Hasil untuk "Folklore"

Manat Kanagatov, Tatyana Seryozhkina, Zukhra Ismagambetova et al.

The purpose of this study was to identify the ontological and cultural foundations of the shamanic tradition in the Turkic culture of Kazakhstan through the concept of altered states of consciousness (ASC). The research focused on how ASC structured the shamanic worldview, shaped ritual practices, and transformed under post-traditional social conditions. The methodological framework combined philosophical analysis of consciousness, culturological interpretation of mythological and ritual structures, and the analysis of archaeological and ethnographic data. An interdisciplinary synthesis integrating philosophy, ethnology, archaeology, and symbolic analysis was applied, alongside sociocultural analysis and interpretative culturology to examine contemporary transformations of shamanic practice. The study established that ASC functioned as a normative and regulated mode of interaction with a multi-level reality. It operated as a tool of diagnosis, sacred cognition, and social regulation, grounded in stable symbolic forms. The shaman acted as a mediator between sacred and social dimensions, integrating individual experience with collective knowledge. Spatial and material elements of ritual preserved strictly defined symbolism rooted in a mythopoetic worldview. In modern contexts, shamanic tradition has transformed into a more individualized psycho-spiritual practice while retaining core symbolic and ritual codes. Archetypal structures of shamanism continue to persist in folklore, cultural memory, and representations of Kazakh identity. The practical significance of the study lies in its applicability to the interpretation of sacred practices within the Turkic tradition, culturally oriented approaches in ethnopsychology and symbolic anthropology, and the preservation of intangible cultural heritage.

Irina RAȚĂ

Renowned for his reliance on the rich literary tradition in the form of references to poetry, prose, and popular culture, Neil Gaiman reimagines and reinterprets sources from myth and traditional folklore and modern, contemporary folklore to meet his own ends and match new contexts. He recycles certain themes, motifs, and symbols throughout his oeuvre. This article aims to address death and resurrection motifs, and their associated symbolism in terms of thematic criticism and structuralism, in view of determining their function at the level of the literary text

Galina Bogdanova, Todor Todorov, Nikolay Noev et al.

Digital technologies occupy an important place in today’s developing world. They are also strongly related to new trends in educational technologies. In this context, the digital accessibility of this new environment for people with various special needs is of particular concern. A novel tool for assessment of the technological ecosystem, designed to provide digital accessibility to people with special needs, is described in the paper. The overall structure and the initial test of the system are discussed in the paper. The conceptual framework of the ecosystem and its ontological model are described. Special attention is paid to the accessibility of digital learning and e-learning for people with special needs from a robotic perspective.

Xiran Liu, Noah A. Rosenberg, Gili Greenbaum

High-dimensional datasets on cultural characters contribute to uncovering insights about factors that influence cultural evolution. Because cultural variation in part reflects descent processes with a hierarchical structure – including the descent of populations and vertical transmission of cultural traits – methods designed for hierarchically structured data have potential to find applications in the analysis of cultural variation. We adapt a network-based hierarchical clustering method for use in analysing cultural variation. Given a set of entities, the method constructs a similarity network, hierarchically depicting community structure among them. We illustrate the approach using four datasets: pronunciation variation in the US mid-Atlantic region, folklore variation in worldwide cultures, phonemic variation across worldwide languages and temporal variation in first names in the US. In these examples, the method provides insights into processes that affect cultural variation, uncovering geographic and other influences on observed patterns and cultural characters that make important contributions to them.

DERMENJI, ECATERINA

In this article we intened to highlight a less known name among the disciples of Gleb CiaicovschiMeresanu, who went through a long stage of research and collection of folklore from the Danubean Bugeci land. We mean Ion Radu, who has worked for more than four decades as a teacher of accordion at the Folk Instruments Chair of the College of Music and Pedagogy from Balti and his collection of folk works „Chiti, miti” — this name meaning the sweet cookies of different forms, which were offered to children in the morning of Christmas Eve by the hosts.

Gregor Pobežin, Igor Grdina

This paper aims to explore the phenomenon of the opera minute which emerged from the avant-garde experimentalism after WWI; its beginner and one of the foremost masters, the French composer Darius Milhaud put three short, eight-minute operas on stage in 1927. Others soon followed, among them the Slovenian composer Slavko Osterc who composed the opera-minute “Medea” in 1932. This paper is the first to transcribe in length the manuscript of Osterc’s “Medea”, comparing it to Euripides’ original. Furthermore, the article aims to establish the fine similarities and distinctions between the approach regular opera took towards myth and that of the avant-garde opera-minute.

Makhsat A. Alpysbes

In the studying and interpreting the history of Turkic peoples, the question sometimes arises about the continuity of the stages of ethnic history, their legal traditions and political institutions, and even statehood, less often the territory. This is due to the mobility of ethnic groups in historical retrospect, with the migration of peoples or with the movements of individual representatives of the ruling dynasties. In this regard, in histo¬rical science the question of localization of the ancestral homelands and migrations of Turkic peoples is more often raised. They were often characterized as military legionnaires (for example, Kipchaks), conquerors (Oghuz, Seljuks, Mughals, Uzbeks) or displaced involuntary persons (Mamluks and ghouls). Of particular interest is the question of the process of fragmentation of the state of Genghis Khan, with the formation of the Ulus system, the collapse of the Khanate Hordes and Uluses, and the emergence of new ethno-political formations. This review article provides the brief overview and analysis of the book “Abulkhair Sheybanid – the last ruler of Dashti-Qipchaq” (Almaty: Golden Book, 2018. – 176 p., in Kazakh and Russian), New materials and scientific conclusions of its author – Doctor of Science (History), professor Burkut G. Ayagan on the history of the post-Zolotovordian time associated with the state of Uzbeks-Kazakhs are considered. The book provides new data on the history of Dashti- Qipchaq in the 14th–15th Centuries. The reviewer gives a theoretical interpretation of the general vision of the course of historical processes.

Katarzyna Prorok

Polysemy and Synonymy in the Reconstruction of the Linguistic Image of Thistle in Polish Folklore In the first part of the article, the author attempts to determine which plant should be described in the entry OSET (‘thistle’) in Słownik stereotypów i symboli ludowych (‘A Dictionary of Folk Stereotypes and Symbols’), as the name oset is polysemic in Polish dialects and can refer not only to thistle (Carduus), but also to other similar plants with prickly leaves/stems and roundish red, purple or pink flowers, most often to cirsium (Cirsium), less often to cottonthistle (Onopordon) or milk thistle (Silybum). Villagers either identify these plants with each other, or distinguish them from each other, but nevertheless count them together in the common ‘category of thistles’. Hence the proposal that all the above mentioned ‘thistles’ should be included in the entry for OSET. The method of defining adopted in the Dictionary…, so-called cognitive definition, allows for it as its purpose is to reconstruct the colloquial, ‘stereotypical’ way of conceptualizing reality; it describes ‘mental objects’, ‘social notions of objects’ – not, as typically in dictionary definitions, words or the real-world objects that correspond to them. In the second part of the article, the author analyses synonyms and hyponyms of all of the ‘thistles’ that have been selected for description. Although from a scientific point of view some of them are only quasi-synonyms, they form a semantically consistent group, and are worth being included in the definition of OSET, because they strengthen or profile the basic image of OSET that has been reconstructed on the basis of other sources (proverbs, songs, tales, legends, descriptions of beliefs and practices, etc.). For example, bodziak (lit. ‘one that gores’), drapacz (lit. ‘one that scratches’) talk about thistle as a sharp, prickly plant; kolkowe ziele (lit. ‘colic herb’) – a plant believed to heal stabbing pains; diabelski oset (lit. ‘devil’s thistle’), diabelskie nasienie (lit. ‘devil’s seed’) – a plant perceived as devilish; czartopłoch (lit. ‘one that scares the devil away’) – an apotropaic plant, etc.

Evlogi G. Stanchev

The article focuses on analyzing different interpretations and assessments of the works of the lead Tatar scientist Gainetdin Akhmarov (1864–1911) in contemporary Bulgarian historiography based on translations of some of his texts in the Bulgarian language. His essay History of [Volga] Bulgaria (in Tatar: Bulgar tarikh) (1909) was published in Sofia, Bulgaria in 2002 by Ogledalo Publishing House (which has also published other works on the topic of Volga Bulgaria). The article points at deliberate re-interpretations of G.N. Akhmarov’s original theses made in order to openly correspond with the dominant ideas on Volga Bulgaria that are present in contemporary Bulgarian historiography. This was predominantly imposed on the original text of Akhmarov through a number of commentaries, clarifications and additions by the editorial team and specifically by Tatyana Yarullina. The latter is an author of several popular quasi-historical works on Volga Bulgaria, which are closely related to the ideas of the so called neo-Wäisi movement. Such commentaries not only overexpose Akhmarov’s main thesis concerning the ethnic and historical continuity between Volga Bulgaria and the Kazan Khanate, but they also underscore the teleological fiction of the primordial ethnic relatedness between the Volga Bulghars (and therefore the contemporary Kazan Tatars, perceived as their descendants) and the Bulgarians in the Balkan peninsula. Multiple citations of the historical forgery Djagfar Tarikhy, in the commentaries to the original text are indicative of these manipulations. Despite the fact that it has been largely repudiated internationally by Bulgarian Studies scholars, the fabrication enjoys relative popularity in Bulgaria. The thesis of the present paper suggests that the academic and quasi-academic publications revolving around the history of Volga Bulgaria in present-day Republic of Bulgaria (a prominent example of which is namely this translation of G.N. Akhmarov’s essay) reveal certain tendencies, critical conditions and methodological problems of the Bulgarian historical science in general.

Gloria Luz Godínez Rivas

Mexican nationalism has attempted to fix identities, firmly entrenched in music and popular dances, transforming them into folklore vignettes based on heterosexual couples —frugal men with strong movements, along with beautiful, smiling women dressed up in colourful dresses—, as the image of the fatherland. Each time that we see the typical Mexican folk ballet postcard, we should remember that, behind those dances and those bodies, lay the country’s open wounds. In the following pages, we will dismantle the nationalist framework that implies the use of biological metaphors, such as race and gender. In order to question the staging of popular culture, we propose divergent images and folk cross-dressings, proving that gender is intentional and performative or, in Butler’s words, that every gender implies cross-dressing.

Mehmet Ali YOLCU, Mehmet AÇA*

Structural functionality is based on the positivist philosophy tradition which is represented by scientists such as Comte, Pareto, Durkheim, Spencer, Malinowski and RadcliffeBrown among others, in terms of its origins. According to this theoretical approach, social unity, balance and harmony are shaped by the functional relationships between the whole system and its components. The importance of structural functionality in culture and folklore studies comes from it lends itself to shedding an objective light on the social whole, understanding change and transformation of structures, and thus determines functions of each sub-part within the social system. According to Parsons’s sociologic analysis method, one of the most important characters of structural functionality, every action system has four basic functional imperatives. The system itself and its sub-components are obliged to perform these functional imperatives. These functional imperatives are adaptation, goal attainment, integration and latency and pattern maintenance. Any malfunction that occurs in one or more of these imperatives will stimulate change of the structure. In other words, if the functionality has decreased or disappeared in institutions, i.e. in sub-parts of the system, then one of four results will happen: 1. A total variation in the structure. 2. A partial variation in the structure. 3. Destruction of the structure. 4. The Substitution of another structure for the said structure. As well as this formulation being a basic hypothesis of our article, it is in fact also a reflection of the contribution which we wanted to make to structural-functional analysis relating to “change”. Examples, which we gave generally from ritual-based folklore frameworks upon the relationship between change and functional imperatives model, can be enriched with those in other areas

Anna Аlexandrovna Suvorova

This article considers the transformation of the amateur art discourse of the stagnation period. The research is based on critical reviews and problem articles published during the period in special art magazines. The concept of artistic and political discourse is used as a basic concept in the article. The author reveals the structure of the discourse of amateur art, which combined the stagnation period and the component of the official ideological construct, formed during the 1930s, and a more modernised language of professional art and scholarly studies. The author reveals that in the mid-1960s, specialised magazines actualised the issue of amateur creativity, using a new definition of amateur art; there emerged criticism of self-taught professionals imitating fine arts. Together with that, critical articles and reviews of foreign exhibitions demonstrated the change in the pattern of amateur art and the legitimisation by the authorities of the new artistic languages of such artists. In the late 1960s, art critics made the first attempts to comprehend the origins of naïve art, the authors contemplated primitivism and its connections with urban folklore. By the mid-1970s, art criticism and research finally legitimised naïve art and separated it from amateur art.

Editorial Geral

Letizia Bindi

Starting from the anticipatory notes of Luigi M. Lombardi Satriani’s Folklore e profitto [1973], the paper seeks to critically articulate the interesting relation between cultural heritage, capitalistic market and mass media, updating the analysis, also, to the most recent forms of the use of media in promoting and valorizing such traditions. What emerges is a twist of cultural heritage toward consumerism that imposes to anthropologists and cultural heritage scholars new challenges and questions and a late-modern rethinking of critical categories as commodification, alienation and fetishization. A central question, finally, arises about who and what should be today the social actors asked to decide about these processes of cultural manipulation in the new post-industrial and globalized scenario, characterized, inter alia, from a generalized economic crisis. 

Fatma Yıldırım

Dede Korkut kitabında yer alan Depegöz hikâyesi ile Odysseia’nın Polyphemos hikâyesi arasında XIX. yüzyıl başlarında keşfedilen benzerlik, zamanla yüzlerce başka benzer hikâyeyi de içerecek ilginç bir tartışma başlatır. Ancak, bu tartışmadaki hâkim tutum, ilgili hikâyelerin tarihselliğini pek de önemsemeyen naif bir karşılaştırmacılıktır. Dolayısıyla bu yazı, öncelikle, Depegöz metninin yorumlanış tarihi ve tarzını tartışmakta, sonra metin çözümlemesine geçmektedir. Yazıda önerilen alternatif okuma tarzı, Polyphemos ve Depegöz hikâyelerinin izlek ortaklıkları üzerinde durmaktadır. Getirilen çözümleme, iki metin arasındaki bariz bir izlek sürekliliği, “canlılar tasnifi” izleği üzerine kuruludur. Bu inceleme, hem Depegöz hikâyesinin asıl – yani dönemindeki– okuruyla arasına nasıl bir dünyevi etik tasa koymuş olabileceği, hem de Polyphemos hikâyesi ve Odysseia’yla nasıl bir gerçek –tarihi– ilişki kurmuş olabileceği konusunda birtakım çıkarımlara varmayı hedeflemektedir.

Dumnić Marija

This paper deals with the establishing of the organizing models, on one side, and with folk music and its aesthetic characteristics in the interwar period, on the other. This problem significantly contributed to the present meaning of the term “folk music” (“narodna muzika”). The program of Radio Belgrade (founded in 1929) contained a number of folk music shows, often with live music. In order to develop folk music program, numerous vocal and instrumental soloists were hired, and different bands accompanied them. During that time, two official radio ensembles emerged - the Folk Radio Orchestra and the Tambura Radio Orchestra - displacing from the program the ensembles that were not concurrent to their technical and repertoire level. The decisive power in designing the program concept and content, but also in setting standards for the aesthetic values, was at the hands of music editorship of Radio Belgrade. The radio category of folk music was especially influenced by Petar Krstić (folk music editor in the period from 1930 to 1936) and his successor Mihajlo Vukdragović (1937-1940), who formally defined all of the aforementioned characteristics, but in rather different ways. A general ambivalence in the treatment of the ensembles that performed at the radio reflects the implementation of their policies. In comparison to the official orchestras, the tavern singers and players received poor reviews in the editors’ reports, despite their strong presence on the program. On the other side, the official orchestras were divided according to the regional folklore instrumentarium, but also according to the quality of playing. The Folk Radio Orchestra probably had double leadership, so it was possible to observe different approaches to the music folklore, which eventually resulted in a unique tendency towards cherishing folk music. This paper represents an attempt to show how the media term “folk music” was constructed and where it currently stands in comparison to the usual study objects of ethnomusicology and popular music studies. My argument is that the discourse of authenticity was fundamental for the creation of official folk music. [Projekat Ministarstva nauke Republike Srbije, br. ON 177004: Serbian Musical Identities within Local and Global Frameworks: Traditions, Changes, Challenges]

Ertan BESLİ

The topic of this research is the needed elements in the work of thereconstruction of the old and the medieval Turkic words. The important role of thehistorical and the modern Altaic languages will be emphasized during the process ofthe Proto-Turkic reconstruction. Additionally, in the last twenty years the morerecent studies listed below have contributed to the methods of the Proto-Turkicreconstruction. Therefore, exposing an approach that integrates the old and newmethods is the main purpose of this study. There needes to be a science teamconsisting of some Altaic linguistics and Turkologs for the realization of the ideason “the methods for Proto-Turkic reconstruction. For a more scientificreconstruction, historical and contemporary Turkish dialects and Altaic languagesare very important.”.

T. Benedek, B. B. Rubenstein

USM ADMIN

La recherche du problème du comique populaire roumain date du XIX-e siècle, mais les premiers échantillons de folklore comique sont attestés dans les oeuvres des écrivains du XVII-e siècle, Gr. Ureche, D. Cantemir. La dénomination des espèces comiques est un des aspects les plus importants du problème, car il implique la classification de ces espèces qui porte un caractère superflu. Tout de même, dans la littérature de spécialité il existe plusieurs tentatives de réaliser cet objectif. Des études sérieuses dans ce domaine ont été faites par les chercheurs P. Ursache, Ov. Bârlea et, principalement, par V. Cirimpei qui a classifié les espèces du comique populaire en leur donnant des définitions complexes. Son activité constitue une grande contribution à la recherce du problème du comique populaire dans notre pays.

O. E. Klapp