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Der Umgang mit der Vielfalt in Rumänien erfolgt integrativ. Diepolitische Auseinandersetzung mit der Minderheitenproblematik ist bemerkenswert, vor allemwenn wir die Tatsache in Betracht ziehen, dass Rumänien vor 1990 fast vierzig Jahre langkommunistisch – und das heißt eigentlich in nationalistischer Gesinnung – regiert wurde. Inden letzten 28 Jahren wurden sehr viele bedeutende Maßnahmen zugunsten der nationalen Minderheiten ergriffen und vor allem wurden eine Reihe von Regierungsorganisationen, diefür das Bewahren der Rechte und der kulturellen Identität der Minderheiten zuständig sind, eingerichtet.
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Death, sadness, alienation, and confusion are themes that are rarely associated with children’s animated series. Nevertheless, there are multi-episode TV programs that – similarly to books, video games, and films – raise such issues even though they are created for young viewers. In that way, they not only break the cultural taboo, but also offer aesthetics and sensitivity that complement the image of mainstream children’s programming as laid-back and cheerful. As an interesting example, one might point to Patrick McHale’s Over the Garden Wall (2014), an animated series that deals with such themes as fear or death in a unique way, showing them against the background of adventure and wandering. In this article, the authors focus on the ways in which the work resonates with the mentioned motifs, but also with history and popular culture. The analysis leads to a conclusion that Over the Garden Wall is an intertextual series, open to interpretation for younger and older viewers alike, as well as enabling the experience of a Thanatic catharsis – a cleansing from the negative feelings associated with death and loss.
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In the traditional Romanian village in the mountain area, isolationnaturally leads to endogamous marital behavior. To this is added the concern for theconservation of the land property. In the interval 1824-1995 the demographic data on thenuptiality demonstrate an accentuated endogamous behavior (especially until 1960). Thereare real family clans present to this day.
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The current problems signaled by the academical world with reference tothe Roma are, first of all, connected to resources (both material and non-material). Thecauses and effects of the phenomenon are multiple and they are linked to some key aspectsfor the Roma in Romania, such as life standard, employment, education, and health1.Connected to the above mentioned issues, there is also the problem of dwelling (houses andareas where Roma communities are set). There is a strong connection between theeconomical power and the residence type which has a multifold effect on the individual andcommunity life. Some aspects regarding living on the periphery of the localities will betackled in this research
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The text focuses on the objectives of regional animation and education in Poland, with particular emphasis on grant programs that are addressed to local and regional communities in the field of activities for national heritage. The subject of reflection are the EtnoPolska program, which is operated by the National Centre For Culture (Narodowe Centrum Kultury), as well as the objectives of actions stimulating and supporting regional cultures as formulatedat the state level. The subjects of the analysis are the answers to the objectives of these programs, as well as the understanding of these goals by the beneficiaries of grant programs. The analysed data and observations contribute to the analysis of the state of regional identities in Poland and of the identification of local communities with those identities.
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Summary: The main purpose of this article is to take a look at the cultural institution that is the Synagogue Forum in Ostrów Wielkopolski from the perspective of its educational and animative capabilities in the public sphere. Referring to Antonina Kłoskowska’s concept of the system of culture, I present a program of cultural activities, describing eventsorganized in the Ostrów synagogue. Observation and analysis of individual events will allow me to determine whether the Synagogue Forum has the cultural and social potentialto design and implement educational activities and animate the local community, also with regard to the issues of multiculturalism
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Historico-genetic and functional-semantic research devoted to mythosemantics and functionality of the dog’s image in Belarusian folklore has showed that “the dog’s text” cannot be clearly identified. In the system of zoological imagery the dog personifies loyalty, friendship, vigilance, omniscience, protection, masculinity and is positively evaluated. But the dog also symbolizes uncleanness, danger, betrayal, evil, etc. The dog in the mythological model of the world is located at the boundary between the living world and the world of the others. The dog is attributed to such features as mediation, chthonism, demonism, the ability to neutralize negative manifestations of other worlds as well as to clear the world of men.
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The beginnings of the 20th century in the orthodox Parish of the Holy Ascension in Kleyniki are associated with the active commitment of the Chlebcewicz family. Their presence and activity in the Klejniki parish left a significant trace in shaping the mentality and awareness of the inhabitants of the village and its surroundings. Jan, Evgeny and Vladimir Chlebcewicz were precursors in their actions and intentions They were many years ahead of the era in which they lived. Twenty years Jan Chlebcewicz spent in Klejniki were marked by intensive pastoral work, social activity and great effort devoted in particular to the development of the orthodox – parochial education and the opening of several orthodox – parochial schools as well as a library with a reading room. Evgeny Chlebcewicz was an exceptionally intelligent man with a spiritual and religious upbringing as well as a perfect erudite. He was interested in literature, folklore and history. Vladimir Chlebcewicz participated in the February revolution in 1917 in Petrograd (now St. Petersburg), where he died in the bloody riots. The ethnographic sketch describing the village of Kleyniki before World War I “Sielo Kleyniki pered bezhenstvom – vo vremia mirovoy voyny” is one of his most important works in which he draws a picture of simple life of local parishioners.
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The paper is divided into two parts. The first part sets out the problem of defining life in general and defining human life. The answer to the question of what is human life and who is human depends on the approach to the topic of human dignity. Three current approaches are addressed: liberal, utilitarian and relativistic. The second part of the paper provides the basic elements of Christian anthropology: the establishment of the ontological value of the human person on the transcendent basis, that is in God, the Christological center of anthropology, and the meaning and ultimate eschatological purpose of human existence. The conclusion emphasizes the complementarity of Christian anthropology with the demand for respect for the dignity and rights of the human person, from conception to natural death, and the significance of the Christian mission: the proclamation of the inviolable dignity of the human person whose original measure is the person of Jesus Christ.
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While considering the role of the museum in connection with the experiences and interpretations of bearers of museum activities we should take a look at its contemporary social role and position. In this paper the case of the Slovene Ethnographic Museum(SEM) as the main national ethnological museum in Slovenia is taken, offering three504 / Българска етнология, бр. 4 (2020)examples in details. The SEM’s practises are concerned in the light of the ICOM’snew definition of the museum discussed at the last ICOM’s 25th General Conference in Kyoto (2019). The proposed new definition did not gain the support of the majority of the ICOM General Conference participants. The main reason for it not being accepted was that it did not include a mention of the fundamental museum activities, among them the educational function. It is a fact that the platform of museum activities in the 21st century is considerably wider than that communicated by the definition from2007 and that social conditions call for it to be changed, based on the conditions in the modern world, marked by climate change, the destruction of nature, social inequality, lack of economic opportunities, migrations, discrimination, conflicts and wars, non-transparency and the lack of credibility of the ruling structures. The new definition that will satisfy most museum experts in the world will undoubtedly have to reflect the social reality in which museums function and are faced with daily, which will establish the role of museums as socially relevant institutions. But the content defining museums as educational and research institutions that are generators of knowledge about the heritage of the past for the present and the future as well as a creative inspiration should not be neglected. The SEM has now been led by these principles for twenty years. In the article, three examples are presented to describe SEM’s activities on the field of contemporary practises regarding the creative relationship between curators and interlocutors: co-called personal exhibitions that take place under the title My Life, My World, which are structurally and thematically connected to the permanent exhibition I, We and Others: Images of my World, project accessibility of Cultural Heritage to Vulnerable Groups and exhibition Africa and Slovenia, A Web of People and Objects that was developed within the SWICH project.
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Moving beyond colonial relationships between Europeans, North Americans, and their “Others” requires that museum leaders decolonize their praxis. We need educative pedagogies that bring us into constructive dialogues and mutually respectful relationships, whether with previously colonized subjects, fellow citizens of other ethnicities, or with refugees of global diasporas. We need to create dynamic spaces, even though these liminal places of encounter may be fraught with challenges and risks. Folklore Studies offer important entry points for decolonizing museum interpretations. Prominent among these is the importance of recognizing and fostering liminal spaces for educative encounters. Ethnological museums that showcase folklore, whether from local, national, or world cultures, are pivotal institutions in this endeavor. This conceptual essay presents four guiding principles that I have distilled from years of systematic ethnographic research in Germany and Belgium. I offer vignettes from four museums to illustrate how the principles of dissenting, deconstructing, displaying, and deconstructing can foster best practices.
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The Ethnographic Museum was founded in Zagreb in 1919. For a century more than 85,000 items from all over Croatia, as well as from the neighbouring European countries and the non-European cultures have been collected. The museum is a space for learning, personal growth and cultural exchange. In this paper, we present and discuss how to interpret museum objects in various educational programs for different groups of visitors and users based on a collection of non-European cultures. In a contemporary social and political context, it is very important to raise awareness about cultural diversity, exchange and tolerance in particular with a young audience.
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The following paper deals with the manner in which the contemporary museum abides in the age of digital technologies. How it performs in an increasingly prevailing digital reality, which opens to the museum institution new opportunities for engagement with the public. The measures taken by the museums are aimed precisely at organizing and controlling this digital environment. This includes the addition of new exhibition space – in this case, the virtual, as well as the development of new skills by the museum specialists – working with social media, technological know-how and strategies for their application. The article focuses on the digital development strategy of the Museum of Modern Art as an example of the institutions’ accession to the digital play and the new reality. Through the prism of a few key terms such as accessibility, participation and interaction we can determine the actual appliance of new media and technologies in the museum.
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The following text focuses on the challenges that museums faced concerning the communication with different audiences on Facebook in a time of severe physical isolation and closed museum spaces imposed by the COVID-19 pandemic. The activities of ten selected Bulgarian museums are traced, emphasizing the main characteristics in the way they function. The study does not give an evaluation, butrather seeks the models of activity and interaction which may be applied in Bulgarian museums. Their activities are considered in a wide range of topics of interest tocontemporary museums, including forms of museum activism, participation in thework process and communication with audiences through the various forms ofheritage. The text focuses on the need for creativity in museums, the manifestationof which can outline the role of the museum in the present, which relates to sharingknowledge with audiences and provoking each other to create different views on thepast. This process is concentrated on presenting future-oriented notions of heritage,as the communities (real or virtual), interested in the museum, will gain greaterimportance, rather than the different categories of visitors.
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