Polskie kolędy – ich historia, rozwój i znaczenie w kulturze narodowej. Studium na wybranych przykładach z różnych okresów historycznych

Author(s): Agnieszka Katarzyńska / Language(s): Polish Issue: 4/2017

The paper on carol in Polish culture is an attempt at a brief analysis of the influence of these particular cultural products on the development of the customs associated with Christmas celebrations and the building of national culture. Carol as a musical religious piece shows the penetration of religion and art. In addition, it is often associated with folk art, close to man. It also highlights its unique dimension of unity—in the family and in the national community.In Poland, especially folk culture, it was shaped primarily by Christian religiosity, and its influence on the development of identity and national identity is very significant. In addition, the opposite was shown—how the specific political and historical situation of Poland influenced the new Christmas carols created in specific periods and at the same time reflected in them. Only selected examples of carols were presented in the paper, which illustrate the interpenetration of religion and culture and also highlight the formation of attitude of patriotism by carol.

Likovni umjetnički doživljaj slijepe osobe

Author(s): Dunja Pivac,Tina Runjić,Ante Bilić-Prcić / Language(s): English Issue: Supp./2017

In the art educational process, we have met a blind student. That encouraged us to try to investigate how a blind person experiences a pictorial work of art. The framework of the research covered an examination of experiencing a pictorial work of art (its duration, intensity and individual art expression) for a congenitally blind person by applying an educational approach that was designed to enhance her experience of art work. The subject, the only blind student in the regular third grade gymnasium curriculum of visual art, participated in the research. The measuring tool consisted of five selected and adapted paintings of V. van Gogh, and changes in the time needed for tactile art experience were measured as well as art expression and tactile self assessment, in which the subject determined the intensity of experiencing the selected art work during multiple experiencing. The analysis of quantitative changes was carried out using the statistical method of individual differences. The results of the research have shown that the application of the abovementioned approach influenced the time of experience and art expression of the experienced work of art for the subject. The significance of previous experience was confirmed, based on knowing and recognising the content of the adapted tactile picture. Therefore, after multiple experiences, the time needed for the perception and art expression of experienced content became shorter. However, at the same time, the intensity of the selected works of art remained mainly unchanged. The remarkable intrinsic motivation of the subject was noticeable, leading to positive transfer towards the art educator. That certainly had a positive impact on the experience of pictorial works of art.

Gücün Edimselleştiği An: Tüm Yargıların Ötesinde Kıyametin Olumlanması

Author(s): Çağdaş Emrah Çağlıyan / Language(s): Turkish Issue: 2/2016

Tendency of percepting the universe brought by our age has an anthropocentric character and creates a dogma towards individual freedom. Although people with this faith see themselves dominant on all of their activities and influences, what they find out is a system, which totally captures their freedom and they are not capable of changing it. Since they lack of codes determining how they would act against this situation, they are dragged by their emotions and ambitions, and finally embed in a captivity they presume freedom. Against this perception, there is a holistic comprehension of the World, that claims all of the incidents and phenomena become fact by natural or divine determination. Spinoza’s doctrine that hypostatizes only one substance is an important example that expresses this perception. If we affirm the existence of God or Nature as the only one substance, the perception of the human remain incapable to interpret the universe and all of the moral judgements become invalid. The events and the phenomena condemned with injustice and evilness constitute a web of obligations from the height of God; the one entity itself is composed of the interactions of power. In this direction, the ethic doctrine of Spinoza is based upon the concept of power. At the case, all of the creations are dependent on the natural determination, everyone act according to their power and deserve everything their power reach. Humans attain actual freedom, only if they comprehend the web of obligation they are in and find the codes for their actions. One of the movie examples manifests most effectively this ethic doctrine based upon the power and the right arose from the obligation is Apocalypse Now (F.F. Coppola, 1979). This un-anthropocentric doctrine is uttered by the protagonists in godlike positions. In this direction, aforesaid film is subjected to character-based text analysis and the way of concretising of a philosopical doctrine in cinema is examined.

Varoluşsal Bir Yolculuk: Bir Zamanlar Anadolu’da

Author(s): Tezcan Kaplan / Language(s): Turkish Issue: 2/2016

Philosophy of existence, which opposed to accept of the tradition of Western philosophy canonized and instrumentalized mind, is trend that bring man of irrational quality. Philosophy of existence, with this quality and opposite to as a result of reasoning reached truth, points blind area which is short of reasoning. In this area, man and life obtain new qualities at existence of uncertain side that deprive of certain essence, which become functional as inclusive all consept. This kind of view privatived certain essence about man and life not only at field of philosophy but also at field of cinema indicates reflections. At Turkish cinema, Nuri Bilge Ceylan is one of directors who produce competent examples in this view. His film Once Upon a Time in Anatolia which is chosen for this paper come to fore as convenient example showed themes of existentialism. In this paper, contrast to release detailed information about existentialism at a different title, trace existentialist themes at each sequence fall with stroll through the film. In this way, the film comes in possession of an activity which reproduce on the back of existentialist screen.

Zeki Demirkubuz Sineması’nda Varoluşçuluk İzleri. Karanlık Üzerine Öyküler Üçlemesi

Author(s): Sedef Subölen,Ömer Lütfi Günay / Language(s): Turkish Issue: 2/2016

Existentialism is the sensitiveness of self-creation of the person who has the ability to think ahead. Like in every thought system, a massive true-life experience is also a matter in the basis of existentialism. Chaotic order in the first half of the 20th century, which passed with wars, caused the individual to think different from other people in the society. They face with the most serious depression, economic crisis and future anxiety. Not only does it affect daily life but also it corresponds to the art, especially philosophy, literature and cinema. Assuming existence is considered as separation from general acceptance and social tradition it can be said that existentialist cinema grounds on life experience and is far away from mainstream cinema. Zeki Demirkubuz who is an auteur director in Turkish cinema in recent years is one of the names transferring the experiences of his youth to his art. In his cinema, the individual who is separated from social value and acceptance is looking for her or his selfhood. This study will analyse Demirkurbuz’s trilogy ‘’Karanlık Üzerine Öyküler’’ consisting of movies; Yazgı, İtiraf and Bekleme Odası with the method of discourse analysis. Intersection points of existential thought and director’s movie will be evaluated in this research.

Sinema ve Gerçeklik - Roy Armes

Author(s): İclal Can / Language(s): Turkish Issue: 2/2016

Sinema ve Gerçeklik / Tarihsel Bir İnceleme Yazar: Roy Armes Kitabın Özgün Adı: Film and Reality / An Historical Survey Çev. Zeynep Özen Barkot Doruk Yayımcılık, İstanbul 2011 (1. Baskı), 273 s. ISBN: 978-975-553-541-8

Sinemaya Sanat Ontolojisinden Bakmak

Author(s): Sarper Bütev / Language(s): Turkish Issue: 1/2016

In this paper, as a beginning, it has been set the frame of the ontology of art and then certain evaluations on the ontology of cinema have been made regarding the ideas of cinema which has been proposed by the certain theorists studied on cinema. The differentiating feature of cinematographic image is that its image structure is based on animated images. The movement capacity of images is not just a technical advance. This advance also induced to research on human beings’ spiritual lives by means of new possibilities deriving from the movement capacity of images and hereby, it has been possible to comprehend the new dimensions of human existence by cinema. Therefore, in this article, it has been aimed to enlighten the ontological possibility of such an art.

Varlığın İçkinliğinden Türeyen Hayat Fikri

Author(s): Serdar Gezer / Language(s): Turkish Issue: 1/2016

After 2000 Turkish Cinema is marked by feelings of sorrow and grief that derive from the idea of transcendent being. In the films of Nuri Bilge Ceylan and Zeki Demirkubuz, the pioneers of this kind of cinema, the sorrows of death and seperation contaminate the characters and the audience. In contrast, the cinema of Abbas Kiarostami, who has been an influential figure for both Ceylan and Demirkubuz, is characterized by the joy which is a direct result of the idea of an immanent life. This article investigates the reasons for this aspect of Kiarostami’s cinema on the basis of the immanent metaphysics of Spinoza, and tries to understand how his cinema is able to differentiate itself in comparison to those of Ceylan and Demirkubuz. Qualitative textual analysis method is used in this article. As an outcome of this research it is reached that rather than to criticise the dominant ideological discourse about the perception of life and death in society, the cinemas of Demirkubuz and Ceylan reproduce aforementioned discourse.

İşçi Sınıfı Cennete Gider Filminde Çalışma İdeolojisinin Eleştirisi Olarak ‘Yabancılaşma’ Ve ‘Şeyleşmenin’ Temsili

Author(s): Nilay Erbalaban Gürbüz / Language(s): Turkish Issue: 1/2016

Work activities in modern civilization has become an ideological world view. Work activities pervades everyday life as economic, moral and philosophical. Unemployed and those who reject the values of the market economy has been excluded from everyday life and marginalized. All modern political forms have been praised to work and productivity. However, in society based on market economy work activities have been alienated and reified. Effort/labour which is a quality of human life and maintainer of his life has undergone a transformation. Human who has been transformed into production vehicle has lost the meaning of work. They have been forced their presence and action by economic usefulness under siege of working ideology. Therefore, today's working life began to hurt mental and physical integrity of people. However, there hasn’t been a research about working ideology at cinema international nor the local so far. To reveal the reflections of the studies in philosophy and sociology about this issue on cinema will be a prelude to the creation of a new literature. This article will examine Working Class Goes to Heaven using alienation and reification in working ideology. Therefore, it is made a theoretical description of the work ideology primarily. Then alienation and reification that we will use when analyzing our movie reviews are examined. The last part of the article consists of a critical analysis of a sample movie using the name of the concept.

Mecenat muzyczny Habsburgów na jezuickim Śląsku

Author(s): Tomasz Jeż / Language(s): Polish Issue: 13/2017

In the process of dissemination in Europe of the new, early-seventeenth-century Italianate style in music, an important role was played by the House of Habsburg. Its historic and cultural significance was increased by close contacts of the members of this family, ruling in many lands on our continent, with the Society of Jesus, one of the most important religious circles in this period. Long-term relationships between the secular authorities and the spiritual elites of the post-Tridentine era created a kind of social symbiosis of the highest importance for a proper understanding of the early modern culture.This phenomenon can easily be observed in areas of confessional and political confrontation, such as Silesia, which was the subject of both secular and religious reconquest. One of the weapons in this cultural war was the music performed by the students of the Jesuit boarding schools in this region and financed by the foundations established by the Habsburgs: by the successive emperors and their children, who played important political functions in the area. Both sides of this relationship regarded music as a language of social representation and a medium for the reconstructed identity of the local communities on various levels: parishes, cities, duchies, countries, the Empire and the university.The repeated efforts at music patronage, stimulated by the House of Habsburg and undertaken in the Jesuit circles, were not limited to their residences and churches. The new soundscape of this culture quickly gained dominance in the city councils, schools, streets and squares. The music performed in this context was to be first of all very pragmatic and answer the current needs, which was not favourable to its later preservation. Aware of the musical taste of Habsburg family members, one should not, however, underestimate its artistic value. The archival records that correspond to the preserved music sources from this environment seem to confirm the above claims.to its later preservation. Aware of the musical taste of Habsburg family members, one should not,

Obrzędy, zwyczaje i śpiewy wielkanocne w życiu i pobożności ludowej mieszkańców Podkarpacia

Author(s): Kinga Strycharz-Bogacz / Language(s): Polish Issue: 13/2017

The aim of the article is to present Easter rituals, customs and singing in life and piety of the people of the Podkarpacie region. The essence of Easter being experienced in spring are two inseparable elements: the revival of human life through the sacrifice of Christ and the rebirth of nature after the winter sleep. Their culture-creative meaning has a practical dimension in the rich Easter rituals and associated singing. The Resurrection Mass through performing various Easter songs is a manifestation of faith in salvation of our souls. It also provides opportunity for cheers through fireworks, drum plays, orchestra plays, and loud bells, which signify the triumph of Christ over Satan. Easter songs accompany the Easter custom of visiting homes with spring Gaik and greetings. The Śmigus-Dyngus secular custom shows a reference to sacrum because by the symbols of water that helps in rebirth of life in spring, it refers to the Sacrament of Baptism. The custom’s text layer is based on the passion bible content and the music layer uses the themes of Easter songs. Other Easter customs in the Podkarpacie region (Krzyżaki, Meus) and religious activities during Dni Krzyżowe are also accompanied by Easter songs, their contrafacta, songs about the cross and songs for the ordinary time.

Tropowane ordinarium missae w rękopiśmiennym graduale paulińskim ms. R659/III-913

Author(s): Piotr Wiśniewski / Language(s): Polish Issue: 13/2017

Gregorian chant, formed in the 8th century, soon became inadequate for the needs of the liturgy of that time. When Gregorian chant was introduced into the Kingdom of the Franks, the local clergymen, accustomed to more sophisticated chants, considered it little useful. However, due to the administrative decisions which had been taken, the Roman ritual could not be abandoned. Roman chants, being too general, made the churchmen unwilling to adapt the new rites. Therefore, they were the first to add to the adopted chants the embellishments called tropes. They were very popular from the very beginning. They were used in the liturgy until the Council of Trent which ordered to remove them completely from the liturgy. Some of these additions were preserved in numerous manuscripts, for example, in the Pauline gradual from the end of the 16th century. The aim of this article is to extract these tropes, analyse their text and music and indicate their possible origins. It has been proved that they derive from the distribution of Gregorian melismas (Kyrie), from copying (Gloria) or from paraphrasing the melody of the main text (Sanctus). They neither introduce new musical elements nor depart from the style of Gregorian chants. They are adjusted to the context in which they appear. They were adopted from other earlier liturgical music codexes.

Konferencja Europa Środkowa – podobieństwa, różnice, perspektywy, Poznań 9 maja 2014 roku

Author(s): Jakub Wojtczak / Language(s): Polish Issue: 1/2014

Czwarta Międzynarodowa Konferencja Młodych Slawistów, Budapeszt 25 kwietnia 2014 roku

Author(s): Jakub Wojtczak,Robert T. Tomczak / Language(s): Polish Issue: 1/2014

Żeby ośmielić się tworzyć trzeba mieć odwagę myślenia. Czyli ikonografia prof. Jerzego Nowosielskiego jako wyraz świadomości religijnej

Author(s): Tomasz Tarasiuk / Language(s): Polish Issue: 19/2017

This paper synthesizes the content that accurately and clearly reveals the essence of the sacred image commonly known as an icon. Professor Nowosielski has translated this content - that stems directly from the Tradition of the Orthodox Church and vivid religious experience - into contemporary, comprehensible language. This text shows that the novelty in the iconographic art is not merely a result of contemplation and a creatively justified artistic vision, a matter of allegiance or craft, but it is solely a combination of religious enlightenment and artistic inspiration. It proves that the canon in the icon is not understood as an external framework but as the core through which the icon exists as a work of art - the text of the Church’s faith shown on the soil of personal mystical experience and iconographer talent.

A SEMIOTIC-AESTHETIC APPROACH TO THE ANALYSIS OF THE PRACTICE OF VERNACULAR ARCHITECTURE IN HUNGARY

Author(s): Imre Gráfik / Language(s): English Issue: 2/2014

The spatial frame of the investigation is the Carpathian Basin and especially its Great Plain areas inhabited by Hungarian-speaking people; and the period it covers, which can be documented with buildings, is the 150–200 years from the second half of the 18th century to the first half of the 20th century. Examining all the elements of form which played a role in shaping the architectural image of the market town, it can be found that some of them are only barely, while others are very definitely expressions of the semiosis of market town architecture. The criteria of form are suitable for the simultaneous realisation of the following triadic relations: 1) the architectural functions archived through the technical-technological and structural solutions of building practice; 2) meanings related to the communicative nature of architecture; 3) representation of the architectural solutions of aesthetic content accepted by the taste of the community, artistic aesthetics (of architecture). As a final conclusion it can thus be said that a relative and absolute horizontal and vertical dynamics – realised with architectural signs and visually codable – operate in shaping the architectural image of the market town.

Естетико-психологічна природа художнього образу

Author(s): Iryna Vernudina / Language(s): Ukrainian Issue: 1/2013

The article reviewed and analyzed the most important components of creating an artistic image of the art in terms of aesthetics and psychology. The study of the conceptual problems of artist and art that emerged in the Ukrainian humanistics on the verge of the 19th and the 20th centuries should be conducted in the domain of philosophical, aesthetic and psychological paradigm. As one of the most important issues of spiritual and cultural life of the person and of all humanity, it is embedded in the context of the evolution of European and global aesthetic thought, marked by the urgent needs of (necessities) of the time. With the change and diversification of artistic ways of understanding of the world the role of the artist in the process of creation is not only growing, but eventually it has acquired paramount, deep-sense, universal values. As a result of this, the creativity becomes the anthem of individual world perseption, the development of personal features and the inner potential of the creation of subject. Thus the essence of the creative process lies not in the the source material used by the author for his work but in the way he interprets which emotions and feelings it evokes later in the perceiving soul. The unique process of creating an artistic image represents a powerful implementation of creativity, his own "ego" of the artist and at the same time – the creation of personal and sensual world of art. It is an artistic image, its megaessence that displays the perception form of reality and the specific artist’s refraction.The unique artistic personality itself becomes the "building blocks" of the image. If the art image were originally clear and transparent, so that it could be easily verbalized or fully translated into the language of logic, science could replace art. "If the scientific and logical thinking is clear and unambiguous, the figurative thought is always ambiguous". If an artistic image were that way, it would be impossible to characterize it by means of words than neither literature or art criticism would exist. However, "if psychology could reveal exactly causal relationships in a work of art and the artistic creativity – noted K.-G. Jung – then all art criticism would completely lose independence, and it had to incorporated into psychology as an ordinary subdivision". An artistic image appears in two dimensions of its existence: on one hand, the "independent objective reality" that exists "regardless of its creator and the subject that has inspired it," and on the other hand this is the "work of the human spirit, an expression a particular individual "ego". The first aspect , as it has been rightly stated by I. Manoha, is pertinent to the major part of art criticism and its various applied branches, the second is pertinent to the field of "philosophical and psychological understanding of the nature of human existence", forms and methods of "self-expression of the individual" ego "of human nature as a whole". According to the psychologist, an artistic image, directly or indirectly affects artistic influences on the development of social and even historical processes". It is worth while mentioning that the famous Ukrainian filmmaker Yuri Illenko advocated the similar idea: "An artistic image, opposed to scientific conceptual categories, can capture and display the phenomenon as a whole". We believe that it is the process of creating an image that is the most mysterious and enigmantic one. Most artists can not explain either the rise of its stages or those special ideological plexus and combinations that eventually provide him with such "units" and not otherwise. Art in its aesthetic nature exists primarily in the form of perfectly constructed artistic image, which aims to discover the eternal truth of the natural and universal existential meaning. The aesthetic integrity of the image demonstrates the internal depth potential of the human soul, the search, the implementation and imagination of ideas about beauty, an eternal human desire for harmony and perfection, this an aesthetic ideal. An aesthetic and artistic ideal of the artist " can have different levels of implementation: from a fragmented coverage of an ideal image of unity to the elegant aesthetic one, from the hidden content potentially available sense to explicitly pronounced, contemporary aesthetic sounding , from the superficial , really substantial statement of the identified components of the image to the revealing contents of the deep substantiality of the image, from ascertaining forms to the aesthetic ideal of "symphonic sound" of his harmony. Today, alongside with poetic imagination as such is defined by the basis of the creative abilities of a recognized artist, a background creative act in art. The artistic essence is hardly possible without highly developed associative imagination . This imagination is the source and precondition of an artistic image. Such psychic phenomena as perception, understanding, intuition, emotions, feelings, memories, subconscious impulses work in tight cooperation with the artistic and creative imagination. Smooth operation with artistic images in the imagination of the artist allows him or her to "jump" over some incomprehensible stages of thinking to achieve the desired result. An artistic creation is the embodied dream of the creative personality, revealed by the means and methods of image making. Artistic images embody feelings, emotions, life observations and imagination and creative imagination combine images into one reality and art. Truthfulness and honesty are the main features of true art, because art is a specific human trait, the aesthetic and spiritual need of a human being. To create a truly new, conspicuous, unusually new a creator must suffer, live it through mentally and emotionally. In addition to this an artist should possess perfect professional skills, perfect execution of creative design techniques and artistic means. While exploring the characteristics of creating an image, may we emphasize the following : significant artistic images reflect certain needs, desires, expectations, internal conflicts of the author, as well as their transformation and processing in his imagination. Therefore the image, as a result, is created by the artist’s mind as well as his subconscious object upon which he projected his own feelings and emotions, affects and passions, intellectual and emotional experience, that is – which is a projection of the artist’s own inner world . These internal mental processes of "identification" and "transference" can be carried out both consciously and unconsciously for a creative person. In the first case, the object of identification serves as a prototype of the image, in the second one – appears an opportunity to manifest hidden needs and intentions of the author, with a significant difference from his real experiences. Thus, the process of art is both the embodiment of inner secret installations and experiences of the artist and by the creation, in fact, of an artistic image. In its turn, the artistic / poetic image as a result of creativity – this is an accomplished, the concrete sensual, generalized and individual experience permeated by his own aesthetic and artistic outlook. So the essence of the aesthetic image is directly related to the individual characteristics of the artist, his conscious and unconscious mental characteristics, the world of his values throughout the course of their difficulties and conflicts. The richness and composition of the work of art is also characterized by the creative capacities of the author. The specificity of the reality perception, unique properties of the subject of creation are responsible for making meaning of the image. The process of creating an artistic image is the act of deploying an individual, the desire to embody an aesthetic ideal, to "decode" the secrets of universal artistic culture of mankind. An artistic image is a bridge between the real world and its representation, an alive "cell" of art, its megaessence (D. Kucheryuk). An artistic image is the projection of the inner world of the author, the implementation of the creative "self-concept", a personalistic dimension of existence.

Актуальність народної творчості у сучасному міжкультурному просторі

Author(s): Yuliya Sugrobova / Language(s): Ukrainian Issue: 1/2014

The article is devoted to the problem of sociocultural transformation processes in Crimea. The current trends of sociocultural transformation are determined by the existence of two main macro ethnic groups which are Crimean Turkoman people and Crimean Slavs. The two groups considerably reflect the cultural peculiarities of the different types of civilization. With the shift of cultural and historic paradigm of the 20th and 21st centuries the significant changes in the directions and principles of the Crimean macro-ethnic groups development also occurred. The new stage is associated with the establishment of the global civilization. East and West as a double concept that expresses the cultural unity as well as its dichotomy has reshaped greatly. The article is devoted to the analysis of folk arts and crafts, which are not just a mechanism of succession, reproduction and translations of traditions, but also a mechanism of sociocultural relations functioning. It is realized in different forms of sociocultural communication, integration, socialization, sociocultural activity, cooperation of individuals and groups. Was conducted a sociological research between Turk and Slavic respondents (universities students) concerning the estimation of folk arts and crafts in modern culture. The answers in-between the representatives of these two macroethnic groups differ greatly. 98 % Turk respondents confirm the positive value of folk arts and crafts in modern terms and dust 0, 2 % ofthem confirm negative estimation. Representatives of Slavic macro-ethnic group have shown 64 % of positive answers and 35 % of them confirm negative estimation of folk arts and crafts in XXI century. For Turk respondents the value of folk arts and crafts includes three main components: succession of folk traditions (47 %); patriotic influence (30 %); development of various capabilities of a man (15 %). Slavic respondents have shown another priorities: interesting entertainments (25, 4 %); development of various capabilities of man (22,6 %); succession of folk traditions (7 %). Especially interesting is the analysis of the concept "development of various capabilities of man" in the aspect of value of folk arts and crafts. Turk respondents under this mean a help with self-expression (45, 3 %), solving problems through culture-creativity (10,4 %); exposure of leader qualities (7,1 %). For Slavic respondents this means self-expression (55 %); creativity (25, 4 %); solving problems through culture-creativity (10,4 %). Turks and Slavs gave almost identical answers on two parameters – self-expression (45,3 %-55 %), problems solution through culture-creativity (10,4 %-10,4 %). The third place among the Turk respondents takes showing the leader’s qualities (7,1 %) leaving creativity almost on the last place in this row (5,4 %). Slavic respondents put creativity on the second position (25, 4 %) while showing the leader’s qualities is not so significant (1, 6 %). The tolerance means more for Turk respondents (6,8 %) than for Slavic ones (1,4 %). As a result of this research we state the necessity of forming new relation towards folk arts and crafts through enriching it with new forms and sense. It requires the changing of elemental character of culture-creativity process on the whole and traditional creation in particular. In this connection there is a necessity to develop and realize innovative projects of the non-material cultural legacy of people in all educational establishments of polyethnic regions. Pursuant to such project there is a necessity creation of culture creativity laboratories, which unite theoretical humanitarian disciplines, courses, departments, practical art-creativity collectives, studios, clubs, Houses of culture, centers. Exactly in such laboratories young people can study, probe the features of traditional culture of every nation, its valued systems, inculcating theoretical knowledge and practical skills on reproduction and translation of traditions in innovative space of XXI century. Folk arts and crafts take part in an association in cross-cultural society, instrumental in rapprochement and mutual understanding between people, claim of principles of respect and tolerance, ability to understand beauty and to create. All of this allows to define folk culture-creativity as a mechanism of translation of traditions and social integration of different ethnic groups in cross-cultural regions. The cultural transformations that occur in world are more and more reflecting the communicative trends. In modern world the true self-actualization of culture is not possible without being in a harmony with other cultures which is only possible in terms of dialogue when none of the ethnic groups, none of the religions can advance a claim for theonly possible and one-dimensional truth. Today the relationships between cultures can be build only on the principles of search for consensus, plurality and partnership.

Beschütze Unser Obst, Unsere Weinreben Vor Eis, Plagen... Die Verehrung des Heiligen Donatus

Author(s): László Lukács / Language(s): German Issue: 2/2013

For vinegrowers, particularly those in Transdanubia, Upper Hungary and Transylvania, St Donatus, martyr bishop of Arezzo, is a popular patron saint. Devotion to the saint began in earnest in Germany during the baroque period. When his relics were taken from Rome and Münster in the Rhineland an accompanying priest was struck by lightning only to survive unscathed. It was a miracle that was explained by the divine intervention of St Donatus. Devotion to the saint consequently spread rapidly in the Rhine wine region. Since the 18th century processions have also been held and supplications made to the saint in Austria and Hungary on his feast day (August 7th) to ward off natural disasters, lightning and hail. The feast day of St Donatus is celebrated on two different days: August 7th in Székesfehérvár and Csókakő and July 14th in Budafok, with Eger celebrating on the second Sunday in July. The explanation lies in the Roman martyrology, where August 7th marks the martyrdom Donatus shared with the monk Hilarinus, while July 16th was the date their bodies were taken to Ostia. It is account of their joint martyrdom that St Donatus’s death is also commemorated on this day.

THE REVIVAL OF THE ST URBAN’S FEST. DRAWING ON EARLY MODERN HISTORY IN THE CURRENT CULTURAL REPRESENTATION OF WINE-MAKING IN HAJÓS, HUNGARY

Author(s): Michael Prosser-Schell / Language(s): English Issue: 2/2013

The author analyses a few aspects of a local festival held every year for decades in a grape-growing and wine-making settlement in Southern Hungary. A statue of Saint Urban was erected in the early 1980s in Hajós, a village settled by German families in the 18th century following the Turkish occupation. Over the years the local festival has undergone many changes that the article attempts to trace and analyse.