Acta Orientalia Vilnensia

Journal Information
ISSN / EISSN : 2424-6026 / 2424-6026
Current Publisher: Vilnius University Press (10.15388)
Total articles ≅ 89

Latest articles in this journal

Kutluay Erk
Acta Orientalia Vilnensia, Volume 13, pp 11-33; doi:10.15388/aov.2016.13.10635

In this article the semantic field of the Armeno-Kipchak word arï/ari “holy, sacred” is examined on the basis of Töre Bitigi (Wrocław version), which is an Armeno-Kipchak version of the Old Armenian law code Datastanagirk’. This magistrative-juridical text was based in a large part on ecclesiastical prescriptions. Accordingly it is possible to see a group of religious terms in the text and the word of arï/ari is one of them. This significant term shows parallelism with other historical Turkic texts, which have been translated from the Holy Book.Daγï da ne üčün emdi klädik yazmaga törälärni, ya ne säbäptän teprändi esimiz bu iškä [...] bu vaχtlarda erinčekliktän üvrämägä klämäslär Eski u Yäŋï Törälärni ne markarẹlardan, ne Awedarandan, ki bolgaylar edi ari bitiklerniŋ küčündän bilmägä könü töräni. Anïŋ üčün klädik bu Törä bitiki bilä oyatmaga alarnï, nečik kimsäni yuχudan.Töre Bitigi/Ekinči, ne üčün yazdïq ya kimniŋ pričinasïndan 5r/160r
Zsuzsanna Olach
Acta Orientalia Vilnensia, Volume 13, pp 61-78; doi:10.15388/aov.2016.13.10638

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Acta Orientalia Vilnensia, Volume 13, pp 45-59; doi:10.15388/aov.2016.13.10637

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Csaba Göncöl
Acta Orientalia Vilnensia, Volume 13, pp 35-43; doi:10.15388/aov.2016.13.10636

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Fabio Belafatti
Acta Orientalia Vilnensia, Volume 13, pp 7-10; doi:10.15388/aov.2016.13.10634

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Riikka Tuori
Acta Orientalia Vilnensia, Volume 13, pp 79-98; doi:10.15388/aov.2016.13.10639

The publisher has not yet granted permission to display this abstract.
Acta Orientalia Vilnensia, Volume 12, pp 29-41; doi:10.15388/aov.2011.0.1095

University of HyogoThis paper examines how Japanese contemporary fashion has been accepted globally, especially in the case of London. The popularity of Japanese fashion in the West started in the 19th century with kimono-style dressing gowns, but for the true design influence known as Japan-shock, we had to wait for the appearance of the avantgarde Japanese fashion designers who participated in the Paris collection in the 1970s and 1980s. A new keyword for ‘fashionable Japan’ today is kawaii, the notion of cute. This is intimately linked to street fashion and subculture and has been established and received as part of ‘cool Japan’ through the worldwide popularity of Japanese manga and anime. Moreover, it could be said that Japan is fashionable and the Japanese are thought of as fashionable people, but who is described as fashionable, and by whom? To reflect upon this statement, ‘the Japanese are fashionable’, as ideology, picking up the globally popular Japanese street fashion magazine FRUiTS, I would like to investigate the double meaning of fashion in the present and also what it means to be fashionable.
Acta Orientalia Vilnensia, Volume 12, pp 7-12; doi:10.15388/aov.2011.1.3936

Vilnius University Cardboard skulls decorating the book of the dead’s pink cover―the Necronomicon; intoxicated young ladies having a ‘kitty party’ then gang raping their male servant; secret agents 077 and 707 serving the nation; a shape-shifting monster’s head rotates 180 degrees while tracing a doomed bride in red and the list of similar images is far from exhaustive. The above mentioned aesthetical and narrative cinematic devises just happen to come from a variety of Indian films―usually ascribed to the ‘lower’ cinematic cultures and labeled as exploitative, B-grade or even ‘trash’ cinema. Often despised and ridiculed by academicians, critics, and the big budget film industries while at the same time enjoying vast popularity in smaller urban centers and towns, these Indian low budget films co-exist with Bollywood and other major industries―yet work by their own sets of rules and agendas. These films remain a part of the national as well as global film consumption, even if slightly overshadowed by the blockbuster or Arthouse cinemas. Despite the changing trends in India’s film productions and aesthetics, the low budget cinema retains its cult status throughout the country―and this is most evident while taking a stroll down the Grant Road in Mumbai, lined up with numerous video stalls and offering enormous amounts of cheaply produced ‘3 films in 1’ type of DVDs: the genre selection ranging from action (fight) to horror; from mythological to soft-core sex films.
Acta Orientalia Vilnensia, Volume 12, pp 101-124; doi:10.15388/aov.2011.1.3929

University of DelhiThe basic framework of this paper is to deliberate upon the emergence of item songs as a reinstatement of the dominance of the ‘song and dance sequences’ in popular Hindi cinema, and its inferences as a sub-text in contemporary cultural forms. While doing so, the paper argues that the transition in consumption and the circulation/distribution of Hindi film songs, and other visual/ audio media has affectively facilitated the course. In the given context, the paper further attempts to address shifts in the filmic techniques that have consistently regulated the production of such songs, revealing a spectrum of negotiations between and among the ‘body’, ‘performance’, and ‘frame’, with which the spectator becomes familiarized over a series of visual/ audio leaps that have taken place in the traditional media forms like that of television and in newer forms like the internet.
Deimantas Valančiūnas
Acta Orientalia Vilnensia, Volume 12, pp 47-60; doi:10.15388/aov.2011.1.3933

Vilnius UniversityThis paper investigates Indian horror films as a site of socio-economical tensions in India at the end of the 1980s through the employment of the postcolonial reading of the 1990 Ramsay brothers’ horror film Bandh Darwaza. This paper argues that specific references to the European gothic tradition and employment of imagery and interpretation of a western monstrosity (Dracula) in the film are not merely the exploitation of the exotic discourse, but an unconscious articulation of fears and anxieties summoned by the specific socio-economic conditions of India. The political turmoil and the economic changes at the end of the 1980s created a specific platform for fears and anxieties that were articulated through the deformed monsters of the western gothic tradition.
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