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The Benedictine monastery of Pannonhalma in Northwestern Hungary was built in the 11th century on a small hill called Sacer Mons (Sacred Mountain). In the present study, I research the origin of this name. There is no such concept as "sacred mountain" in the Christian religion (peaks might be named for Christian saints, for example Mons Sacri Martini). However, the name Mons Sacer for the hill under discussion turns up as early as the 11th century. For this reason, it seems improbable that it took this name shortly after the foundation of the monastery because of the monks living there. The documents—which luckily survive in large numbers—and also the narrative sources tell us that the name Mons Sacer had no connection with the Benedictine monastery at first; it was the name of the hill itself. This naming cannot be tied to the Christian religion; it derives from the times when Hungarians still preserved their original native religion. The qualification of a mountain as "sacred" has many parallels in the Eurasian mountains where nomads once lived. The survival of this tradition in the Hungary of the 11th century is shown by the fact that King St. László I called a diet (at the Benedictine monastery) on Mons Sacer, and that a few years later King Kálmán summoned the Hungarian nobles to the Tarcal Hill in Eastern Hungary for the same purpose. This means that certain hills and peaks still preserved their pre-Christian cultic function as gathering places in the early Árpád era. The location of the first Benedictine monastery in the Kingdom of Hungary might have been selected merely to neutralize an ancient cultic place.
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It was likely in early 1926 that Ernő P. Ábrahám's A csudaszarvas (That Wondrous Deer), an overview of Hungarian history for young readers, was published in Budapest. It starts with early Hungarian history (more precisely Hunnic-Hungarian history) and takes us all the way up to the situation after World War I. It is illustrated with Romantic tableaux that depict spectacular scenes witnessed by a young prince named Árva (a name which means "orphan"), who is whisked from one part to the next by his magic steed Tüzes (meaning "fiery"). The mythical csodaszarvas, or wonder deer, appears in several scenes, but it is signified in the book with the more folksy form csudaszarvas (roughly, "that wondrous deer"). The book is very richly decorated, with embellishments, initials and full-page illustrations that portray key scenes from Hungarian history. These were produced in the studio of a contemporary graphic artist, the multi-faceted and renowned Álmos Jaschik. And one of the age's most prominent Hungarian politicians, Albert Apponyi, wrote the foreword to the book. On carefully surveying this foreword as well as the body of the work and the illustrations, one discovers that the book serves a legitimist goal and that it was created for a "boy who lives far away," who received the first, hand-painted copy. This boy was actually the son of the last Habsburg king of Hungary, Charles IV, who had by then died; the heir presumptive to the throne was Prince Otto. The article discusses the multi-layered and informative writing and iconography of the book as well as the author and the designer of the illustrations. A detailed study of both text and images brings out the several phases that went into planning and making the volume. Incidentally, the csudaszarvas variant in the title is well established in Hungarian literature and art. Interestingly, however, it is unknown among latter-day readers. It is revealing that the wonder deer not only shows the way to a new homeland, but also plays a role in the story of the founding of the church at Vác and brings the hero of the book all the way to the modern age. A discussion of the many-sided text and of points about content and iconography is useful insofar as it reveals well-known stereotypes about both early and later Hungarian history.
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After the fall of the Berlin Wall François Mitterrand launched his Europe-an Confederation project on December 31, 1989. His project aimed to of-fer to the countries of Eastern Europe with the USSR a large European framework of political cooperation following the idea of Charles de Gaulle’s „Europe from Atlantic to Urals” and „European Europe”, without the United States. The idea of the European Confederation could not be realized by several reasons. According to Mr. Jean Musitelli, responsible for the organisation of the Assises of Prague, François Mitterrand was real-ly afraid of the rebirth of nationalisms before the First World War, and the year of 1919, but his idea of the European Confederation, before it had even some chance to be delivered, was not supported by the Ameri-cans, who could not leave Europe after the Cold War and George Bush wanted to affirm the American leadership in Europe. Mitterrand’s project was not supported also by the 12 European partners of France because, they wanted the integration of unified Germany into the European Union, which could not help to turn European Countries towards the East in the frame of the Confederation. Finally, the new leaders of the ex-satellites of Moscow were afraid of the resettlement of the Communist regimes, and wanted to integrate into the Euro-Atlantic institutions and to get rid rap-idly of the Soviet influence.
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The aim of the article is to depict the context of the origin of Kundera's essay „The Tragedy of Central Europe” (1984) and to summarize and characterize its key points. The author of the text also tries to answer the question why this essay has become a turning point in the debate on Cen-tral Europe's position between East and West. Then the author summa-rizes the most important voices of the debate, to which the essay has giv-en rise among emigrant circles. Not only did Kundera’s concept of Cen-tral Europe resonate among Central European intellectuals and emi-grants, but it also spoke to the West European and American public and helped popularize his literary work. „The Tragedy of Central Europe” es-tablishes Kundera’s attitude to the question of Central Europe. Here he lays the foundations of his thinking about the region, which he seems to have applied in his novelistic work as well. This essay had an enormous impact on discussions of Central Europe, and it has been analyzed in de-tail. Kundera’s controversial issues, especially those regarding his attitude to Russia and Russian culture, or the neglect of the Slovak context, as well as the abolition of the Slavic myth of Central Europe and his emphasis on the Hungarian literary and cultural contribution in formation of Central Europe are also discussed in the paper. There is no doubt that Kundera’s essay has begun the process of re-discovering Central Europe and has become an impetus for the rehabilitation of the region in the West and al-so has played an important role in formatting the Central European iden-tity.
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The present treatise aims at drawing up a new model of investigating the history of literature. Even though comparative approach is applied by the author, he does so within the constraints of an altered history of literature. A new form of the hermeneutic circle is developed. After a preliminary reading that accentuates particular issues in a poet’s work under analysis, what is further investigated is the reappearance of those issues in the poetry of a resourceful Continuator. At this very moment shifting of the perspective takes place: careful investigation of metamorphosis undergone by the resultant shape of phenomena in the realm of poetry allows to reverse-engineer the sought-after lens facilitating the creative reading of the poetry under analysis. The said reversal was utilized in the reading of Juliusz Słowacki’s poetry (namely, the problematic of liminal being present therein – transgression, disability, and destruction of ontic dimension of the human being), and the said lens, enabling the contemporary rereading, is in this very case the poetry of Słowacki’s prodigious Continuator – Bolesław Leśmian. First, the reading of the latter’s „Bałwan ze śniegu” (Snowman) allowed to uncover the broader basis for the epiphany in one of Słowacki’s lyrics, then the ballads by Leśmian helped to recognize the depiction of a crippled nun as a metonymical symbol that highlights her other mode of being inside the metonymicality of body. Finally, Leśmian’s poems unveiled the fact that negative epiphany occurring in Semenko’s martyr-like body is what reveals more radically his existential transgression and metamorphosis, than the sacred symbolism used.
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Dolaskom austrougarske uprave počinje modernizacija društva bez dubljeg zadiranja u društveni ili bilo koji drugi položaj žene, ali otvaraju se nove mogućnosti i horizonti kombiniranjem starih i novih običaja. Austrougarski period karakterizira ukrštanje tradicionalnog i modernog, stranog i domaćeg, a proturječnosti ovih ukrštanja su se odrazile i na same žene, u slučaju da su i same bile akterke brojnih događaja ili dio opće populacije.
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This article gives an overview of the historical and geographical background for the origin of folk arts and crafts – in particular – the art of painting on wood in the Nizhny Novgorod region, the study of range of factors which contributed to the formation of Khokhloma painting – the hallmark of Russian folk art – is given.
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The life of every human being is an endless collection of facts, information, events, thoughts, feelings, dreams and experiences. The assumption that a biography, trying to give the comprehensive description of a human life, i.e. from the moment of birth until death, is going to reveal the whole truth about a person, is probably far-fetched at best. How many questions would need to be asked and how many would need to be answered in order to present a person from a multitude of perspectives? How many problems would need to be analysed, how many puzzles would need an explanation, how many documents would need to be found? Sometimes we undertake this effort, often as a result of the great impact of a given individual’s achievements on a society, and his or her uniqueness as a human being. The primary objective of this article is to analyse the biography of Jan Ekier, one of the most remarkable Polish artists of the twentieth and early twenty-first century in terms of some universal characteristics of his academic and artistic activity. Is there a single factor that would meet the requirement of universality in a life so rich and multithreaded that we could identify? Its discovery would be fascinating because of the artist’s life which lasted for over a hundred years, filled with work and a great number of achievements. That is why, it is worth looking at his life from this perspective.
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This is a chapter of the Interslavic reader which is a collection of working texts for teaching the Interslavic language. / Tuto jest kapitola iz čitateljnika, ktory jest spisok tekstov do učenja medžuslovjanskogo jezyka.
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The lack of a room in the architectural block of a house that would serve the function of a kitchen – a feature of unicameral housing built for workers before World War II. Only the collected and spaced out equipment and objects established the landscape of the kitchen (people and objects), in which the residents cooperated and which “evoked” certain interactive responses from the human side. In the article, from the perspective of residential habitation, I look at objects and their structuring within a fragment of the space of a flat called a kitchen. I rely on the material collected during many years of research on the interior of housing for workers’ families, which I conducted with students of ethnology at the turn of the seventies and eighties of the twentieth century in Lodz, among residents of tenement houses and family homes built by manufacturers for “their” workers. Among the collected accounts, I choose the ones that the workers who deal with the families lived in the same apartments before and after the war, because I want to look at living as a practice that connects with generational staying in a certain space and passing patterns of her domestication.
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The kitchen for 150 years has fundamentally changed. It related both in space and its functions for the household. First part of the text included description of the transformation Lublin kitchen, which primary was only a part of a room, near the stove and since the 1920s became a separate room. The following describes how this room was used and what were and still are its functions for users (culinary, economic, leisure, hygienic, sacral, ritual and integrative). In spite of these changes, the kitchen remained the most conducive place in the home, where most of the tasks indispensable for the proper functioning of the family are realized.
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Makatka, an ordinary piece of linen with an embroidered straight contour drawing, often with a sentence or an inscription. Who among us has not met at least once with this, generally considered to be kitschy, subject? Fashion for tapestries lasted from the mid-nineteenth century until the 1980s of the last century. After many years of oblivion, makatka again enjoys popularity. In the article I try to answer the questions about the phenomenon of makatka. I discuss the genesis of the makatka, its former and contemporary functions and the meanings that were attributed to it.
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Knowledge about cuisine and kitchen in the Middle Ages is full of myths and contradictions. The situation has improved in recent times, since cooking has become fashionable. The so-called food studies, contributed to the collaboration of historians, archeozoologists, archaeobotanists, anthropologists and archaeologists. In this article, however, the kitchen and its equipment are described from the archaeologist’s point of view. We do not always fully realize that our archaeological “potsherds” are relics of pots which were only of a small part of the kitchen equipment. Many objects were made of organic materials – mainly from wood, bast or bark, but also from leather or fabric. This type of equipment is rarely preserved in the ground. Most of the kitchen appliances discussed in the article are simple objects, made of cheap raw materials, so widely available. They were rarely described in sources – they were not subject to pledges, lawsuits and did not appear in wills. Sometimes we only find them in iconography. Hence we know that the image of medieval cuisine is very diverse and depended largely on the wealth of its owner. Certainly, it does not correspond to the still popular myths which see the Middle Ages as a “rough” era. The kitchens of the poor have changed little over the next few centuries. Kitchens of social elites also evolved slowly, but they always remained “fancy”.
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The aim of the present article is to reconstruct the ancient kitchen space according to the recipes given in the Latin cookbook known as De re coquinaria (4th century A.D.), the agricultural work De agricultura by Cato the Elder (3rd/2nd century B.C.) and Greek medical treatises by Galen (2nd/3rd century A.D.) and Oribasius (4th century A.D.). On their basis the author describes the most important kitchen utensils and the way they were used. Moreover, she characterises the most common thermal treatments utilized in culinary art of that time.
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