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PETRA HŮLOVÁ’S REPRESENTATION OF MONGOLIAN WOMEN IN “ALL THIS BELONGS TO ME”

100%
Ko J.
World Literature Studies
|
2019
|
vol. 11
|
issue 2
79 – 94
EN
This article examines the Czech writer Petra Hůlová’ s representation of Mongolian women in All This Belongs to Me in an effort to discuss possible epistemological dangers involved in such cross-cultural representation of Asia by a European writing self. Through a close reading of the text, the paper explores how the represented five Mongolian females from one family are invariably subsumed under the strong patriarchal ideology of their Mongolian society. This representation of Mongolian women’s oppression is then discussed in the historical context of Orientalism, which has excessively exaggerated patriarchal culture of Asia and Asian women’s oppression. Examining strategies Hůlová adopts to resist mere exoticization of Mongolian culture, the paper considers whether Hůlová’ s cross-cultural representation presents chances for opportunities for readers outside of Mongolia to expand the horizon of their Eurocentric world view.
2

The history of nation and ethnicity in Mongolia

88%
Szmyt Z.
Sensus Historiae. Studia interdyscyplinarne
|
2012
|
issue 3(8)
11-28
EN
This article deals with ethnic and national processes in Mongolia. It analyzes the panmongolian, socialist and post-socialist ethnic/national discourses, paying special attention to the practices of inclusion and exclusion of border groups in/from the category of the “nation.” I analyze the influence of the ethnological discourse on the current ethnic policy in Mongolia, and consider the trials of national identity construction leading to the ambivalent perception of Inner Mongolians and Buryats as both: “us” and “strangers.”
3

CULTURAL HERITAGE OF THE MONASTERIES OF ARKHANGAI AIMAG OF MONGOLIA

75%
Truevtseva O.
Muzeológia a kultúrne dedičstvo
|
2018
|
vol. 6
|
issue 1
55 – 66
EN
The article is devoted to the problems of preservation of the monasteries of Arkhangai Aimag, which was from 1600-1920 a Centre of Buddhist Art. There are many objects of cultural heritage – the tangible and intangible. Monasteries were founded in the XVI-XVIII centuries at this region and played an important role in the economic and cultural development of Central Mongolia. Around monasteries formed a large settlement, city, trade, transport, craft and social infrastructure, developed education, medicine. A significant part of the residents of Arkhangai Aimag devoted themselves to the service of the Monasteries. Monasteries were centres of culture and art. Silk Road, crossing Aimag, contributed to the integration, mutual influence of European and Asian cultures. From 1928 the Buddhist Religion was persecuted by the communist party. The Monasteries were collectivized. Already the adoption of the law on the separation of Church and State, the mass repressions of the second half of the 1930-ies most of the monasteries were destroyed, some changed to the use as utility rooms, ware-houses, institutions for culture. 1937 in relationship to Stalin’s Terror the Soviet Military was stationed in Mongolia and all of the Monasteries were closed or destroyed. Monks were taken from their positions in the Monasteries and secularized. Since 1990, Mongolia began the revival of religious associations, the return of former monasteries to liturgy. Surviving monastic building are the monuments of material culture. Many of them turned into ruins and relate to archaeological objects of cultural heritage. The article contains a general description of Buddhist Monasteries of Arkhangay Aimac, compiled in the course of the Russian-Mongolian expedition conducted in the summer of 2017 with the financial support of the Russian Foundation for Basic Research (RFFI) №17-21-03551. The article includes conclusions and recommendations for further study and use.
4

ON THE COSMIC HUNT IN NORTH EURASIAN ROCK ART (Kosmilisest jahist Pohja-Euraasia kaljutaides)

75%
Ernits E.
Mäetagused
|
2010
|
vol. 46
63-76
EN
: The article treats the possible reflections of the Cosmic Hunt myth in the rock art of Karelia, Siberia, the Far East and Northern Mongolia. The analysis comprises the more interesting groups of depictions, located on the coast of Lake Onega on Cape Peri Nos III, and on the northern Cape of Besov Nos, in Old Zalavruga by the White Sea, in the river basin of the Lena River in Central Siberia and elsewhere. A conclusion is reached that due to the fading of the contents of the myth and the specifics of rock art it is difficult, if not impossible, to prove the relevant connection. Therefore, it might be concluded that in the written materials many motifs of rock art have too easily been associated with the Cosmic Hunt myth.
5

The Blagoveshchensk drowning—story of how phobias become a reality

75%
Dyatlov V. I.
Sensus Historiae. Studia interdyscyplinarne
|
2012
|
issue 3(8)
71-90
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