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This paper studies the reception of Brazil and Brazilian literature in Hungary to explain how Mário de Andrade’s Macunaíma achieved great editorial success among the public and analyzes the possibilities of translating the text of the work into Hungarian and the translator’s method to reproduce culture-related words in the target language as it is shown by Mário de Andrade’s rhapsody.
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In the present paper, we called attention to a so far unknown religious idea of the Bell Beaker – Csepel group after observations made at the excavation of Budapest-Albertfalva, archaeo-astronomical analyses, two special shards with channelled knob ornaments and their analogues. The schematic representation of the Sun symbol appears, although rarely, in the accompanying material (“Begleitkeramik”) of the Csepel group (on grave ceramics, the Albertfalva fragment was probably originally intended to be placed in a grave). The custom of the building of round houses in the western group of the Bell Beaker culture and the burials with round ditches in the eastern group make us think. The orientation of the houses according to the winter solstice at Albertfalva and the existence of a territory enclosed by a round ditch between the houses render the role of the Sun in the daily and religious life of the population of the Csepel group even more emphatic. The representation of the Sun in various forms (gold discs, incised Sun motives) can be observed on nearly the entire territory of the Bell Beaker culture yet we do not want to interpret this phenomenon as a Sun cult. The religious beliefs of the Bell Beaker culture are extremely complicated, complex and colourful, and Sun, an environmental factor that defines daily life, could only be an element in it.
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The subject of the text is an analyze of symbolism of the protagonists of Valery Shevchuk’s book House on the hill. Protagonists were personified with certain cosmic forces (the cosmic elements) and they are part of a large, time-space novel’s structure. The space in the novel is divided by the opposition running on the line up – down. The example of that novel shows, how the cultural categories are reflected in the literature and how they determine the structure of literary narrative. The symbolism of the elements connected to mythological and folkloric thinking, and describe reality in terms of sacrum.
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Date: October 13-16, 2016
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The folk men’s costume is composed of various items; the hat belongs to men’s head wear, together with the fur or woollen cap and the hood. The head coverings for women reflect the woman’s aesthetic sense and skill and we distinguish several types of pieces: very thin raw silk head-kerchief, kerchief,bonnet, headdresses. The objects present: dust deposits, dirt caused by the use of the items, loss of beads, loss of fabric and stains of unknown origin. The following treatments were made: dust removal, wet cleaning, filling the embroidery elements with beads.
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The book Crashing Thunder: The Autobiography of an American Indian is surely the most popular and likely the most controversial work of Paul Radin. Chronologically, it belongs to Boasian anthropology and is conventionally placed in the trend of culture and personality. In the times of post-structuralism and post-modernism, critical analyses cause a crisis of trust in the mere text and authority of an anthropologist as its author-editor. New acts of reading cause suspicion in anthropological and literary-scientific understanding of the autobiography of Crashing Thunder as an authentic ethnographic document, personal testimony or religious narrative, while revealing and highlighting implicit, symbolic and performative meanings inherent to the native text and its cultural background. In this experiment, the starting point is the experience of the work and text in the reception of an anthropological reader as a narrative about religious conversion and personal testimony. Arguments which support the interpretation of a meaning comprehended in this manner are found in the ethnographic- anthropological relevance of Peyote’s religion as a topic in Radin’s Winnebago opus; a rather likely, but not explicitly formulated idea of the anthropologist to display on a concrete example-case, i.e. life historical testimony of the informant and subjective actor the micro-aspects of the inspected process, cultural and religious changes in Winnebago communities at the turn of the 19th to the 20th century; and features of the autobiographic strategy of the native writer and narrator.
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The text deals with ethnographic photographs from Moravia and Slovakia, from 1880 and later, and is based on the photographs´ collection of the Ethnographic Institute of Moravian Museum, Brno (Czech Republic). This rich database contents visual documentation of many aspects of material and spiritual folk life. Through icons of ethnographic photographs, the paper tries: to unite at first sight fragmented effort of photographers, to find paths to synthesis, and to show possibilities and potential of these images for present and future ethnologic studies.
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2005 saw the approval of the Czech Republic’s nomination of the Slovácko ‘Verbuňk’ dance for inclusion in UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity. It may be characterized as an improvisational male dance, improvised individually, which contains jumping figures. It may be interpreted by a large number of dancers simultaneously, but may also be a solo dance. Geographically, it comes from the Slovácko ethnographic region in south-eastern Moravia. In the second half of the 20th century, it was known particularly among folklore ensembles and at natural events, and its performance was significantly tied to the folk revival movement. Although the name of the dance—the Verbuňk—suggests a relationship with forced army recruitment in the 18th century (verbování comes from the German term for recruitment: Werbung), the significant period for the development of the dance extends even further back. The dance strongly reflected intellectual interests in folk culture in the late 19th and early 20th centuries and the folk revival movement that was based upon it. Key figures in both amateur and professional dancing had a major influence on the dance’s development. (It started as a male dance characterized by rhythmical movement of the legs, the so-called cifrování or ‘decoration’ of the dance, developing into a strong individual dance with a vocal prelude, dance figures and accelerating tempo.)
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The territory of the former Yugoslavia (within all of its structures and forms during the second half of the 20th century — from FPRY, SFRY, FRY, to Serbia and Montenegro) was the subject of more or less intensive external and internal migrations. The first larger wave of emigration occurred immediately after the end of World War II, mostly due to the political events in the country that concerned ideological orientation of national-liberation war winners. In most cases, the furthest destinations o f these emigrants were overseas countries. The remoteness of the new „homelands", among other reasons, made these relocations permanent. In the beginning o f 1960’s a new wave of mass immigrations occurred due to the „liberation" of Yugoslavia’s economy and politics, and the need of labor force in the countries of Western Europe. These were the economic, so-called labor-migrations that were supposed to have a temporary character. During the period of 1964-1973, Yugoslav citizens living in Western European countries numbered approximately one million and one hundred thousand, out o f which two-fifths were Serbs. In the mid 1970’s, a migration trend seemed to slightly decline, only to increase again in the 1980’s, and especially during the 1990’s, however with the new socio-economic-political background and different characteristics than the preceding ones. It could be argued, though, that these new migrations of Yugoslav citizens sum up all the characteristics of the preceding ones, being, at the same time, very dramatic in nature considering that the migrations were most of the time, the only available option for emigrants. In general, these migrations are characterized by relocation of whole families, absence of a long-term plan considering the future (duration of stay, return to the home country), money investment in the home country, and relatively high although diverse educational level. Actually, based on comparison between censuses in 1981 and 1991, it is evident that in 1991 more people with a high school diploma, gymnasium, higher and academic education have left the country than in 1981. The available data from 2001 census consist only of a relative number of Yugoslav citizens living abroad, around 400,000, but this number does not include citizens from Kosovo and Metohija, or Montenegro. Only when the final census data come out, will it be possible to analyze and compare migrations from 1991-2001, although considering census gathering and its limitations, it is clear that many trends will remain hidden.
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The author presents results of the research into different ways of medical treatment as recorded in the oriental manuscripts of Mustafa Muhibbi, qadi (judge of the sharia court) in Sarajevo from the first half of the 19th century. The manuscripts analysed are Ms. 113, an Ottoman medical text with Muhibbi's marginal notes, mostly names of plants translated from Turkish to Muhibbi's mother tongue, Bosnian; Ms. 27/1, another Ottoman medical text transcribed and extended by Muhibbi himself, and Ms. 91, his personal notebook containing, among other material, over twenty recipes. Some recipes are translated in the paper from Ottoman Turkish and Arabic languages, classified as theurgic (religious and magical) or purely herbal and commented on. Since Muhibbi wrote down those recipes together, without notes which display his awareness of the differences between them, the analysed material proved to be a source for wider conclusions concerning his comprehension of causes of illness and his approach to curing. Moreover, his notes pointing to provenance of certain recipes enable us to draw lines of transmission of medical and magical knowledge among learned Muslims in Bosnia at that time, as well as between them and the common people.
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The author deals with the different relation towards the notion of chivalry within the contemporary context of the Sinjska Alka, a traditional game from the region of Sinjska krajina, which originates from the mediaeval chivalry tournaments and is in itself defined as being chivalrous. The first part is dedicated to the reconstruction of the events from the 286th Alka festivity, that is, their political context and different comprehension of the notion of chivalry the participants have shown, and it is mainly based on newspapers’ articles. This is followed by a part with the discussion of the basis on which the mediaeval institution of chivalry has been founded, and which stresses out the changed meaning of the chivalry and its values. Those are being compared to the ones that can be interpreted from the Statute of the Chivalry Alka Society. The last part talks about the intensification of the usage of the notion of chivalry in Croatia from the beginning of the 1990s war, about the development of its meaning within the context of the Sinjska Alka and about its manifest characteristics.
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The author discusses story-telling of the Ukrainians from Slavonia on the basis of already published material and her own fieldwork. She investigates two mutually interrelated linguistic and thematic layers: the impact of the Croatian language and Croatian oral literature on Ukrainian tales (on story-telling in Ukrainian) and the preserved elements of Ukrainian language (and tradition) in the tales told in Croatian. The elements of the Croatian language in Ukrainian tales are studied in their German translations where Croatian expressions have been left untranslated. In Croatian recordings of the same tales that layer cannot be seen. In the recordings of Ukrainian tales in Croatian the elements of Ukrainian are of course noticeable. In discussing the interrations of the story-telling repertoire of the Croats and the Ukrainians it is pointed that story-telling is a living process, i. e. that certain motifs flow from one tradition to another. This is illustrated by the comparison of motifs of Ukrainian tales with the motifs of Croatian tales from the same village, and with the variants of the same tales from Slavonia.
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St. Duje fair — Sudamja, has continued to exist as a traditional gathering when people from surrounding districts of the countryside around Split and interior used to bring for sale essential every-day tools, household and agricultural appliances. People from nearby islands used to come mainly to purchase goods, however all of them enjoyed a chance to meet and chat with each other and entertain themselves together. Different historic and cultural conditions and circumstances throughout the bygone centuries had an effect on an uneven intensity of holding such festivity. The economic importance however, of such market activity in Split, the largest among several others, has been able to attract a great number of visitors and intensify the activity of their customs and plays. This fair always had an explicit social importance and achievement of urban and rural cultural expression. Citizens of Split, generally as onlookers and buyers, promenading expressed customs of their social standing as well as hinterland peasants by group dancing and singing. The present day St. Duje fair continues to exist as an medley of tradition and modern way of life, demonstrate it by selling earthenware and plastic souvenirs on the same place».
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Chinese myths and legends, as popular cultural products, may be subjected to the analytical methods of cultural studies, which is the approach this study adopts when investigating their complex relationship with Chinese society and history. In particular, the social and political criticisms embedded in these myths and legends are studied, and this is done through exploring the reasons for the prominence of the embedded criticisms in Chinese myths and legends, and sorting out the general trend of their development. The prominence is accounted for by the harsh censorship and the influence of the Chu spirit and Taoism on Chinese culture.1 In the development of these criticisms, four stages are marked, each (cor)responding to the historical circumstances and with its own distinct feature. The study concludes with the historicity of Chinese myths and legends; the criticisms are embedded in them and they, in turn, are embedded in Chinese society and history.
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The author discusses the organized production of wooden toys in the village of Vidovec near the town of Zagreb. The first half of the 20th century is the time span during which the production of toys represented an additional source of income for the agrarian population of Vidovec. The abundance of wood on the slopes of the near-by Medvenica Mountain was the main reason why many of the inhabitants engaged in woodcarving. Women organization for the protection and promotion of folk arts and crafts had helped, through its activities, in the development and organization of this craft. In 1928, it organized a workshop in woodcarving and in 1932 it participated in the formation of the First Croatian Rural Zadruga Organization for the Production and Marketing of Childrení toys in Vidovec near Zagreb. Zadruga worked independently, and in co-operation with several state institutes and companies, such as Institute for cottage industry, Likum, Folk handicrafts etc. After several unsuccessful attempts of merging with other zadrugas, in view of adapting to new economical developments, the First Croatian Rural Zadruga Organization for the production and marketing of childrení toys, ceased with all its activities in 1956. That also ended the production of wooden toys in the village of Vidovec.
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The strategics of Solidarnost in using symbols appeared to vary in form and content, although all the forms were devised illegally. The author mentions the following symbol forms: street wall graffiti, gifts with the symbols of religion and Solidarnost, brought to church services for the homeland by institution and company staff; also stamps, greeting cards for holidays, anniversaries and other occasions; calendars, magazine covers, leaflets, emblems, military medals, costume jewelry, poster and picket-sign slogans. In order to study all these types of signs it was necessary to give them a common scientific denominator, and that is their symbolism.
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My paper aims to observe to what extent the leadership of Jean-Claude Juncker matches the organizational culture of the European Union (EU). In this sense, I consider answering a few questions: what kind of organizational culture is the European Union?; What kind of leadership does Juncker practice?; Juncker's leadership is right for the EU organisational culture? Starting from the Hofstede’s cultural dimensions, I consider that the cultural diversity of the states that make up the European Union determines, on certain dimensions, the difficulty of defining an appropriate leadership model as the integration project to remain effective. I believe that Juncker has understood which elements can harmonize the differences between national cultures within the EU and he has tried to impose an adequate leadership in this direction. Methodologically, I took over the Hofstede model and I compared Juncker's leadership model with the national culture patterns identified for the EU Member States. In this respect, I have analysed Juncker's speech on the State of the European Union, and I paid my attention on the main elements of his discourse.
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The main objective of this paper is to show the main differences and similarities between the Polish and Spanish subsystem of the forms of greetings.
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The article focuses on the journey into the “ragged promised land” (80) in On the Road. It can be seen as an escape of the main protagonist Sal Paradise from his roots and from the conformity of American society. Kerouac, having a Franco-Canadian heritage, presents a marginal possibility of heterogeneity in a homogenous postwar America. The author depicts additional mentors and heroes met along the way. They are, among others, tramps and hoboes, ragged wanderers and the Fellahin of Mexico, as well as Sal’s travel companion Dean Moriarty. Sal experiences something true and meaningful among those living on the margin of society. He travels considerable distances: from coast to coast across the United States, from boarder to boarder and to Mexico. The real journey, though, is inward, a passage through the wilderness of the self, the true “ragged promised land”.
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