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Nomina propria v Kladských písničkách

100%
Pastyřík S.
Onomastica Slavogermanica
|
2019
|
vol. 31
89-93
EN
Czech folk songs, which at the beginning of the previous century were written down in Kłodzko by the collector and ethnographer J.Š. Kubín, have undergone changes determined by the local specificity. In the article the author also describes changes caused by a transfer of folk songs from the centre to the peripheries.
2
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Poezie Václava Hanky na pozadí lidových písní sebraných jeho otcem

80%
Nejedlý P.
Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)
|
2024
|
vol. 85
|
issue 2
112-126
EN
The writer, translator, Slavist and museum curator Václav Hanka (1791–1861) was, among other things, the author of many poems that are usually evaluated as a more or less successful echoes of folk poetry. We can confront the degree of their “folkiness” with the texts in the collection of folk songs that his father acquired for his own use. This collection represents in itself a remarkable document of contemporary private collecting carried out without higher artistic or scientific ambitions. If we compare Hanka’s poems with the folklore texts in his father’s collection, we can see that the poet appropriately used many of the structural elements of the text that are characteristic of a folk song. Nevertheless, Hanka’s poems remained in their essence entirely in the field of literary creation. This is all the more true if we realise how vague and practically indeterminate the contemporary understanding of folklore was.
3
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„Ej, duby, duby, zelené duby“. K mnemopoetice a symbolice (moravské) lidové písně

71%
Skovajsa O.
Slovo a smysl - Word & Sense
|
2023
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vol. 20
|
issue 1
15-39
EN
The paper introduces the concept of mnemopoetics, i.e., how songs are composed to be remembered, how they are shaped by oral memory as only the songs worth remembering were preserved by the community. After a brief discussion of ‘memory of the body’ (cf. Saussy 2016), the author introduces the formal mnemopoetic features (role of incipit, genre, rhythm, dialogue, incremental repetition, strophic arrangement, etc.). In the second part, he focuses on the semantic mnemopoetic role of incipit parallelism, which announces what will happen next in the song-story (cf. Andersen 1985; Marčok 1980; Bartmiński 2016). He then analyzes the first part of Jan Poláček’s song-collection from Moravian Slovakia (Slovácké pěsničky, 1936) and distinguishes nine main groups of songs with the incipit parallelism variously announcing: 1. erotic desire, 2. courtship, 3. longing for marriage, 4. an obstacle in the way of love, 5. a sinister omen leading to a bad outcome, 6. disappointment, 7. parting, 8. death; and 9. joyousness. For example, the image of ‘running water’ in the first verse suggests an unhappy development in the love affair portrayed by the song. The study further verifies the validity of six most prominent identified announcements on the broader material of František Sušil’s (1860) classical collection of Moravian folksongs. As suggested by fieldwork introduced in the study, traditional singers from Moravia and western Slovakia are typically aware of the ‘second’ meaning in songs, and this awareness of song symbolism helps singers — and readers — not only to remember songs better, but to do them justice when interpreting them. More broadly, the study represents a contribution to the methodological analysis of symbolism in traditional song lyrics.
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