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Department of Human Sciences 2077010 Special Studies in Philosophy Yugo YANAGISAWA 2077050 Special Studies in Ethics Yugo YANAGISAWA 2077170 Special Studies in Philosophy of Religion Yuko ASHINA 2077210 Special Studies in Educational Anthropology Kazuya ITO 2077250 Special Studies in Lifelong Education Kyoko INAGAKI 2077330 Special Studies in Sociology of Education Takashi YASUDA 2077410 Special Studies on History of Child Takuo NISHIMURA 2077570 Special Studies in History of Body Culture Toshio KUNUGI 2077650 Special Studies on Child, Media and Society Koshi SUZUKI 2077690 Statistics for Bihavioral Science 1 Mitsuko NAKAYAMA 2077720 Statistics for Bihavioral Science 2 Mitsuko NAKAYAMA 2077840 Special Studies in Developmental Psychology Koji KOMATSU 2077880 Special Studies in Educational Psychology Masako MOTOYAMA 2077960 Special Studies in Psychology (Social Psychology) Mitsuko NAKAYAMA 2078040 Special Studies in Youth and Adolescent Psychology Toshimitsu OKAMURA 2078080 Special Studies in Clinical Psychology Masashi KUSHIZAKI 2078120 Special Studies in Personality Psychology Keiko SAKAI 2078160 Special Studies in Developmental Clinical Psychology Shuji INUMAKI 2078240 Special Studies ni Basic Psychology Masahiro AMAGASE 2078410 Seminar in Philosophy Yugo YANAGISAWA 2078450 Seminar in Ethics Yugo YANAGISAWA 2078490 Seminar in Educational Sociology Takashi YASUDA 2078530 Seminar in Educational Anthropology Kazuya ITO 2078570 Seminar in History of Education Takuo NISHIMURA 2078610 Seminar in Music and Child Yasuyuki FUJII 2078690 Seminar in Body Culture Studies Koshi SUZUKI 2078730 Seminar in History of Body Culture Toshio KUNUGI 2079200 Practice in Education and Human Studies 1 Toshio KUNUGI 2079260 Practice in Research Methodology of Educational Sociology 1 Takashi YASUDA 2079280 Practice in Research Methodology of Educational Sociology 2 Takashi YASUDA 2079320 Practice and Seminar in Experimental Psychology Masahiro AMAGASE Mitsuko NAKAYAMA Masako MOTOYAMA Shuji INUMAKI 2079360 Practice of Psychometrics and Assessment Mitsuko NAKAYAMA Masahiro AMAGASE Masako MOTOYAMA Shuji INUMAKI.

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Bálint Veres Moholy-Nagy University of Art&Design [email protected]
TACTILE TACTICS IN ϮϭST CENTURY CULTURAL DISPLAYS ϭ͘ ^ƚĂƌƚŝŶŐ ƉŽŝŶƚ͗ an example ĄůŝŶƚsĞƌĞƐ Moholy-Nagy University of Art&Design [email protected] In September 2013, during the Budapest Design Week, together with two of my colleagues, I had the privilege to encourage a team of art students to perform an exhi- ABSTRACT: There is a long tradition to see museums and similar cultural displays as sites of knowing and self- bition intervention, hosted by the Museum of Ethnogra- education; and also as tools of political and ideological phy, an initiative that is still rare in the Hungarian tuition, indoctrination indeed. The critical approach of 1 new museology in the late 20th century launched a museum practice. The museum invited us to be com- systematic revision of the social and epistemological role pletely free in our approach to the task, and at first we museums play in contemporary culture. New museology highly increased, or at least required, the self-reflexivity deemed it as a double task. On the one hand, there was of cultural displays, however, an increase in reflexivity a chronological exhibition of partly folk, partly artistic, does not involve, in a self-evident way, an increase of intensified experience, which became crucial to our professional and industrial exhibition materials, under contemporary life, especially in the perspective of the title of The living tradition of ryijy – Finnish rugs from somaesthetics. Thus, more recent museological and curatorial approaches, oriented according to the a private collection. On the other hand, the bustle of the corporeal turn in philosophy and social sciences, Design Week and the freshness of art students’ creativity emphasize the effects and consequences of the sensorial range in use within cultural displays.
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Musical Evolution and Human Migration
MUSICAL EVOLUTION AND HUMAN MIGRATION MUSICAL EVOLUTION AND HUMAN MIGRATION: CLASSIFICATION, QUANTIFICATION, AND APPLICATION By PATRICK E. SAVAGE, B.A.(Hons) A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree Master of Science McMaster University © Copyright by Patrick E. Savage, August 2011 MASTER OF SCIENCE (2011) McMaster University (Psychology, Neuroscience and Behaviour) Hamilton, Ontario TITLE: Musical evolution and human migration: Classification, quantification, and application AUTHOR: Patrick E. Savage, B.A. (Hons) SUPERVISOR: Dr. Steven Brown NUMBER OF PAGES: vi, 76 ii Abstract Musical evolution and human migration: Classification, quantification, and application Patrick E. Savage Master of Science Depratment of Psychology, Neuroscience and Behaviour McMaster University 2011 The cross-cultural study of music is important to our understanding of the evolution of human biological and cultural diversity. Early comparative musicologists failed to develop rigorous scientific methods for studying this, and the modern-day fields of music cognition and ethnomusicology still lack such methods. In this thesis, I describe our attempts to design new methods for classifying and quantifying cross-cultural musical diversity and to apply these methods to the study of musical evolution and migration. Using a new method of classifying songs, we analyzed 421 songs from 16 indigenous tribes in Taiwan and the Philippines. We found striking parallels between musical and genetic diversity, both in the degree of diversity found within each culture and in the patterns of similarities between cultures. These findings suggest that music may be subject to similar processes of evolution and migration as are genes. A new, multidisciplinary, and scientifically-grounded comparative musicology may thus provide a new line of evidence to complement and integrate existing research into the complex relationship between music, biology, and culture.
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Concept Space in Holocaust Research
Janine Fubel, Alexandra Klei, Katrin Stoll, Annika Wienert: „Space in Holocaust Research“ “Space in Holocaust Research”. An International, Interdisciplinary Conference Hamburg, 23 – 26 March 2020 Aim and Objectives “Space in Holocaust Research” is the first conference in Germany to examine ‘space’ as a central category of Holocaust research from a theoretical and methodological perspective. It is conceptualized and organized by Janine Fubel (Berlin), Alexandra Klei (Hamburg/Berlin), Katrin Stoll (Warsaw), and Annika Wienert (Warsaw). The conference is a co-operation between the German Historical Institute Warsaw and the Institute for the History of the German Jews in Hamburg. The overarching goal of the conference is to foster interdisciplinary Holocaust Studies, a research field that as of yet has no institutional framework in German academia. The project takes as its point of departure the discussions about the ‘spatial turn’ that have taken place in the humanities since the 1980s. In the course of these discussions, an understanding of space beyond Newton’s container model has gained acceptance. Space is now understood as a process and perceived in relational terms, as something that is socially produced and socially effective. The project combines inter- and transdisciplinary discussions of a spatial turn in the humanities with recent research on the Holocaust and its legacy. Such a synthesis is still lacking. The paradigm of space will allow for cross-disciplinary discussions on central issues of Holocaust research and for a prolific integration of new approaches. Integrating various disciplines will enable a critical analysis of terms as well as of theoretical and methodological questions. While references to space, place and sites have become an integral part in works dealing with the history of the Holocaust and its legacy, a metaphorical way of speaking has predominated thus far.
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Ethnochoreology As a Mediating Perspective in Irish Dance Studies
Catherine E. Foley Ethnochoreology as a Mediating Perspective in Irish Dance Studies Up until the 1980s, dance in Ireland existed as an important human activity, engaged in for various reasons: socialization, entertainment, competition, per- formance, tourism, ceremonial occasions, and so on. It was not, however, re- searched and examined on a par with other fields of study within the social sciences. From the 1980s on, however, the academic study of dance within the context of culture increasingly gained ground in the West, due to the influence of a number of anthropologists in the United States interested in human move- ment studies.1 Academicians also began to note the work of ethnochoreologists in Europe who, since the 1960s, had been involved in field research and studies of dance in their respective cultures.2 Dance and the role that it played—together with the meaning that it embodied within diverse societies around the world— gradually became a significant field of research and study. Scholars within mul- tidisciplinary fields of study—including anthropology, ethnochoreology, eth- nomusicology, dance ethnology, sociology, philosophy, cultural studies, cultural geography and feminist scholarship—argued for the significance of dance and the body as a way of illuminating and understanding issues relating to human 1. See, for example: Adrienne Kaeppler, “Method and Theory in Analyzing Dance Structure with and Analysis of Tongan Dance,” Ethnomusicology, 16, 2 (May, 1972), 173–217, and “American Ap- proaches to the Study of Dance,” Yearbook for Traditional Music, 13 (1991), 11–12; Drid Williams, “The Human Action Sign and Semasiology,” in Dance Research Annual, 10 (New York: CORD, 1979), pp.
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Emergence of Ethnochoreology Internationally: the Janković Sisters, Maud Karpeles, and Gertrude Kurath
Elsie Ivancich Dunin Emergence of Ethnochoreology... DOI: 10.2298/MUZ1417197D UDK: 394.3:793.3 39:929 Јанковић Љ. 39:929 Јанковић Д. Emergence of Ethnochoreology Internationally: The Janković sisters, Maud Karpeles, and Gertrude Kurath Elsie Ivancich Dunin1 University of California (Los Angeles) Abstract A fifty-year (1962–2012) period has been shown as a history of ethnochoreology supported by living memories of members of the International Council for Traditional Music (ICTM) Study Group on Ethnochoreology. Recently uncovered and juxtapositioned correspondence of three predecessors within earlier years of the International Folk Music Council (IFMC) broadens the history. This article reveals the emergence of ethnochoreology during the 1950s with publications of the two Janković sisters in Serbia with that of Gertrude Kurath in the United States, alongside correspondence with Maud Karpeles, the unheralded founder of the IFMC. Keywords ethnochoreology, Janković sisters, Gertrude Kurath, Maud Karpeles, IFMC (International Folk Music Council) Introduction The publications of Ljubica and Danica S. Janković2 overlap contemporaneously with dance research writings of Gertrude Prokosch Kurath,3 who in the United States (U.S.) is honored as a pioneer of ethnochoreology (also known as dance ethnology). Although never meeting, the Janković sisters and Kurath are linked through the International Folk Music Council (IFMC) launched by Maud Karpeles in 1947. Her vision of an international commission of dance scholars, such as Janković and Kurath, is evidenced through correspondence in the IFMC/ICTM archives located in the National Library of Australia. Other communications linking Janković and Kurath with folklorists, ethnomusicologists, and anthropologists are found in the Cecil Sharp House with the Vaughan Williams Memorial Library in London and various university-based archives in the United States, such as the Cross-Cultural Dance Resources at Arizona State University, Lilly Library at the University of Indiana in Bloomington, and more.
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Henning Eichberg the Study of Body Culture : Observing Practice
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Complete Issue
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Performance Style and Culture Research Guide, Alan Lomax
American Folklife Center, Library of Congress Performance Style and Culture Research Guide Alan Lomax Collection (AFC 2004/004) By Nancy Johnson (2008) Edited by Todd Harvey (2016) 1 Contents Collection overview......................................................................................................................... 5 Collection title ............................................................................................................................. 5 Collection creator ........................................................................................................................ 5 Extent .......................................................................................................................................... 5 Dates ........................................................................................................................................... 5 Arrangement ............................................................................................................................... 5 Biographical note ........................................................................................................................ 6 Abstract ....................................................................................................................................... 6 Repository ................................................................................................................................... 8 Administrative notes ......................................................................................................................
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Ethno-Cinema, Youths and Public Health: the Social Practice of The
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Introduction The Movement of Dancing Cultures Hélène Neveu Kringelbach and Jonathan Skinner q Nigerian nationality was for me and my generation an acquired taste – like cheese. Or better still, like ballroom dancing. Not dancing per se, for that came naturally; but this titillating version of slow-slow-quick-quick-slow performed in close body contact with a female against a strange, elusive beat. I found, however, that once I had overcome my initial awkwardness I could do it pretty well. —Chinua Achebe hus opens the Nigerian writer Chinua Achebe’s new collection portraying This life growing up in colonial Nigeria as a ‘British-protected child’. Achebe acknowledges that he inhabits – and embodies – the ‘middle ground’ between colonialism and postcolonialism. Whilst he has fond nostalgia for his imperious school teachers, he craves for an independent, strong and free Nigeria, but also laments the failings and difficulties of a country in disarray. The above analogy sums up Achebe’s postcolonial ambivalence. ‘His’ dancing comes naturally, driven by a drum beat, but he is also attracted to the colonial quickstep, a European import, acquired, refined and ‘cultured’. Argentinean dance scholar Marta Savigliano writes about her identity and the tango dance with similar ambivalence: it is the ‘locus of [her] identification … ever since [she] moved outside of her culture’ (Savigliano 1995: 12). She recognizes that it is a stereotype of her culture but that she still needs it as her cultural prop. Yet as a woman in a male-dominated postcolonial South American world, it is a dance where she can find some space to ‘decolonize’ herself doubly: Tango is the main ingredient in my project of decolonization because I have no choice.
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Non-Verbal Communication.Pdf
Interdisciplinary Perspectives in Classics 1st Annual Conference at the Research Centre for Greek and Latin Literature of the Academy of Athens Wednesday, 06 October 2021 The Research Centre for Greek and Latin Literature of the Academy of Athens is establishing a series of one-day annual conferences, entitled Interdisciplinary Perspectives in Classics. The aim is to bring together, at the Academy of Athens, the oldest and most prestigious research institution of Greece, researchers from all over the world to discuss, through the lens of interdisciplinary scholarship, a variety of topics that shed light on the cultural workings in ancient Greece and Rome. The new series of conferences will give the floor not only to classicists, but also to scholars from several other disciplines, whose theories help us enhance our knowledge and understanding of Greek and Roman antiquity. Non-verbal communication and cultural performance in ancient literature The first conference in the series of Interdisciplinary Perspectives in Classics is about non- verbal communication, a term that refers to the (conscious, intentional and voluntary or otherwise) ways of communicating without the use of language, and conveying implicit or explicit messages to the audience. For Donald Lateiner, non-verbal communication is “a useful umbrella, or covering term for all human acts and responses capable of communication – conscious, intentional, voluntary, or otherwise – and including gesture, posture, body-talk, paralinguistics, chronemics and proxemics. Events include somatic, vocal (non-verbal), dermal, thermal, and olfactory messages, and experiences” (Sardonic Smile, p. xix). Non- verbal communication has received increased attention and entered the scene of humanistic sciences: psychology, anthropology and sociology, performance studies, body culture studies and, of course, classics.
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