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In terms of regional types of folk clothing, Moravia is an extremely diverse territory, where two completely different groups –the western and eastern – meet. The western group is composed of Bohemia, Opavské Slezsko, and Moravské Horácko, and the eastern group comprises the West Carpathians and their foothills.
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Oral-prose forms as parts of the structure in the novel Grozdanin kikot by Hamza Humo have been analyzed in this work. The focus of the analysis is to abstract the oral tradition and reveal its function in the novelistic structure.
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U sociologiji religije klasična religioznost određuje se kao jedinstvo religiozne svesti i religioznog ponašanja i udruživanja. Uz deklarisanje u religijskim terminima, neophodno je i na propisan način obavljati obrede i redovno prelaziti prag hrama (Blagojević 2005: 63). Odbacuje se subjektivna religioznost bez crkvenosti, budući da većina verskih struktura zahteva pravovernost iskazanu i kroz svakodnevno praktično potvrđivanje verničkog statusa (Đorđević – Todorović 2001: 157).
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The article deals with the mythological vocabulary associated with folk beliefs and folklore of the peoples in South Slavic countries (the designation of mental denotations – mermaid, vampire, wolfman, dragon, witch, etc.) in the central part of South Slavia. The distribution of such vocabulary on ethnolinguistic maps is studied in comparison with its presentation in the “Dictionary of the Bosnian Language” (2010). Conclusions are drawn that the “Dictionary of the Bosnian Language” reflects the processes of gradual loss of the folk mythological vocabulary of a number of originally inherent meanings. Folklore vocabulary begins to be used in slang and vernacular speech. New meanings arise that are associated with the zoological sphere, which occurs on the basis of previously known contexts from the field of “lower” mythology and folk views on nature. The “Dictionary of the Bosnian Language” as a full-scale lexicographic work in the presented word usage, word combinations and phraseological turns reflects a number of characteristics of the mythological characters themselves, known from ethnographic literature and field ethnolinguistic records that had been done by the author.
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The article discusses the processes of transformation of wishes in modern precedent texts and social networks. It also focuses on the messages from Russian Twitter (in which there occur substitutions, omissions, additions, contaminations, occasional coinages or the usage of expressions in their direct meaning). The research presents the results of the origin of expressions Pip to your tongue, No bottom no cover, etc. analysis and reveals their frequency in text corpora from chronological perspective. The origin of these phrases is well known and is recorded in dictionaries and in the usage, speech practice and dialect phraseology of the Russian language and traditional folklore.
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One of the most important events in the life of a medieval woman was the journey of a bride. As a part of the nuptials this journey consisted of numerous ceremonies and rites. Along with thisjourney a woman was transferred from childhood to adulthood, from the authority of her father to the authority of her husband. Thus, it was not only the journey in a geographical point of view, but in a symbolical one as well. Despite the fact that virtually every medieval highborn woman set out on this journey, only one normative source concerning an ideal version of the journey is preserved. It is De institutione vivendi by Neapolitan nobleman Diomede Carafa and it was written as a wedding gift for Beatrix of Aragon and Matthias Corvinus in 1476. De institutione contains the genre aspects of a mirror for the queen and an guide for the journey. This unusual part – guide for the journey could have be added by an initiave of addressee, queen Beatrix, or more likely it was an invention of the author himself. Apart from advice on how to travel, how to take care of servants and household etc., Carafa recommends the young queen to seize this way as a chance. The chance to prepare herself for her future life and to visit special places and persons during the journey in order to get a personal prestige which will be vital to her fate. Beatrix is supposed to visit devotional places, important persons (pope, cardinals, her elder sister Eleonora, duchess of Ferrara). As a preparation for her future life she should gain every valuable information by which she would achieve the grace of her husband and mother-in-law – the information about how to govern one‘s household, how to learn the language of her new kingdom. An ideal journey of the bride, at least according to Diomede Carafa, is a well spent preparation for the future life and the role of queen. It is a time of maturation which may facilitate the process of transition.
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Art music of the 20th century is an important period of music history. One of the directions, which penetrated into composers´ way of composing, was folklorism. This paper generally deals with Béla Bartók´s folkloristic activities and introduces his piano cycle Romanian Christmas Carols, Sz. 57. The aim of this paper is also to highlight some elements that penetrated from folk music into Bartók´s compositional style and show them on specific examples within the selection of the above mentioned piano cycle.
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The author presents project, the aim of which is adaptation of folklore songs for voice and piano by contemporary Slovak composer Pavol Krška. The project is the result of pedagogical practice needs. All songs were composed for specific interpreters in the specific key e.g. a baritone. The project gives a chance to other voice groups of a tenor and a bas to include songs to their repertory. The same principle works also in case of the adaptation for female voices.
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The main idea of this work was to study gender representations in the English “Ballad of Tam Lin”, the Russian fairy tale “Finist the Bright Falcon” and the Turkish tale “Patience-Stone” through the analysis of language units with implicit gender semantics. These folklore narratives have important similarities featuring the female protagonist as the main plot driver and possessor of cultural wisdom. They follow the “female savior” scenario, depicting women as decisive and challenging the traditional role of a decorative victim.
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The study deals with the development of museology by not only pointing to the socio-political situation of the time, but also by emphasizing the important personalities of the region. In Trnava, the collection activity was developed in two directions – the organized form and enthusiasts, for whom the collection of historical artefacts was a personal challenge. The Franz R Osvald Museum Company was founded in Trnava and its ambition was to associate people interested in history. Its main objectives were the management, preservation and presentation of historical, ethnographic and archaeological collections, which were handed over by the Saint Adalbert Association. Besides the organized way of work and enrichment of museum funds, we also know amateur collectors and artists interested in historical artefacts. The outstanding personality of the region was Štefan Cyril Parrák, who devoted his life to collecting folk art. Thanks to his enthusiasm, he gathered large quantities of historical objects of considerable historical, archaeological and cultural value. His huge personal collection has become one of the basic building blocks of the Western Slovakia museum in Trnava and has helped this museum to move from the position of a regional museum to that of a national museum, among other important institutions of this type in Slovakia. Despite the disintegration of his family and many existential problems, Štefan Cyril Parrák concentrated on the collection and preservation of historical objects during the Second World War. His activity was paralyzed due to the political events in 1948, when his house was nationalized. In 1954, this magnificent collection was moved to the Western Slovakia museum in Trnava and became the property of the state. The study presents not only the beginnings of the conception of an important collection fund in Trnava but also the life story of a man in the background of the socio-political events of the time.
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Although the term “vampire” and the earliest legends about these creatures are considered these days to be of eastern origin, Slavonic culture and vampires appear to have many connections. “Slavic vampires” have a less pronounced sexual aspect, which is important in many classic vampire stories, and, instead, deal more with the concept of a “bad death” and the disease/illness category. This paper is an attempt to examine the shape and anthropological meanings of vampire figures in Polish literary texts.
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1.1. Definice - Manželství je společensky akceptovaný vztah dvou osob, stvrzený uzavřením sňatku. Očekává se od něho sdílení domácnosti, vzájemná pomoc a podpora partnerů, sexuální soužití, výchova dětí a společný majetek. 1.2. Manželské formy – terminologie • Monogamie – sňatek mezi dvěma partnery, obvykle mezi mužem a ženou. Tato forma je nejrozšířenější. • Sériová monogamie – po zániku monogamického svazku (rozvod, smrt) jedinec opět uzavře nové manželství s jedním partnerem. • Polygamie – manželství více než dvou osob. • Polygynie – manželství 1 muže a více žen. • Polyandrie – manželství 1 ženy s více muži. Více manželů mají např. ženy v Tibetu. • Křesťanství, hinduismus a judaismus se vyslovují pro monogamické svazky, buddhismus se k monogamii nevyjadřuje, v islámu je mnohoženství. • Levirát – příbuzenské pravidlo, které přikazuje muži oženit se s vdovou po zemřelém bratrovi. • Sororát – pravidlo, při kterém má muž po ovdovění právo (či povinnost) uzavřít manželství se sestrou své ženy – anebo sestra zemřelé má právo (či povinnost) provdat se za jejího muže. • Sňatek duchů (v Číně) – pokud během zásnub ženich zemřel, sňatek se uzavřel se zesnulým. Následně bylo možné adoptovat dítě a tím zajistit zachování rodové linie.
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Osud je v čínské kultuře vnímán jako daný, určený dobou zrození člověka. Přesto může mít různé podoby naplnění a je možné jej pozitivním způsobem ovlivňovat a vědomě utvářet. Existuje mnoho způsobů, jak ovlivnit běh života, které obvykle vycházejí z lidového náboženství a kosmologických představ. Jsou založené na starověkých představách, ale přesto si vydobyly své místo i v dnešní, moderní čínské společnosti. Patří mezi ně čínský horoskop sledující lidskou povahu a budoucnost, různorodé léčitelské a léčebné techniky a fengshui 风水 pracující s úpravou prostoru.
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Pojem lokální kultura akcentuje územní dimenzi, spjatost či vázanost k danému místu. Lze odlišit městskou od venkovské lokální kultury. Venkovská lokální kultura je vázána na malá územní společenství, charakteristická specifickou subkulturou, je tvořena materiálními i nemateriálními prvky, tj. hmotnými i nehmotnými statky a hodnotami, které jsou v konkrétním čase daným společenstvím využívány. Dosažený stupeň urbanizace nedovoluje přesné prostorové rozlišení městské a venkovské lokální kultury. Obecně lze říci, že jednou z hlavních odlišností obou je, že města zpravidla působí díky své vyšší sociokulturní heterogenitě a svým funkcím jako kulturní a inovační centra, častěji ovlivňovaná populární kulturou a globalizačními tlaky. Na sociálně homogennějším venkově hraje i v současné době významnou roli tradiční lidová kultura, s čímž je spojena i větší konzervativnost venkovské lokální kultury.
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Singular recent finds of granary-style houses in the District of Český Krumlov have become a motivation to find out to which extent this type of archaic houses has survived in the entire ethnographic area of Doudlebsko, where such finds are located. The occurrence of the granary-style house in this region is mentioned also in older literature. A research task of the National Heritage Institute, financed by the Ministry of Culture programme for institutional support, provided financial funds for an overall research in the years 2013 and 2014. This research mapped 85 village settlements in the ethnographic area of Doudlebsko. From a plethora of discovered houses that featured one of more hallmarks typical for the granarystyle house, several best-preserved and hitherto not published examples are described.
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The contribution includes the results of field researches the author carried out in the last quarter of the 20th century in the district of Beroun. Small one-storey timbered granaries and one-storey two-room granaries have survived rather rarely in the regions of Berounsko and Hořovicko. A higher number of examples substantiate two-storey timbered granaries, which completed the form of farmhouses significantly in the regions of Berounsko and Hořovicko. They featured a wooden staircase and an access gallery placed on the courtyard side and protected by overhanging roof. The ground floor could either be fully opened, carried by columns with doubled straps, or partially or fully closed by timbered or masonry walls. For the region north of the Berounka River, from Plasko to Karlštejn environs, the two-storey granary was typically placed at the entrance gate to the farmhouse. In the region of Berounsko, the two-storey granary often used to stand at the surrounding wall, in the middle or even in the rear part of the courtyard; we can find such types of granaries on both banks of the Berounka River. The wider area of Křivoklát forests and Podbrdsko featured pass-through pillar hovel with a granary under the roof. Such hovels were typically situated in the middle of the courtyard. In the 19th century, timbered granaries were replaced by masonry buildings the examples of which have survived as well.
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The relation between the folk and the stylish culture was solved by both ethnography (ethnology) and history of arts. Primarily, these issues were monitored on folk art and in relation of folk and style architecture. At the beginning, the ethnography focused on the timbered house that was considered an expression of autochthon folk architecture. In the inter-war period, it was art historians (Z. Wirth, V. Mencl) who devoted themselves to this theme. They overrated the influence of historical styles and considered the rural house to be an unoriginal rusticated form inspired by high culture. The representatives of Czech functionalism and structuralism (K. Šourek, K. Honzík) took a more complex opinion. After the war, the research was aimed at the documentation of surviving masonry buildings with the terrain echoes of styles as well as at the analysis of decorative elements and their authors (V. Bělík, L. Štěpánek, I. Minář). These issues were extensively monitored in Southern Bohemia, where one speaks even about ”Rustic Baroque”. Based on architectural development, source archives materials and planned documentation, the above issues are solved by M. Ebel and J. Škabrada.
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S-au întâlnit în coloanele Culturii pariziene, fapt ce capătă o semnificație aproape simbolică. Și de la început au găsit unul în celălalt un aliat. Pe marginea lecturii Gândirii captive, care tocmai apăruse, Gombrowicz nota: „Aș spune că în această carte Milosz luptă pe două fronturi: esențială nu este numai condamnarea Estului în numele culturii occidentale, ci și impunerea unei experiențe proprii distincte și a cunoașterii lumii - derivată din ea - asupra Vestului. Acest duel aproape personal dintre un scriitor polonez modern și Vest, în care miza o constituie expunerea propriei valori, a propriei puteri și particularități, e pentru mine mult mai interesant decât analiza lui Milosz a chestiunilor comunismului, care, chiar dacă e foarte pătrunzătoare, nu poate introduce idei cu totul noi” (D I 13)1. Ce lecție decurge așadar din întâlnirea - potrivit spuselor lui Gombrowicz - cu „o cultură abrutizată”?
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Când voiau să se mai distreze, să iasă din monotonia zilnică, oamenii din Banat, inclusiv șvabii, mergeau la baluri. Existau mai multe tipuri de baluri: balul meseriașilor, al pompierilor, balul mascat, balul secerișului, balul strugurilor, balul de Anul Nou, balul de Lăsatul Secului.
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