Spatial Orientations of Nomads’ Lifestyle and Culture

Kaliakbarova Lyailya1, Smakova Zaure2, Kossanova Aigul3, Yermanov Zhanat4, Mashimbayeva Ainur5, Zhussupova Saule6

1PhD, Department of Music Education, KNC under Kurmangazy, ?lmaty, Kazakhstan. Email:

2Docent, Art History, Department of Kobyz and Accordion, KNC under Kurmangazy, ?lmaty, Kazakhstan.

3Docent, Department of Folk Singing, KNC under Kurmangazy, ?lmaty, Kazakhstan.

4Associate Professor Of Conservatory, Department Of Wind And Percussion Instruments, KNC under Kurmangazy, ?lmaty, Kazakhstan.

5Docent, Social and Human Sciences, KNC under Kurmangazy, ?lmaty, Kazakhstan.

6PhD, Department of Music Education, KNC under Kurmangazy, ?lmaty, Kazakhstan.

  Volume 10, Number 2, 2018 I Full Text PDF

DOI: 10.21659/rupkatha.v10n2.03

Received October 14, 2017; Revised January 30, 2018; Accepted February 12, 2018; Published May 06,  2018.


The nomad’s model of the world is reasonable and rational; comprehending the universal laws, it often extrapolates its own qualities and structures to surrounding world (up to the cosmic scales). In creating the picture of a real world, the nomad endows it with meanings and values that go far beyond the ordinary everyday life. The aim of our research involves not only the depth of the study of certain aspect of historical and cultural era, but also the determination of the field of culture, where ‘everything and everyone is connected’. It involves the determination of the role of nomadic spiritual culture in the world culture; the analysis of religion of the ancient Turks Tengrism; the relationship and mutual enrichment of Tengrism with a complex, multi-element nomadic culture. Without the study of cosmogonic conceptions of nomadic world, it is impossible to comprehend the spirituality, complex worldview of the ancient Turks.

Keywords: Tengrism, nomadic, Turks, culture, worldview

Deconstructing Culture/Violence in Distant Star and By Night in Chile

Mandeep Boro

Amrita Vishwa Vidyapeetham, Ettimadai Email:

 Volume 10, Number 1, 2018 I Full Text PDF

DOI: 10.21659/rupkatha.v10n1.07

Received September 27, 2017; Revised December 11, 2017; Accepted December 30, 2017; Published February 04, 2018.


In Roberto Bolaño’s Distant Star (1996), Carlos Wieder embarks on a journey to change the landscape of Chilean literature. Yet it is through physical torture, murder, violence and photographic exhibitions of mutilated dead bodies that he seeks to bring in the literary transformation. He is a poet but also a professional serial killer. Funded by dictatorial regime his poetic acts include writing macabre verses with smokes of airplane in the sky. In another novella By Night in Chile (2000) by the same author, intellectuals organize tertulias to discuss philosophy, politics, poetry, art while the military junta torture people in the basement of the same building. Thus, culture and violence overlap in these texts and they lead to the problematic core of our understanding/conceptualization of literary culture as the stories told in these narratives put the literary institutions in crisis mode and blur the line between what is called culture and violence. This paper explores these issues and argues that the Bolañian novels by narrating such stories surpass the limits of the law, transgress, devalue the traditional notion of literature and completely strip it off its aura by enmeshing arts and violence together. They thus deconstruct the popular myths related to literary culture.

Keywords: Roberto Bolaño, literature, culture, violence.

Psychological-pedagogical Potential of Media Culture: Principles and Prospects for the Development of Cinema Pedagogy

Elena Nikolaevna Likhanova1 & Oleg Denisovich Nikitin2

1,2 Institute of Art Education and Cultural Studies of the Russian Academy of Education, Moscow, Russia. Email:

Volume IX, Number 3, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n3.06

Received July 30, 2017; Revised September 02, 2017; Accepted September 05, 2017; Published September 20,  2017.


The article reveals the psychological-pedagogical potential of media culture in the categories of its morphology: statics (the internal structure of media culture in the totality of the presented concepts of media education) and cultural dynamics (principles and conditions for the development of audiovisual literacy). The priority area of media education – cinema pedagogy – is considered as an institutional cultural and educational practice. The theoretical basis of research includes the content of the concepts of Ya. A. Ponomarev (comprehensive nature of creative activity), A. A. Melik-Pashayev (artistic and creative talent), S. A. Chursanov (personal anthropological model), and L. F. Shekhovtsova (integral personal development). The principles of new programs of the subject area “Art” in the sphere of cinema pedagogy and media education in general are formulated. The interdisciplinary nature of the forms, methods and means of education in the context of interaction between additional education and information technologies is substantiated. The advantages of the personality-oriented direction of cinema pedagogy are revealed. Within the framework of this approach, the potential of development of creative activity and aesthetic attitude to the world of all subjects of the educational process is indicated. The novelty of the research lies in changing the focus of the pedagogical process from professionally orienting positions (knowledge, abilities, skills) to the situation of creative interaction (pedagogy of cooperation) and a personal vector of development of all subjects of educational activity.

Keywords: cinema pedagogy, media text, audiovisual literacy, interdisciplinary approach, creative activity, culture, personal dominant.

Creative Nature of the Ideal in Culture

Viktor Ivanovich Polishchuk1, Zoya Yanovna Selitskaya2 & Grigory Viktorovich Silchenko3

 1Professor of the Department of Russian and Foreign Philology, Cultural Research and Methods of Teaching Them at Tyumen State University (branch in Ishim). Email: 2Associate Professor of the Chair of Philology and Cultural Studies of the Ishim State Teachers Training Institute. 3Tyumen State University.

 Volume 8, Number 3, 2016 I Full Text PDF

DOI: 10.21659/rupkatha.v8n3.09

Received April 11, 2016; Revised July 07, 2016; Accepted July 10, 2016; Published August 18, 2016


The article deals with the notion of the “ideal”, its correlation with the notions of “idea”, “appearance”, “form”, “image”, “seeing”. The article analyses the contribution to the study made by the Russian philosophers Vladimir Solovyev and Evald Ilyenkov. The authors of the article argue that although they define the ideal differently, both thinkers identify it with the purpose of societal development, culture and history. The article reveals the mutual linkage of such notions as the ideal, the idol and the visibility. The fundamental problem of the discussion lies in determining the source of the ideal. The article uses the rules of deductive and inductive logic, the required analytical procedures, as well as diachronic, comparative-historical, hermeneutic and phenomenological methods. The authors come to the following relevant conclusions: firstly, the ideal has a dual nature, which accounts for a tendency to identify it with the idol; secondly, childhood experience is the essential source of the ideal.

Keywords: culture, history, ideal, structure of ideal, idea, idol, appearance, visibility, creation, propensity for the past.

Prospects of Further Evolution of Culturology

Anna Iosifovna S?herbakova1, Larisa Sergeevna Zorilova2, Natalia Ivanovna Anufrieva3, Alexander Vladlenovich Kamenets4 & Elizaveta Olegovna Zinchenko5

1Professor, Dean of the Faculty of Arts and socio-cultural activities, Head of the Department of Sociology and Philosophy of Culture Russian State Social University, Moscow, Russia. 2Professor, by Dean of Faculty of Musical Arts has, Moscow State Institute, of Culture. Email: 3,4,5Russian state social university, Moscow, Russia

Volume 8, Number 3, 2016 I Full Text PDF

DOI: 10.21659/rupkatha.v8n3.11

Received May 22, 2016; Revised July 10, 2016; Accepted July 10, 2016; Published August 18, 2016


The article deals with the definition of subject matter and scientific status of culturology. It provides comparative analysis of cultural studies at home and abroad and traces back scientific evolution of culturology as well as of sociocultural anthropology which is a more broadly used notion in foreign studies. Highlighting the main modern doctrines and historical theoretic foundations of culture studies the paper focuses on contribution of Leslie White who articulated key research problems of culturology. His innovative conception of cultural science and its further evolution was later embraced by Russian school of culturology. Recognizing high potential of Russian national culture as substance for further cultural studies the article outlines potential ways of formation of culturology in Russia and tries to find its place in the global context while maintaining traditions of studying culture as a social phenomenon. Cultural values, its spiritual and moral foundations which appear to be ignored by related social sciences are put forward as one of the main research subjects. Analysis of differences in Russian and Western approaches to substance and essence of cultural studies stresses the need to specify scientific perception of culturology by modern scholars.

Key words: culture, science, spirituality, sociocultural anthropology, subject, subject matter, society, positivism, values, mentality, methodology.

Towards a Poetics of Reconstruction: Reading and Enacting identity in Kynpham Sing Nongkynrih’s Poetry

Subashish Bhattacharjee, University of North Bengal, India


Saikat Guha, University of North Bengal, India


Literature from the Northeast is usually rendered with a homogeneous proliferation of signifiers that dissolve its native capacities. The Northeast Literature is structured as a possible stance against majoritarian discourses. However, most commentators who view this particular regional literature in terms of an assortment for access often fail to locate the displaced qualifiers which are integrated into such socio-literary practices. While a segment of the literary output from the region is decidedly an attempt towards integration or absorption into “central” discourses, there also exists a substantial voicing of the resistance which is offered by means of extending the regional identity. The question of this micro-politic endorsement is arguably bestthe poetry of the Shillong-based poet, Kynpham Sing Nongkynrih. Nongkynrih assumes the role of a revisionist who recapitulates the identity-experience of the Northeast in the form of a politico-poetics that distinguishes him from the mainstream Indian English poets or even from the largesse of the Northeastern poets. An essential denominator for Nongkynrih is his sublative poetic existence which owes muche historical, contemporary and lived-experiences which illuminates the ethos of a Khasi identity. The following paper would attempt to evaluate Nongkynrih’s poetry in light of the political, socio-cultural and literary scenario of the Northeast, and the imbroglio which is encouraged further by his poetic engagement.

[Keywords: Kynpham Sing Nongkynrih, poetry, indigenous, Northeast, culture]

Apart from the geographical disadvantages of the region, India’s Northeast’s condition of exclusion has been exacerbated by a step-motherly behaviour of the country’s mainstream politics. “Although the Northeast historically has served as the eastern gateway for the passage of people, commodities, and ideas between India and its neighbours,” cites Das, “the Northeast’s emergence as a separate region bounded nearly on all sides by other territorially defined nation-states brought such continuities and interrelations…to an abrupt end” (Das, 2008, p. 5-6). Surrounded by international boundaries, Northeast’s only route of communication with the mainland India is the narrow Siliguri Corridor. Such poor communication system, to a certain extent, hinders Northeast’s social, economic and cultural transactions with the mainland. As an obvious result of negligence of the Central Government and poor communication system the region is underdeveloped and underprivileged which result in poverty, dissatisfaction among people, and insurgent activities. Since the post-Independence era the intra-India hegemony, of which Northeast becomes a victim, renders the regional subject one step further down the hierarchy to the limit of an almost unspeakability. The Northeastern subject’s condition is aggravated by issues of underdevelopment, regional turmoil and fast disappearing ethnic heritage. In analogy to Spivak’s choicest “subaltern,” immolated Hindu widow or “sati,” who is a victim of two-fold oppression of colonialism and patriarchy (Loomba, 2005, p. 192-203), the Northeastern subject turns out to be a victim of a coercive Central apparatus and conflicts within the State which have a kind of complicity for mutual interest (Barua, 2008, p. 19- 24). What again deteriorates the condition of the Northeastern subject is identity crisis resulting from “the large-scale migration of population from outside the region during the past one hundred years” (Singh, 1987, p. 162). The clash between the myriad ethnic groups, some of which call themselves ‘native’ and label others as ‘immigrant’, mounts up to the palimpsest of multi-layered conflict. The rivalry between different ethnic groups each of which makes their own claim of negligence and oppression prolong the disorder. However, the cultural heritage of the Northeast is not completely lost as different ethnic groups of the region have begun to discover their cultural roots although much of their purity has been obliterated.

Usually considered backward and ineligible for ‘central’ contestations, the region has suddenly become the centre of social, political and literary activities, and the three elements often construct a combined survey of the ‘condition of Northeast’ question. The literary output of the region has been decidedly incisive in presenting the identity politics and other pressing concerns for the Northeast. This is particularly exhibited in the reconstructive poetics of Kynpham Sing Nongkynrih, one of the Shillong Poets, who has broken away from “the mainstream tradition of city based cultures and urbanized images which marked poets from Mumbai, or Calcutta” (Guha, 2013). The poetic and politic significance of these poets, emerging from a neglected region, is immense, as Mark Bender illustrates:

The poems here tend to converge on themes and imagery (of the region): origins, migration, material culture, rituals, and features of the natural and human-manipulated environment. Though the cultural and linguistic links between these poets may be ancient and modern divisions complex, many of their poems resonate in ways that seem to dissolve borders and create poetic homes for their respective voices within the terrain of this upland region. (Bender, 2012, p. 107)

Nongkynrih is aware of Northeast’s various conflicts, both intra-regional, national and international, which provide him with fertile themes for his poetic projects. But the poet maintains an aesthetic distance from the chaotic ambience of the region, never producing an opprobrium against any agency or over-glorifying a scenario….Access Full Text of the Article

How Many Heroes are there in Beowulf: Rethinking of Grendel’s Mother as ‘aglæcwif’

Santanu Ganguly, Netaji Nagar Day College, Kolkata

Download PDF Version


Since Anglo-Saxon heroic society was male-dominated, women were relegated to a position of comparative mediocrity. However, Old English literature does contain instances where women often proved their prowess and ferocity through martial exploits. In this paper, I argue the case of Grendel’s Mother, as I try to rescue her from a status of enforced marginalization as a monster who is not even given a name. I analyze closely her encounter with Beowulf, as the desire for revenge propels her to fight against the slayer of her son Grendel, pointing out how she uses strength, strategy and intelligence to fight her adversary. At one time, she even throws the redoubtable hero Beowulf down and is in the process of killing him, when he grabs hold of a magical sword and kills her instead. Yet, concomitant with her war-like qualities, she also displays a wonderful motherly instinct. All these force us to contest the term “monster” that had been used to describe her for a long time, and view her in a new reverential light.

Discursive Sites of Production and Opposition: Post World War I Popular Music Scene in Britain

Samraghni Bonnerjee, Independent Researcher, Kolkata, India

Download PDF Version


The post World War I British music scene was varied, spanning several genres, from croon, swoon, jazz, blues, to swing – with influences both home-grown as well as imported. New dances, jazz music, and cocktail parties were continuously being imported from America, aided by the popularity of American cinema, which shaped the form of leisure activities of Britain throughout the Twenties and Thirties. However, the conservative response to these forms of music was strict, and post War society was involved with means of trespassing the restrictions and legislations. This paper intends to look at the genres of popular music and their spatial sites of performance – dance halls and ball rooms in England as well as the English colonies – as discursive sites of production and resistance.

Clothes Make the (Wo)Man: Eighteenth-Century Materialism and the Creation of the Female Subject

Aubrey L. C. Mishou, United States Naval Academy, Annapolis, Maryland

 Download PDF Version


At once controversial for the change in their construction, and useful in terms of creation the female shape and subject, women’s clothing comes to play a large role in the creation of the female subject in eighteenth-century English novels.  Female authors and clothing manufacturers alike utilize the subject of clothing in order to create an autonomous space for the female body.  By manipulating the means through which their body may be read (i.e. through clothing and undergarments), women gain a kind of power that reflects their emerging status as consumers and individuals. “Clothes Make the (Wo)Man,” argues that authors such as Lady Montague and Samuel Richardson utilize the theme of female clothing to both confirm the rising social and capitalist power of the female figure in the eighteenth-century marketplace, and reduce this rising female to the subjectivity of her clothing in order to situate her under patriarchal economical control, respectively.

Confused Reality: The War Masks in Japanese Author, Hikaru Okuizumi’s The Stones Cry Out and Argentine Author, Jorge Luis Borges’ “The Garden of Forking Paths”

Rachel McCoppin, University of Minnesota Crookston

 Download PDF Version

Carl Jung connects the idea that the mask is the persona one presents to the world; “the persona acts…to conceal the true nature of the individual.  It is a social role or mask which acts as a mediator between the inner world and the social world, and which constitutes the compromise between the individual and society” (Hudson 54).  The concept of the mask as persona is common in literature, and global modernity is no exception.  Oftentimes characters are so enveloped within false or unreliable personas that they fool and confuse the reader.  The masks they wear serves as a front to society and the characters they interact with, but sometimes characters are so effectively masked that they become unclear of their own realities, and become unreliable narrators. 

Visit Us On FacebookVisit Us On TwitterVisit Us On Google Plus