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Apotropaiczna funkcja ludowych instrumentów muzycznych – przykład wakatu z Beskidu Żywieckiego

100%

Przegendza A.

Academic Journal of Modern Philology

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2020

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vol. 10

183-192

EN

This case study outlines the meaning of sound in folk beliefs and the apotropaic function of musical tools and instruments of different regions of the world. Furthermore, the aim of the article is to show the transformation of significance of an instrument—the wakat—in the broader context of folk beliefs about sound as a power that averts evil influences or bad luck. This apotropaic ability of musical instruments has been present in faiths of communities from different parts of the world since ancient times. Nowadays, in the Polish tradition, it has been almost entirely forgotten, and the purpose of using primarily apotropaic instruments—altered. The author presents the transformations to which the wakat was subject as an example of adapting folk traditions to the circle of musical-magical symbolism. The wakat as a tool was used by people to protect them from evil powers. With the transformation of folk religiousness, its original meaning has blurred, leading to the complete disappearance of not only its former function but also the practice of playing the wakat in the tradition of the region. However, at the turn of the 1970s and 1980s, the instrument was yet again incorporated into the folk music tradition.

2

O skrzypcach oraz ich muzyce w wierszu do „artysty zapomnianego” - Do Nikodema Biernackiego

51%

Łuczak B.

Studia Norwidiana

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2013

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vol. 31

91-116

EN

The present article points to the function that the motif of the violin performs in the poem To Nikodem Biernacki written by Norwid in Paris in 1857; it also contains an interpretation of the author’s remarks on an artist’s identity and of the tasks assigned to him that are expressed in that poetical text. Also, Norwid’s views on the meaning of what a violinist does and of art in general are shown. Knowledge of the life and work of the addressee of the poem, the Polish 19th century violinist Nikodem Biernacki, defined as a “forgotten musician”, is the context for the analysis of the poem. This knowledge also casts some light on history of Polish culture persecuted in the period of the Partitions of Poland. Also the contents of Norwid’s other works, among them of Chopin’s Piano, Promethidion and Historical Resurrection are an important context for the discussions included in the article. The poet’s thoughts contained in To Nikodem Biernacki are inscribed in the whole of Norwid’s philosophy of art.

3

O skrzypcach oraz ich muzyce w wierszu do "artysty zapomnianego" - do Nikodema Biernackiego

51%

Łuczak B.

Studia Norwidiana

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2013

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vol. 31

91-116

XX

The present article points to the function that the motif of the violin performs in the poem To Nikodem Biernacki written by Norwid in Paris in 1857; it also contains an interpretation of the author’s remarks on an artist’s identity and of the tasks assigned to him that are expressed in that poetical text. Also, Norwid’s views on the meaning of what a violinist does and of art in general are shown. Knowledge of the life and work of the addressee of the poem, the Polish 19th century violinist Nikodem Biernacki, defined as a “forgotten musician”, is the context for the analysis of the poem. This knowledge also casts some light on history of Polish culture persecuted in the period of the Partitions of Poland. Also the contents of Norwid’s other works, among them of Chopin’s Piano, Promethidion and Historical Resurrection are an important context for the discussions included in the article. The poet’s thoughts contained in To Nikodem Biernacki are inscribed in the whole of Norwid’s philosophy of art.

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2 Studia Norwidiana

1 Academic Journal of Modern Philology

2 Łuczak B.

1 Przegendza A.

2 2020

1 2013

Apotropaiczna funkcja ludowych instrumentów muzycznych – przykład wakatu z Beskidu Żywieckiego

O skrzypcach oraz ich muzyce w wierszu do „artysty zapomnianego” - Do Nikodema Biernackiego

O skrzypcach oraz ich muzyce w wierszu do "artysty zapomnianego" - do Nikodema Biernackiego