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Pigmenty a barevnost tradičních venkovských staveb na jižní Moravě

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Novotný M., Slavíček K., Štulířová J., Všianský D.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2021
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vol. 108
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issue 3
371-394
EN
The article describes an interdisciplinary study that uses the means of ethnology and materials science. This approach is quite unusual in the Czech environment. Specifically, it concerns detailed materials analyses of samples of plaster which were acquired during ethnological research on selected recent buildings in South Moravia. The studied plaster samples from folk buildings in the Znojmo area are probably from the twentieth century. Howeber, it cannot be ruled out that the buildings are older. In addition to traditional and mostly inorganic pigments, the plaster samples were also coloured using synthetic pigments, which corresponded to their availability on the market. Besides the description of the set of samples, the article also demonstrates the potential of applying natural-scientific methods to analyse plaster and its pigments for ethnology. At present, these methods are common in materials engineering and are used in restoration work.
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Spojité nádoby: Etnologie, pražský strukturalismus a česká divadelní avantgarda

75%
Šlaisová E.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2016
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vol. 19
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issue 1
65-85
EN
The study explores the exchange of impulses and ideas between the three fields indicated in the title, presenting Petr Bogatyrev as their mediator. It is concerned, among other things, with Bogatyrev connecting the findings of French sociologically-oriented ethnologists, such as Emil Durkheim and Luciene Lévy-Bruhl, and German ethnologists (Hans Neumann) to the theories of the Prague Linguistic Circle and their influence of Jan Mukařovský’ sociology of art. The author focuses on the way in which Bogatyrev combines the formal and sociological perspectives, and applies them on different cultural phenomena (folk beliefs, folk art, high art) as they move between different cultural strata. Another point of inquiry is the collaboration of Bogatyrev and theatre director E. F. Burian, whose montage of folk poetry is presented in the paper as a theatrical enactment of Bogatyrev’s structural-functional method, i.e. the transformation of function, structure, and meaning in transition between folk and high art.
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