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Lidová kultura ve službách národní nostalgie: maďarské a polské taneční domy

100%
Kuligowski W.
Národopisný věstník
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2018
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vol. 35_(77)
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issue 2
61-72
EN
In an article, I would like to present the mechanism for the politization of folklore, reaching for European examples. What interests me the most in this context is the idiom of traditional folk music and contemporary folk music. Then I will draw up contemporary strategies of manipulating tradition. Case study will be for me the movement of dance houses in Hungary and Poland. I decided to compare these two cases, because Polish dance houses are genetically and ideologically - which I will try to prove - related to the Hungarian ones. The analysis presented is based on the method of participant observation (Budapest, Poznań) and interviews with Polish dance house activists.
2
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Na hraniciach populárnej literatúry a ľudovej slovesnosti (k jednej maďarsko-slovensko-českej pútnickej legende a k jej medzižánrovým súvislostiam)

100%
Liszka J.
Národopisná revue (Journal of Ethnology)
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2014
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vol. 24
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issue 2
101 - 116
EN
The author of this essay devotes himself to mutual relations and inter-ethnic processes between written and folk culture. On a particular example of a legend about a pilgrim who brought her heart, ripped out by outlaws, to Mariazell, the author introduces a text transcription within the literature (within inter-ethnic context) as well as from the literature to verbal art. The theme can be found in pilgrimage prints written in Hungarian, Slovak, and Czech. Even German variants are anticipated to have existed/ exist but these could not be supported by particular materials so far. The variants known from the literature occur sporadically in Hungarian and Slovak verbal arts, however just their organic life in folklore has been documented; we do not know other variants – these were probably read directly from manuscripts, without melody etc. The process of folklorization has not been finished in this case, the text borrowed from the literature have not become an organic part of Hungarian or Slovak verbal art. Based on our contemporary knowledge we can state that they have remained on a halfway to folklorization.
3
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Tradycja, folklor, nowoczesność. Kultura górnołużycka i kaszubska w oczach ich młodych przedstawicieli

75%
Dołowy-Rybińska N.
Poznańskie Studia Slawistyczne
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2015
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issue 8
EN
The article is based on a participatory observation and semi-structured interviews conducted in 2012 and 2013 with young (aged 16–25) Upper Sorbs and Kashubs. They were asked about their perception of the Upper Sorbian/Kashubian culture, its relation with the past, tradition and folklore, reception of the dominant image of their culture and the existence of a modern dimension of the Upper Sorbian/Kashubian culture. An analysis of the young peoples’ statements and anthropological research shows that a relation with tradition is still important for minority culture participants although it depends on the way this culture is lived. In the case of the Upper Sorbs some of the traditions, related to the Catholic culture, are alive and constitute an important part of community life. They are perceived as the ‘authentic’ ones. The Kashubian culture, however, has been strongly folklorized and young people do not identify with the folkloric representations and image of this culture, which is treated as an artificial phenomenon. Young people of both cultures want their culture to be modern yet, at the same time, have a connection with the past.
4
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Apocalyptic Motifs on Century-Old Ukrainian Rushnyks Through Today’s Digital Folklore Communication

72%
Brovarets T. M.
Colloquia Humanistica
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2022
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issue 11
1-21
PL
Refleksje na temat końca życia i późniejszego odrodzenia to jeden z najczęstszych motywów ukraińskiego haftu epigraficznego. Tematem artykułu są haftowane ręczniki zawierające teksty ludowe, które były masowo produkowane pod koniec XIX i w pierwszej połowie XX wieku. Istniały liczne wersje takich haftowanych napisów w formie ludowych fraz: „Nie płacz za mną Matko”, „Pod krzyżem mój grób, na krzyżu moja miłość”, „Chrystus zmartwychwstał! Rzeczywiście zmartwychwstał!” itp. W artykule analizuję wybrane ludowe formuły związane z motywami apokaliptycznymi, występujące w hafcie epigraficznym. Obecnie wiele z nich jest aktualizowanych przez Internet. Warto zauważyć, że podczas współczesnego folkloryzowania dawnych ręczników ich semantyka zmienia się w sposób znaczący.
EN
Thoughts about the end of life and subsequent rebirth are among the most popular motifs in Ukrainian epigraphic embroidery. Embroidered towels (rushnyks) with inscriptions (folk texts) were a mass phenomenon from the end of the 19th till the first half of the 20th century. For instance, there were numerous variants of embroidered inscriptions (folklore formulas) such as “Don’t mourn for Me, Mother”, “My grave is under the cross; my love is on the cross”, “Christ is risen! Truly He is risen!” and so on. The author analyzes some of these folklore formulas connected with apocalyptic motif in Ukrainian epigraphic embroidery. Nowadays, many of them are re-actualized via the Internet. It is worth noting that during modern folklorization of ancient rushnyks, their meaning may be significantly transformed.
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