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1

The Idea Is for Us to Work Here In The Workshop!: The Re-functionalization Of Artisans’ Economic and Cultural Circuits In Florianopolis, South Brazil

100%
de Oliveira Corrêa R., Rial C., Queluz G. L.
International Review of Social Research
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2012
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vol. 2
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issue 1
47-64
EN
The purpose of the paper is to present and interpret strategies used by urban artisans to (re)functionalize their workshops into showcases where their performances are (re)organized and exhibited. The workshop is presented here as a privileged space where different aesthetic and political, economic and historic experiences (re)construct performances, as well as other systems of artifacts and spatialities. The atelier is understood as architectural space that performatizes globalized scenographies of desire and their fragmentations and overlappings. We conducted an ethnography impregnated by the random relation of events, encounters and exchanges (whether symbolic or economic) in urban contexts. As a result, we present various devices that trigger expression and updating found in both the artisans’ biographical trajectories and in the systems of artifacts and spaces in a recent urban society.
2
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Kartáčnictví. Ojedinělý způsob obživy na příkladu dílny Karla Ježe z Lázů u Valašského Meziříčí

88%
Liďák P.
Národopisný věstník
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2020
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vol. 37_(79)
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issue 1
67-88
EN
The paper has been worked out based on the investigation into a museum collection at the Wallachian Open-Air Museum, including documents from Karel Jež´s estates replenished with knowledge from archival documents and literature. As resulting from these, the brush-making workshop of Karel Jež (1885-1959) from Lázy (District of Vsetín) is an example of a rural workshop operated by a small-scale craftsman in the first half of the 20th century. The handicraft is for him a welcome opportunity of earning some extra money to farming which is the main source of livelihood for the whole family. In the introduction, the study informs about the history of brush making in Moravia and Wallachia beginning with the19th century. It presents Karel Jež´s family situation, and it characterizes their source of livelihood consisting in arable and cattle farming. Furthermore, it focusses on the operation of brush-making handicraft, description of his workshop, production techniques, materials, types of goods, and way of selling. It draws the information mostly from Jež´s notebooks where he wrote down particular orders. He did not have any shop and he did not produce for other distributors, but everything that he made he sold either at home or at markets and fairs. He mostly used domestic raw materials which his customers brought to him, as substantiated by numerous records in his diaries. The complete equipment of the workshop offers a unique opportunity of presenting it within a long-term exhibition of the Wallachian Open-Air Museum.
3
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Złotnicy w Chojnicach w XVIII wieku

88%
Łyczak B.
Zapiski Historyczne
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2020
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vol. 85
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issue 1
187-202
EN
The early modern goldsmithery in Chojnice (Konitz) has so far been outside the main area of scholarly research. The search in archives and libraries conducted for the purposes of the article, as well as the analysis of preserved works crafted by local masters, has therefore brought a lot of new, previously unknown information on the subject. Chojnice is a typical, small centre of goldsmithery, which remained overshadowed by Gdansk, a powerful hub of crafts located nearby. For nearly whole of the eighteenth century only a single workshop operated in the town, and a new master usually appeared only after the death of his predecessor. The research yielded information about five goldsmiths operating in Chojnice in that century, as well as one apprentice who died before becoming a master. Nearly all of them were connected by various family ties. Only a few works of art created in the Chojnice workshops were identified, but they bear the signatures of only two masters who were active in the last third of the eighteenth century. Johann Friedrich Felsch I (1744–1808) made several items for the churches nearby: an incense boat in Chojnice, a monstrance in Bysław, a monstrance base in Wiele and a reliquary cross in Tuchola, as well as a set of six spoons, currently stored in the collection of the Malbork Castle Museum. It is worth noting that his works, apart from the master’s mark, bore a sign that proved he was a member of the guild of goldsmiths in Malbork. Johann Gottlieb Jantzen (1742–1772), Felsch’s brother-in-law, delivered a monstrance to the church in Jeleńcz (now in Tuchola), and a frame for the worshipped statue of the Blessed Virgin Mary to the Bernardine Church in Zamarte (now missing). All these items represent an average level of artistry, and show considerable dependence on the style developed by the masters from Gdansk, where both goldsmiths active in Chojnice studied their craft.
4

Novokřtěnci na Moravě a jejich kulturní odkaz

75%
Kalinová A.
Národopisná revue (Journal of Ethnology)
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2016
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vol. 26
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issue 4
271 - 283
EN
In South Moravia, a sect of Anabaptists lived in the past, who were a product of the 16th-century reformation. The Anabaptists took a refuge in the Moravian environment that was tolerant of various religions, and they arrived in 1526 for the first time there. They lived in accordance with their principles in the farmsteads they founded in Moravia, and they practised a lot of crafts at an advanced level. Moravian lords admitted them helpfully at their domains. However, after 1622, the Anabaptists as non-Catholics were forced to leave their Moravian settlements. Most of them went to their brothers in today‘s southwestern Slovakia, where they continued their activities until the local Anabaptist communities fell apart. The one-hundred-year long activities of the Anabaptists indisputably contributed to the economic development of Moravia. The Anabaptists also left carefully written chronicles, literary works, spiritual songs and inspiring system of education behind them. However, it is the faience pottery that became the most tangible proof of their activity. Anabaptist faience expresses a level of handicraft at that time. The production of faience became a basis on which the production of peculiar folk pottery grew, which is an inherent part of folk culture in Moravia and Slovakia.
5
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Pilníkářské řemeslo - technologie rukodělné výroby

75%
Michalička V.
Národopisný věstník
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2013
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vol. 30_(72)
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issue 1
59-79
EN
File making is a less known branch of smithery, the production of which can be divided into two basic typologically distinct groups - files and rasps. Handmaking of a range of files and rasps included a number of special operations, which led the metal processing sector into becoming a specialized and independent area. The fundamental task of file-making was to create a cutting edge on a prepared forged piece of a file or rasp item. The oldest method was hand crafting which survived from ancient times until the 20th century in almost unchanged form. Independent areas with a strong concentration of file manufacturing were established thanks to some specific conditions. In the Svratka region, a significant part of archaic technologies referring deep into the past of file manufacturing all the way to the 1950s was preserved due to the prosperity of file making.
6
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Pilníkářské řemeslo - technologie rukodělné výroby

75%
Michalička V.
Národopisný věstník
|
2013
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vol. 30_(72)
|
issue 2
70-77
EN
Equipment of file manufacturing handicraft workshops. The traditional handicraft form of file manufacturing required the creation of aspecific workshop environment. The disposition breakdown of file workshops was not too complicated and it reminded of a smithery in many aspects. File making required highly specialized tools focused on forging and grinding of items, cutting of blades, annealing and tempering. With the narrow specialization, small home-based workshops were established in the Svratka region, in which craftsmen and home-based workmen attended to partial tasks. A strong professional layer of residents also brought the professional language of file makers to the countryside. It did not disappear until the second half of the 20th century. The traditional handicraft manufacturing in the Svratka region disappeared quickly in early 1950s. Hand crafting file makers either entirely ceased their activities or moved on to factories in Jihlava and Hlinsko.
7
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„Zrób to sam/Do it yourself”. Nowe oblicza rzemiosła i rękodzieła w kulturze współczesnej

75%
Orszulak-Dudkowska K., Uniwersytet Łódzki I. E. i. A. K.
Zeszyty Wiejskie
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2016
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vol. 22
EN
The article presents the “do it yourself” (DIY) phenomenon which is popular in culture nowadays. It constitutes a distinctly noticeable sign of the return to craftwork based on manual work. The author treats this phenomenon as a modern continuation of old handicraft and craft traditions, while at the same time she notices its new functions and socio-cultural meanings. The author recalls historical contexts of the “do it yourself” philosophy in the culture of the West, as well as in native cultural traditions; she also presents current examples of activities of this kind, taken from websites and internet blogs. In the author’s view, the DIY phenomenon is situated in the circle of current trends of design, it is an expression of the criticism of consumerist society and is an ecological attitude towards the natural environment. It also remains strongly connected with the outlook of the involved people and social groups, as well as constituting evidence of people’s creative involvement in their relations with the material world.
8
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Tradycyjna biżuteria tybetańska

65%
Greniewska N. W.
Studia Azjatystyczne
|
2017
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issue 3
52-60
EN
The purpose of this paper is to present the phenomenon of Tibetan jewellery, its history, characteristics, styles, applied patterns and ornamentation. The work focuses on traditional jewellery, its application, execution methods, tools and materials used by jewellers, as well as on the symbolism, mainly Buddhist one, with broad meaning and often used during execution of the ornaments.
9

L’artisanat d’art français aujourd’hui – les noms de métiers et leurs équivalents polonais

63%
Krupa R.
Roczniki Humanistyczne
|
2019
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vol. 67
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issue 8: Lingwistyka korpusowa i translatoryka
49-58
EN
The article deals with the presentation, classification and translation of names of crafts in general, and particularly the field of fashion and accessories. It should be emphasized that the know-how related to the artisanal handicraft in France has always been appreciated and recognized worldwide. The difficulty of translating terms in a specialized field such as the names of crafts results from the fact that some of them are kept alive in a given culture while they are classified as forgotten or old ones in another culture. Finding suitable equivalents sometimes requires a diachronic study based on historical and cultural knowledge.
PL
W artykule poruszona została problematyka opisu, klasyfikacji i tłumaczenia nazw zawodów rzemiosła artystycznego, zwłaszcza zawodów związanych z dziedziną mody i akcesoriów mody. Należy podkreślić, że zawody rzemieślnicze posiadają długą tradycję we Francji i cieszą się ogólnym uznaniem. Podstawowa trudność w tłumaczeniu słownictwa specjalistycznego, do którego należą nazwy zawodów, polega na umiejętności dostosowania terminu do rzeczywistości kulturowo-historycznej danego języka. Okazuje się bowiem, że niektóre zawody, obecne w danym kręgu kulturowym, zaliczane są do „dawnych” i „wymarłych” w innym kręgu kulturowym. Aby znaleźć dokładne odpowiedniki terminologiczne, nierzadko konieczne jest odwołanie się do badań diachronicznych.
FR
L’article aborde la question de la présentation, du classement et de la traduction des noms de métiers d’art en général et du domaine de la mode et des accessoires en particulier. Il convient de souligner que le savoir-faire, lié aux métiers d’artisanat en France, a toujours été apprécié et mondialement reconnu. La difficulté de traduire des termes d’un domaine spécialisé comme les noms des métiers d’artisanat d’art résulte du fait que certains métiers sont vivants dans une culture donnée tandis qu’ils sont classés comme métiers oubliés ou métiers d’antan dans une autre culture. Trouver les équivalents adaptés nécessite parfois une étude diachronique basée sur des connaissances historiques et culturelles.
10

Noms de famille issus de l’artisanat en France et en Pologne

51%
Piechnik I.
Roczniki Humanistyczne
|
2019
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vol. 67
|
issue 8: Lingwistyka korpusowa i translatoryka
59-80
EN
The article analyses surnames originating from artisan names in France and in Poland. It presents their origins (including foreign influences), types and word formation. We can see, among other things, that the French surnames are shorter, but have many dialectal variants, while the Polish surnames are longer and have a richer derivation. The article also focuses on demographic statistics of such surnames in both countries: the blacksmith as an etymon is the most popular. In the top 50, there are also in France: baker, miller and mason; while in Poland: tailor and shoemaker.
PL
Artykuł analizuje nazwiska pochodzące od nazw rzemieślniczych we Francji i w Polsce. Przedstawia ich pochodzenie (w tym wpływy obce), typy i słowotwórstwo. Można stwierdzić między innymi, że nazwiska francuskie są krótsze, ale mają wiele wariantów dialektalnych, podczas gdy nazwiska polskie są dłuższe i mają bardziej bogatą derywację. Artykuł podaje także ranking takich nazwisk w statystykach demograficznych obu krajów: kowal jako etymon okazuje się najbardziej popularny. W pierwszej pięćdziesiątce we Francji są jeszcze: piekarz, młynarz i murarz; zaś w Polsce: krawiec i szewc.
FR
L’article analyse les noms de famille issus de noms artisanaux en France et en Pologne. Il présente leurs origines (y compris des influences étrangères), types et formation de mots. On peut voir, entre autres, que les noms de famille français sont plus courts, mais ont beaucoup de variantes dialectales, tandis que les noms de famille polonais sont plus longs et ont une dérivation plus riche. L’article montre aussi la position de tels noms de famille dans les statistiques démographiques des deux pays : le forgeron comme étymon s’avère le plus populaire. Dans la top cinquantaine on peut trouver encore en France : fournier (boulanger), meunier et maçon ; tandis qu’en Pologne : couturier et cordonnier.
11
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Architektura, wystrój i symbolika klasztorów kapucyńskich na przykładzie klasztoru krośnieńskiego

45%
Rotter L.
Nasza Przeszłość. Studia z dziejów Kościoła i kultury katolickiej w Polsce
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2016
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vol. 126
233-249
PL
Zakon Braci Mniejszych Kapucynów powstał po 1525 roku w wyniku reformy, której inicjatorem był o. Matteo da Bascio. Niemal od początku swego istnienia kapucyni wykształcili pewien zauważalny styl w sztuce, charakterystyczny dla wznoszonych przezeń klasztorów, w których konkretnym zasadom podlegała nie tylko sama architektura kościoła i klasztoru, ale i wyposażenie wnętrza, malarstwo, rzeźba czy rzemiosło artystyczne. Utrzymanie jednolitego stylu architektonicznego było możliwe nie tylko dzięki rygorystycznym przepisom, ale i żywej tradycji. Cechy budownictwa kapucyńskiego posiadając bardzo wyraźny rys semantyczny, podkreślają duchowość i tradycję Zakonu.
EN
The Order of Capuchin Friars Minor originated in 1525 as the result of the reform initiated by Fr. Matteo da Basico. Almost from the beginning of its existence the Capuchins developed a certain noticeable art style, characteristic for the monasteries they built, in which the church’s and the monastery’s architecture as well as the interior design, painting, sculpture or craft were subjected to strict rules. Maintaining a uniform architectural style was possible not only through rigorous rules but also through live tradition. Capuchin architecture by its very distinct semantic feature emphasises the spirituality and tradition of the Order.
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