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Content available Co o pracy mówią stare karaimskie porzekadła
Jeszcze raz sięgamy do skarbnicy ludowych mądrości, by poszukać odpowiedzi na pytanie: jak dawni Karaimi traktowali pracę, czy byli pracowici i jakie zajęcia cenili.
Jeszcze raz sięgamy do skarbnicy ludowych mądrości, by poszukać odpowiedzi na pytanie: jak dawni Karaimi traktowali pracę, czy byli pracowici i jakie zajęcia cenili.
Recenzja dwóch książek Karola Daniela Kadłubca poświęconych Annie Chybidziurowej, ludowej narratorce i śpiewaczce ze Śląska Cieszyńskiego.
In the digital age the notion of intangible cultural heritage has modern connotations that give the term new meanings and approaches. According to UNESCO and the EU authorities the “new” heritage needs to be safeguarded and protected as well as old resources inherited from generations. That is why a new folkloristics faces an interdisciplinary “digital turn”. The author presents the results of digitization process undertaken by major European folklore archives. But new archives need new materials (e.g. e-folklore vs. digital folklore) collected by new folklorists. The expansion of folklore field work towards digitally mediated environment and virtual reality is easy to be observed. Therefore, new methods of digital folklore collecting as well as new tools of research and documentation are challenges of the digital folkloristics.
In the introduction to the article, the author sketches the European background of the term “folklore” (coined by Thoms in 1846) and its historical and aesthetic Polish determinants. Folk culture in Poland was basically a peasant phenomenon that preserved its archaic character until deep into the 19th century due to persistence of serfdom.In that era, the collections of folk-cultural artifacts were considered as a patriotic and romantic task within Europe, but particularly in a country that had lost its independence.This article presents author’s overview to the main European folklore collectors of the19th century and underlines that the Polish folklore collector Oskar Kolberg was one of the biggest in Europe. His unprecendented activity left panoramic and systematic ethnographical materials of Polish folk culture in his monumental life work called Lud… His 92 volumes of Complete Works have been fully edited posthumously.
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W twórczości Janiny Porazińskiej folklor odgrywa doniosłą rolę. Pisarka traktuje go jako źródło inspiracji formalnych i tematycznych, co ujawniają jej zbiorki poezji oraz poemat Wesele Małgorzatki. Świadectwem bliskiego związku liryki z pieśnią ludową i kołysanką jest ich poetyka, kompozycja, liczne zabiegi transformacyjne (parafrazy, trawestacje, naśladownictwa wzorców ludowych) oraz motywy zaczerpnięte z przysłów, zagadek. Związki z folklorem ludowym podkreślają umiejętnie wprowadzone wyrażenia gwarowe. Nie mniej ważny jest tez folklor spod znaku wielkiej zabawy. Należą do niego formy zaczerpnięte z folkloru dziecięcego. Poetka proponuje czytelnikowi zabawę i grę z wyobraźnią, zabawę słowną, wprowadza humor, postacie strzyg i innych fantastycznych stworów, zwierzęcych bohaterów, sięgając po wypróbowane chwyty: paradoksalne zestawienia, łączenia rzeczy przeciwstawnych, niemożliwych czy absurdalnych. Poszerza też repertuar gatunków folkloru dziecięcego.
Folklore plays a significant role in Janina Porazińska’s works. She treats it as a source of formal and thematic inspirations, which manifests itself in her volumes of verse or her poem Wesele Małgorzatki [trans. Meg’s Wedding]. The close connection between verse, and folk song and lullaby is visible in their poetics, composition, transformational devices (paraphrases, travesties, imitation of folk patterns), as well as in motifs taken from proverbs and riddles. The connection to ludic folklore is also emphasized with adept introduction of dialectal expressions. Nevertheless, folklore of great entertainment is just as important. It includes forms inspired by children’s folklore and offers the reader games of imagination, puns, humor, fantastical creatures, and animal protagonists. It also uses proven devices: combinations of paradoxes, opposites, and impossible or absurd elements. Moreover, it broadens the repertoire of children’s folklore genres.
In traditional Polish folk culture, ordinary villagers were not interested in cosmogenesis and anthropogenesis. However, local folklore provides some interesting examples of narration which revolve around the origins of the world and man. Even at the end of the 20 th century – apart from etiologic tales – Polish scholars recorded some occurrences of so-called “paradise scenes” or “heavens”. These tales or their stagings contained biblical and non-biblical messages concerning the prehistory of man.
The subject of the text is an analyze of symbolism of the protagonists of Valery Shevchuk’s book House on the hill. Protagonists were personified with certain cosmic forces (the cosmic elements) and they are part of a large, time-space novel’s structure. The space in the novel is divided by the opposition running on the line up – down. The example of that novel shows, how the cultural categories are reflected in the literature and how they determine the structure of literary narrative. The symbolism of the elements connected to mythological and folkloric thinking, and describe reality in terms of sacrum.
Heretofore conservation of cultural legacy monuments was concentrated predominantly on the protection of their material stratum. Non-material, extramaterial, and absent legacy was not guaranteed proper attention despite the fact that its co-existence was noticed. Consequently, many monuments and sites became deformed and even deprived of this type of heritage. Upon the threshold of the twenty first century, the ability to define and protect the cultural qualities of the non-material legacy, conceived as tradition, custom, cultural space, as well as extra-material legacy, in which sensitivity to colour, scent, sound, and texture of material is a factor that characterises both the object itself and historical space; it is decisive for the new quality of the protection of cultural legacy. In a wider range, analyses and protection are due to absent heritage, i.e. the sort which had been liquidated as a result of wars or for other reasons. The process of rendering this type of legacy indelible in social consciousness compels us to seek suitable forms of its expression and presentation. A complex approach in the protection of the material and extra-material aspects of cultural legacy will generate a new quality which, presumably, will speak to the contemporary recipient more comprehensively.
Continuing Jacek Kolbuszewski’s exegesis of the spatial orders in Stanisław Vincenz’s Na wysokiej połoninie (On the High Mountain Pastures), the author of the article attempts to recreate the “philosophy of space” as formulated by the Homer of the Hutsuls. He carries out a detailed analysis of two fragments of the Hutsul epic: Maksym the seer’s story of a rock church from Barwinkowy wianek (Periwinkle Wreath) and Foka Szumejowy’s expedition to the navel of the earth described in Zwada (Squabble). In both case inspirations from Dante’s Divine Comedy can be seen primarily in the expansion of space: on the one hand to include the world of the dead and on the other — the universe understood in Platonic terms. Both journeys also have many characteristics testifying to their initiation-related nature. Particularly important in this respect is the expedition undertaken by Foka and his friends to the source of the Cheremosh River deep inside the Palenica Mountain, on top of which Wincenty Pol placed the point where the borders of three countries — Poland, Hungary and Romania — met. Although in the light of modern research such a location of the old border between the three states is wrong, this is precisely where Vincenz places the navel of the earth. It appear as a distant echo of the omphalos stone from Delphi; a mystical place marked by extraordinarily dense symbolism: centre of the world, bringing together the heavenly and the earthly orders, the living and the dead, and annihilating the temporal dimension. The interpretation of the symbolism of Vincenz’s navel of the world is complemented by Klucz (Key), which opens Zwada and in which the author suggests a universal dimension of the history of culture, and, at the same time, mystery-like nature of art, especially literature.
Content available remote Współczesne rozwiązania materiałowe form kapliczek w krajobrazie wsi i miasta
"Nie ma architektury małej i wielkiej, jest tylko architektura dobra lub zła..." - mawiał profesor Włodzimierz Gruszczyński - propagator wprowadzania tematu formy kapliczki do programu projektowania na Wydziale Architektury Politechniki Krakowskiej. Kapliczka - miejsce: sacrum, tradycji i historii, jest specyficzną enklawą wyciszenia, zadumy i spokoju. Archetyp formy kapliczki kwalifikowany jest jako fenomen przykładu małej architektury krajobrazu wiejskiego i zespołów zabudowy miejskiej, a nawet obszarów wodnych. Współczesne możliwości technologiczne i materiałowe mają wpływ na nowoczesne rozwiązania, jak również nowatorskie pomysły projektowe i realizacyjne archetypu kapliczki, nadając jej całkowicie nowy wymiar formalny i estetyczny.
"Great or small architecture does not exist, there is only good or bad architecture..." - Professor Włodzimierz Gruszczyński used to say. He propagated the introduction of the topic of wayside shrine to the design syllabus at the Faculty of Architecture at the Cracow University of technology. Wayside shrine as a place - sacred realm of tradition and history - is a specific enclave of inner calmin, reflection and peace. The archetype of wayside shrine is classified as a phenomenon of the so called little architecture of rural and urban architecture, and even aquatic areas. Contemporary technological and material possibilities have influence on modern solutions, novel design projects and realization of the wayside archetype, giving it new formal and aesthetical dimension.
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