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Liisi Laineste writes about the summer school held in Savonlinna, Finland, on July 2–7, 2012.
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With Malazgirt Victory in 1071 Turks migration began to Anatolia and Islam had found a new expansion field in the hands of Turks and spreading of Islam in Anatolia had accelerated in the period of Principalities and especially Seljuks, Anatolian Seljuks. But in the 13.centuries Mongolian influence which occurred in Central Asia and then affected to Anatolia, led to people different searches. Mongolians had vandalized where they gone through, therefore; a completely crisis period had began to in Anatolia. Especially in this period most of dervishes who got of Yesevi doctrines had immigrated to Anatolia and began to tell Islam with different ways to the people. This saints who came from Central Asia, dwelled upon to doctrines and emphasized that Islam is not a fear religion it is a love religion,and to fall for love to God rather than fear of God. In this way; this Yesevi dervishes who came from Central Asia, helped to people who fallen into crisis process and easily overcome from this process, also they exposed excellent and experienced human type with the help of advice which they gave to people in their works. In this study, in the century of 13 Religious-Sufism Folk Poetry ethical components were exposed and three great poets were examined who lived in the century of 13, such as Hacı Bektaş-ı Veli, Yunus Emre, Said Emre and also, common components which related with the ethical understandings were classified and commented on finding discoveries.
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The words of the most renowned poet of the Tang dynasty (8th century AD) about the dialogue between the past, the present, and the future – the basis of our cultural identity – accompanied the representatives of the 17 countries that were hosted in Poland on 11-14 October 2016. The renowned experts arrived in order to discuss intangible cultural heritage and its safeguarding. The organizers of this meeting were the Ministry of Culture and National Heritage and the Polish National Heritage Board. It was additionally supported by the Polish Council for Intangible Cultural Heritage.
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Poem is the most layered among all other literary genre and is a closed intact with deep language patterns. In opposition to the linearity of prose unique structure of poetry enables a creative reading. In this study a poem of folk poet Karacaoglan and a gazel (ode) of Divan poet Nedim is compared thorough poetry analyzing means of semiotics. These poems brings the two poets lived in different centuries and were in different literary traditions together. Their poetry is based on love which is the main source of nutrition for mankind throughout the journey of life. As all genres of literature - poetry, novel, story or theater plays- represent a multilayered system, semiological approach enables the researchers to comprehend and evaluate the works more clearly.
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The legacy of the student of Baltic local history Johann Christoph Brotze (1742–1823) has always attracted researchers of 18th century Latvia’s culture and art. His collection in ten volumes, Sammlung verschiedener Liefländischer Monumente, Prospecte, Wapen, etc. (below Monumente) in the Academic Library of the University of Latvia contains visual documentation and descriptions of townspeople’s everyday life, customs, entertainment and social transformations. While examining the visual specificities of clothes worn in late 18th century Riga, the author of this article discovered many locally peculiar and interesting evidence of city dwellers’ wish to follow the latest fashions of the time. The first volume (Riga Views, People and Buildings, 1992) of the academic publication of Brotze’s legacy Zīmējumi un apraksti (Drawings and Descriptions), with materials from the 3rd volume of Monumente, gave a deeper insight into the clothing habits in Riga, revealing the meaning of the visual message of attire in the cultural-historical scene created by late 18th century Rigans and city visitors. The transition from Rococo to Classicism became the leading factor in the fashion trends of Vidzeme at the time, bringing corresponding motifs to art and fashion. The ethnic and social composition of the population in the second half of the 18th century significantly influenced Riga’s visual image – as seen from Brotze’s drawings, a rather motley and peculiar scene emerged here, manifesting both topical European phenomena and a mix between various ethnic elements and the fashion of the day. Drawings of city dwellers’ clothing in Brotze’s collection testify to the diversity of Riga in the 1770s–1790s. This scene displays the originality of townspeople’s clothes, testifying to uneven changes in the fashion field. In some cases there are just some modern details but other Brotze’s drawings show a Rigan whose costume represents the current fashion tendencies in Western Europe. Brotze saw the Latvian servant girl in a national costume skirt as well as German chambermaids in starched bonnets and richly decorated shawls, middle-class women in fashionable English-style street costumes and Riga’s German children whose clothes manifest the then current European trends. Page 56 of the 3rd volume shows a German middle-class girl. Her light summer dress, possibly of cotton or fine muslin, is adorned with contrasting silk ribbons. Silk ribbon around her neck also complies with the robe à l’anglaise of the 1780s. With the emphasis on the angular cut of the neckline we sense a synthesis of the fashion elements of Rococo and Classicism. The girl’s attire is complemented by an apron that became fashionable in the late 18th century and is not always related to the image of a servant. At that time the city’s middle-class women also wore aprons increasingly more often. German merchants were active in Riga and their clothes demonstrate features typical of business attire of the time with references to the strict lines of Classicist fashion. The topicality of this trend in Rigans’ clothes also shows in the apparel of servants, officials, accountants and valets who strived to be closer to European fashion. In their clothes, Riga’s craftsmen, their apprentices and journeymen demonstrated both specific characteristics of their craft and modern accents. Merchants, craftsmen’s and servants’ clothes retained references to their ethnic origins. At the same time, the wish to identify with the international character of Western fashion could be stronger than local and ethnic traditions. This largely applied to Riga’s Germans whose attire demonstrates the French and / or English style of the time. Brotze also met Latvian peasants, small traders and street vendors, capturing certain references to topical nuances of the time. Riga’s Latvians, despite luxury regulations that still in the late 18th century prohibited them wearing clothes as modern as those of the Germans, attempted to wear at least something in line with contemporary fashion. One of Brotze’s drawings on page 57 in the 3rd volume shows a Latvian salmon vendor wearing a spotted salmon-coloured jacket corresponding to his occupation, short grey breeches, hazy blue stockings and black shoes with buckles. He wore a black hat that is considered traditional headwear of Latvian men in Riga and its surroundings. Among the visitors to Riga, Brotze’s drawings show Dutch seamen, a Lithuanian nobleman from Brest in the attire of his native region, Polish Jews who worked in the city as middlemen and factors as well as Russian merchants and Polish noblemen. Brotze also saw the splendid costumes of upper-class women whose appearance reflected current tendencies in French fashion on the streets of Riga. A wealthy lady in urban street costume is depicted on page 63 in the 3rd volume. Her coral-pink polonaise with decorative looped-up overskirts and light hem with a horizontal ribbon band represents typical Classicist-period fashion appropriated from the European courts of the 1770s–1780s. The brightest colours in Brotze’s drawings, however, are seen in soldiers’ attire; their uniforms and their parts – tricornes, cavalry boots and powdered wigs – reveal in a concentrated way the wider presence of European fashion tendencies in Riga. To this day Johann Christoph Brotze’s observational drawings of the streets of Riga provide an idea of the diverse fashion scene fully representing the synthesis of Classicist and Rococo fashion in the late 18th century. This was a period when both international and nationally specific elements of costume were introduced in Rigans’ clothing, thus demonstrating the readiness of various social strata to accept the latest fashion tendencies and replace the old habits of dressing. Fashion more or less embraced all layers of society, strengthening its influence and gaining increasingly more dynamic development in Riga too.
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East Turkestan lands have been a central place where many Turkish tribes have lived and where various cultures and religion have come together throughout the history. This area which had witnessed the struggles of many nations, has great importance in the formation and development of Turkish culture. Uyghur Turks took place in all conflicts, cultural structures and religions. As the same all through the history, the struggle between China-Manchu government and Uyghur Turks continued in 19th century. In these struggles, many oral cultural tale have been constituted about many women and men such as Gani Butur, Tömür, Helpe, Mayimhan, Nozugum and Sadir Palvan. Sadir Palvan is one of the historical hero who is famous with his conflicts and known in the legends with his great efforts. All of the information about Sadir Palvan whose great part of life was in exile and dungeon comes from the oral cultural descriptions. Sadir Palvan who is also a gifted folk poet, wrote mostly about struggles with Chinese ministers, his family, his youth and the independence of Uyghur Turks. In this essay, firstly, narrations about Sadir Palvan’s struggle and bravery then the poems are evaluated in terms of its creation, passing on one generaion to another, its structure and function.
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1920-1950s, national-spiritual ideals of the Azerbaijan literature in the servitude of the judge ideology. This article is dealt from in which condition was national-spiritual ideals of Azerbaijan literature in the servitude of the soviet ideology and problems of Azerbaijani writers lived during this period.
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Traditional Turkish art of painting has strated to adopt modern art as a result of westernization movement which strated in nineteenth century. After the proclamation of Turkish Republic, with the developments in culture and art and support in art and artists; the meeting of art and spreading of art among people began. According with the developments in Turkish art, in west the ideal blockade from industrial revolution effected the social life directly. The idea of “group” which was formed by the masses enhanced the self confidence of artists and enlarged the circle of innovative research. This situation effected Turkish art and with the applicaiton of western art movement, the adoption of modernt sense of art was inevitable. The leading artists of that period adopted this innovative western sense of art and they aimed to plant the cultural codes of modern painting in society. As a result of all these efforts, realistic works of art were replaced by modern sense of art. In Turkish painting, between 1923-1960 the impressions of western movement corresponded in Turkish art and paved the way for new researches. The concept of subject before and after the foundation of republic; was aproached in a plain statement in works. In the periods where shape and form dominated, the subject s gained originality. The artists went beyond the ordinary impressions and started to produce original works. In this article, the works of some artists’ on still life are evaluated.
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An overview is given by Astrid Tuisk.
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Piret Voolaid and Liisi Laineste write about the 29th annual conference of the International Society for Humor Studies, which took place at the University of Quebec, Canada, on July 10–14, 2017.
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Piret Voolaid speaks about the 3rd all-Russian congress of folklorists, which took place in Voronovo, Russia, on February 3–7, 2014.
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The article gives an overview of young scientists conferences, with a focus on the representation and participation of young folklorists. The tradition of such conferences dates back to 1974 (Institute of Language and Literature) and 1978 (Estonian Literary Museum). The overview reflects changes both in conference organization and presentation technology. It also points out the changes in research focus throughout the 40 years period. The article is based on the recollections of the participants and organizers as well as on published sources.
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