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Mężczyzna w rodzinie górali huculskich

100%
Haratyk A.
Biuletyn Historii Wychowania
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2012
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issue 28
93-102
EN
Hutsuls as one of the ethnic groups living in the Carpathian mountains have created peculiar culture, distinct from other mountain societies and original in many aspects. The relationships in the socalled typical families were also very characteristic. Dominant role was played by a man. The oldest man in a family was responsible for relationships and rights in the family and for upbringing of children. Men’s amoral behaviour, rooted in tradition, very often contributed to depravity and breakdown of marriages. Men often got married for fortune, were unfaithful to their wives and beat them. Such behaviour was treated in the Hutsul community as a husband’s privilege and duty. The role of a man in the Hutsul family was significant but in many cases negative.
2

„Na wysokiej połoninie” Stanisława Vincenza w kontekście kategorii pogranicza i geopoetyki

92%
Orłowski A.
Góry, Literatura, Kultura
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2016
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vol. 10
127-136
EN
Stanisław Vincenz’s monumental work Na wysokiej połoninie [On the High Mountain Pastures] can be analysed in the context of civilisational transformations that took place at the turn of the 20th century in highland regions. Carpathian highlanders, including the Hutsuls, for centuries had cultivated traditions going way back in time, to the Hellenic herding culture (values like subordination to the laws of nature and God, freedom, highland time, autumn knowledge, dialogue, unique understanding of space). The development of capitalism and influence of urban culture brought with them a possibility of coming into contact on a large scale with a worldview representing a different way of looking at issues fundamental to the individuals and entire community. Thus Vincenz’ tetralogy is set at the frontier of epochs, cultures and mentalities (views of the world, impressions of the world). The present article aims at interpreting Vincenz’ work in the context of a category that is extremely popular in the humanities, namely frontier or borderland as well as Kenneth White’s category of geopoetics, which is attracting more and more “followers”.
3

Oskar Kolberg’s Study of the Musical Culture of the Hutsuls

92%
Smoluch Ł.
Musicology Today
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2014
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vol. 11
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issue 1
EN
Henryk Oskar Kolberg (1814–1890), a musician, composer, the greatest Polish ethnographer and one of the fathers of European ethnomusicology, collected over 20,000 folk songs, dances, and instrumental melodies from the territory of today’s Poland, Belarus, Ukraine and other Slavic countries. The musical culture of the Hutsuls was an object of Oskar Kolberg’s interest in the late 1870s and early 1880s. The research material related to this region was collected by Kolberg, similarly as in other regions, from two different types of sources. The core of his work consisted of field notes written down during his few trips to that region. Another way of collecting information for Kolberg’s publication included an extensive study of already published resources – historical and ethnographical works, collections of songs, short articles, etc. Kolberg’s study of the musical culture of the Hutsuls is a very valuable source for the history of the culture of this part of Europe.
4

Wciąż terra incognita? Turystyka górska w Karpatach Wschodnich w okresie autonomii galicyjskiej

58%
Dabrowski P. M.
Góry, Literatura, Kultura
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2018
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vol. 12
237-249
EN
Early mountain climbing in the distant, expansive, and wild Eastern Carpathians in a far corner of Galicia (then part of Austria-Hungary, today in Ukraine) looked rather different from that practiced in the Tatra mountains. This is attested to by the near universal use of the services of the local Hutsul highlanders with their horses in order to cover the greater distances from the piedmont localities, reachable by carriage or railway, to the mountain peaks. The present article — based on descriptions of expeditions in newspapers and specialized journals, books, and memoirs — considers the experience of various individuals and groups that conquered or attempted to conquer the peaks of Czarnohora from about 1873 to to the first years of the 20th century. Among the climbers of the period one finds Tatra Society activists, students from the Galician capital of Lwów/Lemberg/L’viv, as well as a young Scotchwoman. Among other things, the article analyzes the challenges of the expeditions and the motivation and impressions of the participants in order to better understand why, despite the passage of time as well as the experiences of earlier mountain climbers, the peaks of Czarnohora in this period long remained only lightly frequented.
5

Ferdynand Antoni Ossendowski o Hucułach

58%
Tałuć K.
Góry, Literatura, Kultura
|
2015
|
vol. 9
225 - 236
EN
The article examines the image of the Hutsuls in Ferdynand Antoni Ossendowski’s oeuvre. The author analyses the writer’s monograph Huculszczyzna, Gorgany i Czarnohora, reportage writing, articles (published by Kurier Warszawski), so-called Hutsul novels (Postrach gór [The Terror of the Mountains]), examining the use of traditional stereotypes forming part of the cultural heritage of a given ethnic group and referring to e.g. perception of other nationalities, and ways of combining them with individual opinions stemming from observation and personal experience. She points to the symbiosis between the apologetic and Romantic concepts of the folk hero with nationhood ideas of Ossendowski’s times using e.g. the principles of inter-war regionalism.
6
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Muzyczne inspiracje w Prawdzie starowieku – pierwszej części tetralogii Stanisława Vincenza

47%
Tkaczuk T.
Poradnik Językowy
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2022
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vol. 790
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issue 1
289-299
EN
The works by S. Vincenz are a phenomenon from the borderline of cultures, a testimony of the expansion of Ukrainian-Polish cultural and literary connections. The tetralogy Na wysokiej połoninie (On the high meadow) presents a wide panorama of the Hutsul region, the harmony of coexistence of representatives of different ethnic groups on the background of the untouched nature, which is mythologised, becomes an active participant in the life of the inhabitants of the Carpathians. Intermediality is dominant in the tetralogy Na wysokiej połoninie, because the combination of different arts (including music and painting) facilitates a better disclosure of the unique folk customs and rituals, the ontology of life, the history of Hutsul folk instruments and the specifi c characteristics of their use, symbolism, folk dances, the role played by sounds of nature, mystical meaning of the natural phenomena that have surrounded the human being since ancient time. The paper deals with the analysis of the specifi c characteristics of the writer’s use of musical and pictorial paintings in the work, the use of linguistic means with which the author creates rhythmic prose, captures the sound vibrations of the nature of the Carpathians as a unique space existing in harmony with the human being, which was an innovative phenomenon at the beginning of the 20th century. It was established that musicality in the tetralogy Na wysokiej połoninie is constructed through onomatopoeia, mythologisation of the natural elements, is an important part of the Hutsuls’ traditions, history, life, is a manifestation of the love of nature as a source of a unique polyphony, harmony, silence, promotes the opening of space-time to the macrocosm, and emphasises the uniqueness of the greatness of the Carpathian region and its inhabitants.
PL
Twórczość S. Vincenza jawi się jako fenomen pogranicza kultur pogłębiający ukraińsko-polskie relacje kulturalne i literackie. W pierwszej części tetralogii Na wysokiej połoninie została nakreślona szeroka panorama Huculszczyzny, pełne harmonii współistnienie przedstawicieli różnych grup etnicznych na tle natury, która – poddana mitologizacji – staje się ważną częścią życia mieszkańców Karpat. Dominująca intermedialność w utworze, wynikająca z połączenia muzyki, malarstwa i sztuk plastycznych, sprzyja lepszemu ujawnieniu unikatowych, ludowych obyczajów i obrzędów, ontologii, historii tworzenia ludowych huculskich instrumentów muzycznych i specyfi ki ich wykorzystania, symboliki, huculskich tańców, roli dźwięków natury, mistycznego sensu zjawisk przyrody, które otaczały człowieka od wieków. Celem niniejszej analizy uczyniono próbę ukazania specyfi ki wykorzystania w utworze przez pisarza muzycznych i artystycznych obrazów, użycia środków językowych, za pomocą których autor konstruuje prozę rytmizowaną, rejestruje dźwiękowe wibracje natury Karpat, jakby unikatowego kosmosu harmonizującego z egzystencją człowieka, co niewątpliwie było nowatorskim zjawiskiem na początku XX wieku. Muzyczność w analizowanym utworze jest oddawana za pomocą onomatopei, mitologizacji żywiołów natury, mistyki. Muzyczność została zapisana w tradycjach Hucułów, ich historii, bycie, zamiłowaniu do natury, która jest źródłem tworzenia polifonii, połączenia milczenia i ciszy, sprzyja rozszerzeniu przestrzeni i czasu do wszechświata.
7
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Górale huculscy w wojskowej propagandzie na rzecz przysposobienia społeczeństwa do wojny u schyłku Drugiej Rzeczypospolitej (Wybrane problemy badawcze)

41%
Kasprzyk A.
Res Historica
|
2019
|
issue 48
EN
The article discusses research findings on issues related to the preparations for defending the country taken at the end of the 1930s by the leadership of the Polish armed forces. Although the current historiography contains a great number of studies and articles dealing with this subject, the impression is that the role played by military propaganda in these preparations received too little emphasis. Propaganda for the defence of the state was intended to include as many citizens of Polish society as possible, also from ethnically and geographically diverse backgrounds. Therefore, the article contains an analysis of extensive propaganda activities, which after 1935 were implemented by the Polish military authorities in the face of the growing threat of war, carried out mainly on the basis of archives from the resources of the Central Military Archives (Centralne Archiwum Wojskowe) in Warsaw. The essence of the discussion is the question why the military authorities of that time insisted that highlanders living in the Eastern Carpathians, primarily the Hutsuls, be involved in the defence preparations of the country. In the first place, propaganda measures were considered, with the help of which the army's leadership tried to influence the civilian population. Trying to explain why the use of the most effective propaganda tools, such as the press, radio and sound film turned out to be ineffective towards highlanders living in the furthest corners of the Carpathians, among other things, the lack of a well-developed communication network in that area was indicated. It was established that in the present situation the military authorities managed to involve the Hutsuls, Lemkos and Boykos in the life of the current state only thanks to the annual organisation of the ‘Mountain Festival’. The celebrations organised in order to unite all highlanders who lived in the territory of the Polish state were also conducive to carrying out effective military activities by the armed forces against the Polish population most distant from civilisation.            Research has shown that this type of activities was of great importance for the development of the situation in the Eastern Lesser Poland dominated by Ukrainian nationalists. Attention was drawn to the extremely valuable assets of the Hutsul region. It was an exceptionally attractive area in terms of tourism, sports and health. Thus, it had the chance to attract crowds of tourists from all over the country, which would strengthen the Polish element in the whole region. Hutsuls, however, were sceptical about the Ukrainian national movement, which made the army's leadership recognise them as an element easy to bind with the Polish state. Thereby, the inhabitants of the Hutsul region could be a counterbalance to the anti-state Ukrainian movement in Eastern Lesser Poland – an area of strategic importance! Unfortunately, advanced and properly conducted works were interrupted by the outbreak of the Second World War.
PL
Druga połowa lat trzydziestych upływała pod znakiem nasilającego się zagrożenia wojennego. Władze wojskowe Drugiej Rzeczypospolitej usiłowały objąć propagandą na rzecz obrony kraju, zróżnicowane pod wieloma względami społeczeństwo polskie. Z powodu napiętej sytuacji w Małopolsce Wschodniej, kierownictwu sił zbrojnych bardzo zależało, aby w przygotowania wojenne zaangażować górali zamieszkujących najdalsze zakątki Karpat, w szczególności Hucułów. Brak odpowiednio rozbudowanej sieci komunikacyjnej na terenie Karpat Wschodnich, nie pozwolił na zastosowanie najskuteczniejszych narzędzi propagandowych, jakimi wówczas były prasa, radio oraz film dźwiękowy. Zainteresowanie sprawami państwa wśród Hucułów, Łemków i Bojków – górali najbardziej oddalonych od cywilizacji, wzbudziło dopiero organizowane co roku (1935–1938) „Święto Gór”. Współpraca górali huculskich z armią, ułatwiała walkę z antypaństwowym ruchem ukraińskim w Małopolsce Wschodniej. Do wzmocnienia polskości w tym regionie przyczynić się miało również odpowiednie wykorzystanie nieocenionych walorów Huculszczyzny.
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