folklore

Wertep

Author: Henryk Jurkowski
Year of publication: 2015
Source: Show
Pages: 99-108
DOI Address: http://dx.doi.org/10.15804/pomi201506
PDF: pomi/01/pomi201506.pdf

Vertep.

Vertep is a part of the group of religious representations belonging equally to the church rituals as well as to the follklore customs. It was born with the other mystery plays together having their origins in the iconographic Gospel representations such as ”Christ cribs” in Byzantium and subsequently the performances of the Birth of the Infant such as the famous performance act prepared by saint Francisque from Asis in 1223. Later, the local puppet presentation of ”Nahvity" had developed. They were ”Navidad” and ”Nahvite'” in the western Europe and their counterparts in the middle Europe. Their common origin were the church utensils such as tabernacle or the small cabinet altar called retablo. These presentations in the middle Europe were called ”crib” or ”szopka” while in eastern Europe ”vertep”. The ”Nativity” included the shepherds' homage, the Three Kings) homage as well as the massacre of lnnocents and Herod's punishment. Later on the new secular motifs and characters appeared, representing problems of the folk life. At the time of modernism, real artists showed interest in „Nativity" giving it a new artistic interpretation. Vertep as a variety of ”Nativity” has its own properties and seems to be an independent product of the Ukrainian culture.

„Сік українських пісень народних”, „перетворений в кипучу кров поета”: Франкове прочитання Шевченкового Перебенді

Author: Святослав Пилипчук
Institution: Львівський національний університет імені Івана Франка
Year of publication: 2015
Source: Show
Pages: 207-217
DOI Address: http://dx.doi.org/10.15804/pomi201514
PDF: pomi/01/pomi201514.pdf

Sap of Ukrainian Folk Songs”, "Transformed into the Poet's Ebullient Blood”: Franko Reception of Shevchenko's Perebendia.

The article analyzes Franko's conceptual reception of Shevchenko's poem Perebendia. It has been remarked how organically Shevchenko wove oral elements belonging to different levels into the text canvas and how scrupulously Franko managed to trace the folklore code of Kobzar's poetic world. It has been emphasized that the ballad genre performed a special role in Shevchenkols oeuvre. Focus has been placed on the effect of ballad components, which are significant psychological markers.

Проблеми розмивання та деструкції національної ідентичності

Author: Тетяна Шершова (Tetiana Shershova)
Institution: Poltava Literary Memorial Museum of Panas Mirnyi
ORCID: https://orcid.org/0000-0003-1993-4236
Year of publication: 2022
Source: Show
Pages: 44-60
DOI Address: https://doi.org/10.15804/ksm20220403
PDF: ksm/36/ksm3603.pdf

Problems of Building and Destruction of National Identity

The article analyzes different types of identity and finds that both regional, ethnic and national, belong to the territorial identity, and regional is more volatile and unstable iv contrast to ethnic, which, in addition to territoriality involves in its consideration of historical component – memories, memory of ancestors. The article also traces the influence of cultural memory on the formation of national identity. Studies of cultural memory are interdisciplinary in nature and are the subject of reflection in various scientific discourses (historical (F. Aries, J. Lefebvre, P. Nora, F. Fure), culturological (F. Yates, M. Foucault), sociological (M. Halbwax), philosophical (A. Bergson, E. Durkheim, A. Mole), psychological (W. Wordsworth, Z. Freud), etc.). Cultural memory is formed over the centuries and transmits cultural content in the form of texts, images, inscriptions, monuments, rituals, all indicators of tradition. It is a prerequisite for self-identification, as it connects knowledge about the past and present life situation of a particular social group. The issue of cultural memory is an important research issue. Songwriting transforms the cultural memory of Ukrainians and through the emotional component of the song (folklore) forms different types of identity. Mnemics of modus, decoded and incorporated into regional culture, are stable guardians of traditions that are broadcast not only limited territories, but are able to spread to unlimited areas. Thus, regional culture penetrates into various layers of national culture, supplementing and enriching it with cultural meanings. Cultural memory is most vividly formed in the Diasporas, which is explained by the desire to preserve national identity outside the homeland. The ways of expressing identity by folk songs are outlined. National-cultural identity is defined as a sense of belonging to a national community, consideration of one’s personality through the prism of identification with its symbols, values, history and culture. The significance of folk song practices for the formation of national identity is substantiated. Cultural regional identity in modern conditions is characterized. The region covers the history of Ukrainian culture in a new perspective and contributes to the study of individual territorial centers as unique and inimitable units in not only historical, geographical and art aspects, but also is important in cultural discourse. The appeal to primary source, in particular the folk song, makes a mechanism for the preservation of national integrity, transforming through the emotional component of song performance into cultural memory, which forms the identity itself. Cultural memory combined with historical experience will result in national identity and conscious being.

Cepelix na Centralnym, czyli nowohucianie jako twórcy ludowi

Author: Paulina Model
Institution: Akademia Górniczo-Hutnicza w Krakowie
ORCID: https://orcid.org/0000-0001-8851-154X
Year of publication: 2022
Source: Show
Pages: 344-356
DOI Address: https://doi.org/10.15804/ksm20220420
PDF: ksm/36/ksm3620.pdf

Cepelix on the Central Square. Citizens of Nowa Huta as folk arts & crafts creators

The goal of this paper is to expose and analyze the contemporary folklore of the industrial discrit of Kraków called Nowa Huta. „City without God”, how it was created and named, played a significant role in the Polish resistant movement during communist times. Stories of that period are crucial for Nowa Huta citizens, first of all for their indentity, but also for district’s image and marketing. Since the post-war times there is a shop „Cepelia” placed in Central Square of Ronald Reagan in Nowa Huta, Kraków. CPLiA (Centrala Przemysłu Ludowego i Artystycznego, what means: Headquarters of the Folk and Artistic Industry) all the communist period long was govermental branch responsible for folk arts & crafts. In fact it was a huge buissnes employing over 20 000 people to design, create and sell folk art which pleased the socialist party. The shop in Nowa Huta was one connected to this network, however after political transformation in 90s of 20th centrury it changed as well. Cepelia became Cepelix. Nowadays (research was conducted in 2014 and 2022) one can find there some folk art, but also modern design connected to the district indentity and history. Paper contains an analysys of this new assortment and tryies to answer the question is it possible to treat it as a folklore as well as the other items being sold there?

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