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Dvě století „Kristova strůmku“

100%
Krizova A.
Národopisná revue (Journal of Ethnology)
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2011
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vol. 21
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issue 4
241-255
EN
The contribution speaks about the visual and aesthetical form of the Christmas tree from its beginnings until theearly modern ages - from the 19th century until now in the Czech environment. It pays attention to the Christmas tree function within the burgher society, where it played a social and representative role and to its importance for the army, where it became a symbol and reminder of family. The species selection was conditioned upon the geographical and climatic conditions - besides traditional coniferous trees (fir, spruce, pine) even other evergreen trees (box tree, holly) occurred. Until the mid-19th century, the trees were decorated with various kinds of foods, delicacies and fruits (biscuits, gingerbread, dates, figs, apples) and small toys, too. Since the mid-19th century, the production of glass, cardboard and metal sheet Christmas ornaments began to develop in the Saxon towns. Fifty years later in came to the Czech Lands as well. Chocolate figures, available in Christmas selection boxes soon, were a new phenomenon of the same time. Christmas lighting created an important part of the tree decoration - first were used oil lamps, wax, grease or paraffin candles; since the 1930s, electric lights were sold. Even if the ornaments underwent fashion changes within the entire 20th century, the Christmas tree decoration is understood as a very traditional matter, which is not subject of actual trends, as results from a three-generation survey by questionnaire done with 183 respondents from the families of students of Faculty of Arts, Masaryk University, and from the families of teachers of Agronomical Faculty, Mendel University in Brno.
2
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Živý betlém – nový fenomén současnosti (vybrané příklady z Moravy)

75%
Tarcalova L.
Národopisná revue (Journal of Ethnology)
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2011
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vol. 21
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issue 4
271-282
EN
The depiction of the birth of Jesus as described in Bible has become an actual Christmas event for many villages and towns since the mid-1990s. In Moravia, one can find more forms among them especially the so-called Living Nativity Scene with performing parishioners representing the Holy Family stands out. The actors and the audience take part in the Christmas secret: the village is becoming Bethlehem temporarily and the people go together to the crib. For the authors, it is an occasion to create a play with songs and scenes. The origin and development of contemporary living nativity scenes was researched in the region of Moravian Slovakia - in the areas round Uherske Hradiste, Uhersky Brod, and Straznice, where the living nativity scenes in the open air have been performed since 1994. Questionnaires, video-records, and Internet reports have been completed with new forms of living nativity scenes in selected locations in Moravia: living nativity scenes in closed rooms, Christmas carolling at cribs, in churches, at Christmas trees and stage performances with Christmas habits. The study submits proofs of contemporary living character of Christmas plays in specific forms of the local culture.
3
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Dvojjediný svět Vánoc. Vzpomínky na Vánoce mezi Čechami a Bavorskem

75%
Zischka U.
Národopisná revue (Journal of Ethnology)
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2011
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vol. 21
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issue 4
283-292
EN
It was a chat between the author and her Moravian friend about their childhood that gave rise to writing these Christmas impressions from 'two Christmas worlds'. The parents of both ladies might have equipped their children for life with the same customs, habits, things, fashion, and style of life. In the first case, they continued being lived in Moravia; in the other case they were moved from the region of Cheb in western Bohemia to Bavaria. The behaviour of both ladies was nearly identical or similar in many day-to-day small and big behaviour models, in the 'styles of surviving' after the war. The author discovered she could share more things with her Moravian friend than with those in Bavaria. It was the parents who reminded both ladies of Christmas before 1945; things, letters and photos continue in acting as reminders thereof. The author's Christmas world began in Bohemia. Christmas influences the in-war-born children and the refugees´ or expatriates´ children in a special way. Their experiences, memories and tales listened to at Christmas and in the course of it will be kept in their minds for all their lives. They always carry two Christmas worlds with them. The one represents that narrated and the parents´ memories, the other one means own experiences in after-war Germany. Christmas 'there at home in Bohemia' and Christmas in 'their new homeland in Bavaria' - childhood days in the late 1940s and the 1950s modified the life style and the tradition brought from Bohemia into an interesting mixture this contribution wishes to talk about.
4

VIANOCE AKO DRAMATICKÁ SITUÁCIA V SLOVENSKEJ MODERNISTICKEJ DRÁME PRVÉHO DESAŤROČIA 20. STOROČIA (VLADIMÍR HURBAN VLADIMÍROV, VLADIMÍR HURBAN SVETOZÁROV)

75%
Cupanová K.
Slovenská literatúra (Slovak Literature)
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2021
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vol. 68
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issue 2
154 – 173
EN
Christmas Nativity plays had long been a traditional part of Slovak folk theatre. Christmas performances were also popular with amateur theatres in the late of the 19th century. In the early of the 20th century, Nativity motives also inspired dramatists adhering to the new modernist style. Vladimír Hurban Vladimírov (pseudonym VHV, 1884 – 1950, play Vianoce – Christmas, 1904) and Vladimír Hurban Svetozárov (pseudonym VHS, 1883 – 1949, play Vianoce – Christmas, 1908) pushed the enactment of Christmas ceremonies to the background and concentrated on individual actions and experiences of their heroes. Both texts bear numerous features of period European modernist drama (preference for short dramatic form, character reduction, restricted dialogues, intensified dramatic conflict and communication crisis as a theme). Their innovative – emotionally and morally subversive – handling of Christmas topics employed modernist dramatic techniques and gave the developmental line of biblical, folk and didactic Nativity plays a new dimension. It gave birth to texts of expressively escalated emotional and moral dramas describing family break ups which focus on intimacy rather than on the religious message.
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