Academic literature on the topic 'Romani Folk art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Romani Folk art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Romani Folk art"
1
Apostol, Snejana. "Some characteristics of the development of choreographic art in Romania and the Republic of Moldova: the values and educational framework." Studia Universitatis Moldaviae. Seria Științe ale Educației, no. 5(165) (July 2023): 190–95. http://dx.doi.org/10.59295/sum5(165)2023_31.
Full textAbstract:
The given article presents an analytical approach to the evolution of choreographic art in Romania and the Re-public of Moldova. Emphasis is placed on analyzing the evolution of classical stage dance as well as folk dance. It should be noted that the development of choreographic art in Romania was strongly influenced by European choreography. The 19th and 20th centuries were the most significant for the development of Romanian ballet. The most famous classical ballets were staged: Zâna păpușilor, Lacul lebedelor, Priculiciul etc. The fame of Romanian ballet was brought by: Anton Romanowski, Floria Capsali, Oleg Danovski. In the Republic of Moldova, ballet - developed under the influence of European and Russian choreography, having an important base - folk dance. Namely, folk dance created premises for the establishment of popular stage dance, represented, first of all, by the academic ensemble ,,Joc” – the first professional folk dance ensemble, led for several years by people’s artist V.Curbet.
2
Weatherhead, Fran. "Wooden churches and their paintings in the Maramureş region of Romania: a preliminary study." Antiquity 67, no. 255 (June 1993): 369–77. http://dx.doi.org/10.1017/s0003598x00045439.
Full textAbstract:
In Europe the tradition of building in wood, which has roots reaching back into antiquity, is now mostly lost. Wooden architecture does, however, survive in parts of Eastern Europe, particularly in Romania. In addition to their architectural interest, the buildings contain a rich legacy of folk-art.
3
Toșa, Ioan, and Gabriela Rădoiu Leș. "Colecțiile Muzeului Etnografic al Transilvaniei, mesagere ale artei populare românești peste hotare (1924-1954)." Anuarul Muzeului Etnograif al Transilvaniei 32 (December 20, 2018): 266–300. http://dx.doi.org/10.47802/amet.2018.32.16.
Full textAbstract:
The authors aim to present to the interested public some moments of the valorification activity of the folk heritage by organising some exhibitions abroad in the period 1924-1956. From Brussels to Prague, from London to Vienna, Frankfurt or Geneva, from Paris to Sweden, the collections and artefacts of the Romanian folk culture have crossed and impressed the world. In addition, the article contains brief presentations of the events to which the Transylvanian Museum of Ethnography contributed with artefacts of its collections, and also part of the papers, correspondence, briefly minutes, the way of work in the mentioned period. The organisation, the way of cooperation between institutions and the responsibility of the ones involved in the transport of the artefacts are presented in this article. Not least, the paper presents information about the collections and artefacts lost, disappeared or damaged during the period they were abroad. We think that the topic can be an example of good practice nowadays through the interest, concern and seriousness with which the ethnographic collections were treated by the specialists and also the paper is a proof of the fact that the collections and artefacts of the Transylvanian Museum of Ethnography have been recognised abroad.
4
Constantiniu, Theodor. "Folklore and Dialectical Materialism. A Case Study of Ethnomusicological Research in Communist Romania." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 259–75. http://dx.doi.org/10.24193/subbmusica.2020.2.17.
Full textAbstract:
"Romanian ethnomusicology has a series of less discussed and, implicitly, less understood topics. One of them is the relatively vast literature that addresses the new folklore that appeared after the installation of the communist regime and the folk music of artistic ensembles performed on stage. Most of the texts written on these subjects display a strong political and ideological pressure. Consequently, they are either forgotten or superficially perceived as evidence of a repressive regime, adding to the general belief that the communist regime turned peasant art into an instrument of propaganda. Starting from a study signed by Ioan R. Nicola on music collected from Mărginimea Sibiului, we will try to understand the theoretical horizon and the ideological limitations that influenced the way researchers wrote about contemporary music phenomena in the second half of the twentieth century. Despite the constraints, we argue that ethnomusicologists had at hand a coherent system of analysis of the folk music, which they had to adapt to the official ideology. Keywords: new folklore, amateur artistic ensembles, folk performance, ethnomusicologic research, communist ideology"
5
Stelmashchuk, Halyna. "Prince Vsevolod Karmazyn-Kakovsky scientist, teacher, artist." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, no. 1 (January 15, 2022): 137–52. http://dx.doi.org/10.33625/visnik2022.01.137.
Full textAbstract:
The article is devoted to the creative work of the Ukrainian Diaspora scientist, teacher, historian of art, architect and graphic artist, Prince Vsevolod Karmazyn-Kakovsky (1898–1988), about whom there is very little information in Ukraine. The study emphasizes his Ukrainian roots. The publication is based on materials from the home archive of Ph.D., sculptor and artist Kristina Kishakevich-Kachaluba from Switzerland. Prince Vsevolod Karmazyn-Kakovsky studied and lived in Ukraine until 1944. In 1944 he left Ukraine for permanent residence in Romania. As a teacher he organized faculties of landscape architecture in universities in Ukraine (Odessa, Kharkiv) and Romania (Iasi). From 1978, professor lived and worked in Italy, then in France, Germany, lectured on the history of Ukrainian art, cooperated with Ukrainian research institutions in Western countries. As an artist he created and implemented the projects of health and recreational complexes on the Black Sea coast in Ukraine and Romania, which combined architecture with natural landscape, contributing to human health and longevity, and embodied the principles he established for enriching the expressiveness of landscapes. The Prince founded the Research Institute of Landscape Architecture (1921–1981), which worked in Ukraine, and then in Romania. This institution was focused on combining and harmonizing endogenous (internal) factors of human longevity with exogenous (external) factors — the synthesis of nature with art. The scientist argued that the tree crown shapes (triangular, ellipse-like, round) differently influence the mood and psychological state of a person, therefore, developed special health boxets in sanatorium complexes. This method of healing people, proposed by V. Karmazyn-Kakovsky in 1971–1981, was adopted in Czechoslovakia, Poland, France, Italy, Germany, and the United States of America. As a scientist he published more than 200 scientific works, including Monographs devoted to Ukrainian art, Lemkivska and Boykovska churches, art of Ukrainian houses, Ukrainian books. He designed his own works and covers for his books. He was skilled in the technique of pencil, sepia, watercolor, skillfully conveyed the space in the landscape, was perfect in the technique of pen and ink. The artist’s graphics is dominated by subjects closely related to his scientific works in the field of art history. Karmazyn-Kakovsky supplements almost all of his works with illustrations, headpieces, stylized folk motifs, architectural historical monuments of Romanian and Ukrainian cultures, valuable for the history of Ukrainian art, and landscape projects. V. Karmazyn-Kakovsky made more than 1200 drawings of wooden Ukrainian churches. He had personal exhibitions in Warsaw, Rome, Paris, Munich.
6
Theodorescu, Ana. "Theodor Vasilescu – The Dancer Who Took the Romanian Folklore all over the World." History of Communism in Europe 11 (2020): 215–31. http://dx.doi.org/10.5840/hce20201110.
Full textAbstract:
The main theme of the proposed paper concerns the professional training and artistic activity of Theodor Vasilescu, choreographer and dancer, specialized in folk dance, with a rich international activity during the communist regime. The analysis will focus on illustrating how the artist’s biography was influenced by a new trend in the satellite states of the U.R.S.S., namely that of transforming traditional dance into art with a political substratum. Also, the main thread of the article will consist in revealing the specific type of relationship between the artist and the regime, dominated by a permanent awareness of the mutual benefits of this partnership: for the dancer Theodor Vasilescu it was the chance to develop a successful career, which for the propaganda apparatus implied a strong image campaign for Romania, abroad. Regarding the temporal framework, the analyzed period will focus on the regime of Nicolae Ceaușescu, 1965-1989, relevant in Theodor Vasilescu’s career path, as well as in the dissemination of his work results. There are three important aspects that will be analyzed in this article: first, the recovery of an important cultural trend in Romanian history, when, through the influence on the Soviet chain, folklore and traditional dance became an art form strongly subsumed to an ideology. This aspect led to the foundation of many Folk Ensembles with a specific type of artistic manifestations, including folk dance. At the same time, it will be illustrated how the regime was involved in financing and promoting this type of dance, by including it in the development of the most important national performances, by encouraging research in this field and creating professional opportunities through training and also by organizing an International Folklore Festival, “Romania 69”. This approach definitively changed the professional career of Theodor Vasilescu. The last aspect consists in presenting the international career of the choreographer, as a direct result of the increased interest that the communist regime had in promoting Romania’s image abroad. This made the Romanian folk dance very popular in countries such as Netherlands, Japan, Canada, Germany. Also, the frequent tournaments con-tributed to the increase of the Securitate’s interest in his daily activity. The main categories of sources for documentation will consist of: my personal archive which contains two interviews with Theodor Vasilescu, documents in the funds and collections of the National Archives of Romania (The Central Committee of the Romanian Communist Party, Propaganda and Agitation Section, Organizational Section), also those of the National Council for Studying the Securitate Archives.
7
Koteterova-Dobreva, Binka. "THE BULGARIAN FOLKLORE SONG - MODERNITY, TRANSFORMATION AND VIEW TO THE FUTURE." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (June 5, 2019): 1803–9. http://dx.doi.org/10.35120/kij31061803k.
Full textAbstract:
The last decades are time of dynamic changes in folk music, which is a part of contemporary Bulgarian musical culture. Singer's performing art related to Bulgarian musical folklore is the part of Bulgarian culture that makes it recognizable and valued in the world. Thus, the Bulgarian folk song presented by its contemporary performers is perceived simultaneously as one of the oldest and most local manifestations of art in the cultural world, and as well as an artefact and a value, one of the most modern and global manifestations of the shared cultural heritage of humanity. The Bulgarian folklore, with its specificity and characteristics, develops on the land of the Bulgarian ethnos and it was formed on a space in Southeastern Europe, which far exceeds the state borders of present-day Bulgaria. Bearers of this culture are as numerous diasporas in southern Russia, in Ukraine and Moldavia, as well as Bulgarian settlers in the Banat region of present-day Romania, population in Bosilegrad, Dimitrovgrad and the surrounding villages in present-day Serbia. Why is it so important to preserve and rediscover our folk song, to develop it as art, concert policy, media content, educational practices, market mechanisms? Bulgarian folk song contains every single human experience, every emotion, the history of past and present generations, wisdom, folly, heroism, cunning, love, hate, faith, hope, kindness ... It is a mystical memory, a philosophy of life, a way to understand the spiritual and the eternal. The folklore song is both old and modern; simultaneously our, local and common, global; because it reflects our cultural identity and makes us unique and recognizable in the world; because it is one of the strongest manifestations of the human, the aesthetic, the moral. Imagine that you are listening to a favorite folk song: the power of words pierces the brain, the melody caresses and warms the heart, the magic of the song carries you like a time machine backwards, in the memory of the Golden Ages of harmonious worlds and forward, in the dreamed better worlds... Without the folk song, our Bulgarian world will not be the same because our Bulgarian folk song is bread, life, history, past, present and future.
8
Watts, Dorothy J. "Circular Lead Tanks and their Significance for Romano-British Christianity." Antiquaries Journal 68, no. 2 (September 1988): 210–22. http://dx.doi.org/10.1017/s0003581500069341.
Full textAbstract:
SummaryAt least sixteen whole or partial circular lead tanks have been found in Roman Britain, several of them decorated with Christian symbols. Over the past fifty years different uses have been ascribed to these vessels, some secular, some religious. The objective of this paper is two-fold: to examine the motifs used in the decoration of the tanks and to attempt to discover the purpose of the vessels. It is proposed that the tanks are all Christian objects and that they were used in the baptismal ceremony for the footwashing rite, a practice carried out in various parts of the Christian world at least up to the sixth century.
9
Anderson, Martin. "London, Cadogan Hall and King's Place: Second London Festival of Bulgarian Culture." Tempo 67, no. 265 (July 2013): 81–83. http://dx.doi.org/10.1017/s0040298213000557.
Full textAbstract:
One of the most enjoyable characteristics of London musical life is that it is peopled by a generous number of foreigners who, every so often, take it upon themselves to enlighten the rest of us as to the music we are missing from back home. These can, of course, be hit-and-miss occasions, but it's in the nature of exploring unknown music of any age that you will happily put up with a handful of duds if you come away with a real discovery ringing in your ears. The Second London Festival of Bulgarian Culture (I seem to have missed the First) ran in various venues over the course of November 2012 and also accommodated art, film, literature, theatre and other forms of music (folk, pop and jazz). It opened its classical batting with a concert of ‘Bulgarian and British Symphonic Folk Songs’ in Cadogan Hall on 3 November, with the Varna Symphony Orchestra, Paulina Voices (the choir of St Paul's Girls' School) and the Holst Choir (from James Allen's Girls' School) conducted by Martin Georgiev. Pancho Vladigerov (1899–1978) being the only Bulgarian composer generally known to the outside world, it made sense to begin with him. His Shumen Miniatures, six attractive piano pieces based on folk-tunes from the town, Shumen, where Vladigerov grew up, were written in 1934 and orchestrated at some later date vouchsafed neither by the concert-programme nor the worklist at www.vladigerov.org. They embrace a variety of lighter moods: the first and fourth pieces offer lazy and lyrical summer-evening hazes and the second and third vigorous dances; the proximity of the fifth to the style of Enescu brought a reminder of the long common border Bulgaria shares with Romania (Shumen is around 100 km away from it).
10
Glebov, Ana. "5. Historical and Theoretical Foundations of the Development of Vocal and Choral Culture in Moldova." Review of Artistic Education 21, no. 1 (June 1, 2021): 31–34. http://dx.doi.org/10.2478/rae-2021-0005.
Full textAbstract:
Abstract The origins of the national choral art are based on Church singing, which has been widely developed since the founding of the Putnyansky and Nyametsky monasteries. In the further development of the centuries, Church singing intertwined with folk choral singing, which was reflected in the works of such conductors and composers as G. Muzichesku, M. Berezovsky, A. Kristya, M. Byrke, V. Popovich. Special attention is paid to the creative and conducting activities of Gavriil Muzichesku, all of whose initiatives were innovative and progressive, later becoming the leading ones in the national choral activities of Romania and Moldova. This article identifies and systematizes the main trends related to the process of creating vocal and choral works and their application in the system of Romanian and Moldovan musical education. Their analysis shows that the composer worked on the theoretical generalization of his own experience, turned to the best ideas of domestic and foreign pedagogy, including Russian, and thanks to this he was able to bring his knowledge and experience into a fairly coherent and integral system of musical education and education through vocal and choral culture.
Dissertations / Theses on the topic "Romani Folk art"
1
Beissinger, Margaret H. "The art of the lăutar : the epic tradition of Romania /." New York : Garland, 1991. http://catalogue.bnf.fr/ark:/12148/cb371466593.
Full text
2
Dorcey, Peter F. "The cult of Silvanus : a study in Roman folk religion /." Leiden ; New York ; Köln : E. J. Brill, 1992. http://catalogue.bnf.fr/ark:/12148/cb35584734s.
Full text
3
Fröberg, Gudmund. "Inifrån det svenska : studier i Heidenstams roman Folke Filbyter /." Stockholm : Carlssons, 1994. http://catalogue.bnf.fr/ark:/12148/cb36964498m.
Full text
4
Stewart, Katie Lynn. "A Reduction in Structural Specificity by Polar-to-Hydrophobic Surface Substitutions in the Arc Repressor Protein: A Romance of Three Folds." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311174.
Full textAbstract:
Most amino acid sequences are predicted to specify a single three-dimensional protein structure. However, the identification of "metamorphic" proteins, which can adopt two folds from a single amino acid sequence, has challenged the one sequence/one structure paradigm. Polar-to-hydrophobic substitutions have been suggested computationally as one mechanism to decrease structural specificity, allowing the population of novel folds. Here, we experimentally investigate the role of polar-to-hydrophobic substitutions on structural specificity in the homodimeric ribbon-helix-helix protein Arc repressor. Previous work showed that a single polar-to-hydrophobic surface substitution in the strand region of Arc repressor (Arc-N11L) populates the wild-type fold and a novel dimeric "switch" fold. In this work, we investigate an Arc repressor variant with the N11L substitution plus two additional polar-to-hydrophobic surface substitutions (Arc-S-VLV). We determine that this sequence folds into at least three structures: both dimer forms present in Arc-N11L, and a novel octamer structure containing higher stability and less helicity than the dimer folds. We are able to isolate and stabilize a core of the S-VLV octamer by limited trypsinolysis and deletion mutagenesis (Arc-VLV 4-44). The shortened construct contains only the octameric structure by removing disordered C-terminal segments nonessential for this fold. A two-dimensional NMR spectrum of VLV 4-44 and subsequent trypsinolysis of this construct suggests that at least two types of subunits comprise the S-VLV octamer: subunits structured from residues 4 to 44 and subunits structured from residues 4 to 31. Crystal trials of trypsinolyzed Arc-VLV 4-44 yielded several leads, suggesting that obtaining a high resolution structure of the S-VLV octamer is possible. Relatedly, we determine that the proline residues flanking the Arc repressor strand act in concert as "gatekeepers" to prevent aggregation in the S-VLV sequence. We also find that three highly hydrophobic surface substitutions in the Arc repressor strand region are necessary and sufficient to promote higher-order oligomer formation. In summation, this work reveals in an experimental context that progressive increases in polar-to-hydrophobic surface substitutions populate increasingly diverse, structurally degenerate folds. These results suggest that "metamorphic" as well as "polymetamorphic" proteins, which adopt numerous folds, are possible outcomes for a single protein sequence.
5
PŮBALOVÁ, Ludmila. "Přístupy k smrti a k pohřbívání v různých historických epochách lidstva." Master's thesis, 2008. http://www.nusl.cz/ntk/nusl-49584.
Full textAbstract:
Dissertation .. The approaches towards death and burial in different historical epochs of mankind dealing with a view of death in intellectual conceptions during the history. People have been engaged in the question of life and deaths for ages. It is one of the oldest, the hardests and the most fundamental questions which are asked. We can think of the death in two levels: a general and a personal. The comprehension of deaths was developing in history. Thesis traces, what affected and how it is possible, that the today`s subject of personal death states taboo, even if masmedia floods us with death of others. For understanding, the thesis goes throught history. From the methodological aspects it follows the time line, divides the history into ancient world, the Middle Ages and modern period, as well as on horizontal line following individually nations and their intellectual directions.
Books on the topic "Romani Folk art"
1
Bódi, Zsuzsanna. Magyarországi cigány mesterségek. Budapest: Cigány Népművészek Országos Egyesülete, 2001.
Find full text
2
Skonda, Mária, Mária Völgyi, and Miklós Péti. Naivok 2018: Naív és autodidakta magyar és cigány művészek : válogatás a Völgyi-Skonda gyűjteményből. Budapest: Völgyi-Skonda Gyűjtemény, 2018.
Find full text
3
Balas, Edith. Brancusi and Romanian folk traditions. New York: Columbia University Press, 1987.
Find full text
4
Beissinger, Margaret H. The art of the lăutar: The epic tradition of Romania. New York: Garland, 1991.
Find full text
5
Balas, Edith. Brancusi and Rumanian folk traditions. Boulder: East European Monographs, 1987.
Find full text
6
Suba, László. Torda és környéke fazekassága. Kolozsvár: Kriza János Néprajzi Társaság, 2005.
Find full text
7
Stoica, Georgeta. Dicționar de artă populară. București: Ed. Enciclopedică, 1997.
Find full text
8
Stoica, Georgeta. Dicționar de artă populară. București: Editura Ştiințifică și Enciclopedică, 1985.
Find full text
9
Suba, László. Torda és környéke fazekassága. Kolozsvár: Kriza János Néprajzi Társaság, 2005.
Find full text
10
Dancu, Dumitru. Icoane pe sticlă din România. București: Editura Meridiane, 1998.
Find full textBook chapters on the topic "Romani Folk art"
1
Urdea, Alexandra, and Magdalena Buchczyk. "Folk Art Reassessed." In The Oxford Handbook of Slavic and East European Folklore, C38P1—C38N2. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190080778.013.38.
Full textAbstract:
Abstract This chapter critically reassesses Romanian collections of “folk art” or “folklore” through the the lens of material culture studies. While it is conventional to think about rural artifacts as indicators of regional ethnographic zones, scholars of rural objects in Romania rarely reflect on the social role of these collections. Against this background, the chapter recognizes that such objects are constantly produced, acquired, displayed, and deployed to mark a range of complex practices of representation and identity formation in heritage and vernacular contexts. Based on anthropological research in the settings identified as sources for folk art objects, it demonstrates that a material culture approach offers a unique perspective on the variety of normative categories and meanings of the artifacts depending on their historical context and changing social and political uses. It is proposed that ethnographic studies of rural objects can open novel research possibilities and reveal the situated, social, historical, and political relations in which the things are entangled.
2
Mackey, Jacob L. "The “Folk Theology” of Roman Prayer." In Belief and Cult, 291–336. Princeton University Press, 2022. http://dx.doi.org/10.23943/princeton/9780691165080.003.0009.
Full textAbstract:
This chapter shows how public representations in the form of spoken prayers—with their requests, expressions of gratitude, and so on—not only arise from but also produce private representations in the form of beliefs. It addresses the two questions of belief and commitment in the content and context of Roman prayer. Speech acts derive their discursive Intentionality from the psychological Intentionality of their speakers, that is, from speakers' beliefs, desires, intentions, and other mental episodes, which are about states of affairs and objects in the world. Prayer expresses these mental episodes, including beliefs, and in so doing may transmit them to hearers as well. Since prayer was integral to all cult activity, all cult activity therefore featured discursive Intentionality, that is to say, communicative content. The communicative content of prayer initiated in hearers processes of “doxastic uptake” or belief formation. From the content of prayers, Romans could derive a great deal of information about their religious world and a great deal of their folk theology, an informal suite of reflective and nonreflective beliefs about the gods.
3
Csonka-Takács, Eszter, Dóra Pál-Kovács, Boglárka Debrődi, and Fruzsina Arrkhely. "Communities and Their Pasts." In Advances in Linguistics and Communication Studies, 235–49. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-6217-1.ch015.
Full textAbstract:
The rich floral patterns of Kalocsa's embroideries and wall paintings have come to represent Hungarian folk art throughout the world. The folk art of Kalocsa is in fact the art form of the traditional peasant culture of the villages established around the town of Kalocsa in the eighteenth and nineteenth centurie,s and the twenty-five or so farmsteads and minor satellite villages tied to them. This peasant culture is rooted in the traditions of the people who have inhabited this region and comprise their own ethnic group: they speak their own dialect of Hungarian, are Roman Catholic, have maintained their own distinct folk art tradition. The folk art of Kalocsa has been influenced in various ways in each of its four periods. Changes in folk art could soon be detected in folk costumes, which were only experienced in the sense that new products were marketed, and even then, only when these products became integrated into the style of folk costumes. In every historical period of the folk art of Kalocsa, the motifs and colors of folk costumes has had its own function and meaning.
4
Taylor, Christin Marie. "Introduction Black Folk Work." In Labor Pains, 3–30. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496821775.003.0001.
Full textAbstract:
In the 1930s there was a sharp uptick in the reference to and articulation of an American working class. This surge was in no small part because the New Deal–era Popular Front relied on the idea and the romance of the worker. This working class became the centerpiece of a range of artistic expressions. New Deal–era images are perhaps the clearest examples of a national focus on everyday people at work. Representations of laborers appeared in a variety of mediums, at times to signal a united nation on the brink of a brighter tomorrow, and at other times to challenge the nation....
5
Plotnikova, Anna, and Natalia Golant. "The Beginning and End of Life as a Single Complex of Ideas (Based on Ethnolinguistic Materials of the Beginning of the 21st Century)." In Semiotics in the Past and Present, 125–38. Institute of Slavic Studies, Russian Academy of Sciences, 2023. http://dx.doi.org/10.31168/7576-0488-6.08.
Full textAbstract:
The article explores lexical and ritual-magical parallels from two ritual spheres - native and funeral-commemorative - on the basis of field material collected by the authors in two different archaic regions: Slavic and Romanesque. Important fragments from both spheres of ritual, accompanying the beginning and end of a person's life, are considered on the basis of information gleaned from the Russian Old Believers in Romania (Dobruja) and the Vlachs (Romanians) in eastern Serbia (the vicinity of Zajecar). Lexical, etymological, phraseological and paremiological data are involved to confirm the position on the correlation in the traditional folk consciousness of the moments of birth and death of a person. When analyzing the Russian tradition in Romania and the Vlach tradition in Eastern Serbia, the authors also turn to a wider cultural and linguistic background, drawing on material from various Slavic languages (Serbian, Bulgarian, Slovak, etc.), Romanian and, more broadly, Indo-European.
6
Miholca, Amelia. "Between Zurich and Romania: A Dada Exchange." In Narratives Crossing Borders: The Dynamics of Cultural Interaction, 123–44. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbj.f.
Full textAbstract:
In 1916, a group of ambitious artists set out to dismantle traditional art and its accompanied bourgeois culture. Living in Zurich, these artists—among them the Romanians Marcel Janco and Tristan Tzara, and the Germans Emmy Hennings and Hugo Ball—formulated the new Dada movement that would awaken new artistic and literary forms through a fusion of sound, theater, and abstract art. With absurd performances at Cabaret Voltaire, they mocked rationality, morality, and beauty. Within the Dada movement in Zurich, I would like to focus on the artists whose Romanian and Jewish heritage played a central role in Cabaret Voltaire and other Dada related events. Art historical scholarship on Dada minimized this heritage in order to situate Dada within the Western avant-garde canon. However, I argue that the five young Romanians who were present on the first night of Cabaret Voltaire on February 5, 1916 brought with them from their home country certain Jewish and Romanian folk traditions, which helped form Dada’s acclaimed reputation. The five Romanians—Tristan Tzara, Marcel Janco and his brothers Georges Janco and Jules Janco, and Arthur Segal—moved to Zurich either to escape military conscription or to continue their college studies. By the start of the twentieth-century, Romania’s intellectual scene was already a transcultural venture, with writers and artists studying and exhibiting in countries like France and Germany. Yet, Zurich’s international climate of émigrés from all over Europe allowed the young Romanians to fully expand beyond nationalistic confines and collaborate together with other exiled intellectuals. Tom Sandqvist’s book Dada East from 2007 is the most recent and most comprehensive study of the Romanian aspect of Dada. Sandqvist traces Janco’s and Tzara’s prolific, pre-Dada time in Bucharest, along with the folk and Jewish sources that Sandqvist claims influenced their Dada performances. For instance, Tzara’s simultaneous poems, which he performed at Cabaret Voltaire, may derive from nineteenth century Jewish theater in Romania and from Hasidic song rituals. Moreover, the Dada performances with grotesque masks created by Janco relate to the colinde festival in Romania’s peasant folk culture. In my paper, I aim to analyze Sandqvist’s claim and answer the following questions: to what extent did Janco and Tzara incorporate the colinde festival and Jewish theater and ritual? Was their Jewish identity more important to them than their Romanian identity? And, lastly, how did they carry Dada back to Romania after the war ended and the Dadaists in Zurich moved on to other cities?
7
Scheid, John. "Epigraphy and Roman Religion." In Epigraphy and the Historical Sciences. British Academy, 2012. http://dx.doi.org/10.5871/bacad/9780197265062.003.0003.
Full textAbstract:
An abundance of Latin votive inscriptions adds much to the knowledge of religious belief in the Roman World. Several major cults of Roman (e.g. emperor worship) and foreign (e.g. Mithras) origin, and the identification of local deities with classical gods, would be little understood were it not for the survival of inscriptions. Similarly, inscriptions alone furnish many details of the ritual and ceremonial of sacrifice, most notably in the case of the archival dossier of the Arval Brethren near Rome, not mentioned in any literary source. The hopes and fears of ordinary folk are revealed in the inscribed prayers and curses addressed to the many oracular shrines in the Greco-Roman world.
8
Agapitos, Panagiotis. "‘Words Filled With Tears’: Amorous Discourse as Lamentation in the Palaiologan Romances." In Greek Laughter and Tears. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474403795.003.0020.
Full textAbstract:
This chapter examines a particular way in which feelings of love are expressed in the Palaiologan romances (c. 1250–1350). This manner of expression is presented through the systematic use of an imagery and vocabulary of lamentation, that incorporates into these highly artful poetic narratives a discourse deriving from folk poetry. These amorous laments (moirologia), as they are sometimes called by the narrators or even the characters, are not direct quotations of actual folk laments or songs as folklorists in the early twentieth century believed. They are a way of presenting amorous feelings to Byzantine listeners or readers (initially within an aristocratic courtly milieu, later also within a bourgeois environment) in a manner attuned to their contemporary and specific socio-cultural context, yet structurally keeping to the conventions set by the ‘Hellenising’ novels of the Komnenian age. These folk-like songs reflect a new type of poetic and emotional sensibility in late Byzantium, partly in response to Old French romance as it was available in the thirteenth century (orally, at least), partly in response to a growing interest in ‘folk subjects’ as attested by the collections of vernacular proverbs and popular lore.
9
Grinevich, Olga. "Polemika s usadebnym tekstom. L.N. Tolstogo v romane M. Stepnovoj Sad." In Tożsamość (w) przestrzeni: Studia dedykowane Profesorowi Wasilijowi Szczukinowi, 231–42. Ksiegarnia Akademicka Publishing, 2022. http://dx.doi.org/10.12797/9788381387316.16.
Full textAbstract:
The article deals with the polemic with the ideas of Leo Tolstoy in the novel by Marina Stepnova Garden in the context of the estate text of Russian literature. This controversy is associated with the crisis of literary centrism, characteristic of the literary process of the late 20th – early 21st centuries and touches upon a complex of key themes and problems for Tolstoy’s works: the problem of personality formation, the theme of ancestral memory, “family thought” and “folk thought”. On the one hand, through the entire novel, the thought about the falsity of those ideas, attitudes, traditions that are formed in Russian classical literature, about the primacy of sensory experience, is carried out. On the other hand, the polemical disclosure of “folk thought” in the novel leads to the formation of opposition between the nobility and the people, and the author’s sympathies are given to representatives of the nobility, and therefore to the noble culture. The choice of a noble estate as a key spatial location in which the novel takes place is not accidental. Thus, the entire semantic complex of the manor text of Russian literature is involved in polemics, which organizes the ideological space of the novel.
10
"Roma Musicians, Folk Art and Traditional Food from Romania at the Paris World Fairs of 1889 and 1900." In World Fairs and the Global Moulding of National Identities, 144–69. BRILL, 2021. http://dx.doi.org/10.1163/9789004500327_007.
Full textConference papers on the topic "Romani Folk art"
1
Adascalița-Crigan, Lucia, and Viorica Cazac-Scobioala. "Perpetuating the rhombus in traditional Romanian art." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.01.
Full textAbstract:
The rhombus as an ornamental motif of traditional art can be found both among the signs sewn on popular costumes or in interior textiles, on household objects, and among the shapes found in traditional cuisine. Being a geometrical motif with an archaic symbolic charge, characterized by perpetuity and cosmic sacredness, it was exploited and integrated into all the daily, celebratory and ceremonial circumstances of man. In this context, the objective of the study was directed towards the presentation of the multicriteria interpretation of this motif. On the one hand, the Rhombus carries a special semantic load, varied by the chromatic diversity and by the shapes it takes, and on the other hand, the aim is to record and fix some valuable images of the objects bearing this decorative element. Noted for its wide use, the Rhombus is found in its geometric meaning as a singular element, in ensembles of motifs and geometric compositions integrated with other inscribed motifs, but also in free rendering that involves changes in outline and proportions. Thus, knowing the multiple values of the rhombus allows the revitalization of some compositions from the national folk art and the preservation of this ancient primary ornamental motif, while the aesthetic valences and spiritual interferences will serve as a source of inspiration for today’s folk art creators. The paper presents the results of the study carried out within the State Program 20.8009.0807.17 REVICULT.
2
Ploşniţă, Elena. "Folk art gallery — an eff ective means of promoting traditional culture." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.12.
Full textAbstract:
Traditional culture is an important element of the Romanian identity. Th ere are dozens of concepts and defi nitions for traditional culture; even any culture can be considered traditional. No matter how we defi ne it, one thing is certain: in the era of globalization, it must be protected, because traditional culture, with its inherent changes, continues to exist, and society is called upon to promote it. In this article, the author touches upon the issue of promoting traditional art by organizing folk art galleries in the form of sales exhibitions. Art galleries are a modern solution for promoting the values of folk art, and their creation would solve several problems: — make a signifi cant contribution to the development of traditional culture through an exhibition approach; — promote authentic traditional culture in the country and abroad; — solve a number of problems related to the sale of traditional art works of folk craft smen; — facilitate the process of studying and learning about traditional culture through organizing some workshops and seminars within them.
3
CHERECHEȘ, Roxana. "Romanian and international folk fairy tales." In Învățământul superior: tradiţii, valori, perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.29-30-09-2023.p261-270.
Full textAbstract:
The most important romanian fairy tales literatures are Ion Vlasiu and Octav Pancu – Iași which develop a kind on interesting stories, well written by children of all ages, but the most fasinating thing is the power to imagine things that could change our lives, such as the ability to do well, to be different, to be very strong, to believe in things that you can see. As George Calinescu once said: „Childhood never disappears inside of us, it continues to be the source of our magic life.” Never give up reading books because those are our pixie dust of our existence.
4
Verebceanu, Galaction. "Suffixal Derivation in the Sandipa Folk Novel Manuscript." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.16.
Full textAbstract:
Among the three means of forming words known to the modern/ Contemporary literary language (derivation, composition and conversion, however differentiated by the degree of productivity), the first method, and namely the suffixal derivation, has the highest yield in the text of the folk novel Sandipa (Romanian manuscript 824, copied in 1798 in the North of historical Moldova and kept nowadays at the State Library of the Russian Federation). Therefore, the derivative suffixes are analyzed, rendered, as a rule, in the form recorded in the manuscript, with selective references ordered as follows: first, the formations characterized by a wide spread in the era of copying the manuscript, having meanings known (only) in the old language are given, followed, as appropriate, by the words used in the contemporary language.
5
Munteanu, Angela. "Times and the interior and exterior architectural stylistic character of the Romanian-Moldovan traditional dwelling, incontestable museum decoration." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.09.
Full textAbstract:
Every nation has a history of multiple cultural, ethnic, linguistic interferences, which complement each other from one century to another. The Romanian people have a tumultuous past, with periods of Ottoman occupation, the liberation and unification of Greater Romania, but also the separation from the mother country after the Second World War. Currently, the political and national development path of the Republic of Moldova is struggling between the East and the West. Romanian traditional stylistics represents us through culture, tradition, and customs. We have a valuable cultural heritage inherited from our ancestors, characterized by architecture and folklore, costumes, traditions, and national holidays, which bring back the beautiful spring, winter, and autumn holidays of yesteryear. The home is a peasant house, today a monument of traditional-vernacular architecture (made by folk craftsmen) with architecture specific to each area of the Republic of Moldova, has currently become an ethnographic museum of this richly endowed land. The peasant house is the interior space characterized by the inhabitants of a country. The constructions had a plan, size, and aspect influenced by the physical-geographical conditions of the natural environment, by the particularities and specifics of the household system, historically and socially conditioned. Starting from the stylistic origins of manifestation in interior design and architecture, the traditional Romanian-Moldovan style can be aligned in a rustic ethnic style, monuments of peasant architecture. Therefore, according to its characteristics the rustic style represents the preservation or conservation of the traditional, the old, the folklore of a people, which makes you immediately think of the family home in an atmosphere torn from a fairy tale, sitting on a soft carpet in front of the fireplace (sobă). The rustic style is closely linked to tradition and the countryside. Traditional architecture, regardless of country and geographical area, presupposes the use of natural materials from the environment where the houses are built – wooden beams, stone, clay, straw both inside and outside. For example, the peoples of Romania, Moldova, Ukraine used wood in forested areas and stone in mountain areas.
6
Malcoci, Vitalie. "Semantic approaches of rural architectural decor from the south of Moldova." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.10.
Full textAbstract:
Traditional artistic creation, manifested through customs, traditions, folklore, is the basic substratum of the knowledge about a civilisation and its culture. Th roughout the entire process of its constitution, the Romanian people produced a huge substratum of archaeological cultures and mythic-folkloric structures that constitute the essence of folk creation. Folk architecture is one of the most impressive material forms from the past of any civilization. Evolving over time, it shaped some of the traditions and practices in peasant constructions, in the evolution of architectural forms, and the development of ornament and architectural decoration. Th e issue addressed refers to the plastic language of universal motifs, which are deeply rooted in Romanian culture and which contain messages encoded in a string of symbolic connotations. It involves deciphering the message and interpreting the symbolic meaning of the Tree of Life, some aspects of the solar cult, symbols as images of the world and of the universe, and the multiple representations that are part of the animal iconography repertoire.
7
Munteanu, Angela. "Contemporary interior space in promoting national identity of traditional Romanian stylistics." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.05.
Full textAbstract:
Th e traditional Moldovan-Romanian style represents the history traveled through cultural inferences, identity and tradition, with a valuable potential approached in the stylistics of the contemporary rural and urban space. Since ancient times, the Romanian people have built and decorated their home with handmade ornaments, both pieces of furniture and textiles ornamented with symbols transmitted from generation by generation. Today we have a valuable cultural heritage inherited from our ancestors, which is kept with holiness in peasant dwellings, traditional-vernacular architecture in the Moldovan villages. Th e traditional Moldovan-Romanian style is one with an ethnically artisanal rustic aspect, which conveys the idea of nature, through the colors, materials and fabrics used. Th e well-developed craft smanship from the end of the XIX century, the beginning of the twentieth century in Bessarabia puts a great emphasis on the Moldovan-Romanian national style through folk art. Man has always sought to increase the comfort of his homes, today the creators of interiors implement the traditional national stylistics, one with character and connection between health, family and the tradition of the sheavers.
8
Redkin, V. "THE ROMANTIC BASIS IN THE POEM “SONG ABOUT THE DEATH OF THE COSSACK ARMY” BY P. VASILIEV." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3706.rus_lit_20-21/118-122.
Full textAbstract:
The author examines one of the most striking works of P. Vasiliev - the poem “The Song about the death of the Cossack army” (1928-1932), which widely demonstrates the possibilities of a romantic poem. P. Vasiliev is undoubtedly a representative of the recreating type of creativity. At the same time, the romantic nature of the work is manifested not only in the characteristic poetics: bright unusual images, saturation of the text with metaphors and symbols, fragmentary composition, rhythmic diversity, shifts of stressed syllables and stylization of folk verse, but also in the vivid personal characteristics of the characters, their confrontation with cruel reality. They are passionate natures capable of deep love and hatred, nobility and cruelty. The poet develops the Blok tradition by referring to the symbol, making extensive use of complex chains of associations. Vasiliev also uses the artistic experience of the revolutionary romantic poem of the 20s.
9
Alexandreanu, Anastasia. "Aspects regarding the valorification of the dulcimer in the musical culture from the Republic of Moldova." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.08.
Full textAbstract:
The dulcimer is a musical instrument with ancient origins. There are several versions about its provenance. In the 20thcentury, national performance schools were opened in several European countries: Hungary, Romania, Slovakia, the Czech Republic, the Republic of Moldova, etc. At the beginning, obviously, the creation of each national school was based on popular art, folk music. The improvisational character of the traditional instrumental music is completed, further developed by the methodical infiltration of academic traditions. This creative process determined the evolution and expansion of the sound universe of the instrument, outlining the characteristics of an individual, unique style of interpretation. The professional academic school of dulcimer performance from the Republic of Moldova is relatively young and is based on methods proposed by famous personalities such as: V. Vilinciuc, I. Grosu, V. Crăciun, V. Sârbu, S. Creţu, V. Copacinschi, V. Roşcovan, V. Luţă, V. Caşcaval and others.
10
Тарабурка, Э. "Имплицитна и експлицитна история в творчеството на Йордан Радичков и Ион Друца." In Межкультурное и межъязыковое взаимодействие в пространстве Славии (к 110-летию со дня рождения С. Б. Бернштейна). Институт славяноведения РАН, 2021. http://dx.doi.org/10.31168/0459-6.39.
Full textAbstract:
The history concept of Y. Radichkov and the I. Druță finds both similar accents and differences. The “implicit” trend, with diachronic research, is more typical of Radichkov who turns himself into the witness and guardian of history of earth in itself, that which has kept relics of the past and tells us about war and peace, the Roman period and Ottoman rule, about nomads and sedentary tribes, about heathen, Muslims and Christians. Druță is more explicit, more traditional, does not “extract” the past directly from the earth, but relies on folk legends, even the artistic reproduction of events from the history of Moldova. At the same time, for both writers the past is the counterpoint in which the phenomena, processes and problems of the present are reflected, resonate and become clearer.