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1

KARNEVALIZOVANÉ OBRAZY V ĽUDOVEJ PIESNI

100%
Hamar J.
Slovenský národopis (Slovak Ethnology)
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2017
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vol. 65
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issue 3
261 - 289
EN
Thematically, this article focuses on the interpretation of carnival pictures in folksongs. In terms of source material, it is based on published sources, mostly songs from the author’s field research conducted in Slovakia, including a comparative reflection of the repertoires of other Slavic nations (Czechia, Moravia, Trans-Carpathia, Poland and Serbia). The author concentrated on that part of the traditional repertoire which relates to the laughter carnival culture from the point of view of archetypes, as highlighted by M. M. Bachtin in his work François Rabelais and the Folk Culture of the Middle Ages and Renaissance. This mainly relates to the aestheticism and poeticism of the carnival world and the grotesque concept of the body in folk songs. The article presents this issue through pictures of eating and drinking; food and drinks; personal hygiene; emptying and excrements, sexual acts, the human body; old-age, death and after-death life; animals and things.
2

GROTESKNÁ KONCEPCIA TELA V ĽUDOVEJ PIESNI

100%
Hamar J.
Etnologické rozpravy (Ethnological Disputes)
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2022
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vol. 29
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issue 1
55 – 67
EN
The concept of a grotesque body was brought into the history of art and aesthetics by Mikhail Mikhailovich Bakhtin in his work François Rabelais and the folk culture of the Middle Ages and the Renaissance. The so-called carnival body represents in a broader context a literary tropic in which the idea of an ideal human anatomy stands in contrast to the carnival imagery of the body. The grotesque conception of the body in a folk song is applied against the background of the carnival and the principles represented by the undercurrent of the folk imagination. The world in which fish fly and birds swim in the water represents the world “on the contrary”. The human body is depicted in a similar way. The individual bodily organs act independently in the representation of the whole body, just as in ordinary social practice the “ideal” body acts in its unity of the whole. There is also an ambiguity of the human body present in the folk song, when a child and an old man meet in one body, the body receives and excretes, the body arises and at the same time the same body disappears. In terms of the poetics of the carnival human body in the folk song, we find a number of comic images, rich metaphor, but also expressiveness and the use of forbidden words.
3

DOHOVOR O OCHRANE NEHMOTNÉHO KULTÚRNEHO DEDIČSTVA (2003) A VIDEO-DOKUMENTÁCIA AKO SPRIEVODNÝ MATERIÁL K ZOZNAMOM NEHMOTNÉHO KULTÚRNEHO DEDIČSTVA

63%
Hamar J., Voľanská Ľ.
Etnologické rozpravy (Ethnological Disputes)
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2015
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vol. 22
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issue 2
44 – 56
EN
The article concentrates on the Convention for the Safeguarding of the Intangible Cultural Heritage (2003) instruments and deals with short videos as parts of the nomination files of particular ICH elements. In difference to the fairly precise instructions regarding the content and specific formulations related to the text of the written parts of the nominations, for the creation of video-documents of each element of the ICH the recommendations do not exist. Just thanks to the diverse nature of intangible cultural heritage throughout the world (whereas the Convention so far has been ratified by 161 Member States of 195 UNESCO member states) and due to the diverse respect of the state parties aimed at it, making the video-documents (as the mandatory part of the nomination dossier of the nominated) raises a number of questions. The result of above mentioned ideas is a diversity of styles, some of which become predominant, and therefore affect future visualization of intangible cultural heritage on a broader scale. At the same time the contribution presents concrete examples of making the films (in the style “learning by doing”), which were part of the nominated elements from the Slovak Republic: The Music of Terchová, Bagpipes and Bagpipe Culture in Slovakia and Slovak and Czech Puppetry.
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