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1

EASTERN HERBS IN POLISH ROMANTIC LITERATURE

100%
Wenerska W.
Slavia Orientalis
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2006
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vol. 55
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issue 2
187-198
EN
The article presents three plants. All herbs come from the East-Slavic folk culture. The name of first is 'sen-ziele' (herb of sleep). It is found in Michal Jezierski's book 'Ukraina', where 'sen-ziele' has soporific effects. Motif of 'herba somni' has a special position, that of a leitmotif, in creative activity of another Polish author, J. B. Zaleski. In his works the 'sen-ziele' has not only soporific effects. 'Herba somni' as a symbol of spring, love and youth can be fond in J. B. Zaleski's poem 'Sen - Drzewo - Wieszcze'. In another Zaleski's poem 'herba somni' is presented as a medicinal plant. Similarly, another Polish writer J. I. Kraszewski uses 'sen-ziele' in his novel 'Lublana', where the herb gives prophetic effects. Another plant, which comes from East-Slavic folk culture is 'rozryw-trawa'. In Polish romantic literature 'rozryw-trawa' appears in A. J. Glinski's work 'Bajarz polski', especially in his texts: 'O rycerzu Niezginku, mieczu samosieczu i o geslach samograjach', and 'O Janie królewiczu, zar-ptaku i o wilku wiatrolocie'. The last of plants presented is 'trut-ziele' (the toxic herb), from East-Slavic folk culture, too. In Polish romantic literature this herb appears as a walking motif, for example: in the poem 'W spólce ze slowikiem' by J. B. Zaleski, in Ukrainian novel 'Sonia' by T. A. Olizarowski and in the historical novel 'Kunigas' by J. I. Kraszewski. In all these books we can find 'trut-ziele' as a toxic plant and also a symbol of love (W spólce ze slowikiem).
2

MÚZEUM V PRÍRODE AKO VÝZNAMNÝ PRVOK ZACHOVANIA REGIONÁLNEJ KULTÚRY A JEHO VÝZNAM PRE ROZVOJ CESTOVNÉHO RUCHU

100%
Zuskinová I.
Etnologické rozpravy (Ethnological Disputes)
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2005
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vol. 12
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issue 2
183-191
EN
The open-air museums fulfill the most important part of cultural heritage.They present a traditional way of life in reconstruction of the historic, cultured and natural milieu but they preserve important evidence of traditional bildling culture too. They are a phenonemom that preserves differences of cultures, countries and historical development of every nation. In terms of contemporary word trends - renaissance of localism and regionalism, the open-air musems can become very important and demanded article of tourism, but they must have a good marketing strategy and they have to offer the products in conformity with the universal interrests
3

MKKKB: JEDEN POHĽAD NA ÚSPEŠNÚ MEDZINÁRODNÚ VEDECKÚ ORGANIZÁCIU, KTORÁ NESKONČILA DOBRE

100%
Podoba J.
Etnologické rozpravy (Ethnological Disputes)
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2006
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vol. 13
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issue 1
95-102
EN
The essay is aiming to discuss the reason of decay of the International Commitee for the Study of Folk Culture in the Carpathians and the Balkans, which was the only one international academic organisation of the ethnologists from the European Communist countries. The author's perspective is based on his personal experience with the different levels of the Commitee from the late 1970s until the beginning of the 1990s. The author analyses character of the work and hierarchy within the Commitee, and is looking for the explanation, why such an originally active scientific organisation was not able to survive.
4
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Ètnolingvističeskie issledovanija v ural’skom universitete

100%
Feoktistova L. A.
Etnolingwistyka. Problemy Języka i Kultury
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2006
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vol. 18
29-46
PL
Artykuł ma charakter przeglądowy, autorka omawia prace etnolingwistyczne powstające w kręgu „szkoły uralskiej”. Językoznawcy z Uniwersytetu w Jekatierynburgu prowadzą od 45 lat badania onomastyczne i dialektologiczne na terenie rosyjskiej Północy, a od 15 lat rozszerzyli je na folklor i całą kulturę ludową. Objęto badaniami też autochtoniczną ludność niesłowiańską. Prace te mieszczą się w nurcie etnolingwistyki słowiańskiej, bliskie są zwłaszcza etnolingwistycznej szkole moskiewskiej ze względu na nastawienie wyraźnie historyczne. Wyróżnia je natomiast specyficzny materiał uralski oraz szczególna waga przypisywana badaniom onomastycznym, które zainicjował profesor Aleksandr Matwiejew, a kontynuują jego uczniowie. Badania zmierzają do rekonstrukcji ludowego obrazu świata, systemu orientacji w przestrzeni i koncepcji przestrzeni sakralnej oraz do etnokulturowej interpretacji toponimów. Szczególną uwagę badacze z Jekatierynburga przywiązują do rekonstrukcji obrazu człowieka na podstawie danych gwarowych. Efektem prac jest cały szereg publikacji na temat stereotypów narodowych oraz cech charakterologicznych, takich jak mądrość i głupota, lenistwo i pracowitość, skąpstwo i szczodrość, a także moralności człowieka (przyzwoitość, stosunek do pracy, stosunek do własności). Metodologię na użytek tego typu analiz konceptualnych opracowała Jelena Bieriezowicz. Analizy korzystają z teorii pól semantycznych i są prowadzone na poziomie stricte semantycznym, motywacyjnym oraz na poziomie symboliki kulturowej. Dotyczą nazw owadów, różnych rodzajów produktów spożywczych i podstawowych jakości smakowych (kwaśny, słony, postny itd.) oraz jednostek leksykalnych zawierających semantykę ‘palenia się’ i ‘znikania’. W Jekatierynburgu wydawany jest Etnoideograficzny słownik dialektów Uralu Środkowego, który jest pierwszą próbą odtworzenia językowego obrazu świata rosyjskiej kultury tradycyjnej w jej regionalnym wariancie.
EN
The article offers an overview of ethnolinguistic studies conducted in the 'Uralic' school. The linguists from Ekaterinburg have been active in onomastic and dialectological research in the Russian North for forty five years, and fifteen years ago they broadened their scope onto folklore and folk culture, including the autochthon non-Slavic population. Their works belong to Slavic ethnolinguistics: they are especially close to the Russian ethnolinguistic school due to their historical profile. However, they are distinguished by their focus on Uralic data and the attention paid to onomastic research, initiated by Prof. Matveev and continued by his students. The research aims to reconstruct the linguistic worldview, the system of spatial orientation and the conception of sacral space, as well as to arrive at an ethnocultural interpretation of toponyms. Special attention is paid to the reconstruction of the image of a human being on the basis of data from peasant dialects. A number of works have been published so far in this domain: on national stereotypes, traits of character, such as wisdom and stupidity, laziness and diligence, meanness and generosity, as well as on people's morality (decency, attitude to work or property). The methodology of this conceptual research has been developed by Elena L. Berezovich. The analyses make use of the theory of semantic fields and are conducted strictly at the level of semantics, motivation and cultural symbolism. They concern the names of insects, victuals and basic qualities of taste (sour, salty, dry etc.), as well as lexical items which include the semantics of 'burning' and 'disappearance'. 'An Ethnoideographic Dictionary of the Central Ural Dialects', the first attempt to reconstruct the linguistic worldview of traditional Russian culture in its regional variant, is also published in Ekaterinburg.
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Rakija w bałkańskich rytuałach magicznych

100%
Bielenin K.
Etnolingwistyka. Problemy Języka i Kultury
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2006
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vol. 18
237-248
PL
Na materiale bałkańskiej kultury ludowej, w tym zwłaszcza materiałów terenowych, zebranych samodzielnie w Republice Macedonii w latach 2000–2004, autorka opisuje i analizuje praktyki związane z rakiją. Za Anną Engelking wyróżnia rytuały stwarzające (zaklinania) ‘człowiek chce, żeby coś się stało’, rytuały ochraniające ‘człowiek chce, żeby się nie stało’ (zażegnywania); rytuały odczyniające (zamawiania) ‘człowiek chce, żeby coś się odstało’. W pracy omawiane są tylko takie rytuały, w których moc sacrum może działać, tj. zaklinające i ochraniające (zażegnywania). Zaklinania z użyciem rakii to praktyki wykonywane na Bałkanach w dzień św. Tryfuna (14 lutego), które mają na celu powodowanie urodzaju winorośli, np. przez wlewanie rakii (lub zakopywanie butelki z rakiją) pod jej pędy. Przykładem zażegnywań jest m.in. picie rakii na grobie zmarłego, by chronić żywych przed wpływem zmarłych. W obrzędowości weselnej czerwona rakija ma sprowadzić płodność małżonków, słodka rakija ma im zapewnić pomyślność (słodkie życie). Podobnie jak wino, rakija jest wiązana symbolicznie z krwią Chrystusa, na zasadzie metonimii bowiem przyjmuje część sakralnej symboliki wina.
EN
The authoress describes and analyzes the practices connected with raki on the basis of the data from Balkan folk culture, especially the data collected by herself in the Republic of Macedonia between 2000 and 2004. Following Anna Engelking, she distinguishes the rituals of creation ('a person wants something to happen'), the rituals of protection ('a person does not want something to happen') and the rituals of undoing ('a person wants something to un-happen'). The rituals of creation with the use of raki are performed in the Balkans on the day of St. Tryphon (Feb. 14) and are meant to bring about a good harvest of the vine, e.g. by pouring raki or burying a bottle with the drink under the vine's shoots. An example of the rituals of protection is e.g. drinking raki on the grave of the deceased in order to protect the living from the dead. In wedding celebrations the red raki is supposed to bring fertility to the newlyweds, whereas the sweet raki is meant to bring them success and luck (a sweet life). Like wine, raki is symbolically connected with the blood of Christ, for in a metonymic fashion it absorbs a part of the sacral symbolism of wine.
6

TEXTILNÁ KULTÚRA SLOVENSKA: OD NÁRODOPISU K ETNOGRAFII A ETNOLÓGII MATERIÁLNEJ KULTÚRY

100%
Zajonc J.
Etnologické rozpravy (Ethnological Disputes)
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2004
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vol. 11
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issue 2
25-39
EN
The author deals with the content of the concept of textile culture. He describes the process of its definition as the example of the development from ethnographic to ethnological (anthropological) understanding of material culture as the object of this/these as well as other scientific disciplines on culture, history and society. He also concentrates on the relationship of folk and traditional textile culture from the perspective of ethnography, ethnology, history of art and archeology. He stresses the importance of the study of textile technology as the base of knowledge of the textile culture for any discipline mentioned above.
7
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Konstitutivní hodnoty polského lidového snáře

100%
Niebrzegowska-Bartminska S.
Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)
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2010
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vol. 71
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issue 4
310-316
EN
The major function of the dream book as a genre is the evaluation of entities as ‘good' or ‘bad', which is also the basis for the interpretation of dream images. Therefore, on the basis of dream books, it is possible to reconstruct the values of folk culture. The relevant texts are of the following type: eggs mean gossip, lice mean money, a ring - a wedding, in which the first element is a dream image and the second is its explanation. The two elements together constitute the frame of the genre ‘If one dreams of X, in reality Y will happen'. Values are connected with explanations (Y), but evaluation in the dream book is also found in the images themselves. Generally speaking, what is young, light, clear, complete, healthy is explained as signifying life, health, youth, wealth, good harvest, harmony or happiness. On the other hand, what is dead, old, dark, dirty, incomplete, ill is explained as something bad, in particular death, illness, old age, poverty, bad harvest, quarrel, unhappiness or sorrow. The most important values for the folk dream interpreter are practical ones, connected with basic human needs, therefore the center of the folk world is life and its protection.
8

HRANICE FOLKLORIZMU

100%
Luther D.
Etnologické rozpravy (Ethnological Disputes)
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2005
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vol. 12
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issue 1
11-15
EN
The distinction between folklore and so-called folklorism is merely a result of the ethnological evaluation of the process that folk culture has gone through during last decades. It is neither simple nor fruitful to explore the boundaries between 'authentic' and 'imitative' forms of traditional folklore. Emphasizing the relationship between folklore and environment or stressing the original functions of the folklore limit traditional phenomena and maintain their past forms. On the contrary, the traditional phenomena gain different but natural social utilization by means of intermediation and presentation of traditional culture in the field of folklorism.
9
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HALINA TURSKA'S CONTRIBUTION IN ELABORATION OF 'BELORUSSIAN PEOPLE' VOL. VII BY M. FEDEROWSKI (Wklad Haliny Turskiej w opracowanie t. VII 'Ludu Bialoruskiego' M. Federowskiego)

100%
Czurak M.
Acta Baltico-Slavica
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2009
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vol. 33
199-204
EN
The present article is elaborated on the grounds of the text of a paper which was delivered in 2001 at a conference dedicated to the hundredth anniversary of H. Turska's birth. The paper has not been published so far. Besides working on the general concept of volume VII of 'Belorussian People' Professor Halina Turska, as a member of the editorial board, elaborated 'Dictionary of difficult Belorussian vocabulary with a commentary and linguistic annotations' which appear in M. Federowski's texts. The dictionary consists of ca 550 entries. The authoress of the article presents the method of analyzing entries and deducting their meanings as well as correcting mistakes committed by copyists who had prepared fair copies. Scrupulosity of the analysis of the vocabulary included in the 'Dictionary of difficult Belorussian vocabulary...' is acknowledged by providing vocabulary unrecorded in a dictionary of literary Belorussian. H. Turska's dictionary is the first Belorussian-Polish dictionary based on folk poetry. H. Turska was also the author of linguistic commentaries and annotations for volumes V and VI of songs collected by M. Federowski. Her considerable and important contribution is extremely valuable for it was based on good knowledge of Belorussian folk rites.
10

THE IMPACT OF CHRISTIAN RELIGIOUS MOVEMENTS ON THE FOLK ART AND CULTURE OF ESTONIANS AND ESTONIAN SWEDES (Kristlike usuliikumiste moju eestlaste ja eestirootslaste rahvakunstile ja kultuurile)

88%
Plaat J.
Mäetagused
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2009
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vol. 42
7-32
EN
In the 18th-19th century, several Protestant religious movements spread in Estonia. These movements were partly active within the so far predominant Lutheran Church, though mostly outside it, and were sometimes followed by members of the Orthodox Church. The most influential of the movements were the Brethren movement and that of 'Heaven-goers', and also the religious movements of awakening which spread mostly in the final quarter of the 19th century in western Estonia and which led to the establishment of the first Free Congregations in Estonia (Baptists, Irvingites, Free Believers' congregations, Methodists). These religious movements have often contested several phenomena of folk culture of Estonians and Estonian Swedes, among these the phenomena of folk religion and folk art that some members of the movement have regarded as 'pagan' or sinful. As a result, fancier clothes, jewellery and musical instruments were destroyed in the heyday and the core areas of the movement (mostly in West Estonia); also, certain folk songs and dances of the agrarian community were abandoned and the narrative tradition underwent significant changes. The conflict with folk religion (with elements of prehistoric and Catholic beliefs) led to the destruction of prehistoric sacred sites and a dramatic change in the worldview of a part of the local peasantry. The 18th- to 19th-century Brethren movement was particularly successful in these activities. A characteristic feature of the Brethren congregation, the 'Heaven-goers', and other religious movements in the late 19th century was certain asceticism and requirement of high morals. The impact of these religious movements on folk culture, however, was limited only to the faithful and did not affect the entire village community. A more dramatic change in the beliefs and lifestyle of the people took place on the West-Estonian islands of Saaremaa and Hiiumaa, in Laane County in West Estonia and, most noticeably, in the parish inhabited by Estonian Swedes. Even so, the sometimes hostile attitudes of the mentioned religious movements towards folk culture give no reason to underrate their significance and positive influence for the Estonian and Estonian-Swedish agrarian population of the time.
11

FOLK ART AND ETNODESIGN TO SEARCH FOR CULTURAL IDENTITY. POLISH EXAMPLES

88%
Czerwińska K.
Etnologické rozpravy (Ethnological Disputes)
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2013
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vol. 20
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issue 1-2
26 – 37
EN
In the Polish culture the contemporary folk art is important phenomenon in the process of preservation of traditional values and kind of life. At the same time it is changed and developed dynamically according to amount of aspects of contemporary global culture. At the same time the folk art is developed not only in its nature environment, but also in the space of contemporary mass culture. The variety forms of folk art are forceful: on one hand we can perceive it as a sight, unique monument and on other hand it is authentic and live expression of regional and national identity. The contemporary folk art becomes inseparable part of local development strategy and presentation of regions, too. The folk creation becomes a never ending source of designer ś and architect ś inspiration in birth of etnodesign. This cultural phenomenon is not only popular trend in creation of interiors and dress. The art activities (exhibitions, workshops) focused on cultural heritage, supply continuity of preservation of traditional elements of Polish folk art. They broaden out and popularise traditional art values also in modern form, which is attractive esp. for young generation. This generation has determining importance in the process of formation of identity.
12
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Lidový houslař Martin Kuča ze Strážnice (1888–1967)

88%
Höhn J.
Národopisná revue (Journal of Ethnology)
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2011
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vol. 21
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issue 3
205-211
EN
The essay, which speaks about folk violin-makers, tries to create a certain model for the approach to that specific part of Czech music culture. Such a model is based on the thorough organological analysis of maintained instruments made by one of the producers. Martin Kuca from Straznice, a farmer and wine-grower, who made his music instruments just for laughs, has been chosen as an example. Three of the safeguarded instruments made by him are a part of collections at the National Institute of Folk Culture in Straznice (violin, viola and baset/violoncello); the other instruments are owned by his family. Purity in workmanship of his string instruments and their carefully worked construction bear witness to quite high level of folk violin making in Moravia and hopefully refute deep-routed theses on imperfection of musical instruments made by folk producers. The instruments themselves as well as the condition of aids (moulds) and tools used by violin maker Martin Kuca show, inter alia, the carefully worked-out technological procedures.
13

NEHMOTNÉ KULTÚRNE DEDIČSTVO Z POHĽADU ETNOLÓGIE

88%
Luther D.
Etnologické rozpravy (Ethnological Disputes)
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2015
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vol. 22
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issue 1
15 – 23
EN
The paper deals with the category of intangible cultural heritage in the UNESCO documents and its ethnological interpretation. The introduction of the term has opened a new area of research, education, access to information and intellectual property rights of traditional culture bearers. Theoretical starting point for research and preservation remains a challenge for ethnology. Ethnological research based on axiological perspective of culture does not lead to relevant understanding of intangible heritage. It is emic approach that should be applied in the study and interpretation of intangible heritage. The paper opens also the question of protection of intangible heritage, particularly traditional folk culture, in the Slovak legislation (Copyright Act). The present act does not protect property rights of bearers of tradition, but rights of authors and artists who use traditional folk culture as a source of inspiration in their creative work.
14
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EVANGELICKÉ MODLITEBNÍ KNIHY 18. A 19. STOLETÍ A ČESKÁ BIBLE

75%
Bolom-Kotari S., Bolom-Kotari M.
Konštantínove listy
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2016
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vol. 9
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issue 2
74 – 89
EN
The article focuses on Czech handwritten prayer books of protestant provenance from the 18th and 19th century. It analyzes the form and sources of inspiration, especially the Biblical quotes, paraphrases and references. A special attention is paid to illustrations of manuscripts in relation to strict protestant requirements on visuality. According to the analysis of selected sample of prayer books, the paper represents their typical structure and typology of contained prayers. The topics of prayer books belong to wider social context, whether general – mentality and devotion of population being of non-Catholic confession; or specific – in search of “Czech national fine arts” at the Czechoslavic Ethnographic Exhibition held in 1895.
15
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Smyčcové nástroje Štěpána Šopíka ve sbírkách Národního ústavu lidové kultury ve Strážnici

75%
Höhn J.
Národopisná revue (Journal of Ethnology)
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2012
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vol. 22
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issue 3
206 – 213
EN
The essay is devoted to the production of folk violinmaker and musician Štěpán Šopík from the ethnographic area of Moravian Kopanice. Through the analysis of his products safeguarded in the collection at the National Institute of Folk Culture in Strážnice, the author thereof tries to characterize the Šopík´s works setting them against another folk violinmaker, Martin Kuča from Strážnice. The workmanship of the string instruments made by Š. Šopík substantiates his focus especially on the functionality of an instrument while its aesthetical feature is put in the shade. Four of the Šopík´s safeguarded musical instruments are in the collections at the National Institute of Folk Culture in Strážnice (three violins and a baset/violoncello); some other instruments are in the possession of the Jan Amos Komenský´s Museum in Uherský Brod.
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