The Egyptian identity is an accumulation of multilayer of civilizations starting from the ancient Egyptian to the Greco-Roman followed by the Coptic then the Islamic periods. Each era added one of ...its features hat contributed to making this unique Egyptian distinctiveness. Despite huge attempts that targeted the Egyptian identity attempting to sway its structure, it stayed unshaken resisting each of these attempts. The folkloric heritage is an essential element in building a nations’ culture and the most expressive way of a national identity. It is certainly a distinguished inherited civilization. Therefore the present study is an attempt to study ways of utilizing those patrimony heritage that represent the culture of the Egyptian society in formulating some of the ideas that carries Egyptian features based on inspiring the folk-art and its symbols. Jewelry has been chosen for its versatility and manageable capable of comprehending all those folk arts and crafts inheritance. Folk art is mixture of applied arts that shows in our daily life artifacts and it is also a marketing constituent. The Egyptian society is unique in some of its daily used products. These can only seen in Egyptian houses. Those products feature three element that can when merged together can yield competitive products he expresses the Egyptian identity. The problem of the current study can be summarized in three queries to what extent the folk heritage can be utilized in supporting the case of originating a national identity? Can the misuse of the folk heritage be limited through investigating its symbols and elements meticulously? Can the jewelry field be a possible channels of keeping our folk heritage? The objective of the current study has been to originate a national identity in product design utilizing our folk heritage that forma a treasure of inspiration sources especially in Jewelry design. The study also aims at establishing a mechanism or the documentation of heritage treasure. The study is based on proofing two hypothesis; the folk heritage contributes heavily to the origination of an Egyptian national identity, and the integration of jewelry design and heritage inheritance can yield an internationally competitive products. The study has used both the analytical descriptive and survey methodology. In addition a number of new designs have been presented to mark the results of the study. And to provide evidence on the realization of the paper hypothesis. Results of the study emphasized that work in the folk heritage field necessities the continuation and sustainability and needs to be believed in from the people working in the field. The national identity origination requires redundant efforts and research work in all fields of design generally and the jewelry design specifically. Results of the current study include; the inherited folk elements and symbols were and still is a rich source of inspiration. Those inherited elements carry semiotics and semantics and meanings that the Egyptian people have been associated to and help products to withstand foreign designs. Also it was confirmed that the reliance on heritage elements can positively contribute on tourism in Egypt. The heritage elements ceate a common communication language deepening and increasing our national identity. Also it was reached that the folk heritage jewelry is a source of creative inspirations with their unique distinctive structure.
Décrire la ville, écrire le patrimoine David, Jean-Claude
Revue des mondes musulmans et de la Méditerranée,
06/2016, Volume:
139, Issue:
139
Journal Article
Peer reviewed
Open access
In the context of the Middle East, at least since the eleventh century, “city narratives”, a common literary genre, have been used as a way of substantiating individual and collective identity links ...with the living and changing urban entity, in this way giving the city a form of global identity beyond what might otherwise amount to a mere collection of isolated monuments or spatial constructs. Thus, with an urban heritage that is both an affirmation and expression of a periodically renewed lifestyle and an integral part of a shared local identity, Arab historians and geographers search for traces of the past, seeking to understand the appearance, persistence and disappearance of this past through narrative. The co-existence in contemporary Aleppo of various conceptions of “heritage” could explain the population’s apparent indifference to the destruction of historical monuments qualified as official heritage. On the other hand, the populations of the historical and unincorporated neighbourhoods suffering in the violence of the civil war are precisely those heirs of traditional society for whom the memory of lifestyles and routine practices form a basis for heritage and confirm the written narratives of the ancient cities?
U niz hrvatskih etnomuzikologa 20. stoljeća ubraja se i Miroslav Vuk Croata – sakupljač glazbenoga blaga hrvatske sakralne i svjetovne popijevke. Kao mlad suradnik poznatoga etnomuzikologa Vinka ...Žganca, nastavio je njegovo djelo: od zaborava je sačuvao znatan dio duhovne tradicijske glazbene baštine – kako u Hrvatskoj tako i u zemljama gdje žive Hrvati (Austrija, Mađarska, Slovačka i Moravska) – prikupljajući, zapisujući i tonski snimajući, pučke crkvene i svjetovne popijevke. Prikupljeni je materijal uredio i za života objavio. Etnomuzikološka darovitost Vuka Croate došla je do izražaja i u glazbenim obradama pučkih popijevaka za razne zborove duhovnoga i svjetovnoga sadržaja. Posebno je vrijedan njegov doprinos istraživanjima narodnih, svjetovnih i crkvenih popjevaka (jački) Hrvata iz Gradišća. Već iz samih naslova popijevki uočavaju se osobitosti mjesnoga govora. U njegovim glazbenim zbirkama (pjesmaricama) potvrđuje se nedvojbena motivska i glazbena povezanost većega broja popijevaka sa srodnim popijevkama u domovini, kao što se otkrivaju i neke tematske i glazbene posebnosti nove sredine u kojoj žive Hrvati, čuvajući svojim starim jezikom popijevku, a popijevkom jezik, odnosno jednim i drugim svoj nacionalni identitet.
A great number of Croatian ethnomusicologists from the 20th century include Miroslav Vuk Croata – a collector of the musical treasures of Croatian sacral and secular folklore melodies. As a young collaborator of the famous ethnomusicologist Vinko Žganec, he continued his work: he retained a significant part of the spiritual traditional musical heritage from the forgetfulness – both in Croatia and in the countries where Croats (Austria, Hungary, Slovakia and Moravia) live, collecting, noting down and sound recording sacral and secular folklore melodies. He edited and published the material he had collected during his lifetime. The ethnomusicological talent of Vuk Croatae has become prominent in the musical tales of folk melodies for various choirs of spiritual and secular content. What is particularly valuable is his contribution to the research of folk, secular and ecclesiastical folklore melodies traditionally called (»jački«) from Burgenland Croats. Already from the titles of these melodies the peculiarities of the local speech are noticed. His music anthology confirms the undeniable motive and musical connection of a large number of folklore melodies with related melodies in the homeland, as they reveal some thematic and musical particularities of the new milieu in which Croats live, keeping alive the folklore melody with their old language and old language with the folklore melody, or one with the other, thus preserving its national identity.
This article examines the semiotic operations by which 'heritage' is represented and serves as a commodity in a tourism project in southwest Virginia known as The Crooked Road: Virginia's Heritage ...Music Trail. I examine the methods and stakes of representing musical 'heritage', presenting it for consumption, and relying on it as a regional economic engine. Central to these methods and stakes is a representation of 'heritage' as an inalienable possession of a place, of its people and landscape. This representation in turn indexes a paradox of folk authenticity, where a musical form that is supposed to inhabit the last commercialism-free domain of 'heritage' is simultaneously called upon, according to the paradigm of 'asset-based development', to generate regional revenue. In this process the folk culture that is supposed to dwell in the contoured landscape of ethnomimetic transmission and vernacular expression has to register on the plane of potentially infinite equivalences comprising exchange-value, where, metaphorically at least, the 'crooked' road, valued for its use to the tourist as such, is straightened for the sake of exchange.
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This chapter shifts the focus to regional folk heritage, with a particular emphasis on developments in Vologda in the 1960s to 1980s. It presents the strategic affirmation of folk culture in the ...region through the lens of the Brezhnev-era “Russian revival.” This was the emergence of a Russian patriotic intelligentsia in the mid-1960s with a particular interest in the fate of Russian rural traditions. The state-sponsored promotion of folk heritage, which included the creation of museums of folk architecture in Novgorod and Vologda, is understood as an expression of Brezhnev-era “inclusionary politics,” a strategy to contain rising ethno-nationalism through the strategic promotion of Russian themes. The chapter explores how this policy led to the promotion of an aestheticized vision of northwestern folk culture as the epitome of the “national style.”
Rad se bavi pučkom popularnom karnevalskom tradicijom koja se odslikava u svijetu književnog stvaralaštva (Ante Kovačić, Miroslav Krleža, Ranko Marinković), proširujući mogućnosti njegove semantike. ...Reducirana karnevalska tradicija u kojoj je načelo smijeha preuzeto iz folklorne svijesti u veseloj relativnosti svega postojećeg pomiče granice između službene i neslužbene kulturne pučke baštine bajkovitog karaktera i fantastičnosti. Samo je mašta košmarnih slika tjelesne topografije razjapljene prazne čeljusti i otvorene gladne utrobe mogla stvoriti poetske slike invertirajuće mašte bajke i pomak zbiljskog do fantastično-grotesknog, do simultanizma nemogućeg i mogućeg. Tako postavljen svijet građen je na književnom i likovnom mundusu inversusu iza kojeg se nadaje subverzivni smijeh u prevlasti semiotičkog nad semantičkim.
A closer look at terminology reveals the need to rethink some of the fundamental terms in the study of proverbs. My aim is to explore the basic terminology in paremiological research and raise ...awareness of the terms used. My approach is cognitive semantic.
An essential aspect in proverb research is the choice of terminology that forms the conceptual framework for research: the terminology employed discloses part of the author’s conception of the phenomenon. In paremiology, attitudes to proverbs have differed greatly. Along with stable positive terminology used in paremiological research since the beginning of the 1930s (Taylor 1931; Whiting 1931; Mieder 1974, 1989, 1993), a number of negative terms have been introduced, displaying an overtly or covertly negative attitude. Most of the negative terms are metaphorical.
Cognitively, the meaning of a metaphorical term is an integral part of the respective research concept (Gibbs 1994 1999; Naciscione 2006, 2010). Negative terminology raises doubt about the correctness of choice of term. Proverbs have been branded as stereotypes (Moon 1998; Norrick 2007) and clichés (Kirkpatrick 1996b; Rees 1996; Moon 1998; Cresswell 2000; Hayden 2013). Proverbs are often referred to as quotations (Cram 1983; Norrick 2007). They are even called a hodge-podge, a fuzzy cate-gory whose “images often fail miserably as models for organizing our perceptions of current situations” (Norrick 2007). I view the use of negative terminology in proverb research as groundless and inappropriate.
Proverbs form part of cultural folk heritage; they are retained in the collective long-term memory of a people. Linguistically, choice of re-search terms is closely linked with the basic linguistic and cognitive understanding of proverbs in both the system of language and proverbs in use. More clarity and consistency in terminology would make it easier to communicate a message and follow developments.
In his home in jacksonville’s avondale neighborhood, richard Seaman told me that his homeplace in Kissimmee had burned to the ground long ago. He told me how different the community is from what it ...was like when he was born on the shore of Lake Tohopekaliga in 1904. He had been back there a few years ago in the 1990s, and he explained that a trailer court was built on the property that once belonged to his father, Lewis Seaman. The land is no longer in the family, he explained, because the property taxes were too high after Disney came
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