Recenzia: Mýty a tradice středoevropské univerzitní kultury
The review of: FASORA, Lukáš – HANUŠ, Jiří: Mýty a tradice středoevropské univerzitní kultury. Brno : Masarykova univerzita, 2019. 219 s. ISBN 978-80-210-9117-7.
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The review of: FASORA, Lukáš – HANUŠ, Jiří: Mýty a tradice středoevropské univerzitní kultury. Brno : Masarykova univerzita, 2019. 219 s. ISBN 978-80-210-9117-7.
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The objective of this article is to consider the reasons why lullabies should be sung to children. This is, however, fraught with difficulties and due to this, it necessitates an interdisciplinary literature review from disciplines such as psychology, medicine, education, language acquisition and communication, sociology, music and the arts, etc… By proving that lullabies are easier to perceive and therefore preferred to speech or other types of songs by very young children, the article assesses the benefits that lullabies bring to both children and parents. The article concludes with a suggestion when it is ideal to start with singing as a way of communication, and a presentation of a few examples of Slovak lullabies.
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The use of traditional music as an educational material is one of the important applications of today's educational understanding. On the other hand, professional music education institutions are the institutional structures in which these applications can be made most easily. Controlling the level of this practice is important to ensure the permanence and contribution of the traditional music of the country. In this research, it is tried to determine the usage level of Traditional Turkish Music in individual musical instrument violin education in vocational music education institutions. In the light of the data obtained through the data collection form, it has been tried to determine the extent to which GTM subjects are reflected in violin education in the school. In this context, the differences between the schools were discussed and the issues causing the level differences between them were tried to be determined. As a result of the study, it was found that there is a significant difference in terms of the use of GTM in violin education on the basis of professional music education institutions. As a result of the comparison made in the school type, it was concluded that the ranking according to the frequency of use was in the form of faculties of fine arts, conservatories, Anatolian high schools of fine arts and faculties of education.
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Pinking is one of our important handicrafts, which has an important place among Turkish folk arts and continues to exist today. Gaziantep region has the most beautiful works in pinking art as well as in all kinds of art. Both in museum collections and in the hands of the people, the pinking samples appear as an indicator of a rich culture. Pinking is one of the most important tools that people can easily convey their feelings and thoughts. In addition to the task of transferring our traditional culture to new generations, it is seen that they live and witness the time and events in terms of their subjects. However, pinking contribute economically to the person and evaluate the leisure time. The purpose of this research; to introduce the examples of pinking, which has an important place in cultural and social life, in the Nizip district of Gaziantep province, and to try to keep this art branch alive by considering the usability of the samples examined in new applications today. Qualitative research method was used in the study. Firstly, a literature review was made and a conceptual framework was created by scanning publications related to the field of study. In the next stage, data was collected by field study, and all data were analyzed and the result was tried to be reached.
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In this study the technical and pattern characteristics of 41 comb weavings were investigated belonging to Karaman region in the Karaman Museum. Weaving, materials used in weaving, coloring of yarns used, techniques used in weaving, quality, color, motif and composition properties were examined, analyzed and results were added to the study in Karaman province. Each feature of the woven fabrics in the museum has been examined in detail by the experts living in the area and motif drawings were made. It is aimed to be an important reference in terms of being a source for the studies conducted in this field.
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The coronavirus, technically known as SARS-CoV-2 or Covid-19, was first identified in December 2019 in Wuhan, China (Hubei). Before long, it rapidly spread around the globe, leaving behind mass devastation in its wake. The first ever case to appear in Turkey was announced on March 11, 2020. This pandemic has brought the world, our country [Turkey], our daily lives, production, and consumption to a grinding halt. Of course, such out breaks are not new to history. For example, between 1918 and 1920, the Spanish flu, a subtype of the H1N1 virus, wiped out between 50 million and 100 million people. However, as one might assume, a lack of advanced communication tools or solution models meant that the exchange of knowledge back then was nowhere near as fast or accurate as it is today. That said, it is possible to take a closer look the core beliefs and values that underlie the current coronavirus within an digital cultural environment as the virus is identified and spreads this granted our living in an age where communication technology and range are at their peak. Moreover, also can assess how such information is rapidly created and shared within the framework of the same causes. Many a humorous [social media] post related to coronavirus have surfaced online, especially now that the virus has put much of the world is under quarantine (something not yet fully felt in Turkey). Alas, as the situation worsens, it seems that they are losing ground. Intriguingly, many have either a comedic or a protest-like air about them in terms of their type, form, and content. This study has focused several posts that are poetic in nature and analysed them in terms of their folkloric and comedic-protest functions using a culturalist approach and interdisciplinary paradigms
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Anatolian is the home of many cultural heritages. Gaziantep has been the protector of many handicrafts and cultural heritage since ancient times. Within the scope of this study, designs were made using 100% natural silk weft yarn, 100% natural cotton warp yarn. Kutnu woven fabric has warp density 58 warp/cm and weft density 11 weft/cm. Four different kutnu woven fabrics, which have yellow, green, purple, black and blue colors were preferred. The design was enriched by computer-aided design program by using the borders in Zeugma mosaics. With this study carried out, it was ensured that the cultural elements that were forgotten were transferred to the next generation. Also, traditional fabrics are reinterpreted with modern lines.
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Natural dying is the process of dying realized by yielding dyestuffs from various herbs and insects in nature. From the view of herbal variety, Anatolia is one of the richest regions in the world. In this respect, natural dyestuffs have been produced and have been used in various areas in Anatolia for centuries. Such dyestuffs have been used in Anatolian Turkish weaving culture as well. Nevertheless, the use of natural dystuffs decreased at the end of 19th century with the development of synthetical dyestuffs. At the present time, natural dying has gained paramount importance again since it is realized that synthetical dyestuffs produce toxic and carcinogenic wastes and cause environmental pollution. In this work, dyestuffs used in Anatolian Turkish hand weaving arts have been investigated and some of their applications have been presented.
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One of the most valuable and productive resources of culture is art. However, art provides its own movement using cultural accumulation. Within the cultural substructure, there are beliefs, tradition, behaviour patterns & etc. The perceptions and expressions that art incarnates and reincarnates itself, exhibit together with its point of origin and reasons and by this means expecting a different perspective is the primary objective of it. Accordingly by literature review and document review the action inspections have been accelerated. It has been observed at the research that, the reincarnation efforts, especially under the religious based philosophical belief influence, is a functional attitude, to protect the sustainability of the tradition, master-apprentice relationship and work.
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The purpose of this article is to present the language picture of the woman on the basis of the lyrics of songs classified as a genre known as chalga. The image reconstructed in this manner seems to be particularly interesting from the perspective of the figurative meaning of the lexeme chalga in the Bulgarian language. It then appears as a type of exemplar of anticulture, in which the representation of women’s beauty and the model of male-female relations are displayed in an extremely evocative and archetypal way.
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Generally known as New Museology, the museological methods which appeared in the 1980s in response to the epistemological crisis of the museum sometimes borrow from the tools of contemporary art (conceptual art, institutional critique, performanceetc.) in order to “disenchant” the museum, to turn it into space for public debate and cultural interactions, to use it as a tool for social critique. The article attempts at offering an original typology of the contemporary art interventions in the museum space from the point of view of the different critical reflexivity which they show: to the mechanisms of the museum institution; to the “museum’s perspective” – the means of looking and producing knowledge in the museum; to the museum narrative and its interpretations; to the museum object, its meanings and representations; to the collection and collecting as specific and basic museum practice; and last but not least, to the museum experience. Using various examples of artistic interventions in the museum space, the possible new transformations of the museum and its socio-critical potential are illustrated.
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This research is inspired by the practice of U.S. based museums, whose main mission is to interpret the cultural heritage and living traditions of various cultural communities for different types of audiences. The author studies different methods and forms of museum interpretation as well as possible strategies for their applications in the museum practice. Modifications of interpretative methods are considered integral part of the gradually transformed perceptions of the museums’ role in the contemporary societies, their orientation towards more meaningful communication with their partners, local communities, artists and visitors as well as their strive for a more comprehensive presentation of the museum content in context. The article is structured around several main topics: 1. Interpretation in the museum Dialogue, 2. Principles and Forms of the Museum Interpretation, and3. Polyphony of the Museum Interpretation. The last topic provides an opportunity fora further discussion on the co-existence of “voices“ that are heard in the museum and that contribute in various ways to the specific nature of the museum communication: a. the voice of the museum experts, b. the voice of the cultural communities, c. the voice of artists, and d. the voice of visitors. The author examines certain changes in the characteristics of the museum dialogue when one or the other of these voices dominates, when they are in harmony as part of an enhanced interpretation of museum exhibitions and programs or when they are in dissonance – as part of alternative, even conflicting interpretations of objects or activities. The article also offers arguments clarifying the leading role of the exhibition themes and narratives in shaping the museum dialogue. It also provides considerations for the need of more active engagement of artists, visitors, cultural communities and institutional partners in the creation of unique museum experiences and for the establishment of the museum as an institution that is relevant to the people who enter its halls.
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As we hear increasing demands to include more diverse voices in our institutions can find inspiration in museums that were made by and for the communities they serve. This article presents two such museums in the United States, the National GreatBlacks In Wax Museum and the Burlesque Hall of Fame, where the founders built their own venues for cultural representation. These sites rely on emic interpretation as visitors are given tours by members of the communities whose culture is on display, providing representation, education, and visitor engagement.
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The article attempts to propose a reflexive approach towards the communist legacy in museums. By comparing the trend of decolonization in museums of Western Europe with particular attention to the practices in the Netherlands the author draws attention to the potential solutions and mechanisms for reassessing the traumatic institutional past. The search for new museum identity in the 21st century in Europe reflects the social turbulence and follows an academic critique to reform the institution profoundly. The lack of visitor flow and problematic interaction between Bulgarian state-funded museums and their local audiences are perceived as a signal for the institutional struggle with communist legacies in museological theory and practice. The article pretends to examine the main areas affected by the legacies and to outline the need for post-communist museum studies in Bulgaria, as well as the need for a critical approach towards Bulgarian museums’ identity.
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The aim of the article was to present the actions undertaken by count Mieczysław Rey to help children and adolescents in the second half of the 19th and the beginning of the 20th century. The wider context of its social activities was also taken into account, including the involvement in Polish agricultural, sightseeing, social and political associations and institutions. The result is to deepen the current knowledge on the life and social activity of Mieczysław Rey, especially regarding the issue of education and upbringing of children in the countryside in Galicia.
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The review of: 1) Berg Rigmor C., Deninson E. (2013). A Tradition in Transition: Factors Perpetuating and Hindering the Continuance of Female Genital Mutilation/ Cutting (FGM/C) Summarized in a Systematic Review. “Health Care for Women International”, 34: 837–859. doi.org/10.1080/07399332.2012.721417. 2) Picot A. (2016). Understandings of Biological Kinship Ties in Social Workers’ Accounts: A Cross-Cultural Study of Out-of-Home Placements in Norway and France, “Qualitative Social Work”, 15 (2): 247‒262. doi.org/10.1177/1473325015586247.
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Hausa is one of the major world languages. It is spoken by approximately 60 million people across West Africa, mainly in Niger and Nigeria. Hausa folk tradition which includes proverbs, had been transmitted orally for a long time before the first writings in this language appeared around 17/18th century in the form of literary works in Arabic script. Modern Hausa literature in Latin alphabet dates back to the first half of 20th century and draws abundantly from oral tradition as the highly appreciated source of conventions, themes, symbols and sayings. The state of the art of modern Hausa literature can be considered fertile and vigorous comparing to the situation of the other native African languages. However, up to now the available Polish translations of Hausa literature are very few. The aim of the paper is to compare selected Hausa proverbs and their Polish translations in terms of the equivalence methods applied by the two translators: Nina Pilszczikowa and Stanisław Piłaszewicz. Hausa proverbs were translated into Polish as independent folklore forms as well as the elements of literary narrative. Therefore, the analysis covers two genres of texts: proverbs (as short literary forms) and novels.
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