Hasil untuk "Manners and customs (General)"

Ali Ahmad Shirazi, Reza Chehreghani, Muhammad Iqbal Shahid

. Introduction One of the ways to enrich the content of poetry is to use the cultural supports that have existed in Persian poetry for a long time. The range of cultural supports used in Persian poetry is very wide and includes references to the Qur'an and Hadith and use of various scientific terms. Based on this and considering the use of these cultural supports in poetry, which are often used in the form of innovative spiritual arrays, especially allusions, it can be said that they have always been one of the sources of nutrition for poetry and literature.Since Persian and Urdu poetry has always had a close connection with popular culture from ancient times to modern times, there are many evidences of referring to the elements of popular culture, especially its linguistic elements.According to the above explanation, this research using the descriptive-analytical method has tried to compare and analyze the role and function of the most important linguistic elements of culture and popular literature in the poetry of Simin Behbahani and Parveen Shakir with the approach of comparative literature.2.MethodologyThis article is a theoretical research that, with the approach of comparative literature, has tried to analyze and compare the reflection of the linguistic elements of popular culture in the poetry of two contemporary Persian and Urdu poets (Simin Behbahani and Parveen Shaker). 3.DiscussionPoets use cultural supports and lived or learned experiences to strengthen the content of their poems. Undoubtedly, popular culture and literature is one of the most widely used spiritual fountains of official literature. Customs, traditions, beliefs, parables and allusions, stories and legends, etc., are elements of popular culture that can be divided into two parts, linguistic and non-linguistic. Linguistic elements; It includes interpretations, idioms, allusions, insults, proverbs and proverbs, stories and legends and everything that is created with the tool of language. Simin Behbahani and Parveen Shakir are among the well-known female poets in contemporary Persian and Urdu literature who have been influenced by the foundations and elements of folk culture and literature in their poems and have reflected them artistically in their poetry.culture in dictionaries means "a collection of customs and traditions." The collection of sciences, knowledge and arts of a nation". (Moin, 1384: 1176) and also "a complex general phenomenon of manners, customs, thought, art and way of life that is formed during the historical experience of peoples and can be transferred to the next generations" (Anvari, 1381 : 5346) came and said in a clearer definition:  "Culture... is the collection of spiritual heritage of a people, whether it is the product of their intellect and understanding or the offspring of their taste and emotion." (Mahjub, 2016: 36)In a more comprehensive definition, culture is referred to "all the material and spiritual institutions in which a human being is born, raised and has a personality." (Velayati, 2010: 19)  From the point of view of some researchers, culture is divided into two main parts: material and immaterial (spiritual), and from another point of view, some researchers have divided culture into the official culture and popular culture. material culture, tangible cultural elements; Such as architecture, it includes clothes, tools, etc., and non-material or spiritual culture includes the intangible parts of culture; It refers to beliefs and beliefs, proverbs and allusions, stories and legends, etc. (Chehreghani, 2015 A: 93) As can be seen, the linguistic elements of culture are placed under spiritual culture. The meaning of official culture is a set of cultural elements that are not only reserved for the masses and are also accepted among the elites. From another point of view, Culture can be considered to mean art or at least a source and watering hole for art, because noble, official and elitist art can be more enriched by hanging on the sources of popular culture. (Hall, 2013: 696)In all societies, language is considered the main axis of culture, and since literature is also an application of language, popular culture, which is transmitted orally from one generation to another in different societies, has an inseparable connection with popular literature. (Chehreghani, 2015 B: 3) One of the valid divisions for the constituent elements of popular culture, along with material and spiritual elements or healthy and unhealthy elements, is their division into linguistic and non-linguistic elements. The meaning of linguistic elements is that part of cultural elements that is created on the basis or with the tools of language and includes expressions, terms, allusions, songs and lullabies, work songs, parables and proverbs, stories and legends, etc. and researchers sometimes refer to it as oral literature. (Mirsadeghi, 1998: 12) According to what was said, popular literature is considered a sub-branch of popular culture. Comparative literature, which continued and followed the slogan of "world literature" of the romantics in Europe and started by collecting and comparing the stories and legends of the nations of Asia and the Middle East, "speaks of the research on the relations between the literature of the nations and the different peoples of the world." (ZarrinKub, 1982: 125) The method of comparative literature in the French school is "examining the historical relations of national literature with the literature of other nations written in a language other than the language of that country". (Ghunaymi Hilal, 2014: 7) Research in comparative literature introduces us to other nations and their similarities and differences with each other and their literary or cultural influences. Various topics are included under comparative literature, one of which is folk culture and literature. The importance of this approach lies in the fact that it helps to know the true mood, habits and way of thinking and living of the people of a region and to get to know more about the real face of a nation. For this purpose and to know more precisely the cultural similarities and differences between the nations of Iran and Pakistan, this research has investigated the issue of using language elements of culture and folk literature in the poetry of Simin Behbahani and Parveen Shakir. 3.ConclusionThe research findings show that the two mentioned poets have used the linguistic elements of popular culture in a wide way, considering their gender and female perspective, which is due to the affinities and historical, religious, cultural, etc. links between the two Iranian societies. And Pakistani and the two languages Persian and Urdu, regardless of the existing differences, have many similarities.As seen, Simin Behbahani, a contemporary Iranian poet, and Parveen Shakir, a contemporary Pakistani poet, have benefited from the linguistic elements of popular culture, both in the production and creation of the theme, and in strengthening the meaning and enriching the content of the poem, and in the direction of inducing better meaning and Its greater impact. Among the linguistic elements of popular culture reflected in the poetry of two Urdu and Persian poets, one can find many common elements including words, interpretations, idioms, ironies, proverbs, common stories, legends, etc. Poets have adapted the popular culture of their people and used it correctly in their artistic creations. What attracts the most attention in this matter is the great verbal and semantic similarity between the proverbs and allusions of the two nations, which is due to the ancient connection of the Urdu language and literature with Persian language and literature, and more importantly, the historical influence of Persian culture and literature in the Indian subcontinent. Especially Pakistan tells that in addition to many similarities in meaning and theme, sometimes the words of Urdu proverbs are very similar to the Persian equivalent and sometimes the same; Like the proverb " If the world is washed away, he is still asleep" in Urdu language, only the word "water" has been changed to "flood"; However, among the types of linguistic elements of popular culture used in the poetry of the two selected poets, the reference to legendary stories is less frequent.In addition to the mentioned commonalities and similarities, differences can also be identified in the use of linguistic elements of popular culture in the poetry of the two poets; Including all kinds of explicit insults and sarcasm and children's game songs; Such as Jom Jomak, Atal Matal Tutule, Tab Tab Hambazi, etc., which are common in the Persian-speaking community of Iran, are abundantly seen in Behbahani's poetry. Still, this type of linguistic element does not exist in Parvin Shakir's poetry. In addition to that, the lullaby is also a subject of which there is an example in Behbahani's poem; But in Shakir's poetry, although a poet has the experience of motherhood, it is not seen. Since Parvin Shakir is fully familiar with contemporary Persian poetry and is known as the only translator of Forough Farrokhzad's poetry in the Urdu language, and due to the feminine perspective that dominates the poetry of the two selected poets and their belonging to the space of neo-classical poetry (in Persian language and Urdu) it is expected that Shakir was influenced by Simin Behbahani's poetry; However, based on the findings of this research, apart from the existence of some similarities between the elements of general culture used in the poetry of both poets, the obvious influence of this Urdu language poet on the poetry of Simin Behbahani cannot be proven

Cleber Bicicgo

Na obra O avesso da pele (2020), romance escrito por Jeferson Tenório, os afetos assumem o papel central ao tratar do racismo. Nas tramas desses afetos, o encontro entre texto e leitor permite mergulhar num espaço onde a pele não possui cor. Desse lugar baseado no conhecimento imaginativo da ficção, buscamos refletir como as cenas de leitura apresentadas na obra produzem afetos a partir do encontro entre texto e leitor, para compreender como esses afetos parecem emergir dessa relação. O resultado aponta para um modo de ler no qual o afetar-se com o afeto do outro, através da leitura literária, abre a possibilidade de ampliar as experiências humanas.

Edmar Neves da Silva

Ana Maria Vasconcelos Martins de Castro

A ambiguidade levada ao extremo por Eça de Queirós gera um impasse tal em "José Matias" que este se configura como um texto exemplar sobre a incomunicabilidade. Este estudo pretende abordar as diversas formas pelas quais o protagonista é irrecuperavelmente distanciado do leitor, encerrando-se na sua circularidade secreta. Para isso analisaremos como a narrativa lida com termos antagônicos como corpo e espírito, feminino e masculino, discurso amoroso e racional — sempre conferindo-lhes dubiedade.

Igor Ximenes Graciano

Pretendemos, neste artigo, fazer alguns apontamentos a respeito do exercício da crítica em romances brasileiros recentes com o fim de investigar como se dá o trabalho crítico em um âmbito que, a princípio, não lhe é propício, dado o distanciamento normalmente desejado entre narrador ficcional e autor empírico. Trata-se, portanto, de investigar o duplo caráter dessas narrativas, que são objetos acabados, no sentido estático (e estético) de "obra", e afirmação de uma assinatura, no sentido dinâmico (e crítico) de peças retóricas imbuídas de marcar ou defender um lugar no atual campo literário brasileiro.

R. R. Dzhabbarov

The views of the Russian conservatives of the first quarter of the 19th century on the life and reforms of Peter I are not fully understood. The views of publicist S.N. Glinka about Peter the Great are considered. The problem of monarchical power in a new way is revealed. The biography of S.N. Glinka is considered in detail in the context of the formation of his conservative views. It is proved that the image of Peter I appears in the works of S.N. Glinka since 1794. Based on a detailed analysis of sources and historiography, it is justified that S.N. Glinka considered Peter I as a conservative, defending ancient manners, customs and religion. It is found out that the publicist praised Peter I under the influence of the ideas of enlightened absolutism and the “Petrine legend” of the second half of the 18th century. The idea is proved that in S.N. Glinka’s opinion Catherine II appears as the successor of Peter I in the matter of reforming Russia. The conclusion is made that S.N. Glinka’s Peter I did not shy away from ordinary peasants. It is established that the publicist tried to show Peter I not as a pupil, but as a teacher of European peoples. It is shown that much attention was paid to Peter I in the first issue of “Russkiy Vestnik”. Publicist’s silence on the unsightly whims of Peter I are analyzed. It is stated that S.N. Glinka hinted at the harm of foreign educators who appeared under Peter I. The reformer seemed to him a traditionalist, who strove to consolidate and extend the old-Moscow customs. It is proved that it was consistent with the state-patriotic propaganda of “Russkiy Vestnik” in full.

Ani Rostiyati, Aquarini Priyatna

Punk merupakan sekelompok orang yang memiliki budaya tersendiri, berbeda dengan budaya yang lebih banyak dipraktikkan orang. Punk dicirikan sebagai bentuk budaya tanding yakni perlawanan terhadap budaya dominan. Tulisan ini bertujuan untuk mengemukakan cara perempuan punk mengidentifikasi dirinya melalui makna penampilan dan fashion yang dikenakan, sehingga terungkap ide, gagasan, dan cara pandang mereka dalam meresistensi diri dari kontruksi gender normatif. Hasil penelitian terungkap bahwa dalam estetika punk, mereka berupaya untuk menghilangkan diri dari budaya dominasi dan gender normatif yang diresepkan. Mereka keluar dari pusat patriarki dan menentang ide-ide feminitas. Penelitian ini berupa studi kasus terhadap 5 (lima) perempuan punk di Ujung berung Bandung dan dikaji secara mendalam dengan menggunakan pendekatan kualitatif utuk memperoleh data akurat, menyeluruh, dan  detail mengenai makna penampilan perempuan punk. Jenis penelitian bersifat analisis deskriptif yakni menganalisis dan menyajikan fakta sehingga lebih mudah untuk dipahami dan disimpulkan. Adapun pengambilan data melalui observasi, wawancara mendalam, foto, dan studi pustaka. Kata kunci: perempuan punk, budaya perlawanan,  gender normatif.

Ermelinda Maria Araujo Ferreira

Templos de pedra, antigos ritos pagãos, a Grande Deusa, sacrifícios... todos esses temas perpassam a fabulosa obra do artista plástico pernambucano Francisco Brennand, criador de um complexo arquitetônico, escultórico e paisagístico único, instalado numa velha fábrica de cerâmica herdada de seu pai, no bairro da Várzea, em Recife. Surpreendente e enigmática, eivada de erotismo, essa obra estabelece diálogos profícuos com os também monumentais trabalhos literários de dois escritores, seus conterrâneos e contemporâneos: Ariano Suassuna e Osman Lins. Este ensaio busca apontar alguns pontos deste interessante cruzamento de ideias.

Dr. Mohammed Shakir Masr al-Rubaie أ.م. د محمد شاكر ماصر الربيعي

Praise be to God without end, and peace and blessings be upon His Messenger Prophet, and the God of the flags of guides, and his companions on a granite majestics. The city of Hilla, science and literature and thought, one of the most Iraqi cities famous in abundance poets and scholars, tended to attention since its inception at the hands of the children of more years (495 e), and broadcast a reputation more after the occupation of Baghdad in (656 AH), where he received no invasion, no destroyed by the devastation of its matchs from Iraq cities ravaged by the Mongols, so characterized their positions relative stability, such as a clear difference from the other cities, which made them full of poets, writers and scientists, and because the poet in Hilla had was applauded by researchers, They wrote a lot, but the poetic arts developed and updated, did not find direct care covering area occupied by those contents, so came this research to reveal systems colors in an important stage, a mediator extended from one year age stage (656 AH) to a year (1335 AH) and standing at the poetic arts developed and developed, either with regard to the arts of poetry developed the poets were not content at this stage tradition and simulation poets mentioned themes of their time and adherence to manners and their meanings and their forms of poetry, and the adoption of their approach and wire way and weaving on their ways, but tried to look beyond mimicry and sought to develop from their systems and add to it an update in their time of meanings and ideas and new forms and methods, imposed by the new circumstances of their lives and created conditions of the current living and dictated them a matter of their age and its requirements and necessities, and dictated by the Bill of evolution and innovation, and these arts consisted of poetry (b poetic history, etched, and Zajal, and hair humor, puzzles), and the terms of the arts poetic novel was a new life and developments in the Middle Ages of impact in it's Commonness and spread in literary circles, that life which mixed many human races and included many peoples, and mixed with the customs and traditions and natures are diverse and appeared in variegated cultures and different ideas, and developments in which conditions and data, led turn to the secretion of those arts that mostly relied on the violation of classical Arabic and non-compliance with its rules sober and use of slang words and exotic widely and come out on the seas and weights known and traded in all ages of the above-Arabic literature of poetry, and with non-compliance Templates and laws, has been that the arts (b Alqoma and Almwalia The item and Alcan was Aldobat).

Nandang Rusnandar

Abstrak Ketertarikan pada penelitian ini didasarkan pada adanya kesinambungan bentuk arsitektur tradisional  di Tatar Sunda yang memiliki kesamaan dalam  segi arsitektural, namun memiliki ciri-ciri mandiri yang disesuaikan dengan tata aturan dan adat istiadat setempat. Kampung Kasepuhan Sinar Resmi, merupakan salah satu kampung adat di wilayah Kecamatan Cisolok Kabupaten Sukabumi. Salah satu karya yang dihasilkan oleh komunitas ini  adalah bentuk arsitektur yang merupakan cerminan kuat dari latarbelakang budaya yang melingkupinya. Simbol-simbol yang mengandung tata nilai menjadi acuan mereka dalam bergerak hidup, sehingga nilai-nilai itulah yang dapat mempertahankan keutuhan arsitektur. Tujuan penelitian ini adalah untuk mendapatkan gambaran secara utuh dan mendalam tentang arsitektur serta mengungkap simbol dan nilai  filosofis masyarakatnya. Metode penelitian adalah metode kualitatif dengan teknik pengumpulan data berupa observasi langsung dan wawancara. Arsitektur, merupakan buah karya yang tak lepas dari simbol dan nilai yang melekat pada masyarakat pendukungnya, sehingga tata cara pembangunan tidak ditinggalkan walaupun perubahan terus melanda. Keteguhan dalam mempertahankan adat ini menjadi ciri mandiri dalam menghasilkan bentuk arsitektur yang ada di Sinar Resmi.   Abstract The interest in this research based on the relations between traditional architecture in Sudanese which have similarity in the shape of architecture, but they have a specific character adapted with the custom rules that they lived.  Kasepuhan Sinar Resmi village is one of the traditional village in Cisolok sub-district, Sukabumi district.  One of the works that they have made is the shape of architecture, it symbolize strong Sudanese character. The symbol which have values become a reference in facing their life, so that the values that can maintain the integrity of the architecture.  The purposes of this research is to get the full picture and the depth of the architecture as well as revealing the symbol and the value of the philosophical community.  The method of this research is qualitative, with direct observation and interview as a technique in collecting the data.  Architecture as a masterpiece cannot separated from symbol and values in the society, so the procedures are not left even the changes continue to plague. Firmness in maintaining this custom became self-sufficient in generating characteristic architecture of Sinar Resmi village.

Damardjati Kun Marjanto, Syaifuddin

Abstrak Masyarakat Bajo di Pulau Bungin, Kabupaten Sumbawa, Provinsi Nusa Tenggara Barat, merupakan masyarakat laut yang berasal dari Sulawesi Selatan. Mereka bermigrasi sejak ratusan tahun yang lalu dan akhirnya menetap di kawasan pantai Pulau Sumbawa. Pada awalnya mereka tidak mendiami daratan seperti sekarang ini, melainkan hidup di laut sekitar pantai dengan sistem perumahan di atas air laut. Lama-kelamaan sebagai akibat adanya pertumbuhan penduduk, mereka mulai mengusahakan daratan dengan cara menimbun air laut dengan batu maupun karang yang sudah mati. Sebagai akibat dari pengaruh lingkungan, kebudayaan suku Bajo di Pulau Bungin saat ini mempunyai ciri khas kebudayaan dua lingkungan yaitu lingkungan laut dan daratan. Lingkungan yang dihadapi oleh masyarakat Bajo tersebut menghasilkan potensi, di mana potensi dimaknai sebagai kemampuan yang memungkinkan untuk dikembangkan. Potensi laut meliputi wilayah laut dan pantai yang kaya dengan sumberdaya alam, sedangkan wilayah daratan menjadi penting sebagai tempat tinggal dan wahana interaksi masyarakat. Potensi budaya di laut dan daratan yang meliputi sistem mata pencaharian tradisional, kesenian tradisional dan pengobatan tradisional tersebut apabila dapat dikelola dengan sebaik-baiknya, akan menjadi kekuatan bagi kemajuan masyarakat Bajo baik dalam bidang sosial maupun ekonomi. Dengan demikian penelitian ini penting dilakukan salah satu alasannya untuk menemukenali potensi budaya yang ada. Penelitian dilakukan dengan pendekatan kualitatif, adapun pengumpulan datanya dengan pengamatan dan wawancara.   Abstract The Bajo people in Bungin Island, Sumbawa regency, West Nusa Tenggara Province, is a marine society from South Sulawesi. They migrated to the island hundreds of years ago and eventually settled in the coastal region of Sumbawa Island. At first they did not inhabit the land as it is today; instead they lived at the sea around the coast with on-the-sea-water housing system. Due to population growth over time, they began to seek more land by piling up the sea with rocks and dead coral. As a result of environmental influences, the Bajo of Bungin Island has currently two environmental cultural characteristics, both marine and terrestrial. These are potential environments to be developed. The sea around them is very rich in natural resources while the mainland is important as a place to live in as well as for community interaction. The cultural potential they have are, among others, traditional subsistence, traditional art, and traditionalmedicine. All of these have to be well-managed so that they can support the Baja people either socially and economically. This research conducted with a qualitative approach, the data obtained through observations and interviews.

Maria Teresa Nascimento

John Gardner Wilkinson

A pioneer of British Egyptology, Sir John Gardner Wilkinson (1797–1875) first travelled to Egypt in 1821, the year before Champollion published his breakthrough work on the Rosetta Stone. As public interest in Egypt grew, Wilkinson studied and sketched the country's major archaeological sites, most notably the tombs of Thebes. His Topography of Thebes and General View of Egypt (1835) and Modern Egypt and Thebes (1843) are also reissued in this series. This well-illustrated three-volume work, first published in 1837, remained for over a century a key text on the lives of ancient Egyptians. Writing in a popular genre that was normally focused on contemporary societies, Wilkinson covers areas ranging from daily life to funerary beliefs. His imaginative approach underpinned the book's considerable success. Volume 2 provides discussion of Egyptian justice, architecture, diet, music, crafts, and the furnishing of homes.