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EN
The subject of this article encompasses nearly 70 dialectal names of receptions defined as social meetings combined with feasting. The article aims to discuss the semantics of the names in close connection with the region’s culture, to present their origin and justification, as well as their geographical distribution. Some of the names discussed (biesiada, gościna, uczta) are or were also known in general Polish and some dialects. Others, such as fajer, Abraham, radośnik, welflajsz testify to the specificity of Silesia, both with respect to the language and the customs. The text is based on own field materials collected in Upper Silesia in 2017–2022, older and newer ethnographic studies, as well as dictionaries of the Silesian dialect.
PL
Przedmiotem niniejszego artykułu jest blisko 70 gwarowych nazw gościn – towarzyskich spotkań połączonych z biesiadowaniem. Artykuł ma na celu omówienie semantyki nazw pokazanych w ścisłym powiązaniu z kulturą regionu, przedstawienie ich pochodzenia i motywacji, a także ich geograficznego rozprzestrzenienia. Część z omówionych nazw (biesiada, gościna, uczta) są lub były znane także w polszczyźnie ogólnej i w niektórych gwarach. Inne, jak na przykład fajer, Abraham, radośnik, welflajsz świadczą o specyfice śląskiej, przejawiającej się na płaszczyźnie języka i w sferze zwyczajowej. Podstawę badawczą tekstu stanowią własne materiały terenowe zebrane na obszarze Górnego Śląska w latach 2017–2022, starsze i nowsze opracowania etnograficzne, a także słowniki dialektu śląskiego.
EN
This article discusses the contexts that contributed to the success of one of the theatre and television hits during Poland’s transformation – Jędrzej Kitowicz’s play Opis obyczajów, czyli… jak zwyczajnie wszędzie się mięsza złe do dobrego [Description of Customs, or How Evil Simply Everywhere Interferes with Good] directed by Mikołaj Grabowski, which premiered in 1990. While offering some insight into the eighteenth-century vicar’s prose reminiscing about the good old days under the rule of the Saxon kings and high-quality performances from the actors, the performance also reflected the contemporary reality in which viewers could see themselves. The lack of period costumes or props and the focus on parts of the play dealing with bigotry and feasting showed that the reality from (at that time) 250 years before was not that much different from the contemporary one. Old Polish culture was presented as a blissful time of people enjoying their lives and automatically identifying themselves with nobility and court life. The 1990 interpretation highlighted the gastronomic and consumerist aspects of the play, outlining why this sphere of life became to serve as the most accurate metaphor for the condition of the Polish state and society (visible in other sources from the transformation period such as numerous cultural texts). It seeks to expose that paradoxical time of scarcity despite the theoretical availability of food products in the face of the dynamically changing social structure and the need of the middle class to distinguish itself which can also be observed even today.
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