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Reviews of: Ingrid Rüütel. Saaremaa laule, tantse ja kombeid. CD ja DVD komplekt. (Helisalvestusi Eesti Rahvaluule Arhiivist 8.) Tartu: EKM Teaduskirjastus, 2014. Ingrid Rüütel. Saaremaa laule ja lugusid. Mis on jäänud jälgedesse I. Tartu: EKM Teaduskirjastus, 2015. 400 lk. Ingrid Rüütel. Muhu rahvamuusikat, laulumänge ja tantse. CD ja DVD komplekt. (Helisalvestusi Eesti Rahvaluule Arhiivist 9.) Tartu: EKM Teaduskirjastus, 2015. Ingrid Rüütel. Muhumaa laule ja lugusid. Mis on jäänud jälgedesse II. Tartu: EKM Teaduskirjastus, 2016. 544 lk.
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Kõiketeadev Google pakub päringule „maailma suurim rahvaluulekogu” arvukalt vasteid, mis kõik seostuvad Eesti Rahvaluule Arhiiviga. Nii saame lugeda lauseid „Meil on maailma suurim rahvaluulekogu”, või siis: „Eesti on tuntud ühe maailma suurima rahvaluulekogu poolest”.
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Review of: Mari-Ann Remmel. Vennaste ja vete vald. Nabala kohajutud. Tartu– Nabala: EKM Teaduskirjastus, MTÜ Sõmerlased, 2017. 509 lk.
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Reviews of: Viivi Luik. Pildi ilu rikkumise paratamatus. Esseed ja artiklid. Tallinn: EKSA, 2017. 381 lk. Zum Beispiel Estland. Das eine Land und vielen Sprachen. Valerio. Das Magazin der Deutschen Akademie für Sprache und Dichtung, kd 19. Koostajad ja toimetajad Silke Pasewalck, Anna Bers, Reet Bender. Göttingen: Wallstein Verlag, 2017. 188 lk. Voldemar Veedam, Carl. B Wall. Purjetamine Vabadusse. Tallinn: Eesti Mälu Instituut, 2017. 333 lk. Ex(k)odus. Tekst Kaja Haukanõmm. [Pärnu]: K. Haukanõmm, 2017. 64 lk. Marju Kõivupuu. Loomad eestlaste elus ja folklooris. Tallinn: Tänapäev, 2017. 342 lk.
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Reviews of: Maarja Hollo. Kõik, mis oli, on suurem ja suurem. Artikleid eksiilist, traumast ja mälust. (EKLA töid kirjandusest ja kultuuriloost 10.) Tartu: EKM Teaduskirjastus, 2019. 221 lk. Sirly Hiiemäe. Kirjanik kübaraga. Lilli Prometi lugu. Tallinn: Eesti Raamat, 2019. 201 lk. Pildi sisse minek. Artikleid välitööde alalt. (Tänapäeva folkloorist 11.) Koostanud ja toimetanud Eda Kalmre. Tartu: EKM Teaduskirjastus, 2019. 224 lk.
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Reviews of: Valda Raud. Üks elu. Päevaraamat. Kirjad. Tõlked. Koostanud Ela Tomson. Saatetekstid Anu Raud ja Jaan Tammsalu. Tallinn: SE&JS, 2020. 360 lk. Mihkel Mutt. Töö ja armastus. Tammsaaret tuulates. [Tallinn:] Fabian, 2019. 207 lk. Rein Veidemann. Kui sõna on su saatus. Valitud esseid, pihtimusi, lausungeid. [Tallinn:] EKSA, 2019. 236 lk. Kanteletar. Soome kangelaslugusid, ballaade, tundelaule ja nõidusluulet. Koostanud ja tõlkinud August Annist. Tartu: Ilmamaa, 2020. 624 lk.
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The aim of the article is to reveal the main stages of formation of the museum collection of icon painting from the status of I. Honchar's private initiative to its belonging to the modern cultural and artistic center; to briefly describe these stages and identify key figures that contributed to the formation of the museum; to identify the values laid down by the founder of the museum, find out their significance for the development and development of the institution aimed at promoting and preserving folk art; to carry out an art analysis of samples of icon painting from certain regions of Ukraine: Kyiv, Poltava, Chernihiv, and Eastern Podillya, which I. Honchar gave a general description to; to consider some fundamental provisions and issues of methodology that give an idea of the state of research of folk icon painting in Ukraine in the context of I. Honchar's views. Methodology. The method of system analysis was used to reveal these tasks. The historical-genetic and axiological method allowed us to trace the stages of formation of scientific thought regarding icon painting. Methods of stylistic and formal as well as iconographic analysis, methods of comparison, establishment of analogies were used in the assessment of artistic qualities of standard samples. Some technical and technological observations have supplemented the artistic analysis of folk icons. The scientific novelty of the work is that for the first time the significance of the figure of I. Honchar in the preservation and popularization of folk iconography is analyzed in it. Conclusions. All stages of the museum's formation and its further development take place in the context of the values, proclaimed by I. Honchar. In the process of artistic analysis of samples of folk icon painting, it turned out that the views of the founder can be developed and have confirmation in the research of modern scholars.
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The purpose of the article is to consider and analyse the conceptual foundations of the development and formation of Pavlo Virskyi’s Ukrainian folk dance art of in the second half of the 20th century during his work in the State Honored Academic Dance Ensemble of Ukraine. Research methodology is based on the application of general scientific, comparative, art history, descriptive, and analytical methods. This allows analysing the dynamics of changes in the performer’s folk choreography in the specified period. The scientific novelty of the research lies in the authors attempt to consider and investigate the evolutionary changes in Pavlo Virskyi’s stage work not only in the context of art analysis, but also of modern domestic research, which affected the further development of folk stage dance art, which for a long time was in conditions of ideological pressure. Conclusions. After analysing the holistic picture of the formation and development of the Ukrainian choreographer’s national folk dance art in the stated period, the authors have revealed the defining constants in his choreographic and production work. It clearly traces the trends of the dynamic development of the forms of production work, in which plot-image choreographic compositions based on Ukrainian dance folklore began to prevail. The subject matter and compositional-figurative structure of concert productions also changed significantly, the arsenal of expressive means expanded, which affected their quality.
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The purpose of the article. The article proposes and highlights the method of scientific and performing reconstruction as a condition for the preservation of traditional dances of the Western Podillia region and their secondary reproduction in the productions of the «Vesnyanka» dance ensemble of the Ternopil V. Hnatyuk National Pedagogical University. Research methodology. In the process of research, we used a number of theoretical and empirical methods: review-analytical, historicalsociological, expeditionary-field, ethno-pedagogical, modeling and graphic recording methods, which are based on the principles of dialectical development, objectivity, and historicism, aimed at comprehensive coverage of events and phenomena that occurred during the development of the folk choreographic culture of Western Podillia. Scientific novelty. The method of scientific and performing reconstruction of traditional dances and their secondary reproduction is proposed and substantiated. A new form of scientific and creative activity is presented to solve the problem of preserving the regional dance tradition (the ensemble-laboratory of ethnochoreography of Western Podillia). Conclusions. The scheme of scientific and performing reconstruction of the folk choreographic culture of Western Podillia, developed by us, includes a number of key tasks and our own scientific developments, which serve as a kind of step-by-step instruction and auxiliary methodical material in the work on reconstruction and preservation of traditional dances of the specified region. Creation and activity of the ensemble-laboratory of ethnochoreography of Western Podillia on the basis of the «Vesnianka» dance ensemble is an effective means of attracting young people to research work, which contributes to the transmission of dance traditions to new generations.
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This paper seeks to analyze the lullabies – the folkloric creativity dedicated to children, which comes naturally through the mother’s mouth to the child. The lullabies under consideration have become part of the literary analysis about the meter, verse, literary figures as well as any particular characteristics by the provinces they come from, wanting to highlight and discover the psychological and emotional world that the mother has expressed through the verses. for the child. Epithets, comparisons, metaphors, alliterations, etc., and the approximation in the selection of stylistic figures make us think that this is the result of the commonality of the mother’s perceptions of the world around her. The presented materials come as comprehensive research, capturing creations from various regions of Albania and are part of folklore creations for children. As such, they constitute an indisputable wealth for the Albanian oral folklore and a national treasure that must be identified, conserved, used and transmitted to current and future generations.
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In 1695 Christian Kelch, the then pastor of Järva-Jaani, published his chronicle “Liefländische Historia”, which also contained an Estonian folk song titled “Jörru, jörru”, with German translation. This was the first Estonian folk song to appear in print; owing to Johann Gottfried von Herder it became known even more widely. Despite repeated analysis of the text, the meaning of jörru has remained a mystery to this day. In Herder’s “Volkslieder” there is a note explainig Jörru as the male name Georg. This interpretation has been predominant, although it contradicts Kelch’s original explanation of Jörru being a young man’s word of address for his beloved girl. Possibly Herder did not find the text in Kelch’s chronicle but in a Königsberg newspaper, where the song had been published in 1764 without Kelch’s comment. Kelch, however, had a good reason to explicate the meaning of Jörru, as he wanted to refute an earlier claim that Jörru refers to Jerusalem and the song as a whole expresses the longing of a people for their former homeland. The article hypothesizes that jörru is the Middle Low German gör ‘girl’. In the local variant of Low German it was normal that before a front vowel g would be pronounced as j; another expected change is ö > õ. The word-final vowel u is a diminutive suffix. The lengthening of the r-sound can be accounted for by diminutive gemination. In addition to the etymology for jörru the meanings of some other archaic words and expressions occurring in the song are specified.
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