Wprowadzenie: Bio-aktywne rumowisko historii cz. II. Jak zapamiętać zgliszcza?
Introduction: Bio-active debris of history, part II. How to remember the ruins?
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Introduction: Bio-active debris of history, part II. How to remember the ruins?
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Restoring and revitalizing popular port products is a long-term process. The time workmanship for making a shirt by an experienced craftswoman lasts about from six to nine months. Various studies of the folk costume often require the restoration of the product. The need for restoration is imposed by: the analysis and study of the cooperation of embroidery elements with the form of product offered by shirts of different types; analysis and adaptation of the shape of the shirt to the conformation of the wearer; analysis of the form and assembly methods offered by the cut schemes; restoration of cut landmarks and schemes with immediate simulation on the mannequin of museum products (Republic of Moldova); analysis and adaptation of these products to carrier conformation parameters; identification of conformation parameters, etc. The advanced level of contemporary digital technologies allows us in reduced time to simulate the product form without waste accumulations and the destruction of raw material resources. In this work will be presented the results offered by the digital simulation of the products of folk costumes, vestiges of the cultural heritage from the Museum of History and Ethnography, Hancesti city. You also have the connection possibilities of digital technologies and technologies used in the manufacture of popular port products.
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The study focuses on the artistic aspects of traditional furniture from Bessarabia, dating from the late 19th century to the mid-20th century. We emphasize the importance of materials, decorative techniques, artistic means, and decorative structure in the crafting and decorating of traditional furniture. The motivation for this research lies in analyzing how the culture and folk art of Moldova are reflected in the characteristics of traditional furniture. The specific hypothesis of this study posits that Moldovan traditional furniture represents an expression of the talent and artistic sense of the craftsmen and householders from Moldova. The research aims to conduct a detailed analysis of the materials used, including wood and others, as well as decorative techniques such as carving, sculpture, and painting. The objectives include a comprehensive description of the mentioned materials and techniques. The research methods included documentary analysis, relevant illustrations, and extensive field research in all regions of the Republic of Moldova, spanning the years 2007-2023, contributing to the scientific and applied foundation of the research. The main results consist of highlighting the role of traditional furniture in reflecting Moldovan culture and folk art, providing data and illustrative images to support these aspects.
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The article analyzes the relationship between education and poverty in isolated communities in Northwest Bulgaria. By using ethnographic methods, the main obstacles and motivations for continuing education in universities for children of Roma origin are highlighted. The focus of analyze is the social and cultural factors that characterize the environment and that have an impact on the educational process.
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The richness of the Albanian culture, its traditions, and customs easily fascinate any researcher. Amidst the diversity of these traditions and customs, certain elements have played a role in reinforcing gender role divisions and strengthening patriarchal mentalities. Through this article, it is intended to explore customary laws that have nurtured and strengthened gender role divisions, by exploring the customary rights in the Kanun of Leke Dukagjini and Kanun of Luma, which have been implemented in the northern and northeastern part of Albania. The Kanuns, as customary rights, and codes of laws, have served as a legal basis for a long time in the Albanian society, and they are an important part of the cultural tradition of Albania. This article highlights elements that have influenced the strengthening of patriarchal mindsets, which contributed to the unequal position of women in family and society. Although nowadays the customary rights in the Kanuns are considered obsolete, the Kanun norms have often served as the opposite of the current legal regulations and continue to do so. In many cases, the rules of the Kanuns have been followed by the people in different areas of life, often conflicting with the law in force. The customary rights of the Kanuns and the mindset created by them have contributed to the strengthening of the patriarchal mentality and the division of gender roles. Gender roles perpetuate inequalities between females and males, where there are clear divisions inside the Kanun regulations, which are still strong and influential on gender-related issues.
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Through rhythm-typological analysis and cartography the author has detected a similarity in the typological structure of early traditional musical forms belonging to agricultural and wedding genres on the territory which unites Ukraine, Belarus (within its ethnic area at the beginning of the 20th century), Eastern Poland (the Vistula river basin), and Lithuania (Dzūkija and Aukštaitija).. This concerns several dozen song types, composed of items from a common grammatical base, forming the UkrainianBelarusian-Polish early-traditional melo-massif ‒ UBPEM. These types share interethnic (2-4-lingual) areals, which do not correlate with linguistic ones.
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Although ethnochoreology and ethnomusicology as related academic disciplines have decades-long histories, reviewing and redefining their basic epistemological and methodological principles remained one of the main focuses of disciplinary discussion. Most ethnochoreologists and ethnomusicologist agrees that “field” work (in all its traditional and contemporary forms) remains an essential and constitutive quality of their research and disciplinary fields. The inherent interdisciplinary networking of ethnochoreology and ethnomusicology starts from the theoretical premise that the relationship between the kinetic and musical components of dance is not only unbreakable, but also interactive, and that complex and dynamic manifestations of dance performances represents an expressive medium through which a particular community constructs and represents itself. Since the importance of the individual experience of researchers has been ephasized during the last few decades, a comprehensive method of participant observation remains a central and unifying aspect of fieldwork, both in ethnochoreology and ethnomusicology. Based on field research of musical and dance practices of the village of Svinica (Sviniţa) in Romania, this paper reviews the application and combination of various methods of field research (observation, participation in the performance process, filming, interviews and writing field notes) as the primary tools for the acquisition and shaping of scientific knowledge about dance and music. Issues that will be discussed include the following questions: What are the advantages of personal kinetic/auditory experience during simultaneous perception of dance movement and dance music? How can different methods of field research be combined in order to improve cognitive processes? Are there border areas between ethnochoreological and ethnomusicological fieldwork? Does the variety of methods of field research represents a weakness of the interdisciplinary approach or its advantage? On which information recorded during the fieldwork does a researcher usually build his post-field ethnochoreological/ethnomusical narratives? Through discussion of all these issues, particular emphasis will therefore be placed on the consideration of processes of memorization (visual, auditory and kinetic) when applying the method of participation in the dance performance.
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The International Society for Ethnology and Folklore (Société internationale d’ethnologie et de folklore — SIEF) is a professional organisation that assembles ethnologists, anthropologists, folklorists, ethnomusicologists, linguists, sociologists and others. The Society held its 12th Congress in Croatia in June 2015 with the theme Utopias, Realities, Heritages: Ethnographies for the 21St Century, assisted by local organizers, the Department of Ethnology and Cultural Anthropology of the Faculty of Humanities and Social sciences of the University of Zagreb, and the Institute of Ethnology and Folklore Research in Zagreb. Although one of the largest humanities conferences in the region, it attracted many scholars from other parts of the world, who offered contributions on various topics related to the conference theme: archives, body/embodiment, digital/virtual, disciplinary discussions, food, gender and sexuality, heritage, home, migration/borders, museums, narrative, politics and social movements, religion, rural, socialist, post-socialist and urban studies, including music. Thus, it is understandable that throughout the conference there were continuous sessions showing ethnographic films, since they, as a medium, potentially encompass all humanities and social sciences.
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In this article, the author observes and discusses the effects of Russian history on Russian music in the second half of the XXth century. Forming part of author’s long-range persistent polemics against Russian exceptionalism and against the kind of romantic overvaluation of art, the article expresses sharp and provocative views of the main stylistic tendencies in Soviet and Russian music during and after the epoch of the Cold War, as well as after the Second Russian Revolution in 1991. Special attention is paid to the activity and works of the most prominent Russian composers of their time: Andrey Volkonsky, Edison Denisov, Nikolai Keretnikov, Arvo Pärt, Elena Frisova, Sofia Gubaidulina and Alfred Schnittke.
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Women have played significant roles in the development of Christianity in Nigeria, but with little attention given to their roles in historical accounts. Therefore, this research focuses on the roles of women found scattered in some documented history of Christianity in Southwest, Nigeria from 19th century till mid- twentieth century when missionaries came from America and Europe to Nigeria to establish Mainline Churches and in addition assesses their activities in the African Indigenous Churches (AICs) in Nigeria. The paper leaned on Dorcas Akintunde’s assertion that the official history of churches and Christian ministries in Nigeria takes a very little account of the role of women. She observed that the history of Christianity till the mid-twentieth century when Aladura churches (Praying Churches) were founded was basically patriarchal. Having explained these endeavours, the research also makes some recommendations for women activities in contemporary Christianity in Nigeria. The research uses qualitative approach with primary and secondary sources from In-depth Interview (IDI), participant observations and bibliographical and archival search. Women were found out to have served as missionaries, acted in men’s absence, and deployed their professional expertise on the mission fields, founded churches and were actively involved in pulpit ministry. Hence, their roles contributed significantly to the growth of Christianity in southwest Nigeria.
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In this article I present the thesis of the original technicality of man proposed by the French philosopher Bernard Stiegler, who passed away in 2020. Stiegler's thought is undergoing continuous re-elaboration due to the singularity of the proposed theses deriving from studies of contemporary anthropology and philosophy. The research method used is subjective-argumentative and interpretive. Reading Stiegler's texts lends itself well to a functional interpretation of the thesis according to which digital technologies are natural prostheses for 21st century students. With the subjective-argumentative methodological approach I can reach a specific goal: demonstrating how the use of digital devices is to be considered an educational asset starting from Stiegler’s philosophy. He makes us understand how the original technicality is decisive for cognitive development. Moreover, the subjective-argumentative approach, as little objective as it may be, offers the flexibility to support a contemporary educational theory such as George Siemens’ Connectivism.
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The article was inspired by the Pontchartrain Park Pioneers Oral History Project which began in 2019. Ten Pontchartrain Park pioneers who purchased their homes in this middle class, African American community between 1955 and 1965 were interviewed. This innovative oral history project allowed the interviewees to share their unique stories of pursuing the ‘American Dream’ of home ownership, while living in a racially segregated country and city.
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In the present study, we created an overview of the popular literature of the huts of Bucovina, starting from the volume of stories of the writer of hut origin Casian Balabașciuc. The popular literature specific to the shacks of Bucovina starts from a symbolic interpretation of the world that the shacks often considered hostile or mysterious. Casian Balabașciuc's stories surprise the reader by presenting a world of simple people, with all their rituals, traditions and beliefs. The popular literature specific to the huts is based on animistic beliefs, the transmission of strong sacred values and the existence of a mysterious life, which unfolded as they pleased in the middle of the forest.
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The funeral rite is a fundamental aspect of the process of a person's passage from this world to the underworld. Throughout history, each culture and society has developed its own representations of this important moment of transition. In modern society, depictions of funerary ritual have evolved in accordance with social and technological changes. Individual traditions and increasing cultural diversity have brought with it a number of changes in the way people face and express their grief of loss. Currently, funeral rites can range from traditional religious ceremonies to personalized civil burials or even commemoration actions. Many beliefs and traditions we inherited from our ancestors, the Dacians and Romans, and as testimonies over time are the customs and rituals that we still find in rural life. Each civilization emphasized its own values and beliefs about the afterlife. Depictions of the funeral rite give us insight into human values and understanding in the face of the inevitable – death. The funeral rite among the Greeks, as in Romanian culture, involved certain practices of preparing the body of the deceased for the burial rite. The last road to the Greeks was marked by certain offerings and sacrifices, where the community expressed its regrets; they organized memorial dinners to honor the memory of the departed, a custom that is still practiced today among Romanians. In Ancient Rome, there is also that custom of purifying the family home. The ancient Romans used certain aromatic plants to banish all the energies left after death. From the Dacians we do not have so much information regarding the funeral ritual. However, following discoveries and historical accounts, a different aspect catches our attention: cremation, burning of the body of the deceased. We also remember the Dacian tombs where various personal objects were placed, traditions that we inherited and which are practiced today.
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In the center of attention of the paper, there are three Wallachian dance melodies in piano transcription, which, together with the music of other peoples, are included in a collection of songs published at the beginning of the 19th century in London. The article focuses on the morphological and syntactic analysis of the musical content, trying to distinguish the facets of the sound discourse, which would prove its belonging to the Romanian musical fund. The radiography, undertaken along the way, at the level of structural elements (motif, phrase, melodic profile) and musical language as a carrier of semantic, cognitive and affective information (intonations, scales, modes, cadences, modulation), aims to mark the specific particularities of the music of the national dance in the perspective of the melodies found in the London collection. The aspects investigated and the conclusions of the study underline the idea of the interest shown for our musical culture of oral tradition and its circulation abroad, which, along with the recognition of its artistic qualities, configures the ethnic specificity rendered through music.
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The study addresses the diverse and controversial aspects regarding the concept, notion and principle of authenticity in neo-traditional music, known as “popular/folk music”, promoted by the popular studio orchestra “Folclor”, within the Republican Television and Radio Broadcasting Company (TRM), in the ideological context of the Soviet period, throughout 1970-1980s. The author tries to reveal the directorial role of the Artistic Council of the TRM, as an institutional body of control, censorship, evaluation, homologation and political accreditation of the popular creations as cultural expressions of the Moldavian SSR, in accordance with the cultural policies of the party-state. Calling on the analysis of some studies on the topic, the synthesis of typical wordings from the minutes and the evaluation of the critics, exposed in the press pages of the era, the main characteristics of the neo-traditional popular/folk authenticity are highlighted.
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The Hispanic Rite is the distinctive way of celebrating liturgical actions in the Spanish Church during its first ten centuries of history. It was first used by the Hispano-Roman Christians, and its use continued under Visigothic rule, during which time the great Fathers of the Visigothic Church significantly enriched it. There is no doubt that the Hispanic rite was influenced by Eastern liturgies, from which the Goths had borrowed ecclesiastical traditions through the Bishop of the Goths, Ulfila. He had Arianized the people and translated the Bible into the native language. At this point, the Hispanic rite acquired a predominantly Eastern-Byzantine character without ceasing to be fundamentally Roman. It was also used by Christians who remained under Muslim rule in various regions of Spain, as well as by those in the unoccupied regions.
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The article deals with the question of whether or not there is a feminine language, how we can define it and to what extent it is the result of gender or gender differences. Some specific names and theories are considered, and their functioning is also applied to the language of medicine.
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