Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 2

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Vec, fotografia a socializmus: príbeh koberca

100%
Panáková J.
Národopisná revue (Journal of Ethnology)
|
2014
|
vol. 24
|
issue 1
46 - 59
EN
The way of our viewing fulfils every political, economic, and social concept with certain audiovisual materials, rules, and canons of imagination as well as with visual style and aesthetics. Socialism offers plentiful examples how the convention of “good manners” penetrated into photographic viewing. One of them is the series of domestic group or individual portrays in front of a “Persian” carpet hanging on the wall. This carpet stands for the all-including identity of Soviet citizen, socialistic wealth, cosy socialistic dwelling, and constitutes a frequent element of domestic Soviet photographs. While the foreground changed according to one leader replacing the other one and alongside the politicians, also the giant agitating mosaics or tapestries intended for exterior or interior changed, the carpet remained unchanged. Even though this convention is suppressed by another one in Moscow or Petersburg, and “sovok” – the culture of socialistic households and everyday life - is understood as a negative one, this convention is still surviving in Siberia. The question is why the people still insist on being photographed in front of the carpet. This study introduces an in-depth analysis of the origin, development, and transformations of this specific visual practice. We will show how the socialistic Alltagswelt and the idea of a right Soviet citizen were interconnected with a peculiar way of (photographic) viewing and how this visionary project failed while the visual one is still living.
2

GRAVE PORTRAITSAND ANCESTRALIZATION OF THE DEAD (THE CASE OF NEW CHAPLINO)

100%
Panáková J.
Slovenský národopis (Slovak Ethnology)
|
2014
|
vol. 62
|
issue 4
505 – 521
EN
The study examines the phenomenon of ancestralization through the grave photo portraits. The aim is to show that although photography in Russian Beringia has its origin in the Soviet practice, the locals have been able to invent their own modes of photography use and incorporate them into the set of specifically local social and religious practices, including the feeding of the spirits and the phenomenon of “return”. The study shows that while photography can preserve memory of the individual person under certain conditions, the collective memory remains heavily dependent on the traditional mechanism. Consequently, photography in Russian Beringia neither effaces, nor deeply transforms the existing practices of commemoration; nevertheless, it enables us to explore the terrains, in which the existing religious phenomena have not been studied before.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.