"Võõras" usk ja verepatt

Author(s): Aleksandr Pantshenko / Language(s): Estonian Issue: 26/2004

These notes are based on my studies of the folklore, rituals and ideology of two popular Russian religious movements in the eighteenth and nineteenth centuries: Khristovschina (`the Faith of Christ', also known as the Khlysty sect) and Scopchestvo (`the Castrates'). In 1733-1739 and 1745-1756, two commissions were convened in Moscow. Their task was to investigate the Quaker Heresy - this was the name given by the authorities to Khristovschina, which had spread widely in the Moscow and Middle Volga regions. While the first commission had limited itself mainly to flogging during interrogations and confrontations, the majority of confessions recorded by the second commission were obtained through dyba or `fire-burning'. Materials from this trial provide the first record of the motifs that came to be associated with the followers of Khristovschina for the next 150 years, namely, accusations of group sexual intercourse (svalnyi grekh) and the ritual sacrifice of infants. An analysis of these confessions provides evidence to suggest that the following legendary motifs of ritual murder were actually applied to Russian mystical sects: 1) while rejecting marriage, sect leaders encourage free sexual interrelations called `love' which take place after sect gatherings; 2) infants conceived as a result of `love' are intended for ritual sacrifice; 3) those infants intended for sacrifice are baptised according to special rites; 4) the baptised infant is slaughtered, its heart is cut out, and its blood collected; 5) the heart, dried and ground, is mixed with meal and baked as bread; the blood is mixed with water or kvass; and 6) this bread and water is then distributed during the gatherings as communion.

"Wandering Stars" by Leonid Zatulovskyi: Traditions and Innovation in the Interpretation of the Symphonic Suite Genre

Author(s): Yuliya Kapliyenko-Iliuk / Language(s): English Issue: 4/2018

The purpose of the article is to identify the peculiarities of the genre made on the basis of the analysis of the symphonic suite by L. Zatulovskyi and to characterize the features of the works of the Bukovynian composer. Methodology. The methods of historical-cultural, theoretical and genre-style analysis were used, which allowed to reveal traditional and innovative techniques of interpretation of the genre of the symphonic suite. The scientific novelty consists in understanding the development process of the professional musical art of Bukovyna; in revealing features of creative thinking of the composers of the region; in clarifying the principles of orchestral music of the region; in the analysis of music by L. Zatulovskyi, whose work was not explored in contemporary musicology. Conclusions. The orchestral suite "Wandering Stars" concentrates the signs of creative thinking of L. Zatulovskyi, his principles of work, which combine the properties of various fields of music, thereby denoting the formation of polystylistics, where the classical traditions of European and Ukrainian music, folk music creative work and traits of Bukovynian multinational musical culture are interwoven. L. Zatulovskyi’s suite is an example of the scene-genre programme symphonism, where the background of the colourful national environment reveals the relationship between the heroes of the novel by Sholem Aleichem. On the basis of this work by L. Zatulovskyi one can identify the features of his individual creative style. The composer, relying on genre features of folk music, was able to achieve his own originality of writing. L. Zatulovskyi, intertwining the intonation and rhythmic features of the Ukrainian, Bukovynian and Jewish song and dance traditions, enriched the melody of his works and brought it to a new level of interaction with harmony and a tone-key component.

"Zeleni Juraj" u Svetoj zemlji

Author(s): Vitomir Belaj / Language(s): Croatian Issue: 1/1989

The theme of this paper is an extension of Katičić's study "Hoditi-roditi" (Walk-Give Birth) and its aim is to show a number of similarities between a reconstructed old Slavic deity of vegetation and a recent popular belief in the Near East in el-Khader, "the Green". El-Khader is a deity of vegetation; he is called "the Green", he is always on the move, he rides on a white horse, walks over the sea, his sanctuaries are either in oak forests by water or on hills, he brings rain and protects the wounded from arrows. El-Khader-s significant features can be recognized not only in the cults of the Phoenician deities of vegetation, Adonis and Baal, but also in the ancient Egyptian (Oziris), Babylo-nian (Tammuz) and Sumerian (Dummuzi, Inanna) cults. Regardless of a possible, and likely, influence of the religion of horse-breeding invaders from the north, who are very similar to Indoeuropeans (the figure of the thunderer on a horse), the explanation for the above-mentioned parallels should be searched for in the most ancient periods of plant cultivation, on the very threshold of agriculture.

"ZOVITE IH PO OČEVIMA NJIHOVIM": MUŠKA STERILNOST I NOVE REPRODUKTIVNE TEHNOLOGIJE U SVETLU ISLAMA

Author(s): Marko Pišev / Language(s): Serbian Issue: 2/2012

Generally speaking, many patrilineal and patrilocal communities highly appreciate male fertility. In islamic societies Qur'an dogma givs strict preference to patrilinearity over matrilinearity, and ascribes primary importance to the biological fatherhood. The reader of Qur'an will, in the Surat Al-Ahzab, come across the verse "Name your adopted sons after their fathers, that is more just with Allah", while one of the experts on Arabic literature emphasizes the fact that male characters in many stories stand out through their fatherhood, especially the one expressed in relation to their sons. In such social context – shaped mainly by the absolute authority of faith – reproductive "incompetence" of an individual is reflected through specific biological "defect" which primarily stigmatizes male population. Thus, women are those who most often take over "the guilt" of infertility. Discussing some elements of islamic bioethics this paper shall focus on the issues whether and how new reproductive technologies are being used for treatment of male sterility in these societies, as well as whether it is – by their practical use – possible to decrease tensions that emanate from the conflict of male reproductive "unfulfillment" and traditional notions of the purity of the descent (nasab).

"Żyła niegdyś królewska para…" śląskie baśnie królewskie o królewnach, smokach i…

Author(s): Bożena Olszewska / Language(s): Polish Issue: 2/2017

Charakterystyczną cechą śląskich baśni jest jej demokratyzm i ideologiczne nacechowanie, zrozumiałe ze względu na zawiłą historię tego regionu ( germanizacja, wyzysk społeczny ludu). Oczywiście, dla młodego czytelnika polityczne uwikłania i niuanse nie są istotne. Od baśni oczekuje atrakcyjnej fabuły, pełnej przygód, zabawy a nawet humoru. To sprawia, że wchodzi ona w koneksje z innymi folklorystycznymi formami, np. podaniem, legendą, a nawet powieścią historyczną. Owe związki widoczne są zwłaszcza w sposobach konkretyzowania przestrzeni i czasu akcji oraz bohatera, który posiada imię, wykonuje typowy dla tego obszaru geograficznego zawód. Tradycyjna baśń wskazuje na bliżej nieokreślone miejsce i czas, nie precyzuje, kim jest bohater. Autorzy baśni śląskich nie zawsze ściśle przestrzegają reguł gatunku, natomiast odwołują się do źródeł folklorystycznych, regionalnych, mitologicznych, religijnych (począwszy od starożytności po współczesność), wykorzystują w swych opowieściach międzynarodowe wątki i motywy (zaginionej królewny, smoka, ucznia czarnoksiężnika, pięknej i bestii, królewicza zaklętego w zwierzę, magicznych przedmiotów), którym nadają lokalny koloryt, zgodnie z wychowawczymi założeniami i może oczekiwaniami dziecka.

"ЖИВОТ" ЈЕДНОГ РИТУАЛА

Author(s): Danijel Sinani / Language(s): Serbian Issue: 2/2008

This paper is concerned with the processes of inheritance and transmission of ritual roles in the "rusalje" ritual. Its rapid expansion and adoption in the neighboring regions are interpreted, followed by an analysis of the reasons and circumstances o f the decline in the ritual’s significance and the disappearance of its most characteristic form.

"Золотые шитво": до визначення змісту поняття у контексті світського побутування

Author(s): Mariya Zalevska / Language(s): Ukrainian Issue: 2/2017

The purpose of the work. The research is related to the coverage of the use of gold embroidering in social life. To achieve the goal, the development, formation and application of Ukrainian national hapting is studied. Research methodology consists in the use of general scientific methods: analytical, historical, systemic, complex and synthesis. These methods allow analyzing and revealing the essence of the definition of the concept of "gold thread". Scientific novelty. The article first shows the use of gold thread in social life. The definition of the terms "hapting" and "gold thread" is disclosed. The article allows expanding the concept of Ukrainian national embroidery and gives the opportunity to understand deeper the role of decorative art. Conclusions. Gold embroidery has deep roots of origin and development. The traditions of Ukrainian hapting continue to develop and establish on the basis of Ukrainian national culture.

"Ковачница за мъже" или ... задължителната наборна казарма в представите на българина през Социализма

Author(s): Iliya Valev / Language(s): Bulgarian Issue: 2/2014

One widespread proverb in Bulgaria, knowing some different versions, says that “Man, who did not passed conscription is not a man”, “A boy, who failed to enter military service is second-hand man”, “A man, who has not walked as a soldier knows nothing”. What exactly is conscription according to public understanding of Bulgarians? What attitudes have the society to compulsory conscription? Frontier of what is the portal on the military unit? These and other issues related to conscription during socialism will be explored.

"Петрушка" Фокіна-Стравінського-Бенуа – три рівні прояву художніх новацій першого десятиліття ХХ століття

Author(s): Lesya Kosakovska / Language(s): Ukrainian Issue: 2/2013

The article examines Russian choreography of early twentieth century. Defined regularities and results of creativity search of essence of artistic features and significant tools of classical dance in the context of the cultural environment of that period on the example of ballet "Petrushka" by Fokine – Stravinsky – Benois. M. Fokine justly believed that ballet "Petrushka" can be described as a dramatic piece of music of Stravinsky, which occupies an exceptional position among new music. Music for "Petrushka" was the first herald of a "new life". And Stravinsky didn’t stop create, because he started think differently. He gave up on admiring people’s poetic fantasy, romance, poetic contemplation and imitation. Life, struggle, love, movement, games and dances become active force. Intensity and softness of expression perform forward to change mental architectonics. The revolution in Stravinsky’s thinking manifested primarily in the fact that he didn’t feet the form as completely self-sufficient scheme which pressure on the mind. On the contrary, music thought creates form. In "Petrushka" Stravinsky gave out his strong creative outlook and cut forever his ability to return to make music for recipes to taste. The figure of scores was changed to unrecognized. Lines revived and flourished. Instead of cold vertical columns, which distributed pattern of figuration – free rhythmic play of various motives and complex of sounds. "Petrushka" can be also named, as one of the best creations of the artist Alexander Benois. About "Petrushka" is possible to speak as about Fokine’s setting, which is one of the most complete embodiments of his reforms in ballet. Choreographer argued that "Petrushka" – is one of his most successful achievements. One of the main idea of M. Fokine was not to make combinations of provided and constant dance movements, but create a new form in each case which would fit the plot. That explains the search of unique choreography for the image displayed in plastic score of "Petrushka". Rejecting the conventional gesture, Fokine combined plastic wealth of the world in dance, enlivening ballet performance by means of painting, folklore, using musical score to create vivid imagery characteristics of different types of dance, including classical. Similar achievements are marked by theatrical painting of artists, who have worked with M. Fokine, in particular, A. Benois. Earlier were made multiply attempts to create new choreography and put on performance new stage outfits. Despite the fact that these productions had talented finds, Fokine and Benois cooperation urged in its originality and showed organic unity of all components of ballet. Creating best traditions of Russian ballet, M. Fokine opened a new are in choreography theatre. Focusing on the creative search of his time, studying literature, art, music and theater, Fokine abandoned from classical dance as a single and universal way of solving in ballets. He started to use different, new for each theme, forms of expression, which corresponded to the place of action, national characteristics, genre and character of conception, and in particular, used elements of national dances. In this approach, classical dance found a new coloration depending on which era, country style, to reality or fiction was turned choreographer. Emotionality and distinctiveness of stage action is the prerequisite, which made ballet "Petrushka" accessible to the general audience. In turn, this allowed the authors to expand the ideological and thematic horizons of ballet, democratize the characters, respond to the themes of nowadays. As it is known, Stravinsky – Fokine ballets weren’t put on pre-Revolutionary Russian stage. But they were saved through the efforts of enthusiasts in the Grand Opera House and, thus, we can see the true staging made by Fokine in today’s recording. Ballet "Petrushka" is great example which made general conclusions about the organic unity of choreography Michael Fokine, music of Igor Stravinsky and theatrical painting of Alexander Benois as components of innovative ballet.

"Пея и ми гърлото дрънка": орнаментални явления във фолклорното пеене на Средна Западна България

Author(s): Lozanka Pejcheva / Language(s): Bulgarian Issue: 4/2007

This text focuses on some ornamental figures, characteristic mainly about the dialectic many-voiced folklore singing and the songs from Central Western Bulgaria. The specific ornamental phenomena, which appeal- in traditional many-voiced singing from the discussed region may be empirically perceived by hearing, but they may be also understood by established linguistic terms, concepts, phrases. The work presents the most widely used categories, which comprise the ornamental style, typical for the many-voiced singing from Central-Western Bulgaria. The Shopp musical ornamental style (Shopp - a peasant from Sofia Distiict - note by the translator) is indicated with words, which are used both in the circles of researchers and the carriers of the musical folkloric song tradition. Though they describe similar musical phenomena, the scientists and the singers express in different ways, but the ones do not exclude the others, they mutually determine each other, give proof and add to each other. The ways in which the bearers of the musical folkloristic tradition (the village women singers) and its researchers (the ethnomusicologists) discuss the ornamental phenomena, are summed up around several general moments, which structure the current knowledge about ornamental specifics in the singing practice in Central Western Bulgaria.

"Стилевой синтез": к определению понятия

Author(s): Nataliia Shvets / Language(s): Russian Issue: 2/2017

Purpose. The trend of "stylistic synthesis", searching for "coherence" of different stylistic systems are noticed more and more in art studies of recent years. The purpose of this article is to unfold the integrative trends in the style aspect, where the author enters into a dialogue with musical heritage of previous eras. Methodology. The research is conducted through the using of musicology method, based on the theoretical developments of musicologists in the field of artistic outlook, traditions and style. Scientific novelty. The idea of synthesis as a special type of artistic creativity is realized in many aspects in conditions of artistic culture of the beginning of the XXI century. It is the desire to research the achievements of different cultures and epochs, and awareness of the value of centuries-old achievements of national cultures. It is the synthesis of certain types of artistic creativity to the idea of a general synthesis of arts. In the turn of the century the synthesis was fruitful within separate sovereign types of art, creativity of artists, which relied on a wide range of stylistic ideas, inherent in that, completely independent sphere of art, whose representatives they were. For the first time the author proposes her own definition of stylistic synthesis. Conclusions. The article highlights the key features of the process of interaction of style trends among its definitions. The starting positions are historical and cultural process, the plurality of stylistic models, their dissimilarity, and diversity. The process of interaction, "diffusion", penetration and free placement of elements of one model between the elements of another are going next. Finally, synthesis is artistic integrity, as a result of interpenetration and combination of multiple stylistic ideas, refracted through the prism of the "socio-cultural vector", individual and national styles.

"Я перш за все думав про українську культуру…": Володимир Олександрович Щепотьєв

Author(s): Lyudmila Babenko / Language(s): Ukrainian Issue: 2/2015

The article reveals the lifespan and professional activity of a well-known poltavian, professor VolodymyrShchepotiev. He is highly acknowledged in history as a talented pedagogue, who experienced the growth from a teacher of the Ukrainian literature to the professor, rector of Poltava institution of Folk Education. Being a person with encyclopedic knowledge, as well as being keen on the history of the Ukrainian language and folklore V. O. Shchepotiev applied the folklore patterns and samples in his work. V. O. Shchepotiev was a talented scholar, researcher, and organizer of scientific lifestyle of the region. He wasthe first who initiated establishing of Poltava scientific society, was on good terms with Ukrainian Academy of Science in Kiev, as well as with scientific establishments in Kharkiv. He was the one who organized and subsequently maintained the regional archive while systematizing documents and ordering personal archives. Professor initiated the onset of local history investigations. He personally headed the department of folklore and language in regional museum and at that time he developed the structures of expositions, and systematized the museum collections. He would numerously visited the villages of Poltava to discover historical and cultural as well as ethnographical items and to convert them into museum display objects. V. O. Shchepotiev played an extremely significant role in establishing and developing the theatre and music arts in Poltava region. He was in charge of one of the part of Poltava drama theatre and was one of the talented stage director. He gave his educational lectures to people before the concert programs of the choir "Boyan" which were devoted to folklore and local history. The contemporaries would estimate V. O. Shchepotiev’s music talent, who wrote music compositions, played different music instruments. He, ultimately, was the first who started the scientific investigation of M.V. Lysenko’s biography and creative heritage. The translations of poetry and prose from French, Polish, in particular the poetry by Beranger, libretto for several operas composed an integral part of his literary heritage. His creative and scientific activity was broken down with political repression of the power of the Soviet Union. He was arrested and convicted to administrative exile according to a trial case of SVU and afterwards he was shot away in 1937.

#Протестът: антологизиране, брандиране и институционализиране на протеста

Author(s): Milena Katsarska / Language(s): Bulgarian Issue: 1/2016

The text suggests an analysis of the “culture of protest“ within the time frame of the “protest year of 2013“ in the cultural and social context of Bulgaria. The basis of the study – inscription (“thick description“) and specification (“diagnosis“) in the sense of Clifford Geerz (1971) – is a “microscopic“ social fact, namely the book Smilov, Daniel and Lea Vaysova (eds.). #Theprotest: Analyses and Positions in the Bulgarian press, the Summer of 2013. Sofia, “Iztok-Zapad“, 2013 (Смилов, Даниел и Леа Вайсова (съст.). #Протестът: анализи и позиции в българската преса, лято 2013, София, „Изток-Запад“, 2013). The publication which collects and (re)frames selected media stream within particular period of time, i.e. the book as an abstract collection of words/images (text) existing in a material form, is here understood as a social fact in the sense of Emile Durkheim. The adoption of such approach allows the comment to acquire specific outlines – the study of this „text-as-a-book“ neither brings to the fore the abstract dimensions (the text) of the book, which is usually the field of the literary critique and the text hermeneutics, nor focalizes exclusively the material dimensions, which is reserved for the history of the book and the analytical bibliography. The aim here is to describe and understand society and the social by examining and tracing the connections which exert an influence and exist between the simultaneous engagement of the abstract and the material side of this book as a social fact, as well as the social activities within it.

(E)migrating Legends and Sea Change

Author(s): John Shaw / Language(s): English Issue: 37/2007

In northwestern Europe, the migration of legends has been a growingarea of study, exploring their history, development, and geographical/cultural distribution. The past two centuries have been a time of large-scale voluntary or forced migrations that have provided new opportunities for investigating how folklore, including legends, has survived and changed during mass population movements. Cape Breton Island, Nova Scotia, is foremost among the Scottish Gaelic diaspora communities, established in North America during the Highland Clearances, where oral storytelling traditions have been extensively recorded, and provides a unique opportunity for ethnologists to study survival and adaptation of various folklore genres through comparisons with those surviving in the Scottish Highlands from the early 19th century. This article will examine the kinds of legends that have travelled over the Atlantic; how they have adapted; legends that have sprung up in the new environment; and what distinctive new developments have appeared in post-migration tradition.

(H)ÁLA/(Х)АЛА ДЕМОН НА ЛОШОТО ВРЕМЕ, ХАРАКТЕРЕН ЗА СЛАВЯНСКАТА ЕТНИЧЕСКА ГРУПА НА СЪРБИТЕ, БЪЛГАРИТЕ И МАКЕДОНЦИТЕ

Author(s): Nikolay Markov / Language(s): Bulgarian Issue: 1/2015

The paper offers a short analysis of the word hála, attested in Serbo-Croatian, Macedonian and Bulgarian, including Banat Bulgarian. This noun is originally used to denote the daemon causing the storm of hail and tempest. According to popular beliefs the principal attributives of hála are enormous size and strength. Hála, being mainly the personification of the storm of hail, we also present, briefly, customs related to protection from hail. Referring to Banat Bulgarians, even if none of those we surveyed could not describe an accurate representation of the hála, there are some details that clearly demonstrates that we are dealing with the personification of a mythical being.

(Hiper)produkcija čuda i čudesnih dela: značenja narodnih i crkvenih interpretacija i njihov značaj za proces desekularizacije u Srbiji

Author(s): Lidija Radulović / Language(s): Serbian Issue: 4/2012

Over the last 20 years, miracles and miraculous acts have been an important part of the multi-layered process of desecularization in Serbia. The Serbian Orthodox Church is trying to revitalize orthodoxy as interpreted by the church and draw in as many believers as possible. At the same time, the folk orthodox variant of Christianity is being revitalized among the faithful, mostly through populist interpretations with elements of folk religion. This paper analyzes the public production of miracles in Serbia based mostly on material drawn from the media, but also on personal testimonies of informants who have witnessed such events.

(KUMUK DESTANLARININ TEMELİNDE) TÜRK DESTANLARININ GELENEĞİ

Author(s): Tomay Ramazan Hasanoğlu / Language(s): English Issue: 29/2016

Kumuk epics has a rich base not only from the side of quantity, but also quality. Works on Kumuk epic creativity is distinguished by possibility of a wide range of clarification of functional character, typological character, and as a whole specificity of epics. Formulas, epic schemes, development of its tendency of the structure of epics are of crucial importance in order to follow development of Turkish epic creativity. Therefore, research on Turkish epic creativity in different ways seems as one of the significant problems of folk of Turkish people.

(NE)MOGUĆNOST ISTRAŽIVANJA TRADICIONALNOG CRNOGORSKOG MASKULINITETA

Author(s): Branko Banović / Language(s): Serbian Issue: 1/2011

Gender roles include standards, expectations and norms which one should fulfill. But, there are very few individuals who can achieve what society expects when it comes to norms considering gender rols. On the other hand, literature about traditional Montenegro society considers gender roles in general, and not individuals - the ones who are succesful or unsuccesful in fulfiling these prescribed gender roles. If we base our research of traditional masculinity in Montenegro on the narratives about the past, as a result we will have a model which will contain many imputations and interpretations that will not coincide with the reality of life in the past. This implies that it is impossible to position Montenegro masculinity on the traditional/modern axis. Nevertheless, it does not diminish the functional potential of the model in determining contemporary social relations.

(Re)definisanje tradicije na primeru world music fenomena

Author(s): Marija Ajduk / Language(s): Serbian Issue: 1/2014

The paper problematizes the understanding of the concept of tradition in the context of the world music phenomenon. Marketed as a hybrid music genre, from the perspective of anthropological theory, the world music genre is a complex cultural phenomenon, the result of mixing global and local influences which are reflected not only in the creation of a specific sound, but through different perceptions of music itself (the audience, musicians, producers, creators of cultural policies etc.) By analyzing the Serbian world music scene as exemplified by the work of the World Music association of Serbia, as well as the Serbia World Music Festival in Takovo, I will attempt to determine the way in which the concept of world music is perceived in local narratives, whether it is experienced as a form of musical tradition and if so, what is signified and represented as tradition in this context.

(Български народни умотворения) Български песни: Гьергьев ден. Отъ С. Ж. Д-въ

Author(s): Author Not Specified / Language(s): Bulgarian Issue: 23-24/1888