Két perspektíva, egy „utazás”
Huhák Heléna – Szécsényi András (szerk.): Lágerutazás. Holländer Margit feljegyzései a vészkorszakról és az újrakezdésről (1945–1946).Jaffa Kiadó, Budapest, 2017. 204 oldal.
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Huhák Heléna – Szécsényi András (szerk.): Lágerutazás. Holländer Margit feljegyzései a vészkorszakról és az újrakezdésről (1945–1946).Jaffa Kiadó, Budapest, 2017. 204 oldal.
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Oghuznamas are the works of wise men with white beard describing the historical, religious and socio-cultural backgrounds of the Oghuz tribes. These epics, which are perceived as a core in the mythological period, reflect the characteristics of the periods in which they were both oral and written. Events by Oguz Khan and his Alps bear the traces pre-Islam and post-Islam. This study is about the distribution of orun (place) and share (ülüş) included in the Oguznamas using the Document (Content) Analysis method. The knowledge has been provided about the origin and meaning of the words Orun and Ülüş. Aforementioned words in Turkish states and communities were also traced. It was understood that in the most general sense, Orun expressed the "place", but also had the meanings of "rank and position. The Researchers who studied on the subject of orun stated that the division made by legendary or historical rulers became a law. While Ülüş is defined as “share and lot, it is observed in the Turkish states that the ülüş was given according to the orun. It is obvious that in Oghuznama, defined as the great epic or circular epic, there is position and share without mentioning the name of orun. It was understood that orun and orunnama were used in the Şecere-i Terâkime, Andalip Oghuznama and Dânâ Ata Oghuznama.. The concept of ülüş was appointed by the Vizier Irkıl Hodja during the period of Kun Khan in the Oghuznama of Residuddin. Onguns were also created by him in this period. The first division was made by Prophet Noah in the Reşideddin Oghuznama in which the effect of Islam could be seen. Thus, the legendary or historical ruler is replaced by a prophet. In the works of the Mongolian circle written under the influence of Oguznamas, sharing and position were seen, but both words were not recorded. Ülüş is divided according to the orun among the Turks. The distribution of orun and ülüş changed in the course of time according to the status.
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The holiness of water has been a source of many legend in Anatolian folk culture. The cultural characteristics of nations are hidden in legends. Legends coming first among the kinds where the folk belief and folk religion are reflected, are literary creations which enables transfering culture among generations, relates past and today, contributes cultural structures to be understood. Legends are considerably important documents for; defining societies main components, traditions, believes, fears, hopes, desperations; inspecting the basis of folk culture. In legends, it is also known that there are various extraordinary beings. In oral culture products; there are legends that are formed around beings such as gin, soul, fairy, nightmare, giant, jaundice, karaura and albasta. The legends about genus are frequently seen in oral culture products. In this study the relationship between the genie and the water culture based on the three legends obtained from the interviews with the source people is emphasized and is aimed to explore and interpret the individual perceptions or perspectives on the subject by considering how they set \ fictionalised, formed the relationship between gin and water in their social worlds. The data of the study were collected by qualitative research method. The pattern of the study was organized in the form of a phenomenon. Data analysis is done by content analysis technique.
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The paper includes about thirty field notes of etiological traditions collected in the area of Posušje. Notes were taken during the period from 2010 to 2012 and at the beginning of 2019. The traditions are classifi ed into: prehistoric gomile, gradine and medieval tomb-stones; old cemeteries and graves; names of populated places; sources and wells and other etiological traditions. The recorded traditions are mostly based on a historical level and stories from life. The most prevalent are the traditions of water sources. The originally recorded traditions refl ect the way of thinking, life and culture of the Posušje community. Etiological traditions of there searched area are mostly present in oral form. Therefore, the recorded notes represent a contribution to the intangible heritage of Posušje region, which is an integral part of the Croatian intangible cultural heritage.
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The article examines social modernization in the Bulgarian village in the first half of the 20th century and particularly the place of the periodicals as a factor for cultural influences. The focus of the study is put on young women’s generation, who improved their educational status and became agents of the social change from towns to villages. The individual perception of the housewives’ (women) press in the 1930s-1970s is based on private archives and interviews, and is done by means of historical reconstruction and social anthropology.
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Ewa Czerwiakowska, „Represje i wyzysk – przeżyć i opowiedzieć” – dokumentacja pracy przymusowej i doświadczenia ofiar
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In this paper I will present the Romanian-Turkish relations from the perspective of my family. My father’s uncle, İsmail Ali Sabri, was among the first Muslim Turkish soldiers who attended the military school in order to join the Romanian army and this was possible by the decision of the Royal Family. After the emigration to Turkey we still had relatives that remained in Romania. I also used their testimonials in presenting the Romanian-Turkish relations.
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This article is based on the documentation of two August trials (procesy sierpniowe) and oral history from the Pińczów area collected by Professor Dionizjusz Czubala’s team. It reconstructs the reality of the Jews’ hiding in the forests of Mierzwin municipality in Jędrzejów county. The key event in that fight for survival was the manhunt conducted in the winter of 1943, organized by inhabitants of the village of Bełk without any participation of the Germans. It resulted from a misunderstanding regarding the system of control imposed by the occupier and connected with the category of hostages-pledgees-decurions.
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The byzantine eastern chant as well as the hymnographic literary genre ensemble are closely associated with the Christian liturgy and the ritual of religious service as an act of celebration with a melodic-poetic form of expression, which should evoke the religious impression of a worshipper’s relation to the celebration and worship of God when celebrating or worshipping their religion. Liturgically they are expressed through the established typological forms of the Orthodox Christian octoechos, canonically standardized in Byzantium as early as the VIII century and reformed into a musical-technical and notational form in the XIV century by Joan Kukuzel and his followers. Specific research displays the reception of the main Byzantine hymnographers, who have made significant editorial contributions to some of the liturgical books. In the medieval Macedonian music and literary tradition there was an intense reception of the works of the Byzantine hymnographers through the Slavic translations, transcriptions and creative compilations in the so-called original Slavic hymnographic compositions. More precise structural research has shown that even the Slavic translations of the Byzantine hymnography reflected particular authorization of the Byzantine form, as the translator was unable to fully adapt the original identical versification or the music (the melody) from the original into its translation, and sometimes there was a disruption of the original acrostic in the canonical songs. However, the so-called original hymnographic works, intended to eulogize and celebrate, from a textual and structural perspective were composed only in support of the Byzantine creative cliché, and they were supposed to reflect the general Christian theological views and cult impressions.
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In 1985 at the 16 th International Congress of Historical Sciences in Stuttgart, Germany, historians debated the idea of human behaviour and anthropology, as parts of researching history of mentalities. Both history of gesture and orality belong to the history of mentalities, while analysing the juridical procedure of former centuries can change the contemporary perception about the medieval justice. A large number of Transylvanian documents from the 14th -15th centuries refer to the borders of communities or estates, containing elements of a ritual composed of gestures and words. The memory of such rituals was written down in documents highlighting the value of the oral oath associated both with the ritual performed between neighbours, and with the individuals taking the respective oath.
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The paper offers a chance to interpret and use the words of mouth as sources of knowledge in the context of (local) history. All three, or rather four thematic groups of the words of mouth are thereby presented, showing – on actual examples – what they can tell about the locality they come from, and what their importance for the narrators is. The narrators often treat them as legitimate sources of the knowledge of the history of localities, which they indeed frequently either are or become. Concentrating on individuals and their comprehension of the world around them, primarily gained through oral literature, and owing to the use of a different – folklore methodology, this type of study belongs to the new history as an autonomous stream of historical science (Bertoša, 2002). The paper is oriented towards an interdisciplinary research of oral literature and history in the area of North Moslavina, based on the autonomous study of oral literature.
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Among the ballad-songs of the myth cycle devoted to the Goddess of hunting Dali, the “White Mangur” is distinct for thematic novelty and archaism, high artistry and complicated religious practices. It has established its unique place among Georgian as well as mythological characters in general. The White Mangur is the most outstanding monument of the Georgian hunting epic. An in-depth penetration into its complex thematic world implies an appropriate scientific-based comprehension not only of the Svan, but also the entire Georgian oral tradition, beliefs and practices, its relationship to other monuments. In order to establish specific features of the monument under discussion, it is necessary to take into consideration the entire material of the Dali cycle, both poetic and prosaic which is preserved with all its archaic diversity and artistic power only in the Svan folklore. In the first place we should determine its relation to other ballads: Betkil, The Hunter Chorla, Kala, etc. The content of a given ballad makes ponder continuously, especially the introduction, which is completely devoted to the demonstration of Mangur’s personal dignity. It should be noted in advance that White Mangur is a qualitatively new folk hero of not only Georgian hunting epic, but mythology as a whole. Similar versatility is not observed in the deeds of any of the mythological characters; he is a hero of universal content. The introduction itself raises many questions. It has no analogue in the myths of the Dali cycle. “White Mangur renowned in Svanetia, White Mangur! Your style of life was good for you: you used to winnow your grain in Tsvirmi; you had a drying-room for grain in Ipari; a threshing-floor in Kala you had, so it seems. Your ploughing lands are in Lakhamuli, the meadows in Shkhara are yours. The devs visit you to rake with their rakes, Dalis help to reap… Your marani is full of kvevris; it is filled with Imeretian wine.
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Adolf Schullerus (1864–1928), einer der bedeutendsten sächsischen Gelehrten – Professor, Pfarrer, Lexikograf, Ethnologe und erfolgreicher Politiker – hat sich nicht nur mit der Volkskunde seiner ethnischen Gruppe befasst, sondern auch mit der der Völkerschaften, mit denen die Sachsen zusammenlebten.Gegen Ende seiner Karriere, zum Zeitpunkt als er Senator im rumänischen Parlament war (1919–1926), hat sich Schullerus der Erfassung und Klassifizierung der rumänischen Volksmärchen aus dem gesamten Gebiet Großrumäniens gewidmet, wobei er das vom finnischen Ethnologen Antti Aarne erarbeitete System anwandte (Aarnes Werk war 1910 in Helsinki erschienen). Schullerus Werk erschien erst 1928, nach dem Tod des Verfassers, in Helsinki, unter der Nummer 78 der bekannten Reihe FF Communications, die die Finnische Akademie herausgab, und trägt den Titel „Verzeichnis der rumänischen Märchen und Märchenvarianten. Nach dem System der Märchentypen Antti Aarnes, zusammengestellt von Adolf Schullerus“. Etwa die Hälfte der untersuchten rumänischen Märchen und Märchenvarianten ließen sich den Kategorien des finnischen Systems nicht einordnen, eine Tatsache, die auf den Reichtum und die Vielfalt dieses Genres bei den Rumänen zurückzuführen ist. Aarnes Methode und demnach auch Schullerus´ Werk fanden sowohl Anerkennung bei der Fachwelt, sind jedoch auch wiederholt kritisiert worden. Im Laufe der Zeit mehrfach verbessert, hat die Methode bis zum heutigen Tage überlebt, während das Verzeichnis des Siebenbürgers ein interessantes bibliophiles Werk bleibt. 2006, 78 Jahre nach der Erstausgabe des „Verzeichnisses“, hat I. Oprişan eine rumänische Übersetzung herausgegeben und im Anhang kritische Beiträge der bedeutenden rumänischen Forscher Corneliu Bărbulescu, I. C. Chiţimia und Ovidiu Papadima abgedruckt. Dank dieser Initiative wird Schullerus’ mit viel Mühe verfasstes Werk nicht nur gewürdigt, sondern auch den rumänischen Ethnologen zugänglich gemacht.
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Review of: Miroslav Vaněk, Pavel Mücke: Velvet Revolutions. An Oral History of Czech Society. (Oxford Oral History Series.) Oxford University Press. New York 2016. 264 S., Ill. ISBN 978-0-19-934272-3. (₤ 22,99.). Reviewed by Ina Alber-Armenat.
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Review of: Sofia Tchouikina - Дональд Рейли. Советские бэйби-бумеры. Послевоенное поколение рассказывает о себе и о своей стране. Перевод с английского Тамары Эйдельман. М.: Новое литературное обозрение, 2015. 544 c. ISBN 978-5-4448-0271-7.
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In recent years, more and more social media (Facebook) groups have been created dealing with memories of the Holocaust in Hungary. In this article, I analyze and compare two groups, “The Holocaust and My Family” and “The Descendants of the Victims and Survivors of the Holocaust” in the framework of my research project on the concept of digital trauma processing, entitled “Trauma Studies in the Digital Age: The Impact of Social Media on Trauma Processing in Life Narratives and Trauma Literature: the Case of Hungary.” I show how the concept of trauma and trauma processing itself are changing in the digital age as a consequence of the element of sharing (in posts and comments in digital media) gains more importance and thus counteracts the element of silence, which was considered the most important element of trauma on several levels. How does digital sharing of memories of traumas help unblock previously blocked avenues to the past, and how does it contribute to the processing of collective historical traumas and consequently to the mobilization of memories, modernization, and the transformation of identities? I examine how the given characteristics of the different types of Facebook groups, public or closed, influence the ways in which people communicate about a collective historical trauma. I touch upon the issue of research ethics in connection with the handling of sensitive data in social media research. I examine the book The Holocaust and My Family, a collection of posts from the group, and analyze as a case study a post and the related comments, in which a descendant of a perpetrator comes out in the group.
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Review of: Entangled Protest. Transnational Approaches to the History of Dissent in Eastern Europe and the Soviet Union. Hrsg. von Robert Brier . (Einzelveröffentlichungen des Deutschen Historischen Instituts Warschau, Bd. 31.) fibre. Osnabrück 2013. 262 S. ISBN 978-3- 938400-96-8 (€ 39,80.). Reviewed by Gregor Feindt.
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Gjergj Elez Alia's song is one of the most popular songs of Albanian folklore, both in terms of the artistic values of the song, the motive of love of brother and sister, and vice versa, but also of the conflict with the 'foreigner' in defense of honor, which appears as a message of this oral creation so appropriate to the Albanian mentality. What makes special this folk song is the narrative presentation of the situation, the presentation of the characters and the connection between them. The song carries epic, lyrical, and dramatic elements and has a blurred and legendarized historical basis, with the participation of the mythological element. This song is considered as a legendary heroic epic, which has similarities with the heroic songs due to the epic heroic spirit, the ideals of the heroes and the theme of the song, which is the fight / conflict with the 'other / foreigner' in defense of honor and of his own lands. In this paper, in addition to deconstructing the concept of 'other / foreigner' in this oral creation, a comparative analysis has been made between the most ancient version of this creation in Albanian oral creativity, with oral creations with the same motif, present also in folklore of other people of the Balkans.
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