Hasil untuk "Folklore"

PLOS One Editors

Dr .Nahla Shaban Shata Hassan

Caring for the elderly has a great importance in society, and the state seeks to treat the problems of the elderly in various aspects, so the research deals with luminous materials, dyes and pastes because of their huge potential for application in the field of graphic design to support ambient lighting in different light and dark environments, which leads to protection for the elderly These advantages in the properties of luminous dyes not only improve the aesthetic appearance of textiles when applied in homes for the elderly, but also increase the functional value of creativity in the print design of hanging fabrics inspired by folklore by helping the elderly to clearly guide the way in the dark, which helps not to Feeling of fear and maintaining their safety when they are in the corridors or rooms. The importance of the research is summarized in the use of luminous dyes and pastes to obtain new and distinct artistic and functional formulations for hanging fabrics, as well as shedding light on the folk heritage as a creative source and a stimulus for innovation based on originality, excellence and contemporary. From the psychological connection they have with everything that is old.

Irina Nurieva

Udmurt lullabies are divided into two different musical and stylistic groups. The first one, similar to many Finno-Ugric peoples, includes improvised songs - the most archaic layer of song folklore. Improvised Udmurt lullabies are various rhythmic and melodic intonations that are meant to soothe or put the child to sleep. However, the singers I met during fieldwork often sang another lullaby based on the verse of G. E. Vereshchagin, “Chagyr, chagyr dydyke...” (Blue, blue pigeon…). All the variants of this lullaby form the second group. That lullaby has been recorded throughout Udmurtia, almost supplanting local improvised lullabies. Musical analysis of the lullaby “Chagyr, chagyr dydyke...” has shown that, unlike improvised lullabies, this tune belongs to a late music style. The lyrics of the lullaby attracted the attention of philologists and literary critics, who tried to clarify the authorship of the verse. The verse “Chagyr, chagyr dydyke...” was published by the Udmurt writer and ethnographer Vereshchagin in 1889. The heated discussion around the problem of Vereshchagin’s authorship, which unfolded later on, lasted for several decades. Udmurt folklorist T. G. Vladykina put an end to the dispute, concluding that the author of the lullaby was Vereshchagin. As proof of his authorship, the researcher presented several convincing arguments, including the peculiarities of the functioning of this tune in the tradition (“memorized song”) and the strophic form with cross-rhyme, not typical of Udmurt ritual song folklore. Vereshchagin’s verses spread among people thanks to the Udmurt scholar, poet, and musician Kusebai Gerd. Gerd published this verse several times under the authorship of Vereshchagin, adding the refrain “Iz, iz, nunye, zarni bugore!” (Sleep, sleep, my child, golden ball!) after each stanza and replacing some words. In this version, the lullaby spread throughout Udmurtia. While in philological disputes the points of view of different parties are known, in ethnomusicology the problem of music authorship has not even been raised yet. The music was considered folk or attributed to Vereshchagin. The first musical notation of the lullaby with Vereshchagin’s lyrics was published in 1925, in a collection of Udmurt songs by Mikhail Romanov, who was a teacher at the Glazov Pedagogical Technical School. Apparently, he recorded it from his students, then reworked it for a four-voice choir. The lullaby was sung all over Udmurtia at that time. It was also sung by Gerd, who had a good voice and musical education. It can be assumed that Kusebai Gerd composed the melody to the verse of Vereshchagin. The fate of the verse “Chagyr, chagyr dydyke...” turned out to be fortunate. Vereshchagin nominated it as a lullaby song heard from an Udmurt woman “laying her child down”. And it really turned into a folk song, acquired its own melody, becoming known in every Udmurt village. Thus, in the Udmurt folklore genre system the author’s work acquired the legal status as an autonomous folklore unit, practically supplanting lullaby improvisations.

Віталій Запорожченко, Марія Іщенко

The purpose of the article is to summarise the main contexts and connotations of the use of myths, symbols and images in contemporary audiovisual products; to systematise the references to elements of the Ukrainian cultural code in the current national cultural and artistic environment; to analyse the correspondence between the interpretations of the symbols used in the video sequences of music videos and films and their original meanings. The research methodology is based on the use of the following methods: theoretical (acquaintance with the scientific and journalistic base of research on the use of images of Ukrainian folklore in contemporary art), empirical (collection of materials to determine the main categories of borrowing images in contemporary art) and analytical (determination of the feasibility and veracity of the interpretation of the primary meaning of the folklore image in the modern context). Scientific novelty. For the first time, the author describes the likely consequences of the indifferent attitude of the creators of the national audiovisual product to the primary meaning of the symbols of the traditional cultural stratum; and outlines the consequences of previous political attempts to destroy the specifically Ukrainian cultural code; identifies potential threats in the event of inaction and lack of progress in the field of audiovisual production (films, clips) for the development of future generations of conscious Ukrainians as citizens of an independent country with a clear understanding of belonging to a certain historical background. Conclusions. Quantitative and qualitative indicators allow us to confidently speak about the harmfulness of the paradigm of levelling the primary meanings of established images. The article summarises the main contexts and connotations of myths (from the positive in contemporary audiovisual art to the simplistic and negative in films of the 2010s). Having summarised the spheres of use and borrowing of vivid images in contemporary cinema, the author analyses the correspondence of modern interpretations of the symbols of Ukrainian mythology to their original meaning.

Anu Korb

To study the childbirth customs and stories of Siberian Estonians, I used conversations and interviews conducted in various Siberian Estonian communities during the fieldwork of the Estonian Folklore Archives between 1991 and 2013, as well as the memories of Estonians who had been born in the Estonian settlements in Siberia and repatriated during or after the Second World War. As information related to childbirth customs is very much a private matter, the collection of such material during fieldwork in Siberia was somewhat limited due to short time and the guest status of the collectors. Women born in the 1910s–1930s who had experience of giving birth at home were more likely to share information. Siberian Estonians, who were born and raised in village communities with a rich heritage, share both personal and community experiences in their childbirth stories. Although the triumph of state medicine, with its small hospitals, had reached Siberian villages after the end of the Second World War, the initially trained medical professionals were met with mistrust and alienation. Village midwives were still respected, and villages adhered to many of the old beliefs about childbirth, as childbirth was controlled by the village community. Over time, giving birth under the supervision of hospital-trained medical staff became the norm. So, the need for village midwives has disappeared, and some of the traditions and customs associated with childbirth have been forgotten. At the same time, traditions related to the pre-pregnancy period and some childbirth stories helping to raise community awareness have remained very much alive.

I Wayan Kasu Wardana, Putu Amanda Gayatri, Putu Sri Pratekawati

This research is entitled “Frogs: The Comparison of Balinese Narrative Text with Japanese Folklore. The purpose of this research is to compare Geguritan Enggung with a Japanese folklore entitled "Kaeru Ny?b?". Kaeru Nyobo tells a story of Frog who plays a female character with a romance theme. This research applied a qualitative descriptive method using literary ecological theory and comparative literary theory. The findings in this study are the similarities and differences between the Balinese narrative text entitled Geguritan Enggung and the Japanese folklore entitled Kaeru Ny?b?. In addition, this research also found the meaning of the story of each of these stories.

Yalçın Çakmak

The Kizilbash/Alevî and Bektashî have been subject to various negative criticisms due to their beliefs outside Sunnism, the official belief system since the sixteenth century. It has been seen that the members of the two groups, whose social bases and beliefs mostly overlap, have faced several accusations because of their exclusive rituals. On that sense, this case came to be a subject matter in Ottoman official documents as well as in the texts written by the Westerners who were active in Ottoman territories. Sexual ones are foregrounded among the accusations that they were subject to owing to this exclusive structure of the Bektashî and the Kizilbash/Alevî communities. This perception of the communities in question came to be a mystery in accord with doubts put into circulation by Sunni communities especially. The growing interest of the society in this mystery were to be a subject matter of both the Ottoman literature and the literature of the Republic. Nur Baba penned by Yakup Kadri Karaosmanoğlu in serials in 1913 and published into a book in 1922 was the first work upon this subject. The repercussions Nur Baba had and its content became an inspiration to following works by others. The opposition to the Bektashi and the Kizilbash/Alevî was employed in common and distinct works by Ömer Seyfeddin, Peyami Safa (Server Bedî) and Niyazi Ahmet Banoğlu in the following years. This paper intends to chronologically study and analyse the portrayal of the Kizilbash/Alevî and the Bektashî in relation to the continuation of the negative perception in literature, starting with Nur Baba, , in Harem, Pamuk İpliği and Bir Genç Kız Bektaşiler Arasında and Bektaşi Kız, from the late Ottoman period to the midst of the Republic period except for Sadri Ertem’s Çıkrıklar Durunca novel.

Milena Lyubenova

The focus of this text is the masquerade tradition in central-west Bulgaria and activities related to its safeguarding and promotion. The essence of the survakar games in the Pernik Region is described, as well as its significance in traditional culture and its contemporary manifestations. The games with masks in the region are performed on the Surva feast day (14 January; also St. Basil’s Day according to the Julian calendar). The text notes the importance of the custom in the local community’s traditional culture. The main characters in the survakar groups, which are typical of both the past and the present, are presented, as are some new phenomena related to the feast. The tendencies in the context of the dynamics and events of the twentieth century are outlined, thanks to which the masquerade tradition has maintained its vitality until the present day. Some processes that have threatened the vitality of these masquerade games in the past are considered. Various local activities related to the safeguarding of the tradition are presented. The role of the community is important for the transmission of cultural practice to future generations, as is the role of local cultural institutions and organizations in preserving the tradition. Some ways of popularizing the local heritage and the joint work of the main actors engaged in safeguarding the region’s intangible cultural heritage today are emphasized.

Tanya Matanova

As several monasteries and shrines of the monastic republic Mount Athos are connected with the Bulgarian history, in some cases they function not only as places of religious worship by Bulgarian men but also as sites of national memory. Therefore, placed in the context of the ritual year of pilgrimage, as an object of research are chosen Bulgarian men’s 21st century group travels to Mount Athos. More exactly, the focus lies on the places, holidays and celebrations instigating Bulgarian men to visit different destinations at the monastic peninsula, following different routes and motives. Further attention is paid to the performed religious and commemorative practices at the various locations of the Athonite peninsula.

S. G. Batyreva

The article is devoted to the cultural analysis of the tradition in the study of fine arts of Buddhism. The subject of the research are Buddhist artifacts from the collection of the Kiev Museum of Western and Oriental Art named after B. and B. Khanenko which are considered as a cultural heritage of Kalmykia. It was formed during the interaction of tradition and innovation. The art shows historical destiny of the iconographic canon in the artistic culture of Northern Buddhism. Traditional psychogenetic particular worldview, ceremonial culture and folklore are projected in the iconography, defining “local” nature of art. The analysis of the Kalmyk artistic tradition revealed visible local features of graphic images of iconographic interpretation. Selectivity of pantheon deities observed in particular images of Kiev collection is explained by the history of the people who lived beyond the bounds of their ethnic homeland. It is a local variant of the Central Asian pantheon, where archaic traces of nomadic mythology preserved in a different cultural environment can be found.  Inscriptions in Old Kalmyk todo bichig script (usually on the left border of the painting) and in Cyrillic script with yat on the lower edge of the images of Amitābha Buddha, Green Tārā Bodhisattva and Bhaisajyaguru Buddha are the specific features of the described religious paintings. Vertical ligatured todo bichig script (Kalmyk: Амидава, Отчи бурхн, Ноhан дәрк) written in ink faded to pale brown is the indisputable defining feature of Kalmyk painting. Kalmyk art developed gradually both in separate formal details of paintings and in general aesthetic interpretation of images. Canonization of deities involves introduction of border scenes, symbolic attributes and accented symmetrical front compositions into the painting. On the whole, concise symmetrical scenes with unelaborated plot which tend to emphasize main image’s personification that is the center of a religious painting and believers’ direct object of worship prevail in Old Kalmyk art.

Karel Altman

Ethnologists began research of Czech tramping (tramping movement or tramping subculture) as part of modern research of urban culture only in the 1980s; before 1989 they dealt with it only marginally (A. Mann from Bratislava researched contemporary tramping festivities, V. Vohlídka and J. Svobodová from Prague focused on history and material culture of tramping in Bohemia). At the beginning of the 1990s, it was Z. Uherek who investigated inter-war festivities of Prague tramps; J. Souček pointed out other possibilities of similar research. In 1995, focus of ethnological research of tramping moved to Moravia when the researchers from branch of the Institute of Ethnography and Folkloristics in Brno, the current Institute of Ethnology of the Academy of Sciences of the Czech Republic, resolved the project “The Culture of Contemporary Children and Youth with Special Attention to Folklore Expressions”. The project also included research of youth subcultures, tramping included. It was mainly Karel Altman who focused on the research of tramping. The project investigated history and present of the tramping movement in several regions in Moravia (WesternMoravian Trojříčí, the Tišnov, the Valašské Klobouky and the Vsetín areas). Karel Altman presented themes relating to tramping in the form of cycles of lectures called “Tramping as a Subculture” at the Department of European Ethnology at the Faculty of Arts, Masaryk University in Brno. These lectures encouraged several students to write their Master’s theses on this theme. At the turn of the century one of the compulsory courses for students of the Department of European Ethnology included field research of tramping movement especially in southern Wallachia, conducted during several years. Research of tramping still continues in Brno.

Miira Kuvaja

Arvio teoksesta Kortti, Jukka. Mediahistoria. Viestinnän merkityksiä ja muodonmuutoksia puheesta bitteihin. Tietolipas 250. Helsinki: Suomalaisen Kirjallisuuden Seura. 2016. 379 s. ISBN 978-952-222-693-8.

Kamil Kajkowski, Andrzej Kuczkowski

Based on written sources and archaeological evidence, ethnographic and linguistic material, and the knowledge of the rest of Slavonic-occupied regions, the authors research early medieval Pomeranian communities in which water played a significant role. Water, as a life-providing element on the one hand, and a destructive element on the other, was not only essential for the economy, but also indispensably carried symbolic meaning and played an important role in religious ceremonies and magical rites. An attempt at characterizing Pomeranian water ritual also defining the sacred spaces of pre-Christian sanctuaries is made in the following article.

Mohammed, A. H., Na’inna, S. Z., Yusha’u, M. et al.

Mangifera indica leaves are used for the treatments of various ailments in folklore medicine. This research was aimed to determine phytochemical composition and antibacterial activity of leaves extracts of Mangifera indica. Powdered leaves of Mangifera indica were extracted with water, ethanol and chloroform solvents via percolation method. The extracts were tested for antibacterial activity against clinical isolates of Salmonella Typhi, Salmonella Paratyphi A and Salmonella Paratyphi B using agarwell diffusion method. The extracts were further subjected to phytochemical tests for the presence of secondary metabolites using standard procedures. Results of the sensitivity test showed that highest zone of inhibition was observed in ethanolic extract with 13mm for S. Paratyphi A, 11mm for S. Paratyphi B, and 10mm for S. Typhi, followed by aqueous extract with 11mm for S. Paratyphi B and 10mm for S. Typhi. S. Paratyphi A, was resistant to both aqueous and chloroform extract of M. indica while S. Paratyphi B was onlyresistant to chloroform extract. Results of phytochemical screening indicated the presence of alkaloids, flavonoids, steroids, tannins and phenols.  

Marat M. Gibatdinov

The principal objective of this paper is to demonstrate the use of history textbooks for identity promotion in the Russian Federation. The Russian government’s new Concept of History Education and Concept of Common History textbook have become a growing problem over the past several years. The government tries to use textbooks as an instrument to promote Russian ethnic national pride and patriotism and textbook topics are political. The main mechanisms used to establish governmental control over the process of textbook publishing and approval are described in the first part of paper. The main subject matter of the current debates about new history textbooks are analyzed with a particular focus on the image of indigenous peoples (non-ethnic Russians inhabitants of Russia) and the place for their histories in modern Russian history textbooks and in the Concept of Teaching Russian History.

Mina Lukić

Museum as an institution has been, throughout history, inevitably connected with ideology, involved in establishing and shaping of cultural memory, and crea-tion and affirmation of collective identities, based on scientific knowledge and interpretation of the past. Nowadays, other, more effective media are involved in those processes, e.g. film, which is examined in the paper as such a medium. Also, museums and media have been used for spreading different prejudices and stereotypes – some of our identities are often based on such preju-dices, either about our own or somebody else’s past or present. Nevertheless, museum as an institution has an aura of highest authority, based on scientific knowledge and legitimized by museum collections. Museum is seen as trustworthy, unbiased and objective. Such privileged status of museums is argued and contested, and the complexities of museum discourse are traced through critical analysis of the current policy of the American Museum of Natural History in New York and this muse-um’s participation in the production of a movie Night at the Museum (2006). As part of a “global village,” museum visitors are impacted by certain stereotypical images circulating within and outside of museums, which are a dense package of ideas (rooted in science, folklore, ide-ology, politics, etc.) that thrive in cultural memory and collective imagination. These are constructed and circu-lated as commonsense or consensus narratives, en-trenched in the minds of the public, and they can take hold persistently against current scientific opinions. Mass media images that museum visitors bring with them to the museum are inevitably shaping their inter-pretations of exhibitions. What happens then, when a museum gets involved with Hollywood industry? What are the consequences of such an interaction? This pa-per’s aim is to shed some light on those consequences in the particular case of the AMNH.

Mícheál Briody

In Ireland the creation of one of the world’s largest collections of oral traditions by the Irish Folklore Commission (1935−70) was intimately bound up with the declining fortunes of the Irish language as a spoken vernacular and the young independent Irish state’s efforts to revive that language. This paper deals not with the Trojan achievements of the Commission, but with certain criticisms of its work levelled against it by someone with impeccable Irish-language credentials and someone who was also steeped in the Irish-language oral tradition since childhood; namely the creative writer and intellectual Máirtín Ó Cadhain. In this paper I will outline some of Ó Cadhain’s criticisms of the work of the Irish Folklore Commission as well as place them in context.

Peter Ramey

Ildikó Bellér-Hann, Raushan Sharshenova

Gustav Henningsen

El autor traza su autobiografía intelectual desde que era estudiante en su país natal, Dinamarca. Muestra sus primeros pasos en la investigación como interesado en el folklore de los países nórdicos. Esto le introdujo en los cuentos populares y en una entrevista para recoger información, de casualidad se encontró con las creencias populares sobre las brujas. Este fue el arranque de su tesis doctoral que fue perfilando conforme avanzaba su investigación en España (Galicia, País Vasco y Navarra). El hallazgo de la documentación del inquisidor Salazar y Frías en el Archivo Histórico Nacional le condujo a centrar sus estudios sobre la Inquisición y el célebre proceso a las brujas del Baztán seguido por el Tribunal del Santo Oficio de Logroño.