The aim of this study was to define a semiotics of poetry, to apply that semiotics to analyze seven poems by L.D. Raditladi and to determine how cultural elements are transformed in Raditladi's poems. The study comprises four chapters. The central problems, aims, central theoretical statement and method were outlined and motivated in the first chapter. The second chapter defined a theory of semiotics based on M. Riffaterre's views about the kinds of indirection in poetry and Y. Lotman's view of symbols. Chapter three analysed the indirection and the use of cultural symbols in seven poems from Raditladi's collection Sefalana sa menate (1984). The different variants of the central ideas of phrases (matrices) were traced in the poems. By using symbols and indirection, the poems do not so much express the ideas and emotions of the speaker and the hidden meanings behind the signs, but rather take the reader on fascinating journeys of meaning generation. The analysis of Raditladi's use of symbols revealed the cultural meaning of each poem. Raditladi's seven poems support the idea that symbols, images and indirection provide vital semiotic clues to a poem's significance. It was also shown that the speaker adopts different stances towards traditional Batswana cultural material, like irony, exaggeration, nostalgia and celebration. / Thesis (M.A. (African Languages))--North-West University, Potchefstroom Campus, 2009.

The aim of this study was to define a semiotics of poetry, to apply that semiotics to analyze seven poems by L.D. Raditladi and to determine how cultural elements are transformed in Raditladi's poems. The study comprises four chapters. The central problems, aims, central theoretical statement and method were outlined and motivated in the first chapter. The second chapter defined a theory of semiotics based on M. Riffaterre's views about the kinds of indirection in poetry and Y. Lotman's view of symbols. Chapter three analysed the indirection and the use of cultural symbols in seven poems from Raditladi's collection Sefalana sa menate (1984). The different variants of the central ideas of phrases (matrices) were traced in the poems. By using symbols and indirection, the poems do not so much express the ideas and emotions of the speaker and the hidden meanings behind the signs, but rather take the reader on fascinating journeys of meaning generation. The analysis of Raditladi's use of symbols revealed the cultural meaning of each poem. Raditladi's seven poems support the idea that symbols, images and indirection provide vital semiotic clues to a poem's significance. It was also shown that the speaker adopts different stances towards traditional Batswana cultural material, like irony, exaggeration, nostalgia and celebration. / Thesis (M.A. (African Languages))--North-West University, Potchefstroom Campus, 2009.

This study will examine the integral role of owls in Ainu spiritual belief systems through the means of Ainu oral literature and Ainu material arts. In the past, the indigenous people known as Ainu lived only in northern Japan, including Kurile Islands (“Kurile Ainu”), Sakhalin (“Sakhalin Ainu”), and Hokkaido (“Hokkaido Ainu”). Today, Ainu people live across Japan; however, Hokkaido is considered their spiritual homeland and the majority of the population lives in this northern prefecture. This paper will focus on the group of people called “Hokkaido Ainu”. Before a large number of Japanese migrated to Hokkaido during the Meiji era (1868-1912), Ainu people had lived close to nature through various activities such as fishing, hunting, and gathering. As a result of these daily activities involving nature, the Ainu developed their spiritual belief systems. For example, they believe that various spirits exist in natural phenomena such as plants, insects, and animals. Among these animals, the bear, killer whale and owl are considered in many Ainu societies as the highest-ranked animal kamuy, meaning gods or deities. The Owl God in particular, is believed to be the guardian of the village. In this project, the symbolic representation of the Owl God in four different Ainu traditional folklores and various forms of arts will be carefully examined. The goal of this study is to demonstrate that although the language and physical communities are under threat by Japanese migration and a modern industrial economy, the spiritual belief in the Owl God as the guardian of the village continues to exist in contemporary Ainu works of art. In addition, I will argue that the representation of the Owl God, Kotan-kor-kamuy, is an important symbolic expression of Ainu cultural identity. / Graduate

No description available.

How do we build for a specific place and culture in the age of globalization, where the notion of culture has become fluid and drawn from a multiplicity of locations? This thesis argues that rather than relying on ideologies of symbols, an authentic regional architecture must derive its meaning through the experience of localized rituals that take place over time, and thus give constancy to place. The notion of cultural identity in this thesis is explored through the story of the Baths and the Mineral Spring in Sofia, Bulgaria. This story takes us from the origins of the city, through its cultural mutations and transformations and finally to the questions posed by the decommissioned Baths. The thesis design proposal outlines an alternate architectural strategy to the current proposal: converting the Bath House into a prestigious spa center and ‘Museum of Sofia’. The alternate design in contrast, addresses the importance of place specific ritual and the still enduring practice of spring water collection - which has now been dislocated from the main Baths square. The question of authenticity in the design for the Baths Square is connected to the changing notion of cultural identity. The origins of which are rooted in our response to a particular environment; a rapport which has framed our social ideologies, cultural practices, and their formal manifestations. However, within the regimes of globalization cultural identity has become uprooted from ‘place’ and has come into crisis. In response to this crisis of identification, there is a frantic desire to reaffirm the local and re-envision a collective identity. This thesis proposes an architecture of the material imagination - which recognizes the multiplicity of our cultural reality today. It creates spaces that are not designed primarily on the visual level of the symbol but rather spaces which are to be experienced sensorially and habitually; only then becoming part of the collective experience and identity of the culture. These spaces reduce the specificity of the symbol as a depiction of ‘one’ identity, and rather derive cultural meaning from the experience of a unique and hierophantic place, and its living practice.

This body of work is the result of practice based research, culminating in a collection of five garments featuring pictorial prints, created through digital sublimation printing¹. The accompanying exegesis examines the place of my work within the contextual framework of related knowledge. The exegesis explores two main contextual notions. Firstly, the position of dolls' clothing play as a hegemonic tool in the process of learning to construct identity through self-presentation. This reflects on the practice of enculturing in girls the ability not just to do, but to observe oneself whilst doing. Secondly, the role of garments and fabric as liminal² markers at the transitional space between interior and exterior, domestic and public, self and not-self. My analysis is centered on the creation of original pieces of clothing. The garments are questioned by the issues explored in this exegesis. The research makes an original contribution to the body of knowledge by the nature of the creative work, and its analysis involving contemporary theoretical debate on the nature of fashion. ¹ Sublimation printing is a method of chemically bonding ink to a polyester or acrylic surface such as fabric, using extremely high heat and pressure. In this research project I am bonding images of photographs to polyester and acrylic fabrics. ² In this exegesis I use the word liminal to describe an occupying of an ambiguous space, on the threshold between one thing and another.

The key concept for this multimedia project was to undertake a voyage in art form which set out to examine issues related to the representation and perception of the ancient Rarotongan god Tangaroa, from traditional context to contemporary reconstruction. The essential aim of this project was to define how far from traditional representations this translation could go without disconnecting it from the cultural identity of Rarotongan traditional art. This project also researched previous historical representations of Tangaroa with the intention of isolating key elements of the traditional artistic structure and revisits them from a contemporary perspective. Using historic references of original artefacts and traditional Cook Islands’ patterns I engaged contemporary practices and materials to produce a body of work which explored my personal perspective on how Tangaroa could be reconstructed in art form. To support my research and studio practice I researched the myth behind Tangaroa and questioned why he has been displaced from Rarotongan traditional theology and reintroduced today as a marketing brand and souvenir icon. The base research for this project considered issues of traditional theology, the impact of Christianity on the ancient gods and Tangaroa’s place in traditional and contemporary context. This project is comprised of 80% studio practice and supported by an exegesis with a value of 20%.

This thesis explores the complexity of identities and the everyday negotiations, as well as struggles that shape the lives of British Chinese pupils in England. It focuses on the links between heritage language education, ‘cultures’ and ethnicity. It analyses the ways in which values related to identities, bi/multilingualism and British Chinese pupils’ positions in multicultural British society, are accommodated, negotiated or resisted. In particular, this research looks at British Chinese pupils with limited Chinese language skills, most of whom are from the ‘second/third generation’ within the British Chinese ‘community’. A qualitative approach is employed to understand the experiences of these pupils by exploring their accounts of experiences in mainstream schooling and in (not) learning Chinese, and their perceptions of their positioning as British Chinese in relational, contextual and socially constructed terms. Identity will be understood as a fluid process involving multiple identifications in line with a poststructuralist view, but also as an active process negotiated by social actors under structural forces. Thus, this conception of identity will move away from essentialist accounts of fixed Chinese/British identities and conceive of the individual as having an active and reflexive role in identity construction. The concepts of ‘hybridity’ (Bhabha, 1994) and ‘Orientalism’ (Said, 1978) are used to highlight how the British Chinese pupils are both able to negotiate flexibly their identities but also are confined by certain essentialised, dominant discourses. This thesis argues that there is an emergent British Chinese identity in which young people recognise their flexible and complex, hybridised British Chinese identities, including the possibility of being both British and Chinese. The research contributes to on-going debates on British Chinese young people. The thesis highlights how the new visibility of the British Chinese population brings both risks and opportunities when creating new spaces to allow for the complex and flexible nature of their diverse and shifting identities.

As flood risk rises in the U.S., technology and insights rise too, but even with these advances we still see the consequences of flood risk. Together, the rational actor paradigm (“RAP”), psychometrics, and cultural theory help to explain risk perceptions and behaviors of 20 respondents. Results from the mixed-methods approach found the RAP insufficient, less accurate than a coin toss (48%), when explaining respondent behaviors. Rather, risk perceptions and behaviors of the RAP explain the behaviors of lower risk portrayal groups (66%) and higher income groups (80%), with higher risk portrayals being relying on respondents’ trust in flood experts (45%) and cultural worldviews (55%). Cultural identities explain 65% of respondents’ behaviors across levels of risk portrayal (500-, 100-, and 25-year floodplain), and risk portrayal types (cumulative and AAL). In a world with increased risk, technology, and knowledge, researchers need understand the explanatory power of the RAP, psychometrics, and cultural theory. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2021. / FAU Electronic Theses and Dissertations Collection

Italian masculine identity is examined by looking at the following influences: history and structure of Italian society, the public places used for the performance and the culture surrounding the display of masculinity. This research uses an approach similar to an ethnography of communication. Initial data and ideas were gathered through observational fieldwork and interviews that took take place in Italy during July 2006 and July 2007. A methods section describes interviews that later took place with Americans in order to compare and contrast responses with ones previously collected from Italians. The data gathered from these interviews will be used to highlight and substantiate the components of cultural identity that are unique to Italian masculinity. In analyzing the research data, the social meaning model is applied to elaborate a culturally shared set of meanings for a particular nonverbal act in an Italian piazza. Finally, findings are organized using four aspects of cultural identity to understand an Italian definition of masculinity. Two contributions emerged from the research: cultural sense making and cultural change. Cultural sense making provides a context for Italian masculine behavior, and cultural change describes the transformation of Italian ideology between the generations in regards to gender roles.