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Reviews of: Mihkel Mutt. Kõik on hästi. Mõtted II. Tallinn: Fabian, 2018. 191 lk. Lehte Hainsalu. Olla üheksavägine. (Aja lugu.) [Tartu:] Petrone Print, 2018. 168 lk. Heili Reinart. Õrnad ja tugevad. Unustatud ja unustamatud naised Eesti ajaloost. Tallinn: Post Factum, 2018. 255 lk. Kroonikast epitaafini. Eesti- ja Liivi¬maa varauusaegsest haridus- ja kultuurielust. (Rahvusarhiivi toi-metised 1 (32).) Koostaja Katre Kaju. Tartu: Rahvusarhiiv, 2017. 472 lk. Ülo Matjus. Raamat on raamat. Artikleid ja ettekandeid aastaist 1953–2017. (Ilmatargad.) Tartu: Ilma-maa, 2018. 336 lk. Eda Kalmre. What a Wonderful World of Legends! Articles on rumours and legends. Koost, toim E. Kalmre, tõlkijad Kait Tamm, Tiina Mällo. Tartu: ELM Scholarly Press, 2018. 302 lk.
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Carnival is a space of play where you are at once earthly and divine. We are born to this culture, writing our narratives in song, dress, tradition and spirit. As Trinidadians, we embed our lives, our creativity, and our souls into this sacrament. And every year it blesses our people with inspiration, solace and liberation. The theoretical premise of this paper combines social constructivism and Mikhail Bakhtin’s dialogism, heteroglossia, and chronotope to investigate aesthetic architecture within the Trinidadian carnivalesque (mas). A series of narrative interviews were conducted with Carnival band leader Valmiki Maharaj and visual artist Jackie Hinkson, gathering core meanings, intentions, and processes of creation attached to the Trinidadian brand of Carnival. This work highlights the aesthetic manifestations of reflection, creation, and connection as represented in murals, costuming, and carnival accoutrements, whilst acknowledging the cultural and historical frameworks that support these structures.
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This article examines the future-oriented use of the culinary past in Poland’s food discourse through a qualitative analysis of popular food media (printed magazines and TV). We analyze how interpretations of food and culinary practices from the past are connected to contemporary debates. We contend that media representations of the culinary past co-create projects of Polish modernization in which diverse voices vie for hegemony by embracing different forms of engagement with the West and by imagining the future shape of the community. We distinguish between a pragmatic and a foodie type of culinary capital and focus on how they differently and at times paradoxically frame cultural memory and tradition. We observe the dynamics of collective memory and oblivion, and assess how interpretations of specific periods in Poland’s past are negotiated in the present through representations of material culture and practices revolving around food, generating not only contrasting evaluations of the past but also diverging economies of the future. Finally, we explore tradition as a set of presentday values, attitudes, and practices that are connected with the past, but respond to current concerns and visions of the future.
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I want to emphasize the importance of an individual scientific research mission of Đenana Buturović in the field of studying epic folk literature of Bosniaks, which is an unavoidable point in the historical conception of cultural memory of Bosnia and Herzegovina. Đenana Buturović’s scientific work is extremely important in the context of recognizing national identity, knowing how much the oral-literary representation of the past is necessary for the formation of a healthy identity. I will emphasize the beginnings of the scientific engagement of the esteemed professor, because even then, serious interests and studies in writing, collecting, and interpretive-theoretical work in the field of oral literature were already visible. I will pay special attention to four works, namely: Porodični odnosi u epskim narodnim pjesmama Muslimana u Bosni i Hercegovini (engl. Family Relations in Epic Folk Songs of Muslims in Bosnia and Herzegovina), 1963, Epska narodna tradicija istočne Hercegovine (engl. Epic Folk Tradition of Eastern Herzegovina), 1968, Narodna poezija u Drežnici kod Mostara (engl. Folk Poetry in Drežnica near Mostar), 1982, and Narodna poezija u tešanjskom kraju (engl. Folk Poetry in Tešanj Region), 1987.
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Slavic myths increasingly survive in people’s consciousness as supernatural elements or as literary characters rather than as real beliefs in their existence. Adult readers in Poland and Slovakia, for example, encounter Slavic supernatural beings in the fantasy literature book series such as Wiedźmin by Andrzej Sapkowski and Černokňažník by Juraj Červenák; however, literature cannot be expected to portray superstitions and demons in the same way as belief legends. Placing Sapkowski’s and Červenák’s works within the context of ethnographically recorded beliefs illuminates various aspects of intercultural and intertextual relationships within the literary setting. This article shows that there are several types of literary adaptation of Slavic myths: adaptation in accordance with folk beliefs, denial of superstitions, incorporating a folk myth in order to create an illusion, and using the name of a demon while also adding characteristics from other sources – especially from popular culture.
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The article is devoted to the results of the research of the fortress Tyagin, built by the Lithuanian Grand Duke Vytautas on the territory of the island Bolshoye Gorodishche in the late 14th to early 15th century. The archaeological materials provided valuable information about the syncretism of the complex of monuments on the island, the typology, layout and size of the fortress. It was one of the earliest stone castle-type fortresses on the northern Black Sea coast, a part of the defensive line of the southern borders of the Grand Duchy of Lithuania. The fortress’ defensive system included a synthesis of defensive architectural elements, ranging from timber-engineered structures known from Old Russian times to stone walls and buttresses of a new level of fortification in Europe. The fortress was armed with artillery and edged weapons, the main type being crossbows, which were widespread in Lithuania. The fortress of Tyagin was situated at the crossroads of trade routes between the East and the West, at the crossroads of the custom. The artifacts testify to the presence of Lithuanian cultural objects, Genoese influence, contact with Crimea, and trade and economic relations with Poland. The monument is an integral part of the cultural heritage of Lithuania and Ukraine.
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The ideological sensitivity of the epic, i.e., the fact that, more than other folk artistic expressions, it incorporates and reflects the dynamics of the dominant ideological-political discourse of the societies in which it originates, and is reshaped through direct performances and/or media representation, also makes it a highly representative example of the relationship between state (cultural) policy and traditional culture. Phonograph record were chosen as an indicator of the state (cultural) policy of the second half of the 20th century, a period marked by communism and state socialism, and traditional values, such as singing with gusle. By examining this cultural production, we broach a complex issue of the relationship between official policies and individual actions from different positions, from conforming to ideological-political norms to transgression thereof. As a cultural product of the socialist era, phonograph records of gusle singing reflect the intense negotiation between continuity/preservation and innovation/modernization, which marked the status of tradition in the processes of constructing a new Yugoslav identity. Through considering of some of the aspects of this cultural production (characteristics of the performance, repertoire, visual representation of tradition on album covers, record companies’ policy, etc.) within the framework of the cultural-political, socio-cultural, market-economic and technological-media domains, we point to dialogic relationships with modernity and its official narratives.
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The article is devoted to analyzing arrival circumstances, population, settlement, work conditions, socio-cultural adaptation and particularities of relations with the local community of builders from Bulgaria who migrated to Western Siberia within the framework of government contracts. The sources for the research were unpublished archival materials, data from journals and field trips recorded in the Tyumen region in 2019–2020. The research has revealed that travelling to the USSR in order to get income played an important part in the individual success strategies of Bulgarian youth in the1970s and became quite widespread. Between 1970 – the late 1980s Tyumen region had 7000 Bulgarians living in it with the biggest groups working in Tyumen, Surgut, Nizhnevatovsk, Urai, and Nadim. Several neighbourhoods, working villages and oil extraction facilities in Western Siberia were built by them. Also, both in Tyumen and Surgut there are squares of Soviet-Bulgarian friendship, and in Surgut there is a monument to Georgi Dimitrov. Upon arrival in the USSR, the Bulgarians had a privileged status. The main adaptation difficulties were associated with the local climate and language barrier. The life of Bulgarians and the work of “Glavbolgarstroy” company in Western Siberia laid a strong foundation for economic activity that gave rise to a large inflow of Bulgarian migrants to Russia in the 1990s. As a result, according to all Russian censuses in 2002 and 2010 Tyumen region had the largest community of Bulgarians registered in Russia. Today Bulgarians in Western Siberia are present as third-generation migrants; they play a significant role in the socio-cultural and economic spheres of Tyumen Region. A large number of them maintain emotional bonds with their motherland and keep in touch with their families and close people in Bulgaria.
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