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our attachment to all kinds of socio-cultural values is an important factor in the fabric of today’s societies, since it defines to a large extent our identity.
Yet at the same time, the above has also made clear that, in our times, socio-cultural identity has lost its self-evidence and stability. Technological innovation, economic developments, secularization, individualization, growing mobility, etc. have changed Western societies beyond recognition during the last 50 years. Against this background, it is no wonder that people have problems in answering the
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In the present article, I am shortly reviewing some aspects which can be regarded as important in considering the hijab a fashion phenomenon. The social media provides us with various images in which the hijab is presented as a form of fashionable accessory, it is adapted to various modern outfits. The literature on such fashionable takes of the hijab assesses that they can be interpreted as statement messages about women’s empowerment. On the other hand, such adaptations also speak about the emergence of various subcultures about Muslim youth, which in accordance with the global sameness of youth are using social media in order to send messages and connect with each other. After a brief presentation on the role of bottom-up diffusion of fashion innovations, I am reviewing, grosso modo, two representations of the hijab: the hijab as a religious symbol and the hijab as a (fashion) manifesto about women’s empowerment.
Helga Judit Feith, Ágnes Lukács J., Edina Gradvohl, Rita Füzi, Sarolta Mészárosné Darvay, Ilona Bihariné Krekó and András Falus
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What keeps cultural studies in motion and, more difficult still, what hold them together? They are continuously animated through so-called ‚turns‘ that in regular intervals open up new perspectives and transform the leading issues and concepts. Such regular innovations are not only due to internal readjustments in terms of methodological changes but are also connected to cultural and social changes. In this way, cultural studies have become an integral part of the transformation of the world as we see and construct it. They are not only a lense through which we observe the transformation of the world, but also a tool with which it is produced. In this active engagement and entanglement with the real world, cultural studies have lost a sense of their professional boundaries. They are constantly extending their realm of research, incorporating avidly new territory. To the extent that cultural studies have embraced the project of cultural self-thematization and self-transformation, they have become as fluid and volatile as culture itself.
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of a more general process of ethnoreligious innovation within the European Gypsy Pentecostalism as such. In this context, also refer the article of Manuela Cantón-Delgado (2017 , 87) and her interpretation of Gypsy leadership and new forms of internal cohesion within the Evangelical Church of Philadelphia in Spain as “innovation”.
Social Theory Inspirations
The Norwegian ethnographer Thomas Hylland Eriksen pointed out in his famous work Ethnicity versus Nationalism (1991) that ethnicity refers to the social reproduction of basic classificatory