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    <pubDate>Thu, 28 Jul 2016 14:32:39 +0200</pubDate>
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      <title><![CDATA[Urban narrative in Asia.Art Explorations and Urban Ethnography.Art like useful instrument to narrate and to design cities and new landscapes.]]></title>
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      <description><![CDATA[Key-Words: Urbanism and Art - Urban Ethnography - Partecipative Processes -<br /> Visual Antropology - Visual Art - Performance  - People, city and Art - Urban Narrative<br /> Today the utopia is embodied by the city. We do not have other places where to realize our utopia. And if we do not realize it, everything is destined to explode. We must act immediately, then, and be interested in the city from close up: it is the place in which the next generations’ fears and hopes concentrate. (Augè, 2007)<br /> The city today embodies a place where fears, hopes, transformations, dreams and changes are dancing one with others creating new landscapes. Our urban future can be marvelous or frightening:  its development it’s totally in our hands. Like researchers we must oversee. Observation and analysis are necessaries instruments to narrate the city and also to understand the main needs of the citizens and to imagine future developments for the urban and periurban landscapes. In the specific case of the analysis of the asiatic territories, the ethnographic tool it is an useful instrument for the urban narrative.<br /> It enters in a wider ambit, which is related not only to human beings but also to the places and their interactions, both in cultural and antropological fields.<br /> Art and photographs, videos and any other iconic and audio-visual representation of  the reality can be used inside the social, cultural and urban planning research. Art instruments can became tools to describe some aspects of the reality (like new urban transformations) but also creative methodology to awake interest in urban areas.                      <br /> Images, for example, can be socially, historically, culturally interpreted and interpretable; they form a “dense description” of reality (Geertz, 1973), by providing the social research with information that cannot be obtained in other ways (Membretti, 2009).Video or performative actions can be utilized like communicative instruments related to certain specific territorial areas or territorial issues. The panel is open to explicative and practical contributions where can be also presented urban narrative of the speakers.<br /> For contributing to the panel please write before 14 March to: <a href="mailto:roselliclaudia@gmail.com">roselliclaudia@gmail.com</a>]]></description>
      <pubDate>Mon, 09 Mar 2015 17:51:11 +0100</pubDate>
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      <title><![CDATA[Beyond the empires: bureaucratic manuscripts and the political culture in early nineteenth-century Vietnam and China]]></title>
      <link>http://congresasie2015.sciencesconf.org/</link>
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      <description><![CDATA[This is a study of trans-cultural domestication and adaptation of bureaucratic manuscripts in the early nineteenth-century Vietnam and China. The two were part of the East Asian Confucian zone, which was closely interconnected culturally and politically during the last two thousand years. Subjects of this study are the palace documents and memorials (edicts 詔, decrees 諭, memorials 奏, 奏本...) which used in the premodern China and Vietnam as a major channel of communication and deliberative structure of the bureaucrat. Emerging at the edge of the Chinese empire, nineteenth-century Vietnam inherited the Chinese script and its textual institutions through millennium of interaction and cultural influence. The Nguyen dynasty implemented both the script and its usage for imperial communication, resulted in an imperial archive of 90,000 manuscripts produced between 1802 and 1945. By examining use of the script, textual typology, function, and textual institutionalization in the comparative perspective between Nguyen Vietnam and Qing China from 1820 to 1840, this research aims to suggest a pattern of cultural interaction in the premodern East Asia through script transmission and textual adaptation. When Chinese became a regional script, and Confucianism was regionally practiced, those textual institutions go beyond any boundary of empires and states, and embody to a sharing philological tradition. The variation of writing institutions implemented in Vietnam might represented an effort by an Asian people living on the edge of Chinese empire to find Chinese-style writing practice in their own cultural and political circumstance. Their struggle for constant adaptation and domestication does not merely signal for socio-political deviation, but also, and more interestingly, the political aspects of script and textual performance. Contact: Vu Duc Liem liemvuvn@gmail.com]]></description>
      <pubDate>Wed, 04 Mar 2015 14:23:16 +0100</pubDate>
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      <title><![CDATA[Art and feminism in Asia- a transcultural approach]]></title>
      <link>http://congresasie2015.sciencesconf.org/</link>
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      <description><![CDATA[I would like to propose a workshop entitled "Art and Feminism in Asia- a transcultural approach." The call for papers is: The feminist movement is one of the imports of Western modernity in Asia. In China, it is from the movement of May 4, 1919 that such claims appear in intellectual circles. In Japan, the movement emerged in the 1980s, however, the 1990s and the emergence of new middle classes are associated with a higher salience of these claims in these countries as well as India and Pakistan, sometimes with a strong local bias. We invite contributions to the emergence of an Asian feminism and its specific patterns compared to the West, as well as its cultural manifestations (literature, performance, visual arts). My own contribution would focus on the comparison between two works and their critical reception: the work "Dialogue" in 1989, by the Chinese artist Xiao Lu (1962) and "Painter with a gun" in 1961, by the French Niki de St Phalle (1930-2002). Contact: Christine VIAL-KAYSER christine.vialkayser@gmail.com]]></description>
      <pubDate>Tue, 03 Mar 2015 14:38:23 +0100</pubDate>
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      <title><![CDATA[Vertical malls in South-Korean cities]]></title>
      <link>http://congresasie2015.sciencesconf.org/</link>
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      <description><![CDATA[See the French version of the website]]></description>
      <pubDate>Mon, 02 Mar 2015 13:57:25 +0100</pubDate>
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      <title><![CDATA[Worshipping Gods in Hinduism - the Eternal Return]]></title>
      <link>http://congresasie2015.sciencesconf.org/</link>
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      <description><![CDATA[Our chief concern in the following article will be to analyze the profound meanings of millenary Hindu traditions of worshipping gods, especially during the main annual festivals. The paper endeavors as well to show that these traditions exemplify very well Mircea Eliade's theory of the “eternal return”. According to Eliade, in the archaic worldview, the power of a thing resides in its origin, so that knowing the origin of an object, an animal, a plant, and so on is equivalent to acquiring a magical power over them. Myth and ritual are vehicles of "eternal return" to the mythical age. Traditional man's myth- and ritual-filled life constantly unites him with sacred time, giving his existence value. The Upanishads, the Hindu sacred texts, the quintessence of Vedic thought and the basis of the whole Indian society to this day, provide a guideline to Hindu worshippers for returning to the sacred, mythical time. Contact: Elena VASILIU vella_ro@yahoo.co.uk]]></description>
      <pubDate>Mon, 02 Mar 2015 13:40:21 +0100</pubDate>
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