• Korean journal of applied entomology
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• v.59 no.4
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• pp.371-382
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• 2020

The A, C, F colonies of Apis mellifera ligustica Spin. and D, V colony of Apis mellifera caucasia Gorb. bees were collected from 2005-2007. Consequently, inbred lines were derived from the bees of original colonies by matting in the isolated island with due regard for pure breeding. This project helps in the selection of colonies with higher production capacity, aiming to improve honey and royal jelly production and breeding programs. Twenty-three standard morphological traits of honeybee were evaluated, and samples were compared with the data of the two original subspecies. The result suggested that 8 traits partly preserved in bees of inbred lines, and the bees from A. m. ligustica preserved more traits than bees from A. m. caucasia. Among the studied inbred lines, the F line is distinguished by an increase in leg parameters, considered as a favorable phenotypic trait of inbred lines. Importantly, bred of beelines in the same area can be classified as remote and isolated areas. Therefore, we observed differences of inbred lines with the origin subspecies in description acquired with morphometric characteristics as a result of adaptation, breeding, purebred individual lines used as an important resource for breeding novel cross-breeding colonies.

• Cross-Cultural Studies
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• v.29
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• pp.257-285
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• 2012

The theme of Caucasus in Russian literature stemmed from A. Pushkin's The Prisoner of the Caucasus (1820) became expended when it reached to writer Bestuzhev-Marlinsky. The writer's magnum opus, Allamat-Bek (1832), was based on a real historical event. Being proponent to the side of Russian ideology, this work strongly presents that the primary task the Russian Imperialist government paused in this region at the time was civilization of the Caucasus through diplomatic and humanistic ways. There are three main protagonists in this work, but Berkhovsky and Sultan Akhmet-Khan are the characters who stand for the contradictory views toward the "war between Russia- Caucasus." While the former, Berkhovsky, thinks that the conflict between the two parties might be solved by means of communication and cooperation, the latter, on the other hand, is opposed to any of peaceful completion of this war. Allamat-Bek, the main hero of this work, however, passes away, going back and forth between loyalty and renegation. The author goes on to describe that Berkhovsky considers the Caucasus as Eden, the land of fruits, unlike Russia which appears as the land of labor. Yet, for Berkhovsky the Caucasus is presented as the land which needs enlightenment. This is the transformation of the so-called typical Western Orientalism. Bestuzhev-Marlinsky does not take side of either evil or good between the Russian Orthodoxy and the Islam, that is the conflict between the two opponent parties. The writer, instead, argues that this is just difference between the familiar and the strange, that is, the svoi and the chuzhoi. What is the very picture the writer wants to show the reader, then, is that it is petty and sad to see the unavoidable violent progress which happened and experienced by the indigenous people during the civilization of the Caucasus by the Russian Imperialist government.

• Acta Via Serica
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• v.8 no.1
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• pp.1-30
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• 2023

Traditional Kurdish weavings are among the world's most ancient living textile traditions. One of the largest regional ethnic and linguistic groups, Kurds have inhabited a significant part of Western Asia for millennia. Historically, Kurdish territories were crisscrossed by old and important trade routes, including the Silk Roads. This led to the formation of some of the most significant Kurdish artistic and cultural traditions, including textiles, which influenced and were influenced by those of other non-Kurdish ethnic groups from Caucasia to Central Asia and beyond. One example of Kurdish carpet traditions born in the eighteenth century at the cross-sections of Safavid (1501-1736) urban carpets workshops and centuries-old indigenous Kurdish tribal/rural weaves is senneh gelim or sojaee. A finely flatwoven carpet that was exchanged regionally and internationally as a diplomatic gift and a highly prized commodity. Although in decline, senneh gelims continue to be made by Kurdish women weavers in their original birthplace Sanandaj, the provincial capital of Iranian Kurdistan to date. This study adopts an inter-disciplinary approach to present an image of senneh gelim and women gelim weavers, tracing the developmental trajectories of the craft from the eighteenth century to the present time by drawing on extant art-historical and social scientific studies along with primary ethnographic data collected in Iranian Kurdistan (2018-2019). It investigates the craft tradition's historical origin, various aspects such as techniques, materials, aesthetics, functions, and meanings, and how these transformed over time. Additionally, the paper looks at the social contexts of production, focusing on women carpet weavers and how their socioeconomic and cultural situation has formed senneh carpet production in the past and present and the implications for long-term preservation.