Characterization of the Obsidian Used in the Chipped Stone Industry in Kendale Hecala

Kendale Hecala is located on the Ambar River in the Upper Tigris Basin, province of Diyarbakır in Southeast Anatolia. Various raw materials, including obsidian, radiolarite, chert, jasper, chalcedony, and quartzite, were used in the lithic industry. Obsidian artefacts constitute an average of 64% of the chipped stone assemblage. Technological analysis reveals that obsidian was brought to the settlement as nodules and chipped into various tools at the settlement. Understanding the operational sequence of the lithic industry, chaîne opératoire, including the distribution of raw material from source to site, is important to demonstrate the socio-cultural organization of the settlement in Southeastern Anatolia during the Ubaid period. In order to identify source varieties, the obsidian artefacts uncovered from Ubaid layers of Kendale Hecala were analyzed by macro-observations, and the characterization of archaeological samples was performed using a handheld XRF. Multivariate analysis of the data indicates the use of obsidian from different resources at the settlement, including Nemrut Dağ, Bingöl B, and Group 3d.

A Review of Toyin Falọla. Cultural Modernity in a Colonized World: The Writings of Chief Isaac Oluwole Delanọ. Pan-African University Press, 2020, 739 pages. Toyin Falọla and Michael O. Afọlayan eds. Isaac O. Delanọ A Dictionary of Yoruba Monosyllabic Verbs Edited with an Introduction. Pan-African University Press, 2020, 538 pages. Toyin Falọla and Michael O. Afọlayan eds. Selected Works of Chief Isaac O. Delanọ on Yoruba Language Edited and Introduced. Pan-African University Press, 2020, 644 pages.

Yes, the Yoruba Studies Review has asked me to write a “comprehensive review of the three books released on Chief Isaac Delanọ.” However, because Toyin Falọla had already committed 739 pages for an unsurpassed chronicle and review of the times, life, works, and classics of Doctor Isaac Oluwọle Delanọ, it would be pretentious of me to claim any attempt to do a comprehensive review of the three books. What I will do is to make a modest introduction Book Review 296 Bola Dauda of Delanọ’s long buried or an unheralded intellectual legacy. While Samuel Ajayi Crowther laid the foundation for the transition of Yoruba culture from oral to written literatures, Delanọ provided the guideline manuals, the methodological rubrics, and the compass and roadmaps for the studies and development of modern Yoruba orthography, linguistics, anthropological historiography, literatures, spirituality, and nation building. He was the first Administrative Secretary of the Ẹgbẹ Ọmọ Oduduwa, a cultural organization that became a political party in Nigeria at the dawn of Nigeria’s independence in the 1950s.

Religion and the United Nations

This chapter is concerned with religion at the United Nations (UN), and in particular how it relates to the activities of the UN at its Geneva office. In recent years, the UN has experienced growing concern about religion, including a higher profile in the General Assembly, the Security Council, and several of the UN’s specialized agencies, among them the Human Rights Office, the Educational, Scientific, and Cultural Organization, the Population Fund (UNFPA), and the United Nations Alliance of Civilizations. For many, this was unexpected given that it followed decades of religion’s apparent marginalization at the UN. The increased presence of religious actors at the UN reflects a wider phenomenon: the deepening problems of global governance and increased calls for the UN to be ‘democratized’ by drawing on an array of, mainly non-state voices, both secular and religious, to supplement those of states.

An Exploration of Traditional Contemporary of Indonesian Culture through Batik

<p>Indonesia is a developing country in which the majority of the population that is 225 million people identified as Muslim. As a part of that phenomenon and in conjunction with Indonesia’s recent cultural and economic development, Muslim women in Indonesia are becoming increasingly aware of external cultural trends and as a result of this are seeking opportunities to express themselves of their culture and beliefs as a part of their own personal fashion statements. For many Muslim women the Muslim veil, often referred to as Hijab, is perhaps the most salient of their clothing items worn to show obligation to their religious law. Although the hijab has been called into question by some within the Muslim community, and others outside of it, this research does not address that discourse. This research presents the hijab as a piece of clothing that creates a ‘sense of cultural space’. As an Indonesian woman wearing the hijab, through this research I aim to consider how wearing the hijab can both respectfully and creatively express both faith and culture within a contemporary context. In parallel, this research asks how the traditional Indonesian technique of batik can be used to signify, identify and celebrate Indonesian Muslim women in the 21st century. Batik was officially recognized by the United Nations Educational, Scientific and Cultural Organization (UNESCO) in October 2009 as an Intangible Heritage of Indonesia. Although examples of the authentic batik technique have been overrun by mass-produced printed versions, undeniably batik still does not only hold an important place in Indonesia’s history but also in Indonesia’s global identity. The inseparable connection between the symbolism and the significance of the meanings and narratives expressed within batik has existed for centuries. As a part of a larger and historically established visual language, this research seeks to design contemporary symbols that represent the values, characteristics and beliefs of Indonesian Muslim women in the 21st century. The new symbols are designed in response to a present-day voice and seek to connect religious beliefs, cultural heritage as well as the young Indonesian Muslim woman’s appreciation of these as a part of her everyday appearance and lifestyle. The voice of young Indonesian woman of Muslim faith is gained in interviews and workshops where they identify, interpret, and depict characteristics and values that express who they consider themselves to be and what values they wish to express as a fundamental to their lifestyle. The symbols are then adapted by the hijab using both traditional pattern making techniques and digital software which will then printed onto the fabric using traditional batik methods. Through the design of contemporary symbols and patterns that represent the contemporary Indonesian Muslim woman of the 21st century and the printing of these onto the hijab using the traditional technique of batik, this research aims to establish a more contemporary appreciation of the hijab and the values held fundamental to its user.</p>

An Exploration of Traditional Contemporary of Indonesian Culture through Batik

<p>Indonesia is a developing country in which the majority of the population that is 225 million people identified as Muslim. As a part of that phenomenon and in conjunction with Indonesia’s recent cultural and economic development, Muslim women in Indonesia are becoming increasingly aware of external cultural trends and as a result of this are seeking opportunities to express themselves of their culture and beliefs as a part of their own personal fashion statements. For many Muslim women the Muslim veil, often referred to as Hijab, is perhaps the most salient of their clothing items worn to show obligation to their religious law. Although the hijab has been called into question by some within the Muslim community, and others outside of it, this research does not address that discourse. This research presents the hijab as a piece of clothing that creates a ‘sense of cultural space’. As an Indonesian woman wearing the hijab, through this research I aim to consider how wearing the hijab can both respectfully and creatively express both faith and culture within a contemporary context. In parallel, this research asks how the traditional Indonesian technique of batik can be used to signify, identify and celebrate Indonesian Muslim women in the 21st century. Batik was officially recognized by the United Nations Educational, Scientific and Cultural Organization (UNESCO) in October 2009 as an Intangible Heritage of Indonesia. Although examples of the authentic batik technique have been overrun by mass-produced printed versions, undeniably batik still does not only hold an important place in Indonesia’s history but also in Indonesia’s global identity. The inseparable connection between the symbolism and the significance of the meanings and narratives expressed within batik has existed for centuries. As a part of a larger and historically established visual language, this research seeks to design contemporary symbols that represent the values, characteristics and beliefs of Indonesian Muslim women in the 21st century. The new symbols are designed in response to a present-day voice and seek to connect religious beliefs, cultural heritage as well as the young Indonesian Muslim woman’s appreciation of these as a part of her everyday appearance and lifestyle. The voice of young Indonesian woman of Muslim faith is gained in interviews and workshops where they identify, interpret, and depict characteristics and values that express who they consider themselves to be and what values they wish to express as a fundamental to their lifestyle. The symbols are then adapted by the hijab using both traditional pattern making techniques and digital software which will then printed onto the fabric using traditional batik methods. Through the design of contemporary symbols and patterns that represent the contemporary Indonesian Muslim woman of the 21st century and the printing of these onto the hijab using the traditional technique of batik, this research aims to establish a more contemporary appreciation of the hijab and the values held fundamental to its user.</p>

Effect Of Compensation, Empowerment And Cultural Organization To The Satisfaction Of Employees Part Production In CV. Akar Samudra Semarang

Karyawan bagian produksi CV. Akar Samudra sejak 2 tahun yang lau mengalami permasalahan dimana kepuasan kerjanya rendah. Rendahnya kepuasan kerja yang dialami oleh karyawan diduga dilatar belakangi oleh rendahnya kompensasi yang diberikan perusahaan, rendahnya pemberdayaan serta rendahnya budaya organisasi positif yang berkembang di perusahaan tersebut. Perumusan masalah dalam penelitian ini adalah bagaimana meningkatkan kepuasan kerja karyawan bagian produksi pada CV. Akar Samudra Semarang. Populasi dalam penelitian ini adalah karyawan bagian produksi CV. Akar Samudra yang berjumlah 80 orang. Jumlah sampel yang diambil dalam penelitian ini ditentukan melalui metode sensus. Teknik analisis menggunakan regresi linier berganda dan uji hipotesi t dan F. Berdasarkan hasil analisis maka dapat diketahui bahwa variabel kompensasi, pemberdayaan dan budaya organisasi secara parsial dan simultan berpengaruh terhadap kepuasan kerja karyawan dapat diterima.

The historical differential diagnosis of the disease that afflicted Aleijadinho, the famous 18th century Brazilian sculptor

ABSTRACT Background: The famous Brazilian Baroque sculptor named Antônio Francisco Lisboa, known as “Aleijadinho” (1738–1814), suffered from a deforming disease of the lower and upper limbs. The condition was characterized by atrophy, paresis and amputation. His face was also affected, with inflammation of the eyelids, deviation of the labial commissure, drooping of the chin and lower lip, giving him a sinister expression. Despite the disabling and chronic illness, he produced several works of great expression in the 18th and 19th centuries. Some of them were declared World Heritage Sites by United Nations Educational, Scientific and Cultural Organization (UNESCO). Objective: To discuss the historical differential diagnosis of Aleijadinho’s disease through a narrative review of the literature. Methods: Scientific articles were searched in databases such as Google Scholar, Pubmed and Lilacs using the term “Aleijadinho”. Subsequently, data were collected in articles and books about the possible diseases of the sculptor. Results: Since the first clinical report on the sculptor, several historians and doctors have attempted to establish a diagnosis and several hypotheses have been proposed such as: syphilis, yaws (frambesia tropica), rheumatoid arthritis, Hansen’s disease (leprosy), thromboangiitis obliterans (Buerger disease), zamparina, cardina, porphyria cutanea tarda, stroke, amyloidosis, trauma and/or scurvy. Conclusions: Based on the literature, the authors conclude that the most likely diagnosis of Aleijadinho’s disease is consistent with leprosy.