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This study explores the symbolic meanings embedded in decorative elements within Algerian applied arts, with a focus on vegetal, geometric, and animal motifs as visual expressions of cultural, spiritual, and social values. It investigates how these ornaments contribute to cultural identity construction and the preservation of collective memory. Employing a semiotic-analytical approach, the research analyzes selected examples from Algerian architecture, pottery, and textiles. The findings indicate that ornamentation in Algerian art serves not only aesthetic purposes but also functions as a vehicle for symbolic communication, spiritual expression, and social cohesion. This study contributes to the academic discourse by offering an in-depth interpretation of the symbolic functions of decorative motifs, addressing a significant gap in the literature on North African and Islamic applied arts.

Identity is a complex of roads and turns. It remains difficult to be defined. Identity can be fixed or changing but definitely problematic in its meanings and manifestations. Depicting Nubian visual culture before 60th can be a means to artistic experimentation and a material for inspiration for myself as a Nubian textile designer. It can somehow bridge the gap between form and content; between the visual and essence of Nubian symbolic meaning and heritage . This paper will present how the researcher can use different design / drawing techniques to convey the aesthetic and the realistic. It also outlines the practice-based method as a constructive approach to develop the researcher\"s skills by focusing on her Nubian cultural identity to encourage different societies to learn about Nubian heritage. The focus of this paper is to show how the linkage between using different artistic media, digital printing and image collecting of old Nubians houses and representative symbols before the 60\"s is used as an experimental strategy through digital technology and other techniques in order to create contemporary designs inspired by Nubian visual culture. This paper will discuss my experiential learning and the practice of the artistic approach by novel use of symbols/ patterns inspired by Nubian visual culture, using digital printing, drawing and dyeing techniques. It will discuss how different dyeing and printing methods can be used to create unique artwork wall hanging designs to express Nubian visual culture. The results of some experimental and artwork were presented in different exhibitions to express the author\"s viewpoint of Nubian heritage and her cultural identities through practice and her journey to express the Nubian heritage before resettlement in the 60\"s.

Research in socio-anthropology in Algeria can encompass various diverse aspects related to culture, history, and national identity, including analyzing the changes that have occurred in Algerian societies over time, including the effects of globalization, and how these changes impact their cultural identity. These points represent a sample of research topics in the field of socio-anthropology in Algeria, and they can be expanded and modified according to the researcher's interests and specific study orientations. Those interested in this field encounter many challenges, most importantly how to develop and identify appropriate methodologies for studying cultures and societies, as cultural and social diversity poses unique challenges to data collection, analysis, and interpretation. This is amid the ongoing theoretical transformations in this field and criticisms related to the nature of research and the role of researchers in studying and interpreting other cultures and societies. Through this research paper, we will attempt to address the problem of research in socio-anthropology in Algeria according to local nature.

The argument of this study revolves around the crisis of reconstructing identity as a manifestation of cultural resistance in White Teeth by British writer Zadie Smith and in Kiran Desai's The Inheritance of Loss. This study will focus on how Zadie Smith and Kiran Desai attempt to build a culture of resistance in their respective nations' consciousness through their works. As colonialism has proven its influence on the histories of colonized nations, the colonized have infiltrated the colonialists' claimed justifications for imperialism. One of the controversial issues of post-colonialism is the question of identity, which has become very prominent in the modern age. This has led most writers, especially those with cultural diversity, to emphasize the idea of identity. The study will also examine how and why writers of resistance emphasize the need to free colonized societies from the cultural and political domination of imperial powers. It will demonstrate how both Smith and Desai strive to build a culture of awareness by interrogating the past, as illustrated in their novels. In these two novels, East meets West as a form of 'cultural resistance' within the context of imperialism. At the end of this study, the importance of conducting such research and the mutual resistance employed by these writers in constructing a culture of resistance will be highlighted. In each of these novels, the central tension revolves around the encounter and opposition between deeply rooted cultural factors, codes, and values in the East.

Algeria is known for its rich and diverse cultural heritage, which includes many traditional industries and crafts that reflect the country's history and culture. These industries have become an integral part of Algerian identity .This paper aims to explore the stages of development of traditional industries and handicrafts in Algeria and their role in promoting cultural identity. We will also examine the characteristics of Algerian society, the objectives of promoting cultural identity in the context of traditional industries, and the role of these industries in achieving these objectives.

This article aims to highlight the ideological dimension of graphic art as a visual communication discourse that carries expressive connotations and meanings capable of transporting the audience to multiple worlds that reflect human existence and express one's self and being. This art serves as a beautiful expression that carries ideas, beliefs, and intellectual visions reflecting real-world issues, manifesting cultural, social, and political dimensions. Graphic art is a free expression of a subject embodied by the artist in a creative and aesthetic style. It is a means of resistance that touches the human self and carries a message promoting values of liberation and highlighting the identity of peoples, similar to other arts and modern visual expression methods. Through this study, we aim to pay more attention to this type of art as it carries different expressive and symbolic messages.

The body image of Oriental women has long captivated both Eastern and Western audiences. This article delves into the portrayal of Oriental women across various contexts and historical periods. Orientalist painters frequently depicted them as exotic and enticing figures, often far removed from the harsh social realities they faced. As highlighted by Fatema Mernissi, the depiction of harem women, for example, frequently diverges from the lived experiences where they may not always be subservient to their masters. Idealised and sometimes unrealistic representations of the administered body, the unveiled body, and the body in conflict with reality contribute to shaping an unreal image of the subject under study. Cultural norms, temporal dynamics, and geographical constraints influence these depictions.

The article discusses the development of art and art movements in Qatar. Throughout the paper, I examine modern and postmodern arts and highlight the roles of different factors that could influence artists in their move between modern and postmodern art and vise-versa. The forms of art developed during the modernist and postmodern periods were influenced by the traits of the people. For example, the modernists constantly searched for the abstract truth of life, while the postmodernists did not believe in the abstract truth. It is important to recognize that postmodern culture is a reaction against the culture of modernism. The works of postmodern artists create reality, whereas those of modernist artists reflect reality. During history, political crisis, natural crisis, economic development and social move have always played fundamental roles in art practice and movement in the world. Through studying art movement of the Qatari artist Yousef Ahmed and his transitions between modern and postmodern art, this paper nalyzes the reasons that might drove post-modern artists to look back at modernism. The paper addresses this question: why did Yousef Ahmed return to modernism after his huge success as a postmodernist artist? Through looking at the question, we realized that the reason for such move it could be the individuals' real experiences in the real world. Yousef Ahmed had to look back to modernism to move from metaphor to reality so that he could better express his attachment to his culture.

In 2012, the opening ceremony of the London Olympic Games projected an image of a New Britain: multicultural, liberal, and a well-meaning country. Astonishingly, after the Brexit referendum of 2016, it seemed as a system of multicultural values about what Britain was like had been overturned. Hence, this article examines the notion of multiculturalism in relation to other concepts such as immigration, Britishness, terrorism, and Brexit. Further, the article attempts to explore whether multiculturalism is a divisive factor that leads to disunity through promoting cultural differences or it is a driving force for unity that leads to more integration of ethnic minorities and a fairer British society.

This study explores the representation of women in Arabic and English literature by female writers and examines whether this representation carries into translated works. First, it analyzes the linguistic choices female writers make to portray women and their experiences across Eastern and Western contexts, using Fairclough's three-dimensional analysis (2013). Second, it assesses the preservation of these representations in translation, employing Flotow's strategies (2011). The study uses two original poems from different cultural backgrounds, Arabic and English, along with their translated versions, all of which are translated by women. The findings indicate that the Arabic female writer dedicates significant effort to portraying women as victims in unforgiving societies, while the English female writer portrays women as more determined despite facing discrimination and obstacles. These portrayals reflect the respective societies in which the writers live. Moreover, the study reveals that these representations are not lost in translation, as female translators make linguistic choices to convey the essence of the original, thereby ensuring the visibility of women in the translated texts.