"Adzio". Przyjaciel kompozytorów, niestrudzony inspirator

Author(s): Ryszard Gabryś / Language(s): Polish Issue: 3/2015

The text is a very personal reflection on the person of the great scientist, prof. Adolf Dygacz. The author presents a vivid reminiscence from the perspective of their long-term artistic and professional collaboration, and friendly relations with the Professor. The numerous examples of their joined artistic activities demonstrated in the text point out to a very close relationship and cordiality, and the author’s great respect for the talent of prof. Dygacz. A philosophical reflection on the fact of passing permeates the text.

"Ambroosius on ladna mees..." Ühest jõuluteemalisest külalaulust

Author(s): Anu Vissel / Language(s): Estonian Issue: 12/1999

For the Estonians the word «Christmas carol» denotes an authorial song, primarily a children's song or a hymn. Christmas songs are extremely rare among the old alliterative songs (runosongs). It seems to be typical to the old pre-Christian winter equinoctial customs that they are not very closely associated with calendrical songs. Several Christmas songs might be found among the more recent rhymed folk songs, which describe some local Christmas party or some other events during the Christmas period. Usually, they are long cheerful narratives which mention nothing of the holiday's Christian origin. One of such songs is «Ambroosiuse laul» (The Song of Ambrose) from the vicinity of Torma. The song was created during the 1860s in Torma, Tartumaa region, and has gone through several stages: first a village song, then a popular song, and for the longest period a student song. The author of the song ingeniously hit the nail on the head using a family name that coincides with a name of the Italian bishop and saint, so, the song is about a generous and altruistic innkeeper called Ambrose. The song was inspired by an event that took place imminently before the Christmas. A tired soldier in rugs, who had just been released from a 25-year military service in the Tsarist Russia, had arrived at the stage of Torma. The innkeeper had given him shelter, food and clothes until the soldier went to search for his sister. The old soldier expressed his gratitude by washing all the inn floors on the morning of Christmas eve, and even brought a fine Christmas tree from the forest. In the evening, a party was held at the inn, where a local singer, violin player and comic Kristjan Kivi sang a song about it. The song describes the Christmas party as seen by the poor old soldier, who could take part of the party among the local crème thanks to the kindness of innkeeper. The song began to circulate in Estonia from the Christmas of the 1860s on. Soon the song was spread through oral renditions and songbooks all over Estonia (see map 1).The song retained its original melody only in its place of «birth» (note samples 1 and 2, audio sample 1), in further distribution it has been sung to various tunes and with different refrains from its original area (samples 4 and 5) and from other regions of Estonia (sample 7, audio sample 3), but is best known with the tune of a well-known German student song Krambambuli (Krambambuli, das ist der Titel...) (note samples 3 and 6. audio sample 2). Refrains were added to the song mostly in oral performing, while the printed versions, like the first text of the song published in 1878, were mostly without refrains (Table 1).

"Barbora umarła…", czyli o zabytkach folkloru hutniczego w archiwaliach Adolfa Dygacza

Author(s): Adam Okun / Language(s): Polish Issue: 3/2015

The author presents the research of Professor Adolf Dygacz into the musical culture of glassworks workers. It primarily consists of the songs of foundry workers, their musical and content analysis, customs and vocabulary. The text comprises the description of glass musical instruments considered as a collection of glassworks products, and the examples of musical note manuscripts of Dygacz. The author denotes that up to now the foundry folklore has not lived to see its own popularization and scientific monographic study. The sources of the rich collections of the songs and customs of glassworks, numerous materials from field studies are still kept in the home archives of the Professor.

"Beypazarı’nda Kilim Dokumacılığı ve Bitkisel Boyacılık

Author(s): Sinem Hürem Şanlı,Esra Bıyıklı,Ümran Kaya / Language(s): Turkish Issue: 4/2014

Weaving is one of our ancient handicrafts and fabric weaving was born due to necessities such as covering up, dressing, protection from cold. Afterwards, various techniques, motifs and compositions were developed which led to the richness of Turkish weaving today. One of the most common techniques of Turkish weaving is rug weaving. Rugs woven in Beypazarı Public Education Center and vegetables used in dyeing the wool yarns for rugs were analyzed in this research. In Beypazarı, hall rugs are woven in patterns entitled with names from the region such as Çitimel, Başaklı, Kurtağzı, Beypazarı, Avşar and Ejderha. The most used of these is the hall rug called “Çitimel”. In dyeing of the yarns used in rugs, acorn dust, yellow bush, pinar weed, walnut shell, madder and indigo are used.

"Czegoś podobnego dotychczas w Warszawie nie było". Wystawa Towarzystwa Polska Sztuka Stosowana w Zachęcie w 1908 r.

Author(s): Agata Wójcik / Language(s): Polish Issue: 2/2019

In February and March 1908, the Zachęta Society for the Encouragement of Fine Arts in Warsaw presented a summing-up display of the activity of the Kraków Society of Polish Applied Art (TPSS), active from 1901. According to some comments: ‘The goal of the Exhibition was to demonstrate that Polish applied art existed, that there were already a number of artists who for the last several years had been aware of their purpose, thus demonstrating that when it came to decorating dwelling interiors, particularly when cabinetmaking and wall decorating were concerned (...), they were able to take an independent and thoroughly artistic stand in the full meaning of the term’. The display filled in ten rooms, seven of them being dwelling interior arrangements. The presented designs included those by: Karol Tichy (entryway), Edward Trojanowski (Władysław Reymont’s study, Papal bedroom), Stanisław Wyspiański (the Żeleń- skis’ dining- and drawing-rooms), Ludwik Wojtyczko (the Dziewulskis’ dining-room), and Józef Czajkowski (hall in the flat of Kraków’s Mayor; the Reymonts’dining-room). Arranging Zachęta’s spaces as a line of dwelling interiors aroused much interest of the critics, while Eligiusz Niewiadomski wrote: ‘Warsaw has never seen anything like it’...

"Kalevipoeg" kui tüvitekst

Author(s): Marin Laak / Language(s): Estonian Issue: 03/2013

The Estonian national epic „Kalevipoeg” (1861) is a literary epic based on folklore motifs, which was created by F. R. Kreutzwald. As part of European romantic literature it stands side by side with "Kalevala" by Elias Lönnrot. Previous studies of „Kalevipoeg” mainly address the relationship of the epic with Estonian folklore and international myths. Cultural studies emphasize the impetus it gave to the movement of National Awakening in 19th-century Estonia. The present article is focused on the meaning of „Kalevipoeg” as a literary text. The study draws from a corpus of metatexts, which enables the researcher to follow the reception of the epic text from the 19th-century National Awakening to the present day. It appears that it is not the whole text that has been passed down generations, but rather some smaller text items. In the reception three levels – popular, ideological, and literary – can be distinguished, which function in synchrony, yet often in opposite meanings. On the popular level, the epic has served as a vessel of resistance and hope, yet on the ideological level it has been subject to manipulative interpretations. Anyway, the continuity of the reception of „Kalevipoeg” enables one to follow its ramifications in Estonian culture. „Kalevipoeg” has sometimes even been called a ‘nation-building core text’, which serves for the Estonians like the Old Testament for the people of Israel. It is found in the article that the concept of ‘core text’ should be enlarged, because the text of the epic has also been used by extra-national political forces. A considerably richer literary reception would be based on the original epic, opening up its existential meanings. An active and dynamic text of the epic can be depicted as a network of intersemiotic relationship paths. Via „Kalevipoeg” as a base text, such paths provide links from some of the most recent texts to the underlying texts of the epic, such as international myths, thus penetrating into universal and existential meanings. The article brings an example of one of the most representative cultural paths using the motif of the hero returning, as worded in the last stanza of the epic: Surely Kalev will then come home to / Bring his people fortune true, / Build Estonia anew (transl. by Triinu Kartus).

"Kõik saab alguse tekstis!" Kas pöörduda tagasi klassikalise kaanoni juurde?

Author(s): Rainer Wehse / Language(s): Estonian Issue: 33/2006

I will discuss the situation of narrative and folk narrative research in the context of Germany and German-speaking cultural space against the background of the entire field of folkloristic until the paradigmatic change in the 1970s. I will analyse the gnoseological discourse accompanying folklore research. By focusing on the text and contextual analysis I will propose seven criteria that enable to interpret the two tendencies in contemporary folk narrative research. On the one hand I do support the need to look at contemporary narrative genres, whereas on the other hand there is certainly a danger of the traditional canon of narrative research being abandoned. Translated from the original article "The text is the thing!" Zurück zum Kanon? Which was published in German in Schweizerisches Archiv für Volkskunde vol. 97 (2001), pp. 5-11.

"Kolm korda meie isa enne lugeda, siis..." Meieisapalve kasutamine loitsuna eesti rahvausundis

Author(s): Carolina Pihelgas / Language(s): Estonian Issue: 01/2013

In Estonian vernacular religion the Lord’s Prayer has several divergent functions. The first historical records of using the Lord’s Prayer as a charm can be found in 17th-century witchcraft reports. According to M. J. Eisen’s folklore collection it is a universal charm that can be used in protective magic, healing procedures, erotic seduction and divination, and occasionally also for harming other people. The Lord’s Prayer may be repeated several times (usually thrice) and the order of the words or letters might be reversed to achieve a stronger effect on the supernatural. The Lord’s Prayer can be read as a separate text, but often it is intertextually combined with other charms. The process of incantation is usually accompanied by different ritual acts that might be homological (e.g. making a sign of the cross) or heterological (reading the spell over a liquid or food etc). Sometimes the time and place of incantation is also specified, and the mode of enunciation is precisely determined (reading in a low voice, without breath-taking etc). However, it is quite significant that the Lord’s Prayer does not hold a hegemonic position in the magical repertoire and it does not exclude non-Christian practices that were usually condemned by the church. As a charm, it supports and confirms other charms and ritual acts, amplifying their effect and serving as an additional guarantee of their expected success.

"Kui pidu korraldatakse, on järelikult seda kellelgi vaja." Vene vastlapühade tähistamisest Tallinnas

Author(s): Elo-Hanna Seljamaa / Language(s): Estonian Issue: 08-09/2010

This article explores Russian Shrovetide or maslenitsa celebrations in contemporary Tallinn as means of giving Russian national culture in Estonia a tangible form and claiming, strengthening as well as representing a distinctively Russian ethnocultural identity. The article thus treats calendar customs as bodily techniques of incorporation that play a crucial role in creating and reproducing ethnic collectivity as a bodily community as well as an entity that can be put on display and remembered. Furthermore, maslenitsa celebrations in Estonia are discussed in the broader context of state integration policies, which aim at strengthening a homogeneous state identity in the public sphere, while fostering, at the same time, ethnocultural diversity in the private sphere. The analysis builds on ethnographic fieldwork carried out in Tallinn, focusing on two empirical cases: maslenitsa festivities in a school that uses Russian as the language of instruction and a commercial maslenitsa party held on Tallinn Song Festival Grounds, the capital’s major festival venue.

"Kým nevesta povedala áno..." - Výstava o svadbách v minulosti

Author(s): Kornélia Jakubíková / Language(s): Slovak Issue: 4/2005

"Maria and Nicolae Zahacinschi" donation to the patrimony of the etnography division of the district Museum in Botoşani

Author(s): Steliana Băltuţă / Language(s): English Issue: XLII/2013

Colecţionarii sunt oameni speciali, care pe lângă profesia lor, găsesc timp şi pentru a-şi dedica viaţa alcătuind un patrimoniu de valori, pe care îl dăruiesc mai târziu unor muzee, sau îl fac ei înşişi cunoscut publicului larg, spre apreciere şi admiraţie. Regretaţii medicul cardiolog Maria Zahacinschi născută Dragomir la 5 martie 1922 la Caracal, jud. Olt şi farmacistul Nicolae Zahacinschi născut la 6 noiembrie 1919 la Mihăileni, jud. Botoşani - au alcătuit o colecţie de artă populară, fruct al investigaţii/ar şi investiţii/ar proprii, pe tot cuprinsul românesc. Începând să pună bazele colecţiei de prin anii 1960-1965, cei doi soţi împărtăşind aceeaşi pasiune, au reuşit ca până în anul 1986, să aibă în propria locuinţă (apartament de bloc) din Bucureşti, un număr de peste 8000 de piese cuprinzând ceramică, ouă încondeiate, port popular, ţesături de interior de casă tradiţională, obiecte din lemn, aşa cum ei înşişi afirmă: " În ce ne priveşte, noi am optat, după ani de zile de experimente, pentru o metodă de depozitare şi de expunere care şi-a dovedit îndeajuns eficacitatea, mai ales în condiţiile adăpostirii întregii colecţii în apartamentul care ne serveşte de locuinţă" . Din această " uriaşă colecţie etnografică particulară " (aşa cum a numit-o prof dr. Nicolae Dunăre), Maria şi Nicolae Zahacinschi, au donat numeroase piese Muzeului Ţăranului Român din Bucureşti (unele publicate, în 2000, de etnograf dr. Georgeta Roşu, în Ulcioare de nuntă), Muzeului Etnografic al Brăilei, iar între anii 1983-1986 şi în anul 1992, Secţiei de Etnografie a Muzeului Judeţean Botoşani, un număr de peste 1146 obiecte. Existenţa acestei donaţii în patrimoniul Secţiei de Etnografie, i se datorează doamnei Maria Bucătaru, director în vremea inventarierii pieselor şi aducerii lor la Botoşani. Doamna i-a cunoscut pe cei doi colecţionari foarte bine, prin vizite făcute la Bucureşti în locuinţa lor care adăpostea colecţia, şi prin corespondenţa purtată cu soţii Zahacinschi. Astfel s-a legat prietenia şi s-a stabilit încrederea că dona ţi a de piese etnografice făcută Botoşaniului va fi pusă în valoare.

"Naine libahundiks" (AT 409) eesti jutupärimuses

Author(s): Merili Metsvahi / Language(s): Estonian Issue: 08-09/2010

The article discusses the folk tale type „The Girl in the Form of a Wolf”, which is popular in Estonian tradition, occurring both as a legend and a fairy tale. The plot is known in Estonian, Livonian, Latvian, Lithuanian, Karelian, Russian, Byelorussian and Ukrainian tradition, but the number of variants written down in Estonia surpasses several times the number of variants recorded from elsewhere. The first recordings of the story are really early, in our context, as two different variants date back to the first quarter of the 19th century. The article describes the folk tale as told in Estonia and in some other countries, pointing out the religious elements detected in the text, questioning the folkloristic approach that contrasts two folklore genres, the fairy tale and the legend, and criticizing Hans-Jörg Uther for his undue reference, in his catalogue of international folktales, to certain variants as belonging to type 409 („The Girl in the Form of a Wolf”).

"Ne olvass, csak kenjed!"

Ráolvasások: Gyűjtemény a történeti forrásokból (1488–1850), B kötet Közreadja és a bevezető tanulmányokat írta Ilyefalvi Emese

Author(s): G. Péter Tóth / Language(s): Hungarian Issue: 3-4/2015

Ilyefalvi Emese: Ráolvasások. Gyűjtemény a történeti forrásokból (1488–1850) B kötet. Közreadja és a bevezető tanulmányokat írta Ilyefalvi Emese (A magyar folklór szövegvilága 2/B kötet) Balassi Kiadó, Budapest, 2014.344 oldal + 29 oldal színes melléklet Az A–B kötet együttes ára 8400 F

"Nem lehet elmondani, mennyi szép színű virág van, egyik szebb a másiknál". Sajátosságok a gyimesi népi növény- és növényzetismeretben

Author(s): Zsolt Molnár,Dániel Babai / Language(s): Hungarian Issue: 01/2010

The study deals with one of the most important aspects of the reltionship between man and nature, i.e. (popular) botanical knowledge. Scientific concerns have mainly focused on the medicinal uses of plants, largely neglecting the peculiarities of popular knowledge about botanical species and traditional ecological worldviews. The authors conduct their research in these new directions, analyzing the popular botanical knowledge shared by the inhabitants of Hidegségpataka (Romanian: Valea Rece), a small villaga from the Gyimes (Ghimeş) mountains.

"Oko problema krsta s kukama (svastike)" - 60 godina kasnije

Author(s): Reana Senjković / Language(s): Croatian Issue: 14/1991

Studying domestic folk art, inaugurated in the 1930s is still in its infancy. This assertion is born out by considering the motif of svastika, studied by Milovan Gavazzi in 1929 and 1930. Gavazzi’s model of scientific study (applied in the analysis of swastika on easter eggs), in thune with the then prevaling cultural history approach, has been reproduced and perpetuated by numerous domestic ethnologists. In the situation in which the history of social sciences recognizes theoretically and methodologically different research trends, Gavazzi’s tenets are necessarily bound to criticism. From the aspect of contemporary science, the strongest argument for disputing former interpretations of folk art is their neglect of the context of folk art manifestations.

"Our Beer is Better Than Theirs": Sub-cultural Comics as a Joking Relationship with Identity

Author(s): Aimar Ventsel / Language(s): English Issue: 46/2010

Many music-related subcultures have their own printed media known as fanzines. These journals often include comics, drawn by amateur artists who belong to the same subculture. In my article I will focus on the comics in German reggae and punk fanzines. I am going to demonstrate that besides entertainment and fun, these comics also entail a wide range of political, social and cultural messages as well as attempts to define the subculture’s identity. Punk/ skinhead-comics often discuss political issues, criticize certain features of punk culture (like local patriotism), but also raise issues such as commercialization. Reggae-fanzines focus very often on stressing certain cultural traits like the use of colloquial language, behaviour patterns and dress code which are considered essential to being part of that subculture. Considering the joking, the paper reveals that similarly to South African tribes, the humour of punk and reggae fanzines hides very serious social, political and cultural issues.

"Svatovska groblja” - problemi istraživanja

Author(s): Vlajko Palavestra / Language(s): Bosnian Issue: 30/1997

The term “Wedding party cemeteries” in oral tales and epic from Bosnia and Herzegovina describes deserted, unknown old cemeteries or certain tomb stones, mainly stone ones, for which people do not remember the time of their erection nor the deceased which were buried there. The oral tales about ’’wedding party cemeteries” tell that those are graves of Wedding party participants who met there a long time ago, and according to the old custom, fought with each other and lost their lives. In reality, in most cases these are medieval necropolis from 14th - 15th century, or some small Muslim village cemeteries from different periods of the Ottoman Empire. ’’Wedding party cemeteries” and oral tales about them can be found in Bosnia and Herzegovina, as well as other territories in Montenegro, Kosovo, Macedonia and some parts of Croatia.

"Theatrum Nobilitatis Hungaricae”. Genealogické výskumy Mateja Bela so zvláštnym zreteľom na rod Thurzo

Author(s): Gergely Tóth / Language(s): Slovak Publication Year: 0

Práce, ktoré sa venujú dejinám genealógie, sa ani len nezmieňujú o tom, že aj významný historik 18. storočia Matej Bel patril medzi genealógov, a to napriek tomu, že Bel mal od začiatku naplánované, že v Notitiách, v historicko-geografickej práci, predstavujúcej uhorské stolice, sa bude venovať aj dejinám šľachtických rodov. Tento svoj plán – aj keď medzerovito a zlomkovito – aj splnil. Výsledky jeho práce genealógovia 18. storočia akceptovali, neskôr sa však bádatelia na ne odvolávali už len zriedkavo. Zhromaždené údaje bratislavského vedca, resp. jeho rozhodné predstavy v tejto téme si bádatelia, zaoberajúci sa dejinami tohto vedného odboru v 20. storočí nevšimli, možno pre encyklopedický charakter Notícií, ktoré sú na prvý pohľad tematicky dosť neprehľadné, a tiež možno aj pre ich nedokončenosť. V tejto štúdii by sme chceli napraviť toto poľutovaniahodné zanedbanie. Najprv preskúmame, v akej forme sa chcel Bel zaoberať dejinami rodov, a aké uhorské, alebo zahraničné diela a vplyvy ho podnietili k takýmto výskumom; potom prehľadne z celých Notícií – nielen z tlačených častí, ale aj z tých, ktoré zostali v rukopise – predstavíme výsledky jeho výskumov, resp. ich ďalšie využitie a citovanie v 18. storočí. V druhej časti štúdie sa budeme venovať analýze histórie rodu Thurzo z Belovho pera – čo je v skutočnosti dielo v diele, veď v opise Oravskej stolice, kde sa nachádza, zaberá takmer polovicu textu. Zároveň budeme venovať pozornosť aj metódam práce Mateja Bela, mož- nostiam a hraniciam ním prevedeného výskumu.

"Trupy wstawać". O "Weselu" w reżyserii Jana Klaty

Author(s): Artur Duda / Language(s): Polish Issue: 4-5/2017

Artykuł jest próbą analizy i interpretacji reżyserskiej koncepcji wystawienia Wesela Stanisława Wyspiańskiego w Narodowym Starym Teatrze w Krakowie. Autor ukazuje kluczowe elementy wizji Jana Klaty, poczynając od umocowania tej wizji w tekście dramatu, poprzez użycie muzyki i tekstów blackmetalowego zespołu Furia, po rozwiązania scenograficzne, kostiumowe i aktorskie, które składają się na ogólną wymowę spektaklu jako „nocy żywych trupów”. Szczególną uwagę autor poświęca postaciom dramatu jako żywym umarłym oraz kreacjom zjaw z II aktu Wesela.

"Üç Kanatlı Masal Kuşu: Oğuz Tansel” Kitabının Genişletilmiş Üçüncü Basımı Üzerine Prof. Dr. Aysıt Tansel’le Söyleşi

Author(s): Vedat Yazıcı,Aysit Tansel / Language(s): Turkish Issue: 103/2020

Interview with Aysıt Tansel, by Vedat Yazıcı.