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This paper debates three views in Maxim Gorky’s short story Her Lover. The first one is human loneliness, lack of communication, fragmented and lost identity in modern industrialized Russian society, which was actually a general view in the early decades of the twentieth century. Secondly, Gorky endows his fictional character Teresa with the Romantic energy which enables her to survive her misery and loneliness by inventing an imaginary lover. Finally, the paper examines the views of prejudice and “self-sufficiency” which put serious hurdles before real communication and thus cause the spiritual and moral decay in social life and relationships.

This paper presents an analysis of the novel "The God of the Small Things" written by Arundhati Roy. The primary purpose of this paper is to evaluate the idea of resistance and identity that have been described in the novel by the novelist. It will be demonstrated in this novel that how the resistance against the traditions and norms of post-colonial era is related to the self-realisation. There are different kinds of resistance that have been depicted in the novel at various circumstances. In Postcolonial context identity is a complex concept to be located in just a simple definition or to be investigated throughout a single theoretical approach. Resistance as a concept linked to the identity question. The Novel handles this notion and throughout its plot, besides the burden that is left from the colonial legacy, gender identity comes to the surface. Though women resistance appears as a reaction with identity suppression; yet it is a reflection of self-identification of gender inequality under patriarchal traditions inherited from long dominant masculine power. This paper elaborates on each type of resistance and activism that arises against the feudal and patriarchal forces structured by the economic and politically influential people in the new community as a sample in India after postcolonialism. Consequently, one of the points that the research ends with is that the act of resistance validates the pursuit for self-identity, which is an attempt to renown, reclaim and rename the world.

This paper examines how pesugihan (seeking wealth through spirit assistance) contests with pilgrimage discourse ideologically. In specific, to trace more about the grounds of the rise of contrary assumption of the pesugihan, this study focusses on how the ideological view, as the essential thinking of people, develops identity, practice, and its spirituality matter. The identity is constructed from the single view in responding to the phenomena and creating a sameness of collective joy created into the group, as Edith Turner examines about communitas and false communitas to see how the contestation is crystallized. Furthermore, this paper reviews the various pilgrimage practices to see how the communitas applied what they believe in the context of the pilgrimage. Lastly, it discusses how the visitors find their spirituality on pilgrimage, to see the reconciliation of the communitas conflict through gaze in visiting the pesugihan site. The paper argues that pesugihan is contested due to the contrary assumption of the practice rather than to see it as being religious with the traditional matter of context.

من البَدَهي أن منظومة القيم العربية والإسلامية هي حصيلة لصراع إنساني، له أبعاده التاريخية والاجتماعية والحضارية المتباينة، التي ما انفكَّت تبسط ظِلَّها على حياتنا، والتي يمكن أن تستجيب لأبعاد الحاضر ومعطياته المختلفة. ولمّا كان من المفترض أن يعكس الشعر أشكال التحوّل الذي طرأ على حياة العرب بعد ظهور الإسلام، نظرًا إلى ما جاء به من عقيدة وفكر وقِيَم ومفاهيم جديدة، ومنها مفهوم "الفُتُوَّة"؛ فإن هذا البحث محاولة لرصد هذا المفهوم، الذي يُعدُّ أحد أبرز المفاهيم الاجتماعية والأخلاقية، التي وجدت لها مكانًا ومكانة في منظومة المُثُل والقِيَم العليا عند العرب، وانعكست ملامحها في الشعر العربي القديم، كما يسعى البحث إلى تتبّع التحوّلات القيَميَّة التي أصابت هذا المفهوم، بجانبيه المادّي والمعنوي، وعناصر القيم الأخرى التي مازجته أو تماهت معه، ولا سيما ما يتصل بالجانب الأخلاقي، إذ تضمّن مفهوم "الفُتُوَّة" قيمًا أخرى، فضلاً عن الكرم والشجاعة، مثل: الفروسية والتديُّن أو "التّقوى" والوفاء والإيثار والحريّة، وغير ذلك، مما كان يشكّل مجمل أجزاء المنظومة الثقافية أو النسق الثقافي العام الذي كان سائدًا، في عصر ما قبل الإسلام، مرورًا بعصر صدر الإسلام، وانتهاءً بالعصر الأموي. It is well known that the system of Arab and Islamic values is the result of a human conflict, with its various historical, social and cultural dimensions, which still exist in our lives, and which can reflect the different dimensions and meanings of the present. Since poetry was supposed to mirror the forms of development or transformation that occurred in the life of Arabs after the emergence of Islam, due to its doctrine, thought, values and new concepts, including the concept of "Futuwa", this research is an attempt to examine this concept, which is one of the most prominent concepts. It has thus occupied a special social and moral position in the system of ideals and higher values of Arabs, and echoed their features in ancient Arab poetry. The paper seeks to track the value transformations that have afflicted this concept, its material and moral aspects, and elements of other values that have been mixed or distorted, particularly the moral aspect. Hence, the paper includes the value of the "Futuwa", as well as on the values of generosity and courage, but others such as equestrianism, religiosity, piety, loyalty, altruism, freedom, etc., which constituted the whole part of the cultural system or the general cultural pattern that prevailed, in the pre-Islamic era, to the Islamic era, and till the ending of the Umayyad era.

The following research paper presents an analysis of the history of studying and evaluating the creative heritage of one of the founders of the Yakut literature A.I. Sofronov. Based on the archive database search and biographical methods, we gained and are sharing an experience in systemizing the periods of life and creative journey of the writer; we also provide a description of these specific time segments without any ideological imperatives. The given research implements and introduces into the scientific use the archive and periodical materials published at the beginning of the 20 th century as well as the literary critics materials written by the social activists of the republic and forbidden for a considerable amount of time. The study presents a genuine description of the impact caused by the decrees of the political party, which reflect the political situation in the country, and the impact it had on the evaluation of the writer's works. This paper also contains an analysis of the previous researches on the interpretation and opinions on the creative method of A.I. Sofronov. The research is theoretically and methodologically based on a cultural-historical approach, which suggests that specific cultural-historical circumstances and social life have a formative impact on literature, and a biographical method, according to which a writer’s personal life experience and biography play a key role in study of his creative work. As no literary process is possible without the writers as individuals, it is important to study their creative writing through biographical method in order to develop a specific concept of the national literature history and to single out the periods of its development. The present study justifies that the renown social and creative activist of Yakutia A.I. Sofronov is one of the key figures, whose creative writing played a significant role in forming and establishing Yakut national culture and literature; it also defined the entire trend of its development in the 20 th and 21 st centuries. The suggested timeline of the life and creative path of the writer is subdivided into six time-periods, which coincide with the social and political changes in the life of the society: I. 1914-1925; II. 1925-1942; III. 1942-1952; IV. 1952-1962; V. 1962-1986; VI. 1986 – present days. As a result, the given research helped to single out the features in studying and evaluating the creative writing journey of the writer covering various periods of the literary and critical works development in Yakutia: the principles and approaches, which remained unknown to reader earlier as well as the real existing literary and social-political events.

Neither the romantic identity nor its spirit belongs to the romanticism itself. They aroused in earlier movements of cultural, religious, and political character. At the cultural level, the birth of romanticism was preceded by great intellectual movements: Humanism and Renaissance; at the social and political level, the powerful repercussions of the French and American revolution preceded the "awakening and growing of the idea of solidarity between individuals of one race, one language and one nation". At the ecclesiastical level, however, such were reformation and counter-reformation. These premises represent the forerunner identities of romanticism. They provoke its birth and determine its character. Only above them, romanticism revived the myth of common culture, paved the way for the formation of national languages, and institutionalized the awareness of the national state. This paper deals with this everlasting relationship between the romanticism and forerunner identities . The paper analyses the presence of the aesthetical premises in writing history in humanism and the transformation of this archetype in Romanticism. We also analyse the way how the Renaissance futures were transformed into a principle for history recognition and recreation of the myth in Romanticism. Closely, we will analyse the "identities" from which the romantic myth was born. The paper also discusses the idea how pre-existing ideologies of Humanism, Medieval Period, and how philobiblistic or pre-romantic authors influenced the creation of a romantic awareness and influenced the birth of the romantic myth.

Anne-Marie Thiesse testified that in letters, the echo of the “epic coming from the bottom of the centuries” is constantly heard. According to her, songs collected by Macpherson with the passion of the storyteller, are the substrates upon which the creation of literature transforms the great codes of different ethnicities into transcendental codes. This kind of search for the resurrection of epic ash in the letters could not carry the different ethnic and cultural feelings of the people, unless they were linked to the sign of their origin, i.e. by searching for the predecessors of a group who believes in some common values and cultivates them from generation to generation. These ancestors may be different: family members, a religious community, an ethnic community, or members of a religious community that unites the right and memories, or a cultural community, that unite some common symbols. In terms of the resurrection of “epic grace letter,” they constitute a social category distinct from other categories by the language, customs, myths, religion, etc. The myths in which they believe constitute the way how they treat themselves througout history. Our paper aims to discuss this relationship between the myth and literature and the memory for common values, which at some point appear as an essence in artistic works. The scope is to analyze the report that memory has with myths and the way how both affect literature. The paper tries to study a complex relationship between letters and myths, applying it to a pattern: The Medieval Literature.

This paper is a brief research about the meaning of Nowruz from different perspectives and its impact on people's interactions, which is celebrated at the dawn of spring in this ancient Iranian land. In different periods this ancient holiday has been seen with different opinions and its effects are all reflecting new life, happiness, love, blessing, birth, and growth, which are visible beautifully in nature. This paper is done by library and field studies and investigates the meanings and spiritual influences of this tradition in the culture, poetry, literature, philosophy, religious beliefs of the people of this land from the different perspectives (Islam - Zoroastrianism, etc.). By reviewing these theories on Nowruz and comparing it with present-day life, valuable results can be achieved so they can be used in the ups and downs of life.

The paper considers the phenomenon of familiarity in the context of the carnival theory of the outstanding Russian scientist M. M. Bakhtin, whose work influenced the development of humanitarian thought in Russia and the west of the 20th century. The author of the article investigates the formation of this concept and its influence on the formation and development of the novel genre as one of the components of the folk-laughter culture. Familiarity is a free and unofficial communication without any distance or etiquette norms. Free communication allows you to retreat from the hierarchical and official relations between people. At the same time, the familiar areal speech, through which familiar communication is built, has got its own special characteristics. The speech includes curses, oath, false vows, and obscenities. Therefore, this speech is ambivalent, it is isolated and completed. They are the source of such a phenomenon as familiarity. In this case, familiarity as a category has several levels. The semantic level is associated with informality and the rejection of normativity. The verbal level consists of the specific familiar-square forms and genres, and therefore it contributes to the formation of a special unofficial language. These two levels create a collective, in which familiar treatment is possible. This collective becomes a fair, a carnival crowd. In addition, over time, forms of familiarity have become a kind of protest against the official ideological system.

This paper aims to analyze the dayah negotiations in Aceh in the face of modernity. On the one hand, the dayah needs to maintain identity by caring for the uniqueness of the system and methods of religious teaching in accordance with methods that have been taught from generation to generation. Text review determined by the dayah teacher (teungku) starting from the criteria of the dayah student (santri) and the system of evaluation and standardization of abilities. Dayah also takes care of identity by forming the personality of the santri through the development of independence of life in the dayah. The dayah system has succeeded in giving birth to a society that understands Islam in a deep, comprehensive and far-reaching understanding of religion. More importantly, dayah education alienates santri from radical thought patterns and makes them tolerant humans. The results of this study show that Dayah Al-Aziziyah who cared about modernity by not losing its identity successfully spread religious teachings well in Aceh. Negotiations with modernity also made Al-Aziziyah a little left with some of its educational principles such as delaying the big vision to make Islamic Higher Educatin (Sekolah Tinggi Agama Islam, STAI) Al-Aziziyah Samalanga exactly like the dayah manyang (higher dayah level) that had been popular in Aceh., Tulisan ini bertujuan menganalisa negosiasi dayah di Aceh dalam menghadapi modernitas. Pada satu sisi, dayah perlu menjaga identitas dengan merawat keunikan sistem dan metode pengajaran agama sesuai dengan cara yang telah diajarkan secara turun-temurun. Kajian teks yang ditentukan oleh pengajar (teungku) mulai dari kriteria santri dan sistem evaluasi dan standarisasi kemampuan.Dayah juga merawat identitas dengan membentuk kepribadian santri melalui pembangunan kemandirian hidup di dayah.Sistem dayah telah berhasil melahirkan masyarakat yang memahami Islam secara mendalam, menyeluruh dan jauh paham sempit tentang agama.Yang lebih penting, pendidikan dayah menjauhkan santri dari pola pikir radikal dan menjadikan mereka manusia yang toleran.Hasil dari studi ini menunjukkan, dayah Al-Aziziyah yang mempedulikan modernitas dengan tidak kehilangan identitas berhasil menyebarkan ajaran agama dengan baik di Aceh.Negosiasi dengan modernitas juga sedikit membuat Al-Aziziyah harus meninggalkan beberapa prinsip pendidikannya seperti menunda visi besar menjadikan STAI Al-Aziziyah Samalanga persis seperti dayah manyang yang pernah berjaya di Aceh.

This paper examines Sukarno's thought on the importance of integrating religion and science within Pesantren education. He believes that there should be no separation and dichotomy between religious science and the so called general science as they complement each other. Sukarno's view on this matter was influenced by several things among them is his concern that Pesantren, as an Islamic educational institution, should be an avant garde in promoting the integration between those sciences. In addition, Sukarno also has concern about the condition of the Pesantren at the time; the early twentieth century that, in his opinion, tend to be old fashioned and focuses merely on religious education.

The 20th century is marked by colossal progress not only in science and technology, but also in art. Since the first half of 20th century there has been a gap observed between traditional and modern art. Modern art includes a variety of forums, biennale, museums of contemporary art, art space, etc. To date, performance is called all sorts of shows taking part in front of viewers. This can include the newfangled music shows, and various installations in museums, DJs sets in clubs and music festivals. Today, this art does not lag behind the rapidly developing communication industry, and at the same time resists the impact of technologies that help to distance people from each other. Performance, in spite of insufficient knowledge, is a popular type of contemporary art. Thus, the performance is introduced into the modern society, leaving behind itself food for reflection. The paper is of interest to researchers of contemporary art and the evolution of cultural phenomena in the 20th century. The work is based on a combination of historical methods, including historical-genetic and historical-comparative.

This paper presents the problems of interpretation of Platon Alekseyevich Oyunsky’s (1893-1939) personality, the Yakut classic writer, in terms of his self-identification, finding his place in literature, society and, in general, history, his struggle for truth and universal human values. The article uses a set of such traditional methods as historical-functional, typological and comparative. Interpretation of P. Oyunsky's contextual levels of creativity will allow to delve into the creative core of the writer, and reveal both his tasks and achievements in fiction. In the end of the analysis of the writer's creativity contexts, the integrity of his personality will be revealed. The artistic concept of Oyunsky’s reality is realized in his philosophical works – “Nyukuus the Madman”, “The Red Shaman”, “Kudangsa the Great”, “Alexander the Great”, which become the starting point for the evolution of his worldview. The writer was looking for answers not only to hot-button issues of society, but he also talked about universal and eternal problems of existence. Particular attention was paid to the creation of heroic characters, fighting for the happiness of the people and changing the world. Oyunsky created Yakut literature of a new type, he became a writer of romanticism. The study of the literary context in the writer's work presupposes insight into the semantic depths of works to comprehend the author's concept of reality. Oyunsky, as a writer-philosopher, reflected on the universal problems of life and death, the appointment of man and his fate, the role of great people in history, the struggle between Good and Evil, Mind and Force. Oyunsky showed the triumph of Mind in his works, the eternal truths of mankind and foresaw that thanks to creativity, his name will not be forgotten by the people.

In this paper, the concept of cinema freedom is explained, and its comprehensive definition is presented within the limitations on the form and essence. First, based on these definitions, the dimensions of cinema freedom which include the freedom of screening and expression and freedom of work are depicted. The question of “what is cinema freedom?” is examined by implementing descriptive-analytical methods. The cinema freedom is defined as when each person or group is able to publish a cinematic artwork with any thoughts or beliefs. Based on the restrictions of freedom of screening and expression and freedom of work, the limits of cinema freedom are categorized into form and essence limitations. It should be noticed that different countries are applying these limitations in different ways.

This paper aims to discuss the development of pananyaan, a name for Sundanese-Priangan local shaman in terms of continuity and change. Using ethnographical method, it will provide an anthropological account of these elderly people through the investigation of the major shifts of them and their meanings, to the grand narration of Islamization process. The exploration based on the research questions leads to several conclusions. The existence of pananyaan has become primordial nature of the belief toward supernatural being. There are, at least, several major shifts in the origins pananyaan to the present. First, the shift of domestic spiritualism from local spirit to Islamic saints that reflected an elementary form of the intersection of Islam and local customs. Second, the emergence of ahli hikmah, that reflected such an outward appearance in the intersection as represented by several hybrid incantations and supernatural powers. Third, the contemporary shaman, whose Islam and local customs are united in one fashion with the influence of modern determinations. In addition, the still-taking place Islamization has become a challenge for the next development of pananyaan.

The paper features the language objectivation of femininity in the glossy magazines Cosmopolitan, Marie Claire and Glamour. The analysis of the problem is based on the theory of the social construction of gender and aims to identify the main trends of language representation of women. The material of the study was Russian Publications Cosmopolitan, Marie Claire and Glamor - the most popular glossy magazines designed for women. The files of the examples analyzed by us are compiled by the method of continuous sampling (more than 2000 contexts) on the basis of printed and Internet versions of Cosmopolitan, Marie Claire and Glamor journals in 2016. The verbal component is considered as one of the main factors in the construction of gender in glossy magazines, which model new type of the "femine" consciousness, combining the sensual experience of reality and the ability to transform it. Gender relations, stereotypes and ideology are revealed through the analysis of linguistic representations. The authors observe morphological and syntax means of the Russian language as indicators of gender identification in terms of mediatext construction. The analysis of language means proves the complication of gender identification in Cosmopolitan, Marie Claire and Glamour, and the sharpening of the "femine" consciousness due to inclusion of masculine features in it. The analysis of linguistic means representing femininity allows to draw a conclusion about the modeling a new type of "female consciousness" on the pages of glossy magazines, in which the ability to the sensual experience of reality is supplemented by the ability to transform it.

Beauty is a mental and emotional phenomenon that has a deep connection with the sensory elements around us. Nature is the master key to feel this sense that along with our feelings and emotions, will lead to relative degrees of beauty. Architecture is formed in the material three-dimensional templates and it is more objective than the other arts; In other words, its relations with the material world are more than the other arts; however, music is only capable to form in one dimension and platform namely time and it is freed from the constraints of location. In this way, music art takes shape over time and it is more abstract than painting, and more prominent than architecture, sculpture and painting. Of course architecture, in accordance with this content, has a special connection from the material world to the spiritual world. Especially in Islamic mosques and sacred arts, architecture has a semantic meaning beyond the material world; because in the sacred arts, secrets are pure as it often does not have any outer shapes and they become a symbol of an Islamic belief and a mystical image so that the transformation is performed to adapt an image with religious beliefs. Thus, the research method, according to the examined contents in this study, is based on pure science or library resources and it is as descriptive-analytic. In this paper, some comparative aspects of aesthetics in music and architecture, which has achieved the high degree of beauty in the light of the total shares and coordination between the two arts, are examined as the goals of this transition.

This paper investigates costume fashion design of a specific Iranian group, specifically Baluch people. In this study, we have conducted a research to make an appropriated and functional association between modern daily fashion and Iranian local regional clothes as a social and cultural identity characteristic. There are some textile manufacturing industries in Iran, in which about 400,000 employees are working in different branches of production. Baluch’s history indicates that their traditional costume has been derived from Iranian fundamental designs. Baluch culture has long been settled in the East of Iran. Baluch people are among the few Iranian tribes who are committed to their local costumes. This study is a cross-sectional survey in which 100 volunteers filled out the 7-scale questionnaires throughout some social networks among Iranian adult women (Age: 30±0.5). We also gathered some information based on the literature review, observation and museums and exhibitions of handicrafts visits. In this study, we focused on Baluch ethnic costumes, and we studied some articles in this field to develop a practical method in observing and assessing the sample costumers. Our data analysis indicates that 32% of volunteers partially agree that they have tendencies to pick fashionable clothing, 34% of volunteers agree that they prefer to be unique, 33% of volunteers partially agree that the national identity is important when it comes to fashion, and 28% of them partially agree about the importance of local origin of fashion. These results also express that 36% of volunteers partially agree that the traditional Iranian costume is appealing to them, and 33% of them partially agree that traditional costumes are usable as contemporary clothing. Per foregoing features of Baluch costumes in aesthetic, social and cultural context, and obtained results and relevant statistical analysis, it seems that Baluch costumes aesthetical identity can be applied in contemporary Iranian women’s clothing, considering fashion principles. Last but not least, design process is based on questionnaire results and the traditional Baluch costume analysis. Our findings show that the importance of considering some criteria during design process, such as national identity, tendency to wear local and colorful costumes, applying traditional handcrafts and motifs on contemporary clothing, uniqueness and elegance. The presented design is recommended based on the deduced results of previous phases.

The presence of people in the city follows many cultural and social effects. The pedestrian-oriented spaces result in the presence of more pedestrians and hence increase cultural and social values; however, today with increasing cars, pedestrians are not considered more which significantly reduces the number of pedestrians walking in urban areas as well as cultural and social values. Pedestrians can also affect the urban identity. In this paper, the effect of pedestrians on the culture and identity of the city had been discussed. By investigating the current academic literature, studies concerning the pedestrians, urban space, culture and urban culture, identity and urban identity have been collected and finally, the effect of pedestrian-oriented spaces on the culture and urban identity have been discussed. Since, the historic fabric of the city is the symbol of identity, part of this study discussing successful pedestrians that had been made in historical context.

The social construction of sainthood lies in a broad-based understanding of Sufism and mysticism in Java. It appears in the way people recognize an individual as a saint in the real life; from fulfilling the role of Islamic propagators and the exercise of magical power as an extraordinary ability to do something. Nowadays, this understanding has apparently flourished, turning into new perceptions and understandings. The case of Gus Dur could be used as an example of the modern constructions of the sainthood in Java. Although there are widespread acceptances this sainthood, but this phenomena remains controversial and debatable. Therefore, this paper focuses on the social construction of new phenomenon called the Wali Sepuluh (the ten saints), to examine the issue of Gus Dur as the tenth saint and its impact on the realities of life in Tebuireng.KeywordsSainthood, social construction, and pilgrims

The short stories of the Saudi writer Badriya Al-Beshr focus on her constructive criticism of conventional social power that governs society. This is actually the most obvious feature of her short story collection that was published in 1993 and the other two collections, “Wednesday Evening” (1994) and “Cardamom” (2004). Social power, as Badriya Al-Beshr shows, is best demonstrated in different representations of masculinity which the researcher believes to be the key to understand intertextuality of the text and its deconstructive features. In this context, Al-Beshr faces usurpation by a counter usurpation; a usurpation through writing fiction which deprives her imaginative narrative of the usual masculine discourse. The writer has represented masculinity as a general, distorted, feature that resorts towards negative attitudes, absolute control, deprivation, disability and corruption. This extremity resulted in much complexity that is deeply rooted in the social mentality. This has deepened the ideas of absolute power and controlling discourse which are based on the concept of masculine representation as a usurpation of the other and a limiting of its presence. These ideas and the concepts they have produced have indeed generated a stable cultural pattern in the social mentality; a pattern that has developed a system of values, beliefs, visions and tendencies which are deeply rooted in the subconscious of the individual and social groups. This stable cultural pattern has specified the way the individual views himself and other social groups. This is due to the fact that representations of masculinity provide the social group with an image of itself and of the other. This, in turn, forms the collective narrative identity which represents a coherent system of pre-thinking, indications or signs and rules that are all deeply rooted in the collective mentality of the specified social group. Here comes the role of the female writer who introduces her own point of view as she deviates from the usual pattern that is so much rooted in the mentality of her society. In this respect, Al-Beshr’s short stories represent the voice of the silent subaltern that has long been controlled by masculine representations and deprived of its right to represent its feminine voice. The masculine voice has long spoken for the feminine silent voice. The female writer here is the one who introduces a genuine vision that best depicts her world and that of all women like herself. This voice faithfully represents the suffering of the silent subaltern, consequently, it has become a distinguished cultural voice that forms a counter and a rebellious discourse resisting all the other dominating contexts. This paper applies feminist criticism to discuss the previous ideas through three different dimensions. The first dimension discusses the representations of masculinity in the short stories of Badriya Al-Beshr, its symbols and the vocabulary, philosophy and visions which she uses to depict the dominating masculine discourse. The second dimension traces the general features of the counter feminine discourse that shakes the stable masculine institution, its discourse and deeply rooted images. The researcher will show to what extent this feminine discourse can form an independent active institution that competes with the masculine one and whether it would be able to replace it and speak for itself. The third dimension is a stylistic one that shall discuss the features of Al-Beshr’s narrative discourse and how persuasive it may be. In addition, the researcher focuses on the means and stylistic techniques used by the writer to face the dominating masculine discourse.

This paper attempts to answer how Islamic Women define the concept of beauty in Ponds advertisement white beauty facial foam and body lotion on television. This study uses a socio-semiotic approach described through three aspects of social context, namely field, tenor, and mode. It argues that Ponds’ definition of a beauty only refers to physical standards, that is, women who have white skin and use both Ponds White Beauty Facial Foam and Foam Body Lotion. Further, television through Ponds advertising is considered as a commercial institution that supports the main idea of capitalism. However, Islamic women consider beautiful physically and spiritually. It suggests that the beautiful women are those who obey and surrender to Allah SWT. In short, Islamic women do not agree with the meaning of beauty resulted from Ponds White Beauty Facial Foam and Ponds Body Lotion advertisement. Rather, beauty consists of both body and, more importantly, soul.

Several years ago an attempt was made to measure the beauty of thearchitectural design. The objective was to prepare the design for evaluation by acomputer. It was found that such measurement was very complicated and requiresmuch more research. Several more attempts were made to fill in ih" gup. but the totalpicture remained unclear. This paper attempts to draw a map for futuri work.The object of beauty in architecture depends on content and form. Contentincludes function and symbol. But the subject is complicated by the fact that beauty issubjective and changes according to viewer, time, and place.