標(biāo)題: Titlebook: Cultural Forms and Practices in Northeast India; Kailash C. Baral Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusi [打印本頁(yè)] 作者: 貪吃的人 時(shí)間: 2025-3-21 19:03
書目名稱Cultural Forms and Practices in Northeast India影響因子(影響力)
書目名稱Cultural Forms and Practices in Northeast India影響因子(影響力)學(xué)科排名
書目名稱Cultural Forms and Practices in Northeast India網(wǎng)絡(luò)公開度
書目名稱Cultural Forms and Practices in Northeast India網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Cultural Forms and Practices in Northeast India被引頻次
書目名稱Cultural Forms and Practices in Northeast India被引頻次學(xué)科排名
書目名稱Cultural Forms and Practices in Northeast India年度引用
書目名稱Cultural Forms and Practices in Northeast India年度引用學(xué)科排名
書目名稱Cultural Forms and Practices in Northeast India讀者反饋
書目名稱Cultural Forms and Practices in Northeast India讀者反饋學(xué)科排名
作者: alliance 時(shí)間: 2025-3-22 00:11 作者: 真實(shí)的人 時(shí)間: 2025-3-22 02:28
Introduction: Figures at the Windowcers), and actors. The origin of Kushan Gaan reflects cultural interpolation and assimilation. Throughout ages this performing tradition has come across variations and new additions. But each performance follows a basic pattern while allowing innovation and adaptability in changing times.作者: 浮雕寶石 時(shí)間: 2025-3-22 07:33
Introduction: Figures at the Windowltural philosophy or reduced to just sorcery. However, its relevance as a tradition even in the time of modern medicine, digital communication, and science and technology cannot be undermined. Hence, the article aims to study the practice of Shamanism among the Adis to have a glimpse into their indigenous worldview.作者: 出處 時(shí)間: 2025-3-22 10:29 作者: 言外之意 時(shí)間: 2025-3-22 14:32 作者: 言外之意 時(shí)間: 2025-3-22 17:51
: The Sacred and the Secular in Assamese Folk Performance Culture,there are other minor traditions. Interestingly, there is also an all women Ojapali tradition called Api Ojapali. In all its aspects, this performance form has functioned in a religio-socio-cultural mode of entertainment and instruction.作者: 變色龍 時(shí)間: 2025-3-23 00:52
Kushan Gaan: Retelling of the ,cers), and actors. The origin of Kushan Gaan reflects cultural interpolation and assimilation. Throughout ages this performing tradition has come across variations and new additions. But each performance follows a basic pattern while allowing innovation and adaptability in changing times.作者: pantomime 時(shí)間: 2025-3-23 02:28
Shamanism Among the Adis,ltural philosophy or reduced to just sorcery. However, its relevance as a tradition even in the time of modern medicine, digital communication, and science and technology cannot be undermined. Hence, the article aims to study the practice of Shamanism among the Adis to have a glimpse into their indigenous worldview.作者: 吝嗇性 時(shí)間: 2025-3-23 09:12
Dynamics of Popular Culture: Jatra in Assam,supposed to represent. Seeking to capture the hidden layers and nuances that make a performance project like Jatra ‘morally’ conscious with a goal to nourish the audience in the lines of ethics, this paper highlights the periodic changes in the performance culture of Jatra and its social relevance in the context of Assam.作者: GUILE 時(shí)間: 2025-3-23 10:22
When (and Where) Ritual is not Romance: Liminality, Gender and Storytelling Among the Khasis,ity in contemporary storytelling among the Khasis is the gendered experience. Further, the paper shows that by subverting both colonial constructions of the indigene and community law, the gendered/liminal experience calls for a re-assessment of Khasi identity.作者: 中國(guó)紀(jì)念碑 時(shí)間: 2025-3-23 15:14 作者: 革新 時(shí)間: 2025-3-23 22:00
Introduction: Figures at the Windowe in a digitised and globalised world. The context of this change is the subject of discussion in this paper. The paper examines the changing nature of the festival in the light of the new socio-economic, cultural, and political conditions and the ways it has influenced the greater community life.作者: Endemic 時(shí)間: 2025-3-23 22:16 作者: 古代 時(shí)間: 2025-3-24 03:35
Introduction: Figures at the Windowhall especially explore the nuances that are located towards the dynamics of Mizo identity and culture which are at once increasingly central and yet complex, especially in terms of the pre- and postcolonial parameters.作者: 刺耳 時(shí)間: 2025-3-24 06:54 作者: conscribe 時(shí)間: 2025-3-24 12:53 作者: OFF 時(shí)間: 2025-3-24 16:47
From Sacred to Popular: Demystifying Ojha-Nach of Barak Valley,course of this article, I would initiate a brief discussion on the ojanach folk performance form of Barak valley by highlighting the intricate relationship that this art form shares with the cultural beliefs of the Kaivarta community.作者: 劇毒 時(shí)間: 2025-3-24 20:18
Culture and Commodification: , from Meadows to the Rostrum,e in a digitised and globalised world. The context of this change is the subject of discussion in this paper. The paper examines the changing nature of the festival in the light of the new socio-economic, cultural, and political conditions and the ways it has influenced the greater community life.作者: Extemporize 時(shí)間: 2025-3-24 23:24 作者: Antagonism 時(shí)間: 2025-3-25 06:50 作者: 勤勞 時(shí)間: 2025-3-25 10:09 作者: Coronary-Spasm 時(shí)間: 2025-3-25 14:50
Mizo Tlawmngaihna: Then and Now, the Christian concept of ‘fellowship.’ The present paper is an attempt to examine this living tradition in its changing cultural contexts including the Covid-19 pandemic scenario of the present time.作者: agitate 時(shí)間: 2025-3-25 18:20 作者: 小故事 時(shí)間: 2025-3-25 22:55 作者: crutch 時(shí)間: 2025-3-26 03:04 作者: craving 時(shí)間: 2025-3-26 07:45 作者: 新義 時(shí)間: 2025-3-26 08:47
Plural Embodiments: The Performative World of Sankari Vaishnavism in Assam,marked by plural linguistic as well as social and cultural formations. Its plurality presents a composite culture contrary to the common perception that Assamese culture is a monocultural entity considering only its dominant linguistic–literary culture. The Neo-Vaishnavite movement, under the leader作者: 野蠻 時(shí)間: 2025-3-26 16:17
Sattriya Tradition of Assam: Rituality, Memory and Transmission, instituted for the propagation of his form of Vaisnavism. If Namghars functioned at the village level, Sattras were meant for residential–educational needs of a large number of disciples or . who would stay in Sattras and learn ., . and . under the . (teachers) at the Sattras. The Sattras gradually作者: 相符 時(shí)間: 2025-3-26 17:46 作者: 粗糙 時(shí)間: 2025-3-26 23:49
From Sacred to Popular: Demystifying Ojha-Nach of Barak Valley,n are unique in their aesthetic orientation. The ojanach folk performance form of Barak valley is an integral aspect of the ancient practice of ophiolatry or serpent worship. The cult of Manasa (alternatively known as Bishahari) is culturally very significant for some of the marginalized tribal and 作者: Rheumatologist 時(shí)間: 2025-3-27 05:00 作者: abracadabra 時(shí)間: 2025-3-27 07:34 作者: ineffectual 時(shí)間: 2025-3-27 12:02 作者: 生命層 時(shí)間: 2025-3-27 14:26
The , Tradition and ,nterforce to the hegemonic sectarian influence of Hinduism, the . has preserved the indigenous character and ethos of the community. An attempt has been made in this essay to analyse the . as a pedagogic–performative subject, beginning with her ritualistic initiation into . and thereafter focussing 作者: 詼諧 時(shí)間: 2025-3-27 21:16 作者: organism 時(shí)間: 2025-3-27 23:39 作者: 刻苦讀書 時(shí)間: 2025-3-28 06:01 作者: 強(qiáng)壯 時(shí)間: 2025-3-28 08:19
Jagoi Raas, the Manipuri Raas Lila,ishna love romance with deep spiritual intent. Although inspired by Vaishnavite mode of ., this dance form known as . has not lost its links with the tradition of folk-dance performance associated with .. . is a team performance with its unique costumes, conventions and aesthetics. It is a graceful,作者: Volatile-Oils 時(shí)間: 2025-3-28 13:23
When (and Where) Ritual is not Romance: Liminality, Gender and Storytelling Among the Khasis,ne that traverses thresholds between community law on the one hand and individual desire on the other. The paper argues that what accounts for liminality in contemporary storytelling among the Khasis is the gendered experience. Further, the paper shows that by subverting both colonial constructions 作者: 進(jìn)取心 時(shí)間: 2025-3-28 18:21
Cultural Recovery and Reformation: Tourism and the Hornbill Festival at Kisama,tural environment and way of life. While celebrations in the form of music, dance, food and dress comprise essential yet peripheral aspects of any festival, its ritualistic meaning gives a festival its core significance and makes it an indispensable part of a community’s cultural life. It is this co作者: 安裝 時(shí)間: 2025-3-28 19:32 作者: 性行為放縱者 時(shí)間: 2025-3-29 00:50
Dynamics of Popular Culture: Jatra in Assam,n South Kamrup, and its subsequent localization in diverse socio-cultural terrains, the paper aims to discuss Jatra’s loaded performative articulations, eclectic and heterogeneous performance culture. There is an attempt to map the journey of Jatra as a cultural form and explore its adaptation to th作者: 延期 時(shí)間: 2025-3-29 05:52
Plural Embodiments: The Performative World of Sankari Vaishnavism in Assam,litate the transmission of his philosophy of . that subsequently brought about a marked transformation in all aspects of literary and performance cultures of Assam. The study here particularly draws attention to what Francesca Orsini calls the ‘materiality of the archive’ by means of which the langu作者: Juvenile 時(shí)間: 2025-3-29 11:07 作者: Myocyte 時(shí)間: 2025-3-29 12:54
The , Tradition and ,range of activities defining the human life cycle. Finally, the essay argues that in order to grasp the significance of the . within the Meitei community, we need to see her as an ‘open and endless signifier’ that has been continuously invested with newer meanings and interpretations reflecting the 作者: Statins 時(shí)間: 2025-3-29 16:48 作者: insipid 時(shí)間: 2025-3-29 23:21 作者: 廚師 時(shí)間: 2025-3-30 01:46
2662-6616 w of the region’s historical, ethnic and cultural practices. It is expected that the volume will be useful for scholars and students interested in Northeast studies.978-981-19-9294-0978-981-19-9292-6Series ISSN 2662-6616 Series E-ISSN 2662-6624 作者: 教育學(xué) 時(shí)間: 2025-3-30 05:53
Book 2023ormative traditions hold on. Through insightful analyses, this book offers an informed view of the region’s historical, ethnic and cultural practices. It is expected that the volume will be useful for scholars and students interested in Northeast studies.作者: 蔓藤圖飾 時(shí)間: 2025-3-30 10:38
Nicky Le Feuvre,Clotilde Lemarchantlitate the transmission of his philosophy of . that subsequently brought about a marked transformation in all aspects of literary and performance cultures of Assam. The study here particularly draws attention to what Francesca Orsini calls the ‘materiality of the archive’ by means of which the langu作者: pester 時(shí)間: 2025-3-30 15:11
Introduction: Figures at the Windowdent .-based dance forms. The concern of the author in this paper is to explore the aspects of rituality and memory that continues to reinforce the Sattriya performance tradition under the ., a living tradition in Assam.作者: Decrepit 時(shí)間: 2025-3-30 19:30 作者: AORTA 時(shí)間: 2025-3-30 23:13
Introduction: Figures at the Window cultural practice was revived to launch the resistance movement. The fightback was vigorous and powerful that forced the missionaries to accommodate the traditional song and dance performative forms within the Church practice.作者: appall 時(shí)間: 2025-3-31 04:36 作者: 歌唱隊(duì) 時(shí)間: 2025-3-31 07:02 作者: follicular-unit 時(shí)間: 2025-3-31 09:59
Maria Dores das Guerreiro,Inês Pereiraome others??are inspired by and imbibed from other cultures. There are historical factors such as religious conversions that have either resulted in adopting to new cultural practices or in total loss of traditions.?Of course there are resistances to new or alien forms of faith. However, some of the作者: 符合規(guī)定 時(shí)間: 2025-3-31 15:36
Nicky Le Feuvre,Clotilde Lemarchantmarked by plural linguistic as well as social and cultural formations. Its plurality presents a composite culture contrary to the common perception that Assamese culture is a monocultural entity considering only its dominant linguistic–literary culture. The Neo-Vaishnavite movement, under the leader作者: Palatial 時(shí)間: 2025-3-31 18:57
Introduction: Figures at the Window instituted for the propagation of his form of Vaisnavism. If Namghars functioned at the village level, Sattras were meant for residential–educational needs of a large number of disciples or . who would stay in Sattras and learn ., . and . under the . (teachers) at the Sattras. The Sattras gradually作者: BRACE 時(shí)間: 2025-3-31 23:04 作者: evanescent 時(shí)間: 2025-4-1 04:21 作者: 心神不寧 時(shí)間: 2025-4-1 09:00 作者: 附錄 時(shí)間: 2025-4-1 12:01
Introduction: Figures at the Windowsh’s version of the . It is a performance form that combines narration with dance, song, and drama. Besides the main narrative, Kushan Gaan allows space for certain extraneous minor narratives based on everyday life, thus interweaving the folk with the grand narrative. The Kushan dance form has simi
