СТАНОВЛЕННЯ МУЗЕЙНОЇ СПРАВИ У М. ПЕРЕЯСЛАВІ-ХМЕЛЬНИЦЬКОМУ: 40–60-і роки ХХ ст.

Author(s): Inna Bilchenko / Language(s): Ukrainian Issue: 4/2014

The article is devoted to the basic processes of formation of an outstanding museum institution in Ukraine in 1940-1960's – National Historical and Ethnographic Reserve "Pereyaslav". A number of archive documents, records of the repository collection of NHER "Pereyaslav" were used that allowed to clarify some aspects of the history of the museum institution formation in Pereyaslav-Khmelnytskyi.The aim of the given research is the integrated coverage of the history of formation of Pereyaslav-Khmelnitsky Historical Museum on grounds of the analysis of unintroduced, little known and published sources. During the research, systematic and diachronic analyzes as well as the retrospective method, and general scientific methods (analysis and synthesis) were used.The museology is quite a potent cultural layer due to which visitors get an idea of various aspects of human existence, and museum institutions themselves play an important role in the preservation and investigation of cultural heritage of any country. The establishment of museology in Pereyaslav area was preceded by a period of accumulation and collecting. In 1917 the first regional historical museum in Pereyaslav-Khmelnytskyi was situated in the building of Pereyaslav collegium of the 18th century. This museum sustained considerable damages during the Russian-German War in 1943, and funds were destroyed.The next museum exhibition was created in 1946 in the fitted premises – the building of the local doctor A.Y.Kozachkovskyi, who was a friend of the famous Ukrainian poet Taras Shevchenko. The new museum was located in three rooms and its newly raised funds amounted to about 700 museum pieces, the pre-war funds were not preserved. The Council of Ministers of USSR planned to close the regional historical museums both in the town of Pereyaslav-Khmelnytskyi and in the city of Bila Tserkva to establish on their basis Bila Tserkva District Museum of Local Lore.On the basis of archival sources of the State Archive of Kiev region and the Central State Archive of Supreme Bodies of Authorities and Management in Ukraine the article makes a hypothesis that it was the state level celebration of the 300th anniversary of Pereyaslav Council and the appointment of Mikhailo Ivanovych Sikorskyi that have become the main catalysts for the creation of the Reserve in the town of Pereyaslav-Khmelnytsky. Currently it plays an important role in maintaining and investigation of the cultural heritage of Ukrainian people. In view of the laid down statements in the article, it was concluded that in 1950’s the historic museum of Pereyaslav area promoted achievements of socialist construction and the Soviet regime.The article indicates some aspects of the opening of the first museum expositions in Pereyaslav area (the Archaeological Museum, the Memorial Museum of architect V.H. Zabolotnyi) that form a part of the museum complex structure. The prerequisites and the beginning of creation of the first Ukrainian open-air museum – the Museum of Folk Architecture and Life of the Middle Naddnipryanshchyna have been predetermined. Particularly, the first ethnographic exposition was placed in the fitted premises in Mykhailivskyi Monastery, which is why it could not depict the life of the Ukrainians in the 19th century to the full extent.Therefore, beginning from the 1960’s an ethnographic exhibition was created on the new site that eventually covered an area of over 24 hectares. The above-mentioned open-air museum was founded mainly on the basis of immovable historic-cultural monuments of the Middle Dnieper villages that were flooded during the creation of the Kaniv reservoir. The main structural unit of the open-air museum is a manor house. Along with the manor houses there were windmills, sacral and public buildings of the 19th century.In a period of sixty years, Mykhailo Sikorskyi has made a significant contribution to the study of the history and culture of Ukraine, in particular, of Pereyaslav area, turning the town into a prominent center of culture and spirituality, the treasury of monuments of our country, and has created a unique museum complex – Pereyaslav-Khmelnytskyi State Historic and Cultural Reserve, which in 1999 was granted the status of National Reserve.The employees of Pereyaslav museums, headed by M.I. Sikorskyi, in a period of almost half-century could create an important culturological resource that we have to use skillfully today in order to critically redefine the past of Ukrainian people.

А. Лулева, Ив. Петрова (Съст.). Изследвания на културната памет, културното наследство и идентичности. София, 2015

Author(s): Valentina Vaseva / Language(s): Bulgarian Issue: 4/2016

BAŠESKIJINE FOLKLORISTIČKE ZABILJEŠKE

Author(s): Sead Šemsović / Language(s): Bosnian Issue: 13/2015

This paper examines the diverse treasures of folklore in Mula Mustafa Baseski’s famous Chronicles (Ljetopis). As the first Bosnian folklorist, his notes are extremely valuable to the understanding of Bosniak folklore heritage. Intangible culture holds a special place within cultural heritage. This study addresses the topics of dances, dancers and places to dance, musicians, singers and instrument makers, and storytellers, each of which renders a unique image of life in Sarajevo in the second half of the 18th century. The chronicler introduces us to the most important cultural events from which we, today, can learn of the full range of important testimonies about dance, playing musical instruments, and narration.

E-, cyber-folklor. Nowy paradygmat badania nowych mediów?

Author(s): Magdalena Zdrodowska / Language(s): Polish Issue: 03/2012

New forms of culture – cyberculture – makes new academic brands are appearing rapidly in the last two decades both in anthropology and studies on folklore. The article is tabling the question if the emergence of new e- and cyber- practices and texts make traditional paradigms of culture research to be replaced with new disciplines or methodologies. Is the coherence and continuity of the discipline dependent on the research subject or rather research tools and methodology? The article undertakes the topics of: the influence of the cybersurrounding on research process an emergence of new ethical issues, the possibilities of digital material analysis with new Computer Assisted Qualitative Data Analysis Systems as well as credibility strategies and variance in e-folklore texts and practices.

Õppija teekond: sarnasuse tunnetamisest sihtkeelepärase kasutuseni

Author(s): Annekatrin Kaivapalu / Language(s): Estonian Issue: 69/2017

Most SLA theories and models have recognised cross-linguistic influence (CLI) as an important or even the major factor determining the second language acquisition, which, in interaction with other factors, determines the likelihood of the transferability of a given structure in a given context. Interlingual identifications made by learners between the first (L1) or formerly learned (Ln) and target language (TL) enable both positive and negative transfer from the L1/Ln, depending on the learners’ perceptions of the convergence or divergence of the L1/Ln and TL patterns. However, largely due to the visibility of non-target like language usage, the majority of studies on the CLI have focused on the negative outcomes of the issue or dealt with the CLI without separately tackling the positive and negative influence. In closely related languages like Finnish and Estonian with their rich inflectional morphology, the L1 influence is clearly seen in bound morphology, and its outcomes are considerably more often positive than negative. The paper aims to explore how and why learners’ perceptions of similarity do or do not get realised as positive CLI in inflectional morphology, on the basis of the following two databases: 1) thinking aloud protocols and retrospective interviews on an experimental inflection test of Estonian high school students learning Finnish as a foreign language; 2) longitudinal video-taped data of Estonian primary school children learning Finnish as a second language in a preparatory class. The results indicate that both second and foreign language learners benefit from similar inflectional patterns when they perceive cross-linguistic similarity and then apply a pattern similar to L1 and TL. For foreign language learners, the two main reasons of rejecting the converging morphological patterns of L1 and TL are: 1) a psychological barrier, avoiding “too” similar patterns in Estonian and Finnish, causing the repetition of the pattern during analogical processing; 2) competition between analogical and rule-based production, which is supported by foreign language instruction. In learning closely related inflectional morphology, system learning for production precedes item learning for production both in second and foreign language learners.

Національна традиція у творчості українських шістдесятників: механізми спадкоємності

Author(s): Svitlana Mezinа / Language(s): Ukrainian Issue: 2/2015

The author of the article draws attention to the historical inheritance of the national tradition in the creative works of the representatives of the Ukrainian art movement of the 60-s. The establishment and strengthening of the national tradition in the Ukrainian society was happening wave-like because of the complicated geographical and historical conditions. The periods of the Ukrainian baroque, "Executed renaissance" and the Ukrainian art movement of the 60-s are the peaks in the history of national culture. Artistic avant-garde of the 1960-s became the highest phase of raising and strengthening the national tradition in the Ukrainian art. Its representatives began to revive actively the traditions of the Ukrainian baroque epoch and the period of "Executed renaissance". The methodological base for researching the problem of traditions and innovations in art is the monograph of the art critic Olena Zinkevich "Dynamics of Renewal", in which the researcher analyzes historical correlations of tradition and innovation, builds up the conception of inheritance in art as a complicated dynamic system, defines the channels of inheritance and its genetic, typological and contact connections. Analyzing mentioned by O. Zinkevich connections in the Ukrainian painting, the author draws attention to the fact that the genetic link of the works of the painters of 1960-s is connected with the continuation of traditions of the monumental art school of boychukists, the founder of which was Mykhaylo Boychuk. Young artists of 1920 1930-s oriented on national symbolics, used national particularities of the language of art, appealed to the icon painting traditions of the ancient Rus – Ukraine and to the Byzantine monumental painting. Boychukists combined the newest achievements of the European artistic culture with the artistic qualities of the Ukrainian baroque painting. The base for creative work of painters-monumentalists of the 1960-s was the depiction of the modern human, their internal world, feelings, emotional experience, moods, common to mankind eternal values, mode of life, beauty of the Ukrainian nature with the help of bright symbolics and new expressive possibilities. In music art the men of the 60-s renewed the traditions of the Ukrainian music avant-garde, which lay in the base for creative work by Borys Liatoshinsky. The composer based himself on the Ukrainian folklore and used in his variations of the Ukrainian folk songs intonations of carols and vesniankas, typical intonations of the kozachok and the West-Ukrainian kolomyika and Ukrainian folklore genres formed in the 16–17-th centuries – ballads and historical songs. Composers of the 1960-s synthesized new techniques of composition with the Ukrainian folklore sounding. In the foreground is their interest to the human, nature and their connection, the fight of the Ukrainian people for independence. It is manifested through their using the intonations of ancient bylina tunes, kobza playing, lamentations, historical songs, ballads, the Old Russian monoactions, chants, calendar and ritual, lyrical Ukrainian dances and other genres of folk music. At that time one could observe the combination of the professional and folk music. The men of the 60-s experimented bravely on the genre sphere by means of new techniques of composition, and it resulted in the appearance of polygenre works. Artists synthesized those genres which belonged to one sphere of music art (symphony and concert, cantata and oratorio), combined instrumental and vocal genres, and integrated music into other kinds of art – literature, painting, architecture. This is a bright example of contact connections described by O. Zinkevich. In the cinematograph of the 1960-s artists revived the traditions of the famous film director, the classic of the world cinematograph, Olexandr Dovzhenko, who with the help of his stylistics gave birth to the phenomenon of the Ukrainian poetical cinema, the basic distinctive feature of which was national character. Reproducing in their films Ukrainian customs and rituals, using national clothes, folklore, objects of everyday use, folk songs, theatre, picturesque landscapes of the native land, film directors experimentalized in the sphere of artistic form with the purpose of depicting the inner world of the Ukrainian person, his mentality and national idea. Young artists of the cinematograph of the 60-s years in the 20th century worked actively in a new direction of impressionistic cinema with the depiction of realities of life. This direction was based on the principle of "uninhibited camera", namely putting the camera as a competent participant of actions that turned around its axis, moved together with heroes, constantly changed directions. Revealing the process of inheritance of the national tradition by the avant-garde of the 1960-s is important for realizing the significance of its deep roots that come back to the epoch of the Ukrainian baroque and the period of "Executed renaissance". On the base of analysis of genetic, typological, international and contact connections in painting, music and cinematograph the author has come to the conclusion that revealing the process of inheritance of the national tradition by the avant-garde of the 1960-s, the representatives of which made an explosive art break, is important for realizing the significance of its deep roots that spring from the epoch of the Ukrainian baroque and the period of "Executed renaissance".

Використання гри в дитячих хореографічних колективах – дієвий засіб пізнання світу

Author(s): Natalia Korysko / Language(s): Ukrainian Issue: 34/2015

The problems of using games in children’s choreography as an important mean of formation of an active life position of every personality and its adaptation to the modern social-economic conditions are considered in this article. Formed under the influence of modern social order of social transformation in our country actualized the problem of providing a new level of education of national consciousness of the individual, which inevitably leads to reform the system of education, which is based on individually oriented education, modern scholars considered from the standpoint of the methodology of the system approach. Our society is in a restructuring of all spheres of human activity, which means that now need not only specialists in the traditional sense of the word, and people with a new type of thinking, creative and enterprising people. Updating a creative personality problems of education requires rethinking the content of all social institutions responsible for the readiness of the young generation for life and work. Significant potential for education of creative activity of young people have entertainment institutions, amateur associations, including dance groups. We know that dance – the most beloved and most popular form of amateur art – promotes physical development and aesthetic education of the younger generation. Children's dance groups, combining teaching and educational creative work, the result of which is a product of creative work child develop her imagination. Repetition of movements, tasks, sketches, improvisations on the theme, creative games to make life a joy, thrills, causing aesthetic sense, creating opportunities for identification initiative. With the game of solved many problems that are not solved in other classes, strengthens health, produced a sense of community, fellowship, develops ear for music and creativity, and adjusted formed character. These tasks are priorities for the development of personality of children. Early involvement of children in folk art, folklore influences positively the formation of harmoniously developed personality in them. This contributes to the systematic teaching and playing activity which is the main component of the classes in choreography. In the formation of individual important use of rhythmic dance-games through which developing character, will, perseverance, ability to mobilize forces to show resourcefulness, ingenuity, activity. When playing activity of children created favorable conditions for a balanced overall psychological state of attention, perception creative imagination, memory, which also promotes language development, quick thinking and ingenuity. Precise and quick execution of movements, coordination of actions during the game, especially when it is carried to the music (Music and dance games) formed the aesthetic tastes of children, they learn to notice the beauty of dance movements. The basis of the content and subject of games scene assigned certain images and objectives. They also present a detailed action figures, which are often opposed. Plotless games – a kind of mobile games. Their main task is to educate children to move in accordance with the nature of music and musical composition form. In games with singing expected formation of children the ability to transmit motion content and images songs, music and general nature of the means of musical expression. The game – the only activity in which the process is given more importance than the result. The motive of the game in the early school years, says researcher N. Kudykina is in the process of their implementation. However gameplay are the result serves, and the result – intermediaries in the process. During the National Games rhythmic and choreographic character in children produced such personal qualities as civic consciousness. The games are manifested traits and volitional qualities, ideological commitment, moral beliefs. All of this together determines the behavior of the child, his attitude to the environment and respect for everything beautiful. Games and dancing are taught to children shared collective actions contributing their associations, fostering a sense of friendship, mutual respect, justice, and honesty. Funny Games and dances stimulate the nervous system and cause increased higher activity of the brain associated with associative, intellectual and volitional processes that positively affect the overall condition of the child. Traditional games and entertainment is a valuable teaching tool. Because of their content are intertwined words of folk songs, nursery rhymes, potishky relevant theatrical scenes and imitation movements, they are able to create appropriate conditions for socialization. Folk mobile music games give children gymnastics, but not one that baffles their nerves and soothes, brings new experiences and discreetly, without the knowledge of children developing them not only physical strength, but united in a training body, spirit and mind . This approach to education today is extremely important because it forms the logical child – future citizens of our country

NÉHÁNY ÉRDEKES TÁRGY A ZILLINGTAL-UNTERER KAPELLENBERG D 41. SÍRBÓL

Author(s): Tóbiás Bendegúz / Language(s): Hungarian Issue: 1/2007

WOBEC POLSKOŚCI. Z DOŚWIADCZENIA NAUCZYCIELA JĘZYKA POLSKIEGO JAKO OBCEGO

Author(s): Grażyna Balkowska / Language(s): Polish Issue: 21/2014

The study is concerned with the idea of polishness as a bisemic concept. It reveals the complexity of references connected with this idea, amongst the teachers as well as amongst the students of PAFL (Polish as Foreign Language) courses who have Polish origins. The article also seeks to define the factors influencing the understanding of polishness by the PAFL teacher and young Poles from the East. The teacher’s concept of polishness is formed by years of humanistic studies. Still, social changes and tasks set by the glottodidactic course confront that concept with the one formed in different social groups, like PAFL students. Sociological investigations indicate that the real attitude of Poles to their cultural heritage differs from the one created by mass media. The criteria of polishness set by the young generation of Poles (born in Poland), formed the basis of a questionnaire aimed to analyze the attitude of PAFL students. The results show that the majority of students officially belong to the Polish society, with 54% emotionally identifying themselves with it (and 52% with the Roman Catholic faith), while the identity of the rest cannot be unequivocally described. 88% of them had been learning Polish before, and 96% declare familiarity with Polish customs, while only 25% practice them. The majority (66%) would like to stay in Poland after having graduated, and none of them opposes to this idea.

From ‘Heritage Adepts’ to Historical Reconstructionists: Observations on Contemporary Estonian Male Heritage-Based Artisanry

Author(s): Madis Rennu,Liisa Tomasberg-Koidu,Art Leete / Language(s): English Issue: 1/2018

On the basis of ethnographic fieldwork, conducted between 2007 and 2013, the authors analyse the communities of male artisans that have had the most signif¬icant impact on the development of contemporary Estonian handicraft. A wide range of artisans were surveyed in the course of this research, from professionals who earn a living from handicraft to amateurs, small enterprises and handicraft instructors. The authors concentrate on the motifs and background of different categories of handicraft agent. Details of handicraft practice such as mastering spe¬cific items, local peculiarities and materials used will be also explored. The analy¬sis is predominantly based on the artisans’ views on proper ways of making handi¬craft items, their marketing strategies and the needs of developing their skills. The study* demonstrates that artisanal initiatives support the material reproduction of cultural locations through constant renewal of heritage ideology and practice.

Росен Малчев. Агиология и демонология. Напрежения в структурата на фолклорната вяра

Author(s): Tsvetelina Dimitrova / Language(s): Bulgarian Issue: 36/2018

Laboratorium w pracowni: Człowiek A.D. 2017. Trzeci rekonesans

Author(s): Marek Pacukiewicz,Adam Pisarek / Language(s): Polish Issue: 6/2017

The article contains an analysis and interpretation of works created by the students of the Academy of Fine Arts in Katowice as a part of the project “Laboratory in the studio.” An artistic statement allows the authors to get an insight into the sphere of cultural practices and customs, shaped by the modern registers of knowledge but rooted in more permanent forms. The purpose of the text is to discover the cultural rationality behind the idiom of human.

In Memory of the Memorial

Author(s): Ivaylo Ditchev / Language(s): English Issue: 04 Spec/2018

Monuments traditionally impose emotional sovereignty over the territory: they are the expression of the cultural hegemony of the epoch. With the transition towards the second modernity in the 1980s, memorial objects start losing their consensual character; they start to provoke, to launch violent debates, to be vandalized. Could we say that the monument is no longer something durable and not to say eternal, that it gets closer to something like a situational artistic-political performance?

Захиде Баџи: један пример суфијске мистике из османског Ниша

Author(s): Milan Ranđelović / Language(s): Serbian Issue: 1/2018

The paper presents an analysis of the saga about Zahide Bacı, the legacy from the Sufi folklore which remained preserved as a part of the cultural and historical heritage of Ottoman Niš. The saga abounds with the leitmotifs from the legends and the parables of the holy people in Islam whose cults were honored as part of the popular religious tradition not only in the Ottoman Empire, but also in other Muslim countries. Through comparative insight into similar sagas, these leitmotifs are identified and their origins analyzed. In that way, we got better insight in the opus of syncretic elements taken over in this saga from the cultures and religions of the Near and Far East.

Prikazi

Author(s): Ivan Pudić,Idriz Ajeti,Milenko S. Filipović,R. Filipović-Fabijanić,Janoš Voplert / Language(s): Serbian Issue: 2/1961

Review/Prikaz: -Joseph Schütz : Die geographische Terminologie des Serbokroatischen. Deutsche Akademie d. Wiss. zu Berlin. Veröffentlichungen des Instituts für Slavistik. Herausg. von H, H. Bielfeldi, Nr. 10, 1957. -P. Anton Merlo S. J. : Kratka uputa za praktično i teoretično učenje Albanskog jezika. S njemačkog preveo: dr Emanuel Krajinović. Letnica kod Kosovske Vitine,, 1959. -Silviu Dragomir: VIahi din Nordul Peninsulei Balcanice in Evul Mediu. Burniresti, 1959. Str. 224. Izdanje Rumunske akademije nauka -Leposava Žunić : Sarakačani — »Ašani« na Goču. Glasnik Etnografskog instituta SAN VII (Beograd, 1958), 87—107. -Albert V. Lord: The Singer of Tales. Harvard University Press, Cambridge, Massachusetts, 1960. XV 309. -Starve Skendi : Albanian and South Slavic Oral Epic Poerty; Memoirs of the American Folklore Society, Vol. 44, Philadelphia (Pa. U. S. A.), 1954, sir. VIII + 221 -Rad kongresa folklorista Jugoslavi je u Varaždinu, 1957. Zagreb, 1959, str. 351. -Bеpa Венедикова : Бвлгарски паралели на антиснии обичаи заораваие при основане на селише. Изследованил в чест на академик Д. Дечев (Бвлгарската академиа на науките, Софил. 1958), 779—785. -Verena Han: Orijentalni predmeti u renesansnom Dubrovniku. Prilozi za orijentalnu filologiju i istoriju jugoslovenskih naroda pod turskom vladavinom VI—VII (1956-..1957), Sarajevo» 1958, s. 115-..137. -Margaret Hasluck: The Unwritten Law in Albania. Cambridge (Engleska), 1954. str. XV + 285. -Dr Branislav Nedeljkovič ; Kanun Leke Dukađina — Arbanaško običajno pravo, (Iz rukopisne zaostavštine Valtazara Bogišića). Anali Pravnog fakulteta u Beogradn IV (Beograd, 1956). 429---474. -Andrâsfalvy Bertalan: A vörösbor Magyarorszâgon. Szölö müvelesünk Balkàni kapcsoltai. (Crno vino u Madarskoj. Veze madarskog vinogradarstva sa Balkanom). A Néprajzi Értesito, XXXIX, Budapest, 1957, str. 49—67.

Popis arhiviranih emisija Redakcije narodne glazbe i običaja HTV etnografskog / folklornog sadržaja snimljenih na području Like u razdoblju od 1969. do 1998. g.

Author(s): Aleksej Gotthardi-Pavlovsky / Language(s): Croatian Issue: 22/1999

Ovaj se popis pridružuje onom prošlogodišnjem, tj. popisu emisija iste redakcije snimljenih na području Slavonije, Baranje i Srijema, objavljenom u Etnološkoj tribini 21 (vol. 28, Zagreb 1998.). Namjera je, naime, prigodom svakog znanstvenog skupa HED-a posvećenom nekoj od hrvatskih regija, sastaviti i objaviti popis emisija dotične Redakcije snimljenih na području te regije, a s dugoročnim ciljem doprinosa sastavljanju cjelovite hrvatske etnografske/etnološke (odn. u tom smislu korisne) filmografije. Budući da sve uvodne i popratne napomene (prošlogodišnjeg) popisa vrijede i za ovaj, neću ih ponavljati. Novost je jedino u uputi da se sada za sve informacije o domaćoj prodaji, tj. presnimavanju emisija HTV-a za distribuciju unutar Hrvatske, valja obratiti gđi. Ljerki Višnar, tel. 01/634 20 43. Postoji, doduše, još jedna novost: Odlukom Uredničkog kolegija HTV-a, od konca siječnja 1999. godine, emisije narodne glazbe i običaja — tj. one o hrvatskoj narodnoj kulturi — pridružene su novoosnovanoj Redakciji za poljoprivredu i selo. Nazdravlje!

Milovan Gavazzi i identitet Gradišćanskih Hrvata

Author(s): Nives Ritig Beljak / Language(s): Croatian Issue: 18/1995

In der Publikation der kroatischen Kulturgesellschaft Napredak (im Kalender Napredak für das Jahr 1936) erschien 1935 in Sarajevo eine kurze Arbeit von Milovan Gavazzi Das alte kroatische Erbe im Volksschatz der burgenländer Kroaten. Es handelt sich um eine Studienskizze, Zusammenfassung seines kurzen Terrainaufenthaltes zwischen den burgenländischen Kroaten im Jahre 1933. Diese kaum bekannte Arbeit wird von der Autorin als eine bedeutende, abgerundete Einheit hervorgehoben. Gavazzi hat mehrfach die Identität der burgenländischen Kroaten im pädagogischen Sinn beeinflußt. Er hat für burgenländische Lokalzeitunen geschrieben und im persönlichen Kontakt die einheimischen Intellektualen angeregt, über die Identitätsmerkmale der burgenländischen Kroaten aus dem Kreis der Bräuche, der Folklore und der Lexik hervorhob. Die gesammelten Zeugnisse über die Identität der kroatischen Minderheit in Burgenland, umgeformt in eine abgerundete Arbeit, wiederstehen, nach Meinung der Autorin, einer grundsätzlichen Kritik welchen an die älteren kroatischen Ethnologen, in erster Linie an Gavazzi, gerichten wird, die den Mangelan einer nationalen Mitbezeichnung des Forschungsgegenstandes betrifft.

Istarsko pučko lončarstvo

Author(s): Josip Milićević / Language(s): Croatian Issue: 5-6/1976

This paper is dedicated to 80th birth anniversary of Dr. Milovan Gavazzi. It only shows the results of the present research into Istrian folk pottery and it will be soon supplemented. The present research has proved only four production centers, but according to the forms, work technology and the number of the examples found we have to realize that there must have been more of them from the Age of Bronze, the Middle Ages until the present. The most famous and the most numerous ones belong to the village of Rakalj in the south of Istria. They are made manually on potter's wheel in the technique of clay cuts spirally laid. One woman in Rakalj produces them still today. The pottery products from Rakalj have been sold every where in Istria, even in distant places in the north and they have been preserved in great numbers in all Istrian museums. The pottery products from the village of Čukarija at Hum in northern Istria, are made with a foot-pedaled potter's wheel and they are formed out of one piece. At the contrary from those from Rakalj they are decorated with relief ornaments and scratchings on a wet pot. As a rule they were dated and initialed by the author so there are museum samples which are more than 160 years old. They were sold on the narrow territory of northern and middle Istria Nobody has made pots in Čukarija for more than 15 years, but even in the past it used to. be a hereditary profession in the family. Until World War II in the village of Pavletiči at Oprtalj , also in northern Istria, there used to make earthenware which was sold near Oprtalj . There are no necessary data about this production as the village and the villagers were destroyed in the war. There are only few of these pots in Istrian museums. Before World War II earthenware used to be also produced in Zubine village not far from Pavletiči. Their existence has been proved through literature but no samples have been found. Main feature of all Istrian village pottery is simplicity in production, few ornaments and no finishing, but sophisticated forms show an exceptional creative quality of folk skilled workmen.

OBELIŲ KAPINYNO XIV A. PABAIGOS LAUŽAVIETĖ – MIRUSIŲJŲ PALAIKŲ KREMAVIMO, GRUPINIŲ DEGINTINIŲ KAPŲ AR AUKOJIMO VIETA?

Author(s): Eugenijus Svetikas / Language(s): Lithuanian Issue: 44/2018

In investigating phenomena of the 13th–14th-century Crusade era in the Baltic region, structures connected with the cremation of the dead and sacri.ces along with the associated .nd assemblages are one of the most important and complex sources of Lithuanian paganism. "ese structures have been reviewed in Lithuanian archaeological historiography and brie#y mentioned in summarising papers, doctoral dissertations, and various articles. But even in this sparse historiography, cremation and sacri.cial site structures have not been broadly analysed and the .nd assemblages have been presented selectively and using poor quality images. Most of the structures connected with the cremation of the dead and with sacri.ces have been discovered in Obeliai Cemetery, which was excavated during 1978–1983 by Archaeologist Vytautas Urbanavičius of the Lithuanian Institute of History. "is article seeks to determine the composition, contents, and entire .nd assemblage of a pyre site discovered in Obeliai Cemetery and to .nd the relationship between this structure’s burials and the pyre site.

Inhabitants of the Holy River of Novgorod: the Volkhov in the Historic, Cultural and Mythological Tradition of Medieval Novgorod

Author(s): Elena A. Tianina / Language(s): English Issue: 1/2011

The River Volkhov, connecting Lake Ilmen and Lake Ladoga, used to be a transportation line of utmost importance in northern Russia (Fig. 1). As early as the 8th–9th century AD, the water route along the Volkhov was mastered by the Slavs – migrants from the southern shores of the Baltic Sea. During the Viking epoch, two major townships of northern Russia appeared at the head and the outfall of the Volkhov: they were Ladoga and the predecessor of Novgorod, Rurik’s Township. And in the second quarter of the 10th century Novgorod the Great was founded. For the city’s population, the River Volkhov was not only the basis of their economic life, but also a sacred natural feature. [...]