Search results for: mourning

Authors: Anusha Sajjad, Sibtain Kazmi, Sadaf Sajjad, Ali Mohsin

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Shia Muslims, a distinct minority within the broader Muslim community, have a unique mourning practice set that remains underexplored in research. These practices hold cultural and religious significance and are essential to Shia spirituality. This study seeks to delve into the emotional and psychological dimensions of Shia Muslims' mourning rituals, specifically investigating how these practices serve as coping strategies during times of grief and adversity. The motivation for this research stems from a gap in understanding the psycho-spiritual aspects of Shia mourning, with a focus on the potential therapeutic value of these practices for individuals experiencing daily life stressors. This qualitative investigation employs an online survey conducted in September 2023 as the primary research method. Data was collected from a sample of 49 Shia Muslims who have actively participated in mourning rituals. Pearson's correlation test was applied to assess the relationship between participants’ reported feelings of mentally feeling ‘Lighter or Heavier' and their 'Coping' responses. Pearson's correlation analysis revealed a positive but relatively weak correlation between 'Mentally Feeling Lighter' and 'Coping' (r = 0.303) with a statistically significant p-value of 0.034. The findings suggest that there is a statistically significant positive correlation between feeling "Mentally Lighter" and coping, as reported by participants in Shia mourning rituals, although the strength of this correlation is relatively weak. This implies that individuals who feel "Mentally Lighter" are more likely to report coping effectively, but other factors likely contribute to the overall coping strategies employed by participants in this context. Further research with a larger sample size would be needed to strengthen this correlation further.

Keywords: shia, mourning, religion, coping

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Authors: Zahra Afshordi

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Instagram, as an everyday life social network, hosts from the ultrasound image of an unborn fetus to the pictures of newly placed gravestones and funerals. It is a platform that allows its users to create a second identity independently from and at the same time in relation to the real space identity. The motives behind this identification are what this article is about. This article studies the motivations of Instagram users mourning for celebrities with a focus on the death of MohammadReza Shajarian. The Shajarian’s death had a wide reflection on Instagram Persian-speaking users. The purpose of this qualitative survey is to comprehend and study the user’s motivations in posting mourning and memorializing content. The methodology of the essay is a hybrid methodology consisting of content analysis and open-ended interviews. The results highlight that users' motives are more than just simple sympathy and include political protest, gaining cultural capital, reaching social status, and escaping from solitude.

Keywords: case study, celebrity, identity, Instagram, mourning, qualitative survey

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Authors: Sonia Sirtoli Färber

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Objective: This study aims to investigate selective attention in the process of mourning, as a normal reaction to loss. Method: In order to develop this research, we used a systematic bibliographic review, following the process of investigation, cataloging, careful evaluation and synthesis of the documentation, associated with the method of thanatological hemenutics proposed by Elisabeth Kübler-Ross. Conclusion: After a significant loss, especially the death of a loved one or family member, it is normal for the mourner, motivated by absence, to have a false perception of the presence of the deceased. This phenomenon happens whenever the mourner is in the middle of the crowd, because his selective attention causes him to perceive physical characteristics, tone of voice, or feel fragrance of the perfume that the deceased possessed. Details characterizing the dead are perceived by the mourner because he seeks the presence in the absence.

Keywords: Elisabeth Kübler-Ross, mourning, selective attention, thanatology

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Authors: Safi Haider

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This work seeks to understand the fundamental mourning ceremonies termed azadari in the tristate Shi’i community. Azadari, a name derived from the Arabic aza (mourning) and the Persian dari (commemoration) as it exists in the Tri-State Shi'i community has a unique relation to the hearts and minds of its adherents. It shows the development of the community from the various perspective offered by the participants of this work. This work seeks to analyze Azadari in the light of the Tri-State Shi'i community, which is a deeply diverse community, consisting of immigrants from various other countries, including Pakistan, India, Iran, and the Arab communities. At its heart, this work is an ethnography, it seeks to know the experience of those who are a part of the Muharram commemorations and it seek to see what the underlying psychological and the social foundations of Azadari are. Five people from each of the four communities were interviewed, and the aim was to have at least two men, two women, two youth, two elders, and one person from either of these categories. What was found was that the Shi’i community is scarcely a monolith in its mourning practices, and there is a great difference not only when comparing one cultural community to another, but also within the communities as well. This work seeks to analyze azadari from the various perspective of the Shi’i community in the tri-state area. This work seeks to analyze interviews from twenty people in total: two men, two women, two youth, and two adults from each of the communities of the Shi’i of the tristate area, for a total of twenty people. Two Priests were also interviewed for the sake of the paper as well.

Keywords: Ashura, Imam Husayn, Islam, Muharram, Shi'i

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Authors: Mana Goodarzi

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This study focuses on the analysis of immigration through the lens of Sigmund Freud's conceptual framework on mourning and melancholia. The immigration process, being complicated, involves numerous losses and carries significant psychological consequences. By delving into specific loss experiences within immigration, this work aims to unravel the intricacies of grief in the context of immigration and shed light on why such experiences often tend to manifest as melancholic. The discussion introduces losses in immigration, including unrecognized departure from a love object, identity loss, racial and cultural melancholy, language loss, regressive positioning, and loss of an ideal object. Following this, it explores manic defense mechanisms in immigration, concluding with a mention of successful immigration processes.

Keywords: immigration, melancholia, melancholic immigration, mourn

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Authors: Galit Harel

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Deborah was referred for psychoanalytic psychotherapy following a suicide attempt and depression. She began a fascinating journey spanning more than 10 years. During therapy, many questions arose concerning the suicidal episode, which she could not register consciously. The author tried to understand the reasons for her depression and the attempted suicide through the unconscious process in the therapeutic relationship and through the music and poetry that she brought to sessions. In this paper, the author describes the process of listening for the signifiers of semiotic and symbolic language, both metaphoric and metonymic, as revealed in poetry and music according to the theories of Kristeva and Lacan. The poetry enabled the patient to retrieve childhood memories, experience the movement from unconscious to conscious, and mourn through the experience of transference and countertransference in the therapeutic relationship. Also illustrated is the transition from singing the music to more symbolic language, turning the patient’s sensory experience into language, and connecting her personal experience with the culture of her past. The patient’s mourning and the lost love objects are discussed through the prism of classical and object relations theories.

Keywords: depression, lost love object, psychoanalytic psychotherapy, suicide attempt, symbolization of desire

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Authors: Wang Hsiao-Wen

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This paper is based on the burning of the Old Summer Palace by the Anglo-French forces. The Old Summer Palace, Yuanmingyuan, is an imperial garden located outside Beijing, but it was looted and burned down by the Anglo-French troops. Hundreds of guards died, and Emperor Xianfeng also fled from the back door to the Chengde Mountain Resort in a hurry. It is a very shameful piece of Chinese imperial history. At that time, it was well known that the capital was almost occupied. However, the detailed process of the whole incident and the subsequent accountability was regarded as a national shame, which was omitted in the historical records and rarely mentioned by scholars, especially under the rulings of Xianfeng and Tongzhi. Due to this, the researcher explored how the incident was documented in historical poetry and how the war was recalled and evaluated from different perspectives so that rich and diverse historical interpretations can be constructed. The issues explored and discussed in this paper are divided into two parts: (i) the historical writing of the Incident in Gengshen Year, which mainly focuses on the Historical Poetry on the Burning of the Old Summer Palace by the Anglo-French forces, and (ii) the different identities of poets and their perspectives of mourning, which leads to the homogeneity or heterogeneity of their interpretations.

Keywords: Anglo-French expedition to China, the Incident in Gengshen Year, burning of the Old Summer Palace, historical poetry

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Authors: Azza Taha Zaki

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The position Eugene O’Neill occupies in the history of American drama is undisputable. Critics have agreed that the American theatre was waiting for O’Neill to give it substance, character, and value. The American dramatist continues to be considered as a major influence on the body of dramatic repertoire across the globe. The American theatre before O’Neill knew playwrights who were mostly viewed as entertainers. The serious drama had to wait until O’Neill started his career with expressionistic and social drama. His breakthrough, however, came in 1925 when he published Desire Under the Elms, described as the first important tragedy to be written in America. Mourning Becomes Electra, published in 1931, further reinforced the reputation of Eugene O’Neill and was described as his 'magnum opus'. Aspiring to portray the essence of life and man’s innermost conflicts, O’Neill turned to the classical model, rather than to social realistic drama, to create modern tragedies with the aid of the then-new science of psychology. The present paper aims to undertake an in-depth study of how overtones from classical tragedies by the classical masters Aeschylus, Sophocles, and Euripides resonate through O’Neill’s two plays. The paper shows how leaning on classical themes and concepts interpreted in terms of psychological forces have added depth and tragic substance to a modern milieu and produced masterpieces of dramaturgy.

Keywords: classical, drama, O'Neill, modern, tragic

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Authors: Katya E. Manalastas

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This thesis is a dialogue with Freud about vulnerability and any forms of transience we encounter in life. This study argues that Freud’s Ethics of Finitude, which is framed within the psychoanalytic context, is a critical theory about how human beings fail to become what they are because of their attachment to their illusions—to their visions of perfection and immortality. Freud’s Ethics of Finitude positions itself between our detachment to ideals and recognition of our own death through our loved one. His texts portray the predicament of the finite individual who suffers from feelings of guilt and anxiety because of his failure to live up to the demands of his idealistic civilized society. The civilized society has overestimated men’s susceptibility to culture. It imposes excessive sublimation, conformity to rigid moral ideals, and instinctive repression to manage human aggression. However, by doing this, civilization becomes a main source of men’s suffering. The lack of instinctive freedom will result in a community of tamed but unhappy people. Civilization has also constructed theories and measures to rule out death and pain from the realities of life. Therefore, a man lives his life repressing his instincts and ignorant of his own mortality. For Freud, war and neurosis are just few of the consequences of a civilization that imprisons the individual from cultural hypocrisy instead of giving more play to truthfulness. The occurrence of Great War destroyed our pride in the attainments of civilization and let loose the hostile impulses within us which we thought had been totally eradicated by means of instinctive repression and sublimation. War destroyed most of the things that we had loved and showed us the impermanence of all the things that we had deemed perfect and everlasting. This chaotic event also revealed the damaging impact of our attachment to past values that no longer bind us; our futile attempts to escape suffering; and our refusal to confront the painfulness of loss and mourning. With this given backdrop, this study launches Freud’s Ethics of Finitude—which culminates not in the submission of an individual to the unquestioned authority nor in the blind optimism and love for illusory happiness but in the pedagogy of mourning which brings forth the authentic education of man towards the truth about himself. His Ethics of Finitude is a form of labor in and through which the individual steps out of the realm of illusions and ideals that hinder him to confront his imperfections and accept the difficulties of existence. Through his analysis of the Great War, Freud seeks to awaken in us our ability to evaluate the way we see ourselves and to live our lives with death in mind. His Ethics of Finitude leads us to the fulfillment of our first duty as a living being, which is to endure life. We can only endure life if we are prepared to die and let go.

Keywords: critical theory, ethics of finitude, psychoanalysis, Sigmund Freud

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Authors: Wen-Shu Lai, Yi-Ting Wang

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The purpose of this paper is to discuss and clarify what are the essences of Colombian-born sculptor Doris Salcedo’s works. Under the frameworks of Buber’s dialogical philosophy of the “I-Thou relation” and Zurmuehlen’s philosophy of “Art as Presence” within the context of art praxis, Salcedo’s selected works are analyzed and interpreted. Salcedo’s sculptures and installations have expressed her concerns of the collective and personal memories within the context of Colombia’s violent, historical and political conflicts, especially the trauma inscribed onto her fellow people. Salcedo tried to rescue that memory though her work does not directly represent the violent incidents happened in Colombia. They are indirect portraits of the disappeared, the victims, and the lack of identity. What the viewers see is something in between vanishing and emergence, personal and collective. The work, the artist and the viewer are witnesses and also survivors of Columbia’s violent incidents. On the site, the work, the disappeared and the witness-survivors encounter each other, then mourning, memory and dialogue are unfolded, brought to present. Firstly, it is the power of encounter that allows the viewer-witness to recognize the effaced victims, repressive violence, and the profound mourning for the loss, then restore their existence through dialogues and bring them to present. In her sculptures and installations, the displacement of the fragments and the incoherent sites make these daily household objects become unfamiliar, arose feelings of uncanniness of the viewer. The feelings of alienation, confusion, displacement bring the viewer to here and now. The more one studies these objects and sites, the more hidden details begin to appear. And the more one looks at the details, the more absent memories or stories reveals themselves and becomes present. Salcedo’s work is about loss, displacement and alienation caused by violence. She expressed that words are no longer possible when one deals with violence. However, her installation translates the violence, memory, and loss of beloved ones into a place of dialogue, in which the visitors can immerse themselves in a twilight zone between knowing and not knowing, remembering and forgetting. The spaces are the sites or non-sites inhabited by the remains or traces of the victims, the wonders of the survivor-witnesses where they join together through encounter, remain present to others through genuine dialogue. In the moment, the past memory and the ongoing life merge, accept each other, and reconcile. Salcedo reconfigures the silent violence and repressive history in Colombia and transforms them into sites and installations. The victims, the viewer and the artist join together while contemplating and sharing the human situation of silent repression. In the moment of contemplating, a dialogue, spoken or not, occurs in the specific sites. People have become aware and present, and mutual understanding has achieved. This research concludes that encounter, presence and dialogue are the three essences embedded in Salcedo’s works.

Keywords: dialogue, Doris Salcedo, encounter, presence

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Authors: Filiz Erden, E. Elhan Özus, Melek Tufan

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If the history of clothing is examined, it is seen that clothing has gone through many stages from ancient times to present. Each nation has shaped its clothing according to its own traditions, customs, beliefs, living conditions. While clothes are being prepared, attributing different meanings to colors and patterns of the fabrics has become a common characteristic of many cultures. It is known that cloths worn in special days such as mourning, weddings, engagements, festivals and business vary according to their models, fabrics, colors and patterns. We witness use of cloth to differentiate people belonging to certain classes from nobles throughout the history. Striped fabric has carried many different meanings and uses throughout the history. In this study, place has been given to the important periods related to the history of striped fabric by examining current meaning of the striped fabric and dimensions of its meanings in the past. Also, evening dresses have been designed by using striped fabrics in order to reveal how striped fabric is liked and demanded after it coped with difficulties and being despised in its history.

Keywords: striped fabric, design, clothing, fasion

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Authors: Diana Isabel Torres Silva

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Doris Salcedo is the most prominent sculptor from Colombia ever and currently, one of the most prestigious Latin-American artists in the world. Her artwork, intended as political art, has war as a background, in particular the Colombian civil conflict, and it addresses the way that its violence affects victims’ lives irreparably. While Salcedo is internationally recognized as a talented and a politically committed artist, some Colombian critics consider her artwork as the propagandist and influenced by the interest of multinational companies and the organizations that fund it. This paper, as part of a more extended research project, attempts to demonstrate that Doris Salcedo’s artwork makes visible the victims suffering and mourning and compels the viewers’ sympathy, although its approach is superficial. It does not achieve a complete or complex understanding of the social and historical causes underneath the war and maybe because of that has become a successful commodity for the international arts market. The paper considers, firstly, the influence that Colombian Nuevo Teatro, from the sixties, had on Salcedo’s early political perspective and, secondly, analyzes in detail the first series of her artwork (1992-1998) and how those works address grieving. The focus point of this analysis will be the domestic furniture sculptures, which are the main symbolic element of Salcedo’s oeuvre.

Keywords: Arts and politics, Doris Salcedo, Colombian art, Political Art

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Authors: Byron Malaela Sotiata Seiuli

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When a disaster strike, the resultant impact and devastation forces many people, particularly those directly affected, to re-examine the core dimensions of life that do not come from other life events. The way people respond to and try give meaning to their experiences resultant from the ruptures of trauma remains vital in grief recovery. On 29 October 2009, an earthquake of 8.3 magnitudes generated a galulolo (tsunami) wave that destroyed parts of American Samoa, Tonga and Samoa (previously Western Samoa). Aside from the physical and natural devastation, many people lost their lives and their livelihood. For health professionals who were called upon to provide psychosocial support, this calamity provided an ideal setting to examine and explore how those directly impacted recovered from the calamity. The experiences of a Samoan couple, Fia and Ola, becomes the key focus of this article, one that situates their mourning patterns and recovery journey in the context of Samoan culture. Examining grief from this perspective creates a cultural space to extend indigenous understanding on the complexities of grieving and customarily responses of Samoan people, like this couple, to disaster recovery.

Keywords: Fa'asamoa, galulolo, tsunami disaster, trauma and grief recovery, pacific psychology

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Authors: Dawit Dibekulu, Tesfaye Dagnew, Tesfamaryam G. Meskel

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Echoing with memories of loss and whispers of despair, this study delves into the poignant world of melancholy in Sisay Nigusu's contemporary Amharic novel, ‘Yäqənat Zār’ (‘Zār of Jealousy’). Employing a psychoanalytic lens focused on Freud and Klein's theories of mourning and melancholia, we explore the psychological depths of characters ravaged by grief. Through an interpretive paradigm and descriptive research design, we unpack the intricate tapestry of the novel, revealing how love's ashes morph into melancholic despair. The loss of loved ones, be it sudden death or betrayal, casts long shadows on the characters' souls, distorting their behavior and twisting their narratives. Altered thoughts, self-blame, and paralyzing yearning become their companions, weaving a tragic dance of longing and despair. ‘Yäqənat Zār’ serves as a powerful testament to the transformative power of storytelling, allowing us to navigate the labyrinthine paths of melancholia and gain a glimpse into the Ethiopian soul grappling with loss. This study not only sheds light on the individual's struggle with sadness but also illuminates the cultural fabric of grief and melancholia intricately woven into Ethiopian society.

Keywords: melancholy, loss, psychoanalysis, grief, identity

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Authors: Jesvin Puay-Hwa Yeo, Laavanya Kathiravelu, Sa’Eda Binte Buang

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In the early days, myths and taboos were used by our ancestors to give explanations to the existence of nature and man, as well as to propitiate fortunes and to avoid unluckiness and harm. Myths and taboos are deeply rooted in our cultures and environment, and they form certain characteristics of any society, even in modern societies. With decades of the three main ethnic communities in Singapore – Malay, Indian and Chinese – living together, there has been intermingling and intermixing of traditions and practices. This may mean that what we think is a ‘Malay’ practice is actually one that is a hybrid of the Chinese and Malay. A good example would be the practice of covering all mirrors in a house of mourning. Therefore, the proposed seeks to explore and understand the underlying social influences of Singapore’s oral tradition. As part of a bigger cultural research project: Designing Cultures, the proposed paper focused on using secondary data to contribute to the overall cultural understanding of the integral connections between oral traditions, people and landscapes. The proposed paper will discuss in details the initials findings of the research project, including the two manners that contributed to the intermixing of myths and taboos. The first is the presence of social institutions such as religions, and the second is the presence of cross-cultural minorities such as the Straits Chinese. As well as other observations included the use and influence of Chinese oral traditions such as folklore among the early Chinese immigrants through social institutions.

Keywords: cultural belief, multiracial society, myths, oral tradition

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Authors: Elisenda Camprecios, Alicia Macarrila, Montse Albiol, Neus Garriga Garriga

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The loss of a child during pregnancy, or shortly after birth, is not a common occurrence, but it is a prevalent fact in our society. When this loss happens, life and death walk together. The grief that parents experience following a perinatal loss is a devastating experience. Professionals are aware that the quality of care offered during this first period is crucial to support the families experiencing a perinatal loss and meet their needs. However, it is not always easy for the health care professionals to know what to say and what to do in these difficult circumstances. Given the complexity of the Health, painful process that a family must face when is affected by such loss, we believe that the creation of a protocol that pays special attention to the emotional needs of those couples can be a very valuable tool for the professionals. The short documentary named ‘When the illusion vanished’ was created as part of the material of this protocol, which focuses on the emotional needs of the families who have suffered a perinatal loss. This video is designed to see what impact has a perinatal death and to raise awareness among professionals working in this field. The methodology is based on interviews with couples who have experienced perinatal death and to professionals who accompany families suffering from perinatal loss. The use of sensitive and empathized words, being encouraged to express feelings, respect the time, appropriate training for the professionals are some of the issues reflected in this documentary. We believe that this video has contributed to help health care professionals to empathize and understand the need to be able to accompany these families with the appropriate care, respectful, empathetic attitude and professionalism so that they can start the path to a ‘healthy’ mourning.

Keywords: neonatal loss, midwifery, perinatal bereavement, perinatal loss

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Authors: Sulistyaningtyas

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The topic about death and dying is interesting to discuss since it is strongly related to every individual life. As represented in its title, Adonais: An Elegy on the Death of John Keats is a mournful poem written in 1821 by Percy Bysshe Shelley to mourn the loss of young poet John Keats. To compare, In Memoriam A.H.H. is an elegy written in 1850 about the death of Lord Tennyson’s dearest friend, Arthur Henry Hallam. Although both elegies were written to grieve the authors’ loved ones, their grief affects differently to the psychological being of the narrators. Thus, this research aims to examine the essence of death in affecting the narrators psychologically. By using psychoanalytic criticism, this research reveals the different essence of death in the two elegies as the result of the analysis. Moreover, these two elegies also portray the concept of the afterlife, immortality, and the figure of God. In Adonais, the grief of the narrator to Keats leads him to question the very purpose of life. The loss of his favorite poet which makes him feel sorrowful and mad along his 55 stanzas brings him to a higher psychological level to understand himself. He even sees himself as a Christ-like figure, which shows the idea that God is imaginable. Different from Adonais, the narrator of In Memoriam finds something more spiritual by doing his passionate mourning to Hallam. Through some contemplation in his 133 cantos, in the end, he is convinced that the dear one now dwells with a great Spirit who controls the world. He believes that all of the creation in the universe has to follow one law which is set by God. Hence, it can be concluded that death might bring different consequence to the psyche of every living creature.

Keywords: elegy, comparative study, psychoanalytic criticism, the essence of death

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Authors: Elaine Stavro

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In our present world where acts of incivility, intolerance and anger towards minority communities is on the rise, the ways museum practices cultivate ethical generosity is of interest. Democratic theorists differ as to how they believe respect can be generated through active participation. Allowing minority communities a role in determining what artifacts will be displayed and how they will be displayed has been an important step in generating respect. In addition, the rise of indigenous museums, slave museums and curators who represent these communities, contribute to the communication of their history of oppression. These institutional practices have been supplemented by the handling of objects, recognition stories and multisensory exhibitions. Psychoanalysis, object relations theorists believe that the handling of objects: amenable objects and responsive listeners will trigger the expression of anomie, alienation and traumatizing experiences. Not only memorializing but engaging with one’s lose in a very personal way can facilitate the process of mourning. Manchester Museum (UK) gathered together Somalian refugees, who in the process of handling their own objects and those offered at the museum, began to tell their stories. Democratic theorists (especially affect theorists or vital materialists or Actor Network theorists) believe that things can be social actants- material objects have agentic capacities that humans should align with. In doing so, they challenge social constructivism that attributes power to interpreted things, but like them they assume an openness or responsiveness to Otherness can be cultivated. Rich sensory experiences, corporeal engagement (devices that involve bodily movement or objects that involve handling) auditory experiences (songs) all contribute to improve one’s responsiveness and openness to Others. This paper will focus specifically on slave museums/ and exhibits in the U.K, the USA., South Africa to explore and evaluate their democratic strategies in cultivating tolerant practices via the various democratic avenues outlined above.

Keywords: democratic pedagogy, slave exhibitions, affect/emotion, object handling

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Authors: Mai Hussein

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'Littoral' is an original voice in Québécois theatre, spanning the cultural gaps that can exist between the playwrights’ native Lebanon, North America, Quebec, and Europe. Littoral is a 'crossroad' of cultures and themes, a 'bridge' connecting cultures and languages. It represents a new form of theatrical writing that combines the verbal, the vocal and the pantomimic, calling upon the stage to question the real, to engage characters in a quest, in a journey of mourning, of reconstructing identity and a collective memory despite ruins and wars. A theatre of witness, a theatre denouncing irrationality of racism and war, a theatre 'performing' the symptoms of the stress disorders of characters passing from resistance and anger to reconciliation and giving voice to the silenced victims, these are some of the pillars that this play has to offer. In this corrida between life and death, the identity seems like a work-in-progress that is shaped in the presence of the Self and the Other. This trajectory will lead to re-open widely the door to questions, interrogations, and reflections to show how this play is at the nexus of contemporary preoccupations of the 21st century: the importance of memory, the search for meaning, the pursuit of the infinite. It also shows how a play can create bridges between languages, cultures, societies, and movements. To what extent does it mediate between the words and the silence, and how does it burn the bridges or the gaps between the textual and the performative while investigating the power of intermediality to confront racism and segregation. It also underlines the centrality of confrontation between cultures, languages, writing and representation techniques to challenge the characters in their quest to restructure their shattered, but yet intertwined identities. The goal of this theatre would then be to invite everyone involved in the process of a journey of self-discovery away from their comfort zone. Everyone will have to explore the liminal space, to read in between the lines of the written text as well as in between the text and the performance to explore the gaps and the tensions that exist between what is said, and what is played, between the 'parole' and the performative body.

Keywords: identity, memory, performance, testimony, trauma

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Authors: M. Achemo, O. Saito

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Jefoure land use system is one of the traditional landscape human settlement patterns, and it is a cultural design and peculiar art of the people of Gurage in Ethiopia via which houses and trees flank roads left and right. Assessment of the multiple benefits of the traditional road that benefit society and development could enhance the understanding of the land use planners and decision makers to pay attention while planning and managing the land use system. Recent trend shows that the Jefoure land use is on the threshold of change as a result of flourishing road networks, overgrazing, and agricultural expansion. This study aimed to evaluate the multiple ecosystem services provided by the Jefoure land use system after characterization of the socio-ecological landscape. Information was compiled from existing data sources such as ordnance survey maps, aerial photographs, recent high resolution satellite imageries, designated questionnaires and interviews, and local authority contacts. The result generated scientific data on the characteristics, ecosystem services provision, and drivers of changes. The cultural landscape has novel characteristics and providing multiple ecosystem services to the community for long period of time. It is serving as road for humans, livestock and vehicles, habitat for plant species, regulating local temperature, climate, runoff and infiltration, and place for meeting, conducting religious and spiritual activities, holding social events such as marriage and mourning, playing station for children and court for football and other traditional games. As a result of its aesthetic quality and scenic beauty, it is considered as recreational place for improving mental and physical health. The study draws relevant land use planning and management solution in the improvement of socio-ecological resilience in the Jefoure land use system. The study suggests the landscape needs to be registrar as heritage site for recognizing the wisdom of the community and enhancing the conservation mechanisms.

Keywords: cultural landscape, ecosystem services, Gurage, Jefoure

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Authors: Joonha Park

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This essay examines the Soviet Artist Pavel Korin’s artistic pursuit towards his life-long project, “Requiem/Passing of the Rus,” framing the funeral of Tikhon, the last great defender of the Russian orthodox Church during the Great purge, as the final moment of “Rus,” which is the identity of the Russian people that built up in the 1000 year of history behind Russian Orthodoxy. Korin’s project remains in the form of a series of 29 man-sized portraits and a monumental blank canvas. Born in a family dedicated to iconography, Korin witnessed the historic drama during Stalin’s terror; therefore, he tried to convey the nation’s mourning for the disappearance of “Rus” and disapproval of the Soviet notion of atheism. Yet, due to Korin’s success as a state artist, many believed that the political pressure led Korin to give up his belief and controversy arose over the fact that Korin left the canvas blank. The empty 40-square-meter canvas, which remains untouched in his studio since 1930, supports this theory to an extent. However, resources such as Korin’s notes, primary accounts from his fellow Soviet Artists, and testimonies from his wife suggested that this assumption is incorrect. Moreover, Korin’s uninterrupted relationship with the church and the religious attributes in his commissioned works were brought up as evidence of Korin’s continued belief. The empty canvas not only represents Korin’s discontentment towards the repression and the hardships that the Orthodox Church experienced, but also depicts the identity that coexisted with the Church in order to bequeath this idea to future generations. The faultless canvas surrounded by the striking 29 portraits is a symbol of the highest spirit, similar to that of the iconography paintings placed in every Russian house that unites the Russian people till this day, therefore one can deduce that the legacy of “Requiem” is still relevant to the Russian people even under freedom of religious expression. Consequently, “Requiem” was on display at the Tretyakov Gallery for the first time in public in 2013 even though Korin started creating this piece in 1925, extolling Korin not only as an artist but also as a historian; by recording the turmoil of the Great Oppression, Korin exhibited the social responsibility universal to artists across time and space. In this essay, the legacy Korin left behind, both to his contemporaries and his posterity is reevaluated through the lens of his works, unfinished as they were.

Keywords: Pavel Korin, Art History, Art, Russia, Soviet Union, Requiem, Russian orthodox church, Treytyakov gallery, contemporary art, socialist realism, Maxim Gorky

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Authors: Somya Sharma

Abstract:

Ahalya, the critically acclaimed short film, is known to demolish the gender constructs of the age old myth of Ahalya. The paper tries to crack the overt meaning of the short film by reading between the dialogues and deconstructing the idea of the pseudo feminism in the short film Ahalya by Sujoy Ghosh. The film, by subverting the role of male character by making it seem submissive as compared to the female character's role seems to be just a surface level reading of the text. It seems that Sujoy Ghosh has played not just with changing the paradigm, but also trying to alter the history by doing so. The age old myth of putting Ahalya as a part of the five virgins (panchkanya) of Hindu mythology is explored in the paper. God's manoeuvre cannot be questioned and the two male characters tend to again shape the deed and the life of the female character, Ahalya. It is of importance to note that even in the 21st century, progressive actors like Radhika Apte fail to acknowledge the politics of altering history, not in a progressive way. The film blinds the viewer in the first watch to fall for the female strength and ownership of her sexuality, which is reflected in the opening scene itself where she opens the gate for the police man Indra Sen (representing God Indra who seduced her) who is charmed by her white dress. White, in Hindu mythology, stands for mourning, and this can be a hint towards the prophecy of what is about to come. Ahalya, bold, strong, and confident in this scene seems to be in total ownership of her sexual identity. Further, as the film progresses, control of Ahalya over her acts becomes even more dominant. In the myth of Ahalya, Gautama Maharishi, her husband, who wins her by Brahma's courtesy, curses her for her infidelity. She is then turned into a stone because of the curse and is redeemed when Lord Rama's foot brushes the stone. In the film, it is with the help of Ahalya that Goutam Sadhu turns Indra Sen into a stone doll. Ahalya is seen as a seductress who bewitches Indra Sen, and because the latter falls for the trap laid by the husband wife duo, he is turned into a doll. The attempt made by the paper is to read Ahalya as a character of the stand in wife who is yet again a pawn in the play of Goutama's revenge from Indra (who in the myth is able to escape from any curse or punishment for the act). The paper, therefore, reverts the idea which has till now been signified by the film and attempts to study the feminism this film appropriates. It is essential to break down the structure formed by such overt transgressing films in order to provide a real outlook of how feminism is twisted and moulded according to a man’s wishes.

Keywords: deconstructing, Hindu mythology, Panchkanya, predominant feminism, seductress, stone doll

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Authors: Beth Vale

Abstract:

Academic research has often neglected the city after dark. Surprisingly little consideration has been given to the every night life of cities: the spatial tactics and creative insurgencies of urban residents when night falls. The focus on ‘pleasure’ in the nocturnal city has often negated the subtle politics of night-time play, embedded in expressions of identity, attachment and resistance. This paper investigates Johannesburg nightclubs as sites of quotidian political labour, through which young people contest social space and their place in it, thereby contributing to the city’s effective and socio-political cartography. The tactical remodelling of the nocturnal city through nightclubbing traces lines of desire (material, emotional, sexual), affiliation, and fear. These in turn map onto young people’s expressions of their social and political identities, as well as their attempts at place-making in a ‘post-apartheid’ context. By examining the micro-politics of the cities' nightclubs, this paper speaks back to an earlier post-94 literature, which regularly characterised Johannesburg youth as superficial, individualist and idealistic. Similarly, some might position nightclubs as sites of frivolous consumption or liberatory permissiveness. Yet because nightclub spaces are racialised, classed and gendered, historically-signified and socially regulated, they are also profoundly political. Through ordinary encounters on the cities' dancefloors, young Jo’burgers are imagining, contesting and negotiating their socio-political identities and indeed their claims to the city. Meanwhile, the politics of this generation of youth, who are increasingly critical of the utopian post-apartheid city, are being increasingly inserted and coopted into night-time cultures. Data for this study was gathered through five months of ethnographic fieldwork in Johannesburg nightclubs, including over 120 hours of participant observation and in-depth interviews with organisers and partygoers. Interviewees recognised that parties, rather than being simple frivolity, are a cacophony of celebration, mourning, worship, rage, rebellion and attachment. Countering standard associations between partying and escapism, party planners, venue owners and nightclub audiences were infusing night-time infrastructures with the aesthetics of politics and protest. Not unlike parties, local political assemblies so often rely on music, dance, the occupation of space, and a heaving crowd. References to social movements, militancy and anti-establishment emerged in nightclub themes, dress codes and décor. Metaphors of fire crossed over between party and protest, both of which could be described as having ‘been lit’ or having ‘brought flames’. More so, young people’s articulations of the city’s night-time geography, and their place in it, reflected articulations of race, class and ideological affiliation. The location, entrance fees and stylistic choices of one’s chosen club destination demarcated who was welcome, while also signalling membership to a particular politics (whether progressive or materialistic, inclusive or elitist, mainstream or counter-culture). Because of their ability to divide and unite, aggravate and titillate, mask and reveal, club cultures might offer a mirror to the complex socialities of a generation of Jo’burg youth, as they inhabit, and bring into being, a contemporary South African city.

Keywords: affect, Johannesburg, nightclub, nocturnal city, politics

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