696 resultados para cultural identity


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Guitar technology underwent significant changes in the 20th century in the move from acoustic to electric instruments. In the first part of the 21st century, the guitar continues to develop through its interaction with digital technologies. Such changes in guitar technology are usually grounded in what we might call the "cultural identity" of the instrument: that is, the various ways that the guitar is used to enact, influence and challenge sociocultural and musical discourses. Often, these different uses of the guitar can be seen to reflect a conflict between the changing concepts of "noise" and "musical sound."

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School is regarded as a site of moral training for the younger generation to encounter nation’s future challenges as well as to re-energize nation’s cultural identity. The more competitive global society led by free market trade in terms of ASEAN Economic Community (AEC), requires the school to adapt and change its curriculum more frequently. Like many other countries, Indonesian Ministry of Education and Culture has introduced and nurtured universal values and traditional values respectively through school curriculum reforms to develop students’ ability to participating in global society. This paper will describe classical and contemporary theories related to moral education that have been implemented in Indonesia’s school curriculum and school activities. The theories developed by Durkheim, Alastair MacIntyre, and Basil Bernstein will be discussed. This includes explaining how far the theories have been adopted in Indonesia and how the approaches are currently being used in Indonesian schooling. This paper suggests despite the implementation of those theories in Indonesian schools, the government needs to optimise the operation of those theories to gain significant outcomes.

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The main theme of the ICTOP'94 Lisbon meeting is museum personnel training for the universal museum. At the very beginning it is important to identify what the notion universal museum can cover. It is necessary to underline the ambiguity of the term. On the one hand, the word 'universal' can be taken to refer to the variety of collected museum materials or museum collections, on the other hand it could refer to the efforts of the museum to be active outside the museum walls in order to achieve the integration of the heritage of a certain territory into a museological system. 'Universal' could also refer to the "new dimensions of reality: the fantastic reality of the virtual images, only existing in the human brain" (Scheiner 1994:7), which is very close to M. McLuhan's view of the world as a 'global village'. Thus, what is universal could be taken as being common and available to all the people of the world. 'Universal' can imply also the radical broadening of the concept of object: "mountain, silex, frog, waterfonts, stars, the moon ... everything is an object, with due fluctuations" (Hainard in Scheiner 1994: 7), which will cause the total involvement of the human being into his/her physical and spiritual environment. In the process of universalization, links between cultural and natural heritage and their links with human beings become more solid, helping to create a strong mutual interdependence.

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Career choices in the fields of science, technology, engineering, and mathematics (STEM) are favoured by men and often avoided by women; on the other hand, women tend to choose fields such as the social sciences. This not only leads to a shortage of employees with STEM degrees, but also reinforces the prejudice that certain (personality) characteristics are ‘typically female’ or ‘typically male’. Career orientation motives of young women and men can have important implications for gender (a-)typical career choices. However, there is little empirical research on the correlates of career orientation motives in young women in the field of STEM. This study seeks to address this gap by outlining the components of career orientation motives and showing relationships among them. Therefore, our results provide insight into the circumstances and conditions that are associated with academic and career choices.

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Since it first appeared, the image of Our Lady of Guadalupe has remained relatively unchanged. In the last thirty-five years, however, this has been changing. Artists are creating new variations of the icon to represent and express their reinterpretations. In some of these more contemporary images, the figure of Guadalupe has changed dramatically, but still retains enough traditional elements to be easily recognizable. Some of these images have been received with mixed results and have even sparked major controversy. These new, and sometimes controversial depictions of Guadalupe, specifically those created by Ester Hernández, Yolanda M. López and Alma López, will be explored here. Although each artist has her own individual motivations and intentions, all of the images presented here explore personal and cultural identity, as well as seek in some way to honor ordinary, human women through the sacred iconography of Our Lady of Guadalupe.