TV channels in audiovisual communication becomes doubtful.
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Rogers, Jamie Ann. "“Sometimes It Seems You’re in Another World”." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 2 (September 1, 2020): 125–57. http://dx.doi.org/10.1215/02705346-8359552.
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This article traces the development of Afrocentric feminist aesthetics within the LA Rebellion, a film movement made up primarily of Black film students at UCLA from 1970 to the late 1980s. It argues that these aesthetics are integral to the movement’s heterogeneous but radical politics, even as the filmmakers express them through widely different means. The article focuses primarily on three films that span the final decade in which Rebellion filmmakers were active at UCLA: Barbara McCullough’s Water Ritual #1: An Urban Rite of Purification (1979), Alile Sharon Larkin’s A Different Image (1982), and Zeinabu irene Davis’s Cycles (1989). Each of these films’ renderings of Afrocentric feminist aesthetics—through attention to African oral and mythical traditions, African and Pan-African-inflected mise-en-scène, rich col-oration and film stock, and play with nonlinear, nonteleological time—register at once the sedimented condition of patriarchal anti-Blackness in the United States and Black feminists’ ongoing projects of freedom that perdure within and despite that condition. In many ways, such representations anticipate contemporary Black feminist grapplings with recent Black studies scholarship that orbit around Afro-pessimist theories of Black ontology and social death. Through their expressions of Afrocentric feminist forms of communal, caring, and creative living, the films represent a form of Black social life that expresses value systems and ways of being that are incompatible with social death, even when they are inevitably moored within its ontological structure.
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Buivytė, Giedrė. "Shifting Emotional Expression in Lithuanian Love Songs." Tautosakos darbai 63 (July 20, 2022): 105–22. http://dx.doi.org/10.51554/td.22.63.05.
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The article focuses on social and cultural background of the shifts taking place in the stylistics and contents of Lithuanian love songs. Applying theoretical assumptions from the field of history of emotions, the author analyzes shifting expression of emotions in folksongs on the topic of love. The subject of the article embraces love songs that spread from the 19th to the first half of the 20th century and were shaped not only by the folklore tradition, but also by Lithuanian and foreign poetry of the time, and by popular romances. These compositions differ in terms of poetic quality, displaying both the traditional folksong elements and changing attitudes by the singers and people that are depicted in the songs, as well as a new vocabulary of emotional expression. Applying insights by Peter N. and Carol Z. Stearns (1985) regarding the society’s standards on the expression of emotions, and the concept of emotive, or emotional statement, introduced by W. Reddy (2001), the author regards the shifting expression of emotions in love songs as a reflection of emotionality spreading in written culture (primarily poetry) of the 19th century. Utterances of love-related emotions are essentially perceived as manifestations of the changing poetic vocabulary. The first chapter discusses social and cultural conditions of the changing folksongs, concentrating mostly on the notion of love and its significance in traditional Lithuanian peasant family, and the spread of literacy in the 19th century. The growth of written culture is considered a factor in introducing tropes and prototypes of emotional language that express the notion of romantic love into the sphere of folksong. The second chapter analyzes the relationship between love songs and individual poetry. Various collections of Lithuanian folksongs published in the 19th century, as well as their publications in the press testify to the process of interaction between written and oral culture gaining momentum at that time. This process was further stimulated by the increase of Lithuanian poetry composed by representatives of Lithuanian intelligentsia and literati with roots among the small noblemen and peasants; their compositions were significantly influenced by foreign poetry. Romantic lyrics also grew popular among the peasants. The third chapter explores the distinction between classical folksongs that encode communication of the young people in symbols and draw on the ritual code, and the new love songs that preserve traditional images but lose their symbolic meaning and ritual orientation. The author concludes that these new love songs employ a predominantly poetic vocabulary of emotional expression typical to written culture, their folkloric formulas mixing with new phrases yet unpolished by the tradition and straightforwardly naming certain emotions; a direct relation between “I” and “you” becomes more prominent too. She discusses samples of folksongs that directly name love and openly depict such related emotions as worry, sorrow, or anger, and loveʼs parallel with death.
To sum up, it is stated that expressions of personal emotions increasingly become established in the new love songs. Although such expressions are frequently artistically rough and unpolished, they testify to the necessity of mastering new means of poetic expression, acutely felt by the newly literate people. Moreover, the songs also expand the semantic field of love, associating this feeling with intense emotions, overwhelming anxiety and longing, while the absence of love is conceptualized as a failing health and lost inner peace. Obviously, the stylized and frequently sentimental poetic vocabulary of emotional expression, characteristic to individual poetry affected by foreign literature and romances, presented new possibilities to discuss emotions in folksongs. These practices should be regarded mainly as “legitimization” of a new emotionally expressive rhetoric in the sphere of folkloric communication rather than a direct testimony to the experienced feelings.
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BALAN, Rodica. "The reflective teacher, integrator of folklore content through new technologies." Acta et commentationes: Științe ale Educației 38, no. 4 (2024): 107–12. https://doi.org/10.36120/2587-3636.v38i4.107-112.
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This paper analyzes the role of the reflective teacher in integrating folkloric content in education, with an emphasis on the use of new technologies. We explore ways to create an authentic connection between folklore and students, stimulating interest and respect for cultural values. Starting from the etymology of the term "folklore" we identify a wide range of traditions, oral expressions, including language as a conveyor of intangible cultural heritage, literature, culinary arts, music, song, dance, sounds, games, mythology, rituals, customs, ancestral skills and crafts, as well as the instruments, objects, artefacts and cultural spaces associated with them, all that people can create and transmit as a civilizing factor to future generations.
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Espino Relucé, Gonzalo. "Oral poetry of the Andes and Amazonia." Cuadernos Iberoamericanos, no. 4 (December 28, 2018): 26–37. http://dx.doi.org/10.46272/2409-3416-2018-4-26-37.
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In the essay I propose to give an account of an ancestral corpus, although new in its outline, since it involves the appearance of the indigenous as a subject of enunciation. I will stop at the abduction of writing as a new process and I propose to focus our attention on the word-voice that is not reduced to the wordletter steed. This does not require alphabetic writing, we find it in various forms and it allows us to express what a culture wants to transmit: I think of the kené [1], expressions of the Shipibo-conibo design or the payllay among the Quechua that explains that they want to communicate, amen of the still indecipherable quipus [2] Andean [3]. These same can be found in facial designs, without forgetting that the body itself is a form of language. The lecture that I will do implies the presence of several systems. I suggest that the current corpus of indigenous literatures accounts for an oral poetics that explains them, rooted in the updated memory of the ancestors and expressed in their activities (daily, traditional, rituals, cycles and seasonal periods, etc.). I support it in the people-culture pair that is based on history and accounts for a demonstration, whose historical reference will be the “long duration”. It is not reduced, therefore, to the candid writing/orality opposition, but to a dynamic relationship between word-voice, brand, sign or trace, body designs, etc. These poetics correspond to the domain of the word, so the orality of which we speak involves the continuity of an expression that writing does not always show in its linear capture, with respect to the autonomy and the confluence of the different forms that are produced in the event. True, they are accusing a new scenario that has to do with the modern abduction of writing. In the same sense, I will dwell on the logic of violence that embodied the presence of the old stranger (conqueror, Spanish or Portuguese) who now lives in that colonized mixture of our being. At the same time, it implies a look with respect to the European ego that constitutes the disseminator of modernity. Impossible to explain it, if we do not include in our agenda a reflection on territory and dispossession.
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Luvsantseren, Tserenchimed. "An Ethnolinguistic Analysis of the Meaning and Cultural Features of the Idiom “Deluu idvel delbe nirge”." Mongolian Journal of Humanities and Social Sciences 9, no. 19 (December 27, 2024): 52–59. https://doi.org/10.69542/mjhss.v9i19.3717.
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This article seeks to analyze the meaning and cultural significance of the idiom ˈde.lʊː ˈit.wəl ˈdel.pə ˈnir.ɡɛ a commonly discussed expression among Mongolians, along with its variants, using ethnolinguistic theory and methodology. The scope of this study is defined by a focus on this idiom and related expressions. Our analysis is based on field study notes collected by ethnographers, records of Mongolian customs, and examples from dictionaries, all of which are essential for testing our hypothesis through comparison and synthesis of the available data. By examining specific linguistic phenomena, we can find insights into the culture, historical events, political relationships, and oral traditions that shape ethnic groups. In exploring national and ethnic languages through an ethnolinguistic lens, we focus on the interplay between linguistic and non-linguistic factors. Indeed, non-linguistic influences, such as the historical origins and history of the ethnic group are especially significant in elucidating the meaning and cultural characteristics of the idioms under study. This study draws on research materials, dictionaries, ritual glossaries, and prior studies on the topic of taboo, supplemented by case studies focusing on ethno-linguistic communication. There is a pressing need to examine specific linguistic and dialectal phenomena from an ethnolinguistic perspective. Future research should aim to explore the customs and traditions related to the concept of ‘spleen’ across various regions, not merely through the lens of idiomatic expressions, but to identify both the unique and shared characteristics of ethnic cultures. “Дэлүү идвэл дэлбэ ниргэ...” хэлц үгийн утга, соёлын онцлогийг угсаа хэл шинжлэлийн үүднээс тайлбарлах нь Хураангуй: Монголчуудын хэл, аялгуун дахь хэлц үг, тогтвортой нэгжийн олонх нь нүүдлийн соёл, мал аж ахуйгаас үүдэлтэй заншил, зан үйлд хамаардаг. Мөн угсаатны гарал, овгийн нэрийг тайлбарласан домог, аман мэдээнд өгүүлсэнтэй холбогдох нь байна. Тус өгүүлэлд монголчуудын дунд түгээмэл хэлэлцдэг дурдсан хэлц үг, түүний хувилбарын утга, соёлын онцлогийг угсаа хэл шинжлэлийн онол, арга зүйгээр тайлбарлав. Судалгааны хязгаарлагдмал талыг тус хэлц үгийн хүрээгээр тогтоож, угсаатны зүйчдийн цуглуулсан хээрийн шинжилгээний тэмдэглэл, монголчуудын зан заншлын тайлбар толь бичгийн баримт, зарим аман мэдээнд тулгуурлалаа. Монгол угсаатны зарим овог (хамниганы жишээгээр)-ийн эдийн соёл, оюуны соёлын илрэл болох шүтлэг бишрэл, угсаатны соёл-заншлын аман домгийн холбооноос хэвшиж тогтсон үг, хэллэг эдүгээ гол төлөв цээрлэх ёс, бэлгэдлийн утга илэрхийлдэг хэлц үг болж дэлгэрсэн нь судалгааны ажиглалт, үр дүнгээс харагдав. Түлхүүр үг: угсаатны хэл-соёл, цээрийн ёс, нүүдлийн ахуй соёл, угсаатны овгийн нэр
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Abatayo, Jolo Van Clyde S., and Desiree Gumapang. "Cultural Activities, Resources, Practices, and Preservation of the Higaonon Tribe: An Ethnographic Study." New Educational Review 77, no. 3 (2024): 35–47. http://dx.doi.org/10.15804/tner.2024.77.3.03.
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The Higaonon Tribe, an indigenous community in the Philippines, is the custodian of a rich cultural heritage deeply rooted in their unique customs, traditions, beliefs, and practices. This ethnographic study was conducted to explore and document the cultural resources and preservation practices of the Higaonon Tribe, particularly in Simbalan, Buenavista, and Agusan del Norte. Through immersive fieldwork involving Focus Group Discussions (FGD) and interviews with key tribe members such as the Datu and Elders, the researchers gained insights into the tribe’s social organisation, religious rituals, traditional knowledge systems, material culture, and artistic expressions. The research documents the tribe’s significant cultural resources, including traditional crafts, oral literature, sacred rituals, and community dances. The findings reveal the tribe’s multifaceted efforts to preserve their cultural heritage through oral traditions, sustainable farming methods, ecological wisdom, and cultural revitalisation initiatives. These practices are not only crucial for maintaining the Higaonon Tribe’s cultural identity but also contribute to the promotion of sustainable living and environmental protection. The study underscores the urgent need to recognise, preserve, and celebrate the Higaonon Tribe’s cultural heritage. It recommends the inclusion of the Higaonon culture in the national educational curriculum and suggests that government programs be designed to promote cultural pride and the embracement of indigenous heritage. The broader implications of these findings extend beyond the Higaonon community, offering valuable insights for global cultural preservation efforts.
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Giovannini, E. C., M. Lo Turco, and A. Tomalini. "DIGITAL PRACTICES TO ENHANCE INTANGIBLE CULTURAL HERITAGE." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 273–78. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-273-2021.
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Abstract. The term “cultural heritage” has been enriched with multiple contents in the last decades, partly thanks to the protection instruments developed by UNESCO. Despite the past, the cultural heritage is not limited to monuments and collections of objects. The term nowadays includes tangible and intangible cultural heritage (ICH). ICH includes traditions or living expressions inherited from our ancestors and passed on to our descendants, such as oral traditions, performing arts, social practices, rituals, festive events, knowledge and practices concerning nature and the universe or the knowledge and skills to produce traditional crafts. Within this context, the Museum of “Passione di Sordevolo” preserves and spreads the cultural and social value of the largest representation of popular Christian theatre in Italy, called “La Passione di Sordevolo”. The paper presents the results of the research of the reconstructive modelling and visual storytelling project called "Digital historical scenic design". The project explores the use of digital technologies to create new content compatible with the Museum’s mission: dissemination, communication and valorization of the documentary heritage (photographs, sketches, drawings) and the systematic collection of the oral tradition of this theatrical tradition.
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Szubert, Irmina. "O filozofii formalnej Miguela Ángela Asturiasa." Przestrzenie Teorii, no. 40 (December 29, 2023): 29–57. http://dx.doi.org/10.14746/pt.2023.40.2.
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This paper analyses the linguistic structure, creative modes of expression and stylistic properties of Miguel Ángel Asturias’s Legends of Guatemala (Leyendas de Guatemala, 1930). Furthermore, it attempts to classify Asturias’s prose fiction, which is often multifaceted, by defining the unique character of its complex linguistic mechanisms that create his debut short-story collection. All texts in Legends contain references not only to events of the Mayan cosmogony, mythological tropes and motifs (that have been developed and put into a new context), but also to their mimetic relationship with the ritual language used in the Popol Vuh. The word order variations and certain combinations of vowels and consonants, as well as the specific syntactic parallelisms and enumerations (stylistic and lexical “props”) imitate formulaic phrases which are important elements in oral style. Pre-Columbian themes – especially those chosen by the Guatemalan writer for the narrative content of his works – are full of visual symbols with rich folk meanings; the melodic sound of Asturias’s narration (and its internal rhythm) seems attuned to the worldview belonging to both particular and universal human communities.
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Park, Hyeon Suk. "Characters and the Narrative Significance of the Korean Folktale Saekki Seo-bal Interpreted through Oral-Formulaic Phrases." Society Of Korean Oral Literature 72 (March 31, 2024): 109–61. http://dx.doi.org/10.22274/koralit.2024.72.004.
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This provides an in-depth analysis of the characters and narrative significance of the Korean folktale Saekki Seo-Bal(An Unfinished Short Straw Rope) focusing on the oral-formulaic phrases of characters “Eating a meal in the warmer part and pooping in the colder part in the same room.” This oral-formulaic phrase, “Eating a meal in the warmer part and pooping in the colder part in the same room,” is fixedly and regularly combined with the folktales Saekki Seo-Bal and Chamkkaenamu(Sesame Tree). Therefore, the characters in the two folktales were named “Saekki Seo-Bal” type characters.
The oral-formulaic phrase which appears in the character of Saekki Seo-Bal, is an essential binding element of the introductory narrative structure, linking to the success narrative of the ending section. This oral-formulaic phrase is not a rhetorical expression representing the character’s lazy behavior but a metaphorical expression of the character's deliberation or plan ahead of his social initiation. In other words, it defines the protagonist as an active person with emergent thinking who prepares to become independent from his mother and move into the world rather than as a problematic person with a lazy personality. This study interprets the folktale Saekki Seo-Bal, which is combined with the oral-formulaic phrase “Eating a Meal in the Warmer Part and Pooping in the Colder Part in the Same Room” as an initiation tale depicting a son growing from an individual to a social being.
The social initiation process of characters consists of three stages: the preparatory stage for initiation, the stage of accumulating experiences and growth, and finally, social approval. In the first stage, characters prepare for social initiation through acts of oral-formulaic phrases. They demonstrate qualities as beginners in society by engaging in activities with materials provided by the community, such as “twisting straw ropes” in Saekki Seo-Bal and “sowing seeds” in Chamkkaenamu. The second stage appears in the narrative where the protagonist acquires the maiden who will become his wife through continuous bartering, starting with the “Saekki Seo-Bal.” Therefore, the character accumulates experience in solving problems in relationships with various others and grows into a social being with experience narratives that can solve any problem. In the third stage, the character’s abilities are tested through a “riddle bet” while returning to the community with the maiden who will become his wife. He eventually protects his wife and gains the approval of the social community as a marriage ritual.
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Sutopo and Risdiana Himmati. "PENGELOLAAN OBYEK DAYA TARIK WISATA BERBASIS KEARIFAN LOKAL DI PANTAI PACAR KECAMATAN PUCANGLABAN KABUPATEN TULUNGAGUNG." Prosiding Konferensi Pengabdian Masyarakat 1 (December 28, 2023): 61–70. http://dx.doi.org/10.59329/pkpm.v1i.98.
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"The research evaluates the implementation of locally informed tourist attraction management at Pacar Beach, Pucanglaban District, Tulungagung Regency. The engagement activities were carried out using techniques such as material presentations, discussions, and hands-on practice. The results of field observations and in-depth interviews have led to several conclusions and findings. These include the local traditions and oral expressions of the Pucanglaban community, the artistic horse dance performance known as 'jaranan,' the community's customs, rituals, and celebrations, the local knowledge and behavioral habits related to nature and the universe, as well as traditional crafting skills and expertise. The implementation of locally informed tourist attraction management at Pacar Beach has progressed smoothly and holds the potential for further development to attract more visitors. Despite the limited interest of foreign tourists in visiting Tulungagung Regency, Pacar Beach remains an appealing marine tourist destination in Tulungagung."
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Ispas, Sabina. "Folclor și identitate." Teologie și educație la "Dunărea de Jos" 17 (June 12, 2019): 183–99. http://dx.doi.org/10.35219/teologie.2019.06.
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The folklore phenomenon (the deep, oral, popular, traditional culture) is represented by all the creations of a community that is based on tradition, are expressed by a group of individuals and recognized as reflections of its expectations to the extent that it represents its social and cultural identity. This is, in fact, a sum of local, village and city identities in which “individual identities” are incorporated. Through it, the fusion between territory, language and people is obtained, which is legitimized “through a genealogy and a space conceptualized as such”. We belong to a world in which access to information is open to all. In this context, in order to find yourself, you must define and assume your own identity. Such a complicated and responsible process cannot be undertaken without reference to the traditional system of norms, expressed in that large segment of the culture that is folklore. A Europe of nations cannot be achieved without knowing and understanding the system of values to which they have appealed throughout the entire period of their definition. Folklore is a fundamental landmark for the man of the post-industrial society who is in search of the self. Along with the scholarly culture, to which it is complementary, folklore contributes to the realization of the universal, European, national heritage. Forms of expression of folklore, musical, literary or choreic texts, ritual practices, beliefs, the dominant religion of the group, etc. cooperates for the purpose of forming this identity. The standards and values are transmitted orally, by imitation or other means. Folklore includes, inter alia, phenomena of language, literature, music, dance, games, mythology, rituals, customs, crafts, architecture and other arts. The present study highlights, synthetically and systematically, the main traditions created and developed over time by the Romanian people, traditions that define it and give it a specific identity.
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Asfina, Risda, and Ririn Ovilia. "BE PROUD OF INDONESIAN CULTURAL HERITAGE RICHNESS AND BE ALERT OF ITS PRESERVATION EFFORTS IN THE GLOBAL WORLD." Humanus 15, no. 2 (February 19, 2017): 195. http://dx.doi.org/10.24036/jh.v15i2.6428.
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BANGGA DENGAN KEKAYAAN WARISAN BUDAYA INDONESIA DAN WASPADA DENGAN USAHA PELESTARIANNYA DI DUNIA GLOBALAbstractIndonesia as an archipelago country has a lot of cultural heritage that it is decently called as a multicultural country. The richness of Indonesian culture is not only in tangible cultural heritage but also in intangible one. It includes artifacts, inscriptions, traditional food, clothes, music instruments, oral traditions and expressions, performing arts, rituals and festive events, knowledge and practices concerning nature and the universe, and traditional craftsmanship. However, there have been a number of issues concerning the sustainability of Indonesian cultural heritage. Some of which are the difficulty of connecting culture with societies, the struggle to maintain inter-generational transfer of knowledge, lack of recognition, stylistic and thematic imitation, misappropriation by unauthorized reproduction or distribution, and foreign claims to Indonesian cultural heritage. Those issues are influenced by the globalization era in which the development of life style and technology increases rapidly. Due to the crucial value of the culture as the identity of a nation, therefore Indonesia surely needs to preserve it. This paper aims to discuss the richness of Indonesian culture, several cultural issues in global world, and the cultural heritage preservation efforts. The significance of this paper is to give a better understanding about these issues and to create awareness about the importance of maintaining cultural identity of the nation in global world. Keywords: Indonesian cultural heritage; preservation efforts; global worldAbstractIndonesia sebagai negara kepulauan memiliki banyak warisan budaya yang biasa dikenal sebagai negara multikultural. Kekayaan budaya Indonesia tidak hanya dalam warisan benda budaya tetapi juga dalam bentuk tak benda. Ini termasuk artefak, prasasti, makanan tradisional, pakaian, alat musik, tradisi dan ekspresi lisan, seni pertunjukan, ritual dan festival, pengetahuan dan praktek mengenai alam dan semesta, dan kriya tradisional. Namun, ada sejumlah isu mengenai keberlanjutan warisan budaya Indonesia. Beberapa di antaranya adalah kesulitan menghubungkan budaya dengan masyarakat, perjuangan untuk mempertahankan transfer pengetahun antar-generasi, kurangnya pengakuan, peniruan gaya dan tematik, penyalahgunaan reproduksi dan distribusi oleh pihak yang tidak sah, dan klaim asing untuk warisan budaya Indonesia. Isu-isu tersebut dipengaruhi oleh era globalisasi ketika perkembangan gaya hidup dan teknologi meningkat pesat. Mengingat pentingnya nilai budaya sebagai identitas suatu bangsa, bangsa Indonesia tentu perlu untuk melestarikannya. Tulisan ini bertujuan untuk membahas kekayaan budaya Indonesia, beberapa isu budaya di dunia global, dan upaya pelestarian warisan budaya. Signifikansi dari makalah ini adalah untuk memberikan pemahaman yang lebih baik tentang masalah ini dan untuk menciptakan kesadaran tentang pentingnya menjaga identitas budaya bangsa di dunia global.Keywords: warisan budaya Indonesia; usaha pelestraian; dunia global
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KITLV, Redactie. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 164, no. 1 (2008): 102–66. http://dx.doi.org/10.1163/22134379-90003701.
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Trevor Wilson (ed.); Myanmar’s long road to national reconciliation (Jean A. Berley) Jennifer Lindsay (ed.); Between tongues; Translation and/of/in performance in Asia (Michael Bodden) Volker Grabowsky; Bevölkerung und Staat in Lan Na; Ein Beitrag zur Bevölkerungsgeschichte Südostasiens Peter Boomgaard) Odille Gannier, Cécile Picquoin (eds); Journal de bord d’Etienne Marchand; Le voyage du Solide autour du monde (1790-1792 (H.J.M. Claessen) Arjan van Helmond, Stani Michiels (eds); Jakarta megalopolis; Horizontal and vertical observations (Ben Derudder) Bert Scova Righini; Een leven in twee vaderlanden; Een biografie van Beb Vuijk (Liesbeth Dolk) Gerrit R. Knaap, J.R. van Diessen, W. Leijnse, M.P.B. Ziellemans; Grote Atlas van de Verenigde Oost-Indische Compagnie/ Comprehensive Atlas of the Dutch United East India Company; Volume II: Java en Madoera/Java and Madura (Amrit Gomperts) Nordin Hussin; Trade and society in the Straits of Melaka; Dutch Melaka and English Penang, 1780-1830 (Hans Hägerdal) Wilco van den Heuvel; Biak; Description of an Austronesian language of Papua (Volker Heeschen) Ann L. Appleton; Acts of integration, expressions of faith; Madness, death and ritual in Melanau ontology (Menno Hekker) Amity A. Doolittle; Property and politics in Sabah, Malaysia; Native struggles over land rights (Monica Janowski) Rajeswary Ampalavanar Brown; The rise of the corporate economy in Southeast Asia (J. Thomas Lindblad) Dwi Noverini Djenar; Semantic, pragmatic and discourse perspectives of preposition use; A study of Indonesian locatives (Don van Minde) Sherri Brainard, Dietlinde Behrens, A grammar of Yakan (Chandra Nuraini) Dietlinde Behrens; Yakan-English dictionary (Chandra Nuraini) Pierre Lemonnier; Le sabbat des lucioles; Sorcellerie, chamanisme et imaginaire cannibale en Nouvelle-Guinée (Anton Ploeg) Edgar Aleo and others; A voice from many rivers; Central Subanen oral and written literature. Translated and annotated by Felicia Brichoux (Nicole Revel) Joos van Vugt, José Eijt, Marjet Derks (eds); Tempo doeloe, tempo sekarang; Het proces van Indonesianisering in Nederlandse orden en congregaties (Karel Steenbrink) Nancy Eberhardt; Imagining the course of life; Self-transformation in a Shan Buddhist community (Nicholas Tapp) J.C. Smelik, C.M. Hogenstijn, W.J.M. Janssen; A.J. Duymaer van Twist; Gouverneur-Generaal van Nederlands-Indiё (1851-1856) (Gerard Termorshuizen) David Steinberg; Turmoil in Burma; Contested legitimacies in Myanmar (Sean Turnell) Carl A. Trocki; Singapore; Wealth, power and the culture of control (Bryan S. Turner) Matthew Isaac Cohen; The Komedie Stamboel; Popular theatre in colonial Indonesia, 1891-1903 (Holger Warnk) Jörgen Hellman; Ritual fasting on West Java (Robert Wessing) Waruno Mahdi; Malay words and Malay things; Lexical souvenirs from an exotic archipelago in German publications before 1700 (Edwin Wieringa) RECENT PUBLICATIONS Russell Jones, C.D. Grijns, J.W. de Vries, M. Siegers (eds); Loan-words in Indonesian and Malay VERHANDELINGEN 249 Peter Carey: The power of prophecy. Prince Dipanagara and the end of an old order in Java, 1785-1855
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B, Ramani. "Folk Playing Songs used in Kalangkurichi of Salem District- Psychological Thoughts." International Research Journal of Tamil 4, S-16 (December 12, 2022): 179–85. http://dx.doi.org/10.34256/irjt224s1623.
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Folk literature is in use from the early days itself. Folk literature is just the expression of the people’s mind. Folk literature is also called oral literature or unwritten literature. Folklore is intertwined with the life of the common people. Folk songs are sung by the ordinary people and it is about their experience from birth to death. Lullabies, ritual songs, stories, professional songs, game songs, children songs, riddles and proverbs are sung by these ordinary people. Game songs are sung by both adults and children. The games which they played are related to nature and as time passes everything changes and now people create and adapt many games. They also formulated many rules for playing a particular game. Man learned to play from animals. Run and touch games may have originated from the phenomenon of one animal chasing another animal. Our forefathers have performed every game with a reason. Through the number sequence songs, they learned numeracy and the group songs shows their unity and self-confidence. At present people harm their body and mind by spending their time on mobile phone, playing video games and watching television. This article is intended to highlight the benefits of those games with the help of psychological thoughts.
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Kádár, Dániel Z., and Juliane House. "Ritual frames." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 30, no. 1 (December 3, 2019): 142–68. http://dx.doi.org/10.1075/prag.19018.kad.
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Abstract Our study provides a corpus-based contrastive pragmatic investigation of the expressions please in English and qing 请 in Chinese. We define such expressions as ‘ritual frame indicating expressions’ (henceforth RFIEs) and argue that RFIEs are deployed in settings where it is important to show awareness of the rights and obligations. ‘Ritual frame’ encompasses a cluster of standard situations. On the one hand the corpus-based investigation of ritual provides an innovative complement to sociopragmatic approaches to ritual behaviour because they reveal how RFIEs that indicate ritual spread across a cluster of standard situations. On the other hand, it allows the researcher to contrast the scope of ritual across lingua-cultures by comparatively looking into the standard situations in which a particular RFIE is deployed. Findings of our data analysis point to intriguing differences between English and Chinese RFIEs, as well as relevant lingua-cultural reasons behind such differences.
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Savina, Yuliia O. "MULTIMODALITY OF INCONGRUITY AS COGNITIVE MECHANISM OF CREATING HUMOUR: CASE STUDY OF POLITICAL STAND-UP COMEDY." Alfred Nobel University Journal of Philology 2, no. 26/2 (December 26, 2023): 59–75. http://dx.doi.org/10.32342/2523-4463-2023-2-26/2-4.
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The problem of humour is complex and transcends aesthetic boundaries. Laughter is a product of interactions between individuals, social groups, cultures and epochs, with a far-reaching significance that attracts the attention of various scientific fields. When discussing humour, it is essential to consider the modality, which reflects the speaker’s attitude and subjective expressions. Regardless of genre or style, humour offers an aesthetic representation of the world, created by the author to convey his or her communicative intent and perspective. The core mechanism of humour is incongruity, characterized by inconsistencies with established norms that produce a comic effect. This incongruity is present in all forms of humour, whether oral, written or multimodal, as in stand-up comedy. Stand-up comedy uses different modes of expression, including spoken words, body language, facial expressions, gestures and timing, to enhance the comedic experience. Therefore, when discussing stand-up comedy, it’s important to consider the multimodality of incongruity at different levels of expression. The aim of the current research is to describe the multimodality of incongruity as a cognitive mechanism of creating humour in stand-up comedy and to characterize the specifics of incongruity in works of this genre, taking into account its specifics in terms of forms of expression of humour. In order to achieve the research objective, the following research tasks will be carried out 1) to provide the definition of modality as a way of expressing one’s attitude towards the surrounding world; 2) to present the specifics of stand-up comedy as a multimodal genre; 3) to present the idea of multimodality of incongruity as a cognitive mechanism of creating humour using the example of the stand-up comedy genre. The research material of the presented research is the stand-up monologues of George Carlin (2010, 2011), Andy Haynes (2023) and Joe Kilgallon (2019) on political issues. In the presented stand-up monologues, a total of 100 cases of incongruity are distinguished, of which 52% are valorative, 36% are logical and notional, and 12% are ontological. The cognitive nature of comic in political stand-up comedy is examined as a complex phenomenon. Analyzing the multimodal means used to create comedy in this context requires a polyparadigmatic approach that encompasses four scientific paradigms – discursive, linguocognitive, linguopoetic, and nonverbal communication analysis. Such a comprehensive methodological approach enables a deeper understanding of this complex and multifaceted subject matter. The research indicates that humour creation via cognitive mechanisms like incongruity is a phenomenon spanning multiple modes within the stand-up comedy genre. Multimodality encompasses the evaluation of utterance content by the speaker, as well as the subject’s relationship to the action, with multiple semiotic modes coexisting in a context that shapes the essence and conveys the speaker’s attitudes. Standup comedy requires both verbal and non-verbal communication, making it a multimodal form of performance where a single performer engages directly with the audience. The core mechanism for creating humour in this genre is incongruity, which stems from contrast and deviation from norms, including ontological, logical, notional, and valorative incongruity. These types of incongruity are commonly used in political stand-up comedy, making it a unique and dynamic form of entertainment. Value incongruity, which is the primarily employed method (52%), exposes disparities between political realities and established social norms. Comedians utilise various linguistic techniques, including generalisation, rhetorical questions, metaphors, repetitions, and parallelism, alongside extralinguistic methods such as voice modulation and facial expressions, voice tone, pauses, different kinds of intonational contrast, body language to establish incongruity of this nature. Logical and notional incongruity (36%) highlights the irrationality of politics and voter’s reasoning, using rhetorical questions, citations, and certain tone of voice and facial expressions. Ontological incongruity refers to the introduction of imaginary elements which violate the rules of existence and are used to emphasize absurdities. Although less frequent in political stand-up comedy, it can still be used to highlight absurdities, such as the ritual of swearing on the Bible in a formal setting. It is shown that the scenic characteristics (positive or negative character, colours, decor), the way of dressing are also essential, because they all contribute to the creation of humour based on the image of the speaker. Comedians utilize intertextuality and their delivery style to create and emphasize this form of incongruity. In conclusion, political stand-up comedy utilises different forms of incongruity to deride social conventions, reveal political absurdities, and generate amusement. Both linguistic and extralinguistic elements are important tools for comedians in creating incongruity, making political stand-up comedy a multimodal phenomenon.
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Castillo Ortíz, Daniela Paulina, Sandra Patricia Miranda Salazar, Christiam Paúl Aguirre Merino, and Libeth Lucía Urgiléz Pinos. "El Patrimonio Cultural Inmaterial Para Generar Un Espacio De Reflexión Social. Estudio De Caso: Comunidad De Nizag, Provincia De Chimborazo, Ecuador." European Scientific Journal, ESJ 12, no. 23 (August 29, 2016): 184. http://dx.doi.org/10.19044/esj.2016.v12n23p184.
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This case study describes non-tangible elements of the cultural heritage of the community of Nizag, Ecuador. We found a social dynamic built on regional cultural events, including oral traditions and expressions, performing arts, social practices, rituals and festivals, ancestral knowledge of nature and the universe, and traditional artisanship. Linking these categories permitted us to understand intergenerational transmission of heritage and related cultural integrity in this indigenous community. The written record of the living memory of its inhabitants, a heritage registry, allowed the creation of spaces for reflection and self-awareness, reflecting the need to reaffirm the culture and its value for traditional knowledge holders and for new generations, in order to guarantee its reproduction and use for sustainable community tourism. The representativeness of this heritage registry created during community workshops, in part through affirmation of its elements by community members, regained a necessary condition of respect for human rights and diversity among them. Furthermore, the sustainability of tourism involving non-tangible cultural heritage requires putting in place values of equity and solidarity. Making memories more significant, while ensuring their accurate reproduction and enhancing their symbolic value to tourists who visit, not only enriches the experiences of what they share, but also recovers the social and cultural significance of heritage itself.
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ECONOMOU (Α. ΟΙΚΟΝΟΜΟΥ), A. "Cultural and social aspects of animal domestication in Greek traditional society." Journal of the Hellenic Veterinary Medical Society 62, no. 2 (November 10, 2017): 172. http://dx.doi.org/10.12681/jhvms.14848.
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The study of the ways, perceptions and practices by means of which a traditional society domesticates animals constitutes an important chapter in the understanding and interpretation of the making of its civilization, as the presence of animals can be found in all its facets and expressions. In the present paper which, in its initial form, was delivered as a lecture to the Hellenic Veterinary Medical Society, reference was made to the ways the Greek traditional society uses to integrate animals in its cultural system. This reference, however, was a brief and indicative one, as these ways have not been sufficiently studied from a folkanthropological point of view in Greece. This integration happened in many different ways, through the production and reproduction of the animals in their quality as financial asset, the consumption of their meat during week days and celebrations, their naming, the care to prevent and to cure illnesses affecting them, their participation in the worship rituals of saints as sacrificial offers, both real and symbolic, their position in the symbolic and the imaginary as it is depicted in oral narrative (legends, fairy tales, traditions, proverbs). Special mention is made to the saint patrons (St. Modestos, St. Mamas, St. Minas) of the animals in orthodox Christian religion and in Greek popular beliefs and practices.
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Mahzari, Mohammad. "The Closing Sequences and Ritual Expressions of Informal Mobile Phone Calls Between Saudis: A Conversational Analysis." International Journal of English Linguistics 9, no. 5 (August 26, 2019): 153. http://dx.doi.org/10.5539/ijel.v9n5p153.
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Although much work has been conducted on studying conversational openings of telephone and ritual expressions, conversational closings and ritual expressions have received less attention by researchers due to the complexity and difficulty of identifying the beginning of closings in telephone conversations. The parts of closing and ritual expressions on telephone have been examined in some languages, but Arabic has not been studied in landline telephone or mobile phone. Therefore, this study seeks to identify the sequences and ritual expressions between Saudi friends and relatives to explore the strategies of closing informal mobile phone calls by using a conversation analysis approach. Thirty audio-recorded and transcribed mobile phone conversations served as the data source for this study. The results found that the majority of mobile phone closing conversations include three parts: pre-closing, leave taking, and terminal exchange that are similar to many languages such as English, Japanese, and German. Also, various expressions were used in pre-closing and leave taking sequences, but the expressions of using prayers were used more frequently in the sequences. Finally, closing conversation is affected by various external and internal social factors in the sequences and the use of ritual expressions.
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Voloshina, Svetlana V., and Maria A. Tolstova. "The Representation of the Concept “Road” in Oral Stories of Siberians." Vestnik Tomskogo gosudarstvennogo universiteta, no. 460 (2020): 16–28. http://dx.doi.org/10.17223/15617793/460/2.
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The article describes the concept “road” as represented in oral stories of Siberians. This investigation is part of a comprehensive, interdisciplinary study of Siberia as a cross-border area. The research materials are: texts of the Tomsk Dialect Corpus, which were recorded during dialectological expeditions from the 1940s to 2019 in the areas where old-timer Middle Ob region dialects are spoken; information from dialect dictionaries, memoirs and oral stories of eyewitnesses and witnesses of dekulakization and exile to the Narym region; materials of the project “Free and Non-Free Siberians” published on the website of the Tomsk Regional Museum of Local Lore. A concept is a unit of consciousness that is represented by means of a language. The article uses a modeling method that is implemented through the description of the nominative field of the concept “road”, which includes both direct nominations of the concept itself and nominations of its individual cognitive features. Among the units that represent the concept “road”, there are: the word road and its synonym way, their derivatives, as well as words that name roads in accordance with their various characteristics, words of different parts of speech and phrases that contain the seme “road”: traffic, taxi, taxi driver, turnpike, country road, to go, to swim, to get lost, and many others. The contextual analysis of the material revealed that the following cognitive features receive language objectification: 1) the size of the road and its importance, 2) the use of roads depending on the time of year, 3) place of laying the road, 4) the kind of transport and method of travel, 5) the material from which the road is made, 5) the quality of the road 6) the direction of the road, 7) the road as an integral part of migration processes, 8) construction, laying and maintenance of roads, 9) the road as a factor in the formation of different social ties, communities and an additional reason for economic activity (crafts, entrepreneurship, etc.), 10) the road as an indicator of the development of Siberia, civilization and improvement, 11) the road as a dangerous place, 12) the road as a way of localization, 13) the road as an attribute of superstitions, rituals. Siberians’ autobiographical stories and memoirs contain fragments that reflect the importance and significance of the road in human life. Facts from people’s life connected with the road are: birth on the road, road to school/university/institute, wedding, work, moving, death. The road is a significant fragment of the Siberians’ worldview; it reflects the spatial and temporal characteristics of people’s lives, representing the “friend/foe” opposition. Formal (changes in road categories, obsolescence of expressions, new stable combinations and lexemes) and substantive (new roads, reinterpretation, de-ideologization of road spaces associated with the repressive policy of the state, etc.) transformations in the structure of the concept are due to time (change of epochs) and to political and economic factors.
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Nurbaya, Nurbaya. "Expressions Language of Saro Eating Ritual Ternate Ethnic." Jurnal Sains Sosio Humaniora 7, no. 2 (December 4, 2023): 225–35. http://dx.doi.org/10.22437/jssh.v7i2.21293.
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Food as a cultural identity of an ethnic. Cultural identity is a distinguishing feature between one society and another. The ritual of eating saro is a traditional food ritual at the traditional wedding ceremony of Ternate, North Maluku. This article examines the ritual language of eating saro in the context of a traditional Ternate wedding from a literary and ethnographic perspective. This article describes the form and style of using the ritual language of eating saro, which is encoded in certain cultural messages. The method used in this research is descriptive qualitative with ethnolinguistic approach. The results of this study reveal that the expression of the ritual language of eating saro is in the form of a welcome expression in which there are proverbs, proverbs and metaphors. In addition, material symbols were found in the ritual of eating saro. The form of language expression is generally solemn, poetic, and conveyed using figurative language.
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McCafferty, Geoffrey, and Sharisse McCafferty. "Praying to the Predator." Latin American and Latinx Visual Culture 2, no. 2 (2020): 28–46. http://dx.doi.org/10.1525/lavc.2020.220004.
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Pacific Nicaragua has long been recognized as a cultural crossroads, with groups of historically documented migrants from central Mexico integrating with Chibchan groups affiliated with Central and South America. This multicultural setting has inspired decades of archaeological investigation, particularly in search of the southeastern frontier of the Mesoamerican culture area. Following ethnohistorical accounts, Nahuat-speaking groups migrated into and colonized the Rivas area in the late Postclassic / Ometepe period (c. 1300–1525 CE). The most prominent ceramic type used to identify this time period was Luna Polychrome, often found in mortuary contexts and therefore currently the best artifact class for inferring Nahua culture and ideology. This paper presents a detailed analysis of sixty Luna vessels. We suggest that the overarching theme of the painted designs relates to the praying mantis. This interpretation coincides with oral traditions identifying the mantis as the “Madre Culebra,” a powerful and revered predator of the insect world and closely affiliated with female symbolic authority. Iconography on some of the more elaborate pots parallels polychrome ceramic female figurines that have been interpreted as ritual practitioners, or shamans, and we suggest a possible correlation between painted designs with visions experienced during trances. Through this analysis we explore the role of ceramic iconography as an expression of ritual practice. Desde hace mucho tiempo, se reconoce el Pacífico nicaragüense como un cruce de caminos cultural, donde hay registros históricos de grupos de migrantes del centro de México que se unió a grupos Chibchan originarios de América Central y del Sur. Este entorno multicultural ha inspirado décadas de investigación arqueológica, que se ha interesado particularmente en definir la frontera sureste de la zona cultural mesoamericana. De acuerdo con relatos etnohistóricos, los grupos de habla nahua emigraron y colonizaron el área de Rivas en el período Posclásico Tardío, también llamado Ometepe (c. 1300–1525 CE). La principal cerámica que se ha usado para identificar esta era fue la del Polícromo Luna, que, ya que se encuentra a menudo en contextos mortuorios, constituye hoy día la mejor clase de artefacto para reconocer la cultura e ideología nahua. Este artículo presenta un análisis detallado de sesenta vasos Luna. Mantenemos que el tema general de los diseños pintados se relaciona con la mantis religiosa. Esta interpretación coincide con las tradiciones orales que identifican a la mantis como la “Madre Culebra”, un depredador poderoso y venerado del mundo de los insectos y estrechamente relacionado con la autoridad simbólica femenina. La iconografía en algunas de las macetas más elaboradas se asemeja a la de las estatuillas femeninas de cerámica policromada, en las que algunos han querido ver a practicantes de rituales o chamanes. Por nuestra parte, proponemos una posible correlación entre los diseños pintados y las visiones típicas de los trances. A través de este análisis, exploramos el papel de la iconografía cerámica como expresión de la práctica ritual. A Nicarágua do Pacífico é reconhecida há muito tempo como uma encruzilhada cultural, com um importante grupo sendo documentado historicamente como migrantes do centro do México, integrando-se a grupos de Chibchan afiliados à América Central e do Sul. Esse cenário multicultural inspirou décadas de investigação arqueológica, particularmente em busca da fronteira sudeste da área cultural mesoamericana. Segundo relatos etno-históricos, grupos falantes de Nahuat migraram para e colonizaram a região de Rivas no período pós-clássico tardio/Ometepe (c. 1300–1525 dC). A cerâmica mais proeminentemente utilizada para diagnosticar esse período de tempo foi o policromo Luna, frequentemente encontrado em contextos mortuários e, portanto, atualmente a melhor classe de artefato para inferir a cultura e a ideologia de Nahua. Este artigo apresenta uma análise detalhada de sessenta recipientes Luna. Sugerimos que o tema dominante dos desenhos pintados esteja relacionado ao louva-a-deus. Essa interpretação coincide com tradições orais que identificam o louva-a-deus como a “Madre Culebra”, uma predadora poderosa e reverenciada do mundo dos insetos e intimamente afiliada à autoridade simbólica feminina. A iconografia de alguns dos vasos mais elaborados é paralela às figuras femininas de cerâmica policromada que foram interpretadas como praticantes de rituais, ou xamãs, e sugerimos uma possível correlação entre desenhos pintados e visões experimentadas durante os transes. Através desta análise, exploramos o papel da iconografia cerâmica como expressão da prática ritual.
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Mathioudakis, Georgios, Iosif Klironomos, Nikolaos Partarakis, Eleni Papadaki, Konstantinos Volakakis, Nikolaos Anifantis, Ioannis Papageorgiou, Savvas Alexandros Pavlidis, Margherita Antona, and Constantine Stephanidis. "InCulture: A Collaborative Platform for Intangible Cultural Heritage Narratives." Heritage 5, no. 4 (September 30, 2022): 2881–903. http://dx.doi.org/10.3390/heritage5040149.
Full textAbstract:
Intangible Culture Heritage (ICH) is defined as the collection of oral traditions and expressions such as epics, fairy tales, stories, arts, social practices, rituals and celebrations, events, knowledge, and practices related to nature and the universe, traditional medicine, folk medicine, traditional handcrafts, as well as personal experiences related to important historical events or cultural activities that shaped the historical and local identity. Under the UNESCO Convention for the Safeguarding of the ICH, nations are committed to developing inventories of ICH and working with local communities, groups, and individuals to preserve these traditions. In this paper, a platform is introduced that facilitates the collection of intangible ICH data, the formation of story-based narratives, and their presentation to the public via a web and mobile application, which offers Augmented Reality (AR) experiences. The platform aims to support the formation of user communities sharing common interests and to provide them with the appropriate tools for collecting pieces of ICH. Collected ICH resources and created narratives are modeled using semantic web technologies so that information can be perceived by third-party systems too. Furthermore, towards the dissemination of the platform, a real-world use case took place on the island of Rhodes focusing on the recent history of the island between 1912 and 1948 (WWII). The platform was implemented to support the goals of the project InCulture, funded by the EPAnEK Greek national co-funded operational program “Competitiveness Entrepreneurship and Innovation”.
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NIYATI JIGYASU. "Regenerating Historic Urban Areas Through Sustainable Livelihoods - Problematizing Economy Within Historic Urban Areas." Creative Space 4, no. 1 (July 4, 2016): 49–66. http://dx.doi.org/10.15415/cs.2016.41003.
Full textAbstract:
In the historic core of Ahmedabad, the Archaeological Survey of India (ASI) reported major encroachments, leading to destruction of the tomb of Darya Khan [5]. The encroachments were undertaken by the local community for residential purposes and by the informal sector for commercial purpose, for which the local administration as well as the community were blamed. Urban conservation, as the example indicates, is not limited to the preservation of buildings. It considers architecture of the built heritage as one of the elements of the overall urban setting that includes living expressions such as oral traditions, performing arts, social practices, rituals, festivals, and traditional skills implicitly embedded in the community. Heritage is, thus not only a legacy to be preserved for future generations, but also something for and abou,t the existing communities. This paper is based on the premise that today, the sustainability of historic areas rests on dueconsideration being given to the role of the communities and improvement of their quality of life through economic augmentation. There is a major shift in focus on the economic value of cultural heritage. But, merely considering the economic value of a historic site and its revenue options will not lead to a comprehensive solution for urban conservation. The aim of this paper is to understand the signiicance of traditional economy in historic urban areas, the current processes of transformation in this sector, and also its potential contribution for managing urban heritage and aiming towards larger goal of sustainability.
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House, Juliane, Dániel Kádár, and Victor Leontyev. "Ritual Frame Indicating Expressions (An Academic Conversation)." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 2 (June 2021): 42–46. http://dx.doi.org/10.15688/jvolsu2.2021.2.4.
Full textAbstract:
The present paper is based on an interview, conducted by Victor V. Leontyev with Juliane House and Dániel Z. Kádár. It provides an overview of a new theory in pragmatics, namely, Ritual Frame Indicating Expressions (RFIEs). This theory provides a bottom-up and corpus-based approach to the study of various pragmatically important expressions through which the participants of an interaction indicate their awareness of the Ritual Frame underlying the interaction. 'Ritual Frame' encompasses a cluster of standard situations in which the rights and obligations of the participants are clearly defined. The corpus-based RFIE approach complements sociopragmatic approaches to various expression types, including so-called 'politeness markers', honorifics, forms of address and so on, and it also helps us to systematically capture the relationship between expressions and speech acts. In studying RFIEs, the analyst focuses on the ways in which RFIEs spread across various standard situations. The study of this issue also allows the researcher to contrastively examine the use of RFIEs across linguacultures. Such contrastive research helps us to unearth major linguacultural differences. For example, the research of J. House and D.Z. Kádár has revealed that while in East Asian linguacultures such as Chinese RFIEs tend to be strongly associated with a particular speech act, this relationship is casual in Western linguacultures.