Letteratura scientifica selezionata sul tema "Gypsy romance"
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Articoli di riviste sul tema "Gypsy romance"
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Experiment, Editors. "Chapter 1: The Birth of the Cabaret: Variety Theaters, Dancing Girls and the Gypsy Romance." Experiment 12, no. 1 (2006): 57–85. http://dx.doi.org/10.1163/2211730x-90000021.
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Zhurkova, D. A. "The Role of Song in Leonid Gaidai’s Films." Art & Culture Studies, no. 1 (March 2023): 104–33. http://dx.doi.org/10.51678/2226-0072-2023-1-104-133.
Testo completoAbstract (sommario):
The article is devoted to Leonid Gaidai’s work with soundtrack. The emphasis is made on the analysis of both original and borrowed songs in the entire filmography of the director. In the first part of the article, the author analyses the principles of Gaidai’s work with various musical genres and outlines the range of musical genres and styles used by the director. The article investigates how their meaning (reputation) changes, refracted through the prism of the comedy genre, and discusses various ways in which the director interprets the genres of an old-time sentimental gypsy romance, folk and criminal underworld songs. The second part of the article reveals the role of songs in the dramaturgy of Gaidai’s comedies. The author demonstrates that with the help of songs, Gaidai creates an interconnected musical universe both within one film and between films. The study presents the analysis of the contrast between the visual-narrative side of an episode and its soundtrack and provides a detailed examination of how Gaidai challenged stereotypes as to what characters can perform what genre songs in a comedy film.
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Kupets, L. A. "Music of the Soviet Era as Public History (Based on Materials of the Arzamas Website)." Art & Culture Studies, no. 2 (June 2024): 186–219. http://dx.doi.org/10.51678/2226-0072-2024-2-186-219.
Testo completoAbstract (sommario):
This article is devoted to the phenomenon of Soviet music as presented in the Russian‐language educational project Arzamas (2015–2023). Posted in the public domain of the Internet, the materials on the Arzamas website fully fit into the interdisciplinary discourse of public history. In this article, the author selects and from the perspective of cultural recycling analyses an array of materials of the Soviet period presented on the website: from folk and Soviet mass songs, gypsy and classical romance (including romance in cinema) to jazz, symphony, ballet, and break dance. The article traces how the authors of different genre materials interpret selected works and the historical and cultural profiles of their creators from the point of view of postmodernity. Special attention is paid to the principles according to which the website forms a musical image of the Soviet period for the modern audience (which statistically consists of Millennials and, if taking into account the Arzamas Children’s Room, the next two generations — Z and Alpha). The author of this article makes a conclusion that what is meant by Soviet music in the Arzamas project is compositions created from the 1920s to the late 1960s (early 1970s) and listened to by different social groups. The dominant type of a musical composition is a song in various modifications. Soviet music (mostly non-academic) is treated as an integral part of the country’s history which emotionally accurately reflects political and cultural changes. In such a context academic music becomes a peripheral phenomenon: only two composers are highlighted — Sergei Prokofiev and Dmitri Shostakovich — but shown as victims of the Soviet system.
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Shubina, L. I. "«Actual intoning» in the vocalperforming practice of Tetiana Vierkina (based on the romance repertory)." Aspects of Historical Musicology 17, no. 17 (2019): 9–33. http://dx.doi.org/10.34064/khnum2-17.01.
Testo completoAbstract (sommario):
Background. Objectives and methodology of the research. An attempt is made to consider the vocal-performing work of the People’s Artist of Ukraine Tetiana Vierkina in the aspect of the “actual intoning” concept, which was developed in her PhD thesis. “Actual intoning” is interpreted by the researcher not only as the performer’s work, who turned the author’s text into the sound reality, into a living speech utterance, but also as the desire to fill her interpretation with relevant meanings that are significant for the modern era. The scientific work by T. Vierkina, devoted to the problems of intoning, grew out from a generalization of her many years of experience – artistic and pedagogical. However, in the field of view of the musicologists studying the performing art of T. Vierkina, mainly, her pianistic mastery proves to be. However, in Ukraine, as in the cities of Russia, Armenia, Georgia, Belarus, T. Vierkina is also known as a chamber singer, the owner of a very beautiful soprano, a performer with a peculiar manner of singing. Being not as powerful and dense as opera voices, the singer’s voice nevertheless sounds good in large concert halls with the accompaniment of symphony orchestras thanks to her technique of bright, sonorous sound. Having a recognizable, unique timbre, Tetiana Vierkina subordinates it to the tasks of expressively meaningful singing, finds her place among the intellectual type of singers. Two main directions in her vocal repertoire are defined – domestic, classical romance, pop songs of the 19th–20th centuries, on the one hand, and chambervocal music by Kharkiv composers, on the other. The purpose of this article is to consider only one direction in the vocal performing creativity by T. Vierkina related to her romances singing repertoire. The research is based on five romances representing the Pushkin-Glinka era –“You’ll never understand my sadness” by A. Gurilev to the poem of V. Beshentsov, “Don’t wake her at the dawn” by A. Varlamov to the poem of A. Fet, “When minute of the life is hard” to the poem of M. Lermontov – and the “Silver Age” of Russian poetry:“No, he didn’t love” by A. Guercia to the poem of E. Del Preite, in the Russian translation of M. Medvedev and “The Lord’s Ball” by A. Vertinsky to the poem of the author. An analysis of the interpretations of these works is included in the historical context, referring to some other interpretations of their musical text, to reveal the originality of the images and meanings created by T. Vierkina. The features of the artist’s creative formation and the circumstances of her life, which influenced her performing style, are taken into account. Thus, the general scientific methods of historical retrospection, comparison, generalization are used in this work, as well as the complex methodology of analytical musical-theoretical researches that correlated with B. Asafiev’s theory of intonation. Research results. The paper describes main features of the singing art of T. Vierkina, the artist with a beautiful timbre of her voice, which has a wide range capable of covering both soprano and mezzo-soprano. A brief overview of the vocal performance of T. Vierkina as a chamber singer is presented. The role of the Petersburg vocal teacher Raisa Christie, under whose guidance T. Vierkina perfected her singing technique and was supported in her search for an intonationally meaningful manner of singing, is shown. Turning to the analytical material, the author emphasizes means of expressiveness, with the help of which the singer creates completely different images on the basis of five romances. High, penetrating elegiac character of the Glinka type in the work of A. Gurilev is combined with the subtle understanding of the dialogical nature of the romance genre – the singer interprets each verse as an increasingly tense “phase” in her communication with an invisible interlocutor. In the song-romance of A. Varlamov, the singer goes by the parallelism of images of nature and a young beauty. The singer organizes the couplet-stanza form in a three-part composition, where the first and last sections (the nature waking up at sunrise plays with morning colors on the cheeks of a sleeping girl) contrast with the central one, in which the image of the night, the time of love anxieties and longings, dominates. At first, the singer’s voice is distinguished by its primary “instrumentality”, ease and purity of sound, while in the “night scene” it acquires greater density, verbal expressiveness. In the Bulakhov’s elegy, subtle penetration into the composer’s concept, which comes in a certain contradiction with Lermontov’s intent, makes it attractive. The poet reveals the effect of prayer as a process that begins “when minute of the life is hard”, and ends with the liberation of the hero from the burden of doubt. Bulakhov, on the contrary, choosing for the romance a gloomy, mournful tonality in B minor keeps it unchanged throughout the entire work, with the exception of episodic deviation to the parallel major, emphasizing the static contemplation of the image of the hero, who thinks suffering itself as grace, as effort of the soul aspiring to God. When considering the last two romances (“No, he didn’t love” and “The Lord’s Ball”), references were made to the interpretations of other performers, who each in their own time and in their own way updated these works (V. Komissarzhevskaya, N. Alisova, A. Vertinsky, V. Vysotsky and others). T. Vierkina’s versions of the two romances are analyzed. The first one attracts with light associations with the free gypsy style of singing (improvisation, use of the larynx-nasal timbre, changing of the metro-rhythm, compression-stretching, free transitions from tempo slowdowns to accelerated movement, transitions from singing to chanting words, etc.). In the song-arietta by A. Vertinsky, the emphasis is on elegance, intonation of sympathy for the heroine, whose life flew in ghostly dreams. The singer narrates, distancing herself from the heroine, then, seems to transform into her, then comments, rising above the “action”. Conclusions. Works created almost two centuries ago, performed by T. Vierkina, become significant and relevant for her contemporaries. In the romance she emphasizes the richness and depth of emotional experiences, which turns it into a kind of “encyclopedia” and, at the same time, “school of feelings”. This school, according to the singer, is called upon to resist the ever-increasing impoverishment of the emotional life of people in the era of technological progress and the increasing popularity of communications in the virtual space of the Internet. T. Vierkina believes that with the classic romance the art of representing ordinary human feelings in the light of a high ideal, reflecting them openly, sincerely, and confidentially, is a part of our life. Evenings of T. Vyerkina’s romances have always been significant events in the musical life of Kharkiv, which drew the attention of the public. The singer’s desire to “actualize” the genre, make it a “barometer” of the moods of her contemporaries, always find support among admirers of her artistic talent – all the singer’s concert performances end with “mass singing” – performance of some popular romance by all the listeners in the hall.
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Edkins, Anthony, Federico Garcia Lorca, and Robert G. Havard. "Gypsy Ballads ('Romancero gitano')." Modern Language Review 87, no. 1 (1992): 238. http://dx.doi.org/10.2307/3732397.
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Piotrovska, A. G. "The Romany Musical Versatility: The Case of Gypsy Disco-Polo." Nasledie Vekov, no. 3(19) (September 30, 2019): 91–97. http://dx.doi.org/10.36343/sb.2019.19.3.009.
Testo completoAbstract (sommario):
Как известно, европейские цыгане всегда тяготели к определенным видам деятельности, из которых ближе всего им была музыка. Свидетельством природной музыкальности цыган в наши дни может служить, например, неизменная популярность таких творческих коллективов, как Gypsy Kings . Несмотря на восприимчивость цыган новым веяниям, постоянно обогащающим жанрово-стилистическую палитру их музыки, она всё ещё легко узнаваема и по-прежнему завораживает своим особым мелодико-ритмическим рисунком, своей романтической экспрессией и ни на что не похожей манерой исполнения. В данной статье поднят вопрос о сущности подлинного цыганства в музыке, на который, как считает автор, можно, по крайней мере частично, ответить при более детальном исследовании произведений, созданных носителями культуры рома, в 2000-х гг. Анна Пиотровска рассматривает современные жанры цыганской музыки, самым популярным из которых в Польше является цыганское диско-поло, в исторической перспективе и приходит к выводу об исключительной универсальности и многогранности цыганских музыкантов, обладающих способностью с лёгкостью подстраиваться под любую культурную ситуацию, позволяющей им и сегодня удовлетворять вкусы широкой слушательской аудитории, одновременно поддерживая жизнеспособность собственных многовековых музыкальных традиций.As commonly known, European Roma (Gypsies) have specialized in certain occupations but predominantly were associated with their excellent musicianship skills. It is also true today as attested, among others, by the never dwindling popularity of such bands as The Gypsy Kings. Gypsy musicians are very much appreciated and their music is still enjoyed. It is the result of the Gypsy versatility and their ability to adapt to musical innovations. Despite the extreme richness of forms, manners of performance, etc. characterising the socalled Gypsy music, or more precisely the music by the Roma, their musical products are still easily identifiable by nonRomany circles who associate them with the colourful world of the highly idealized and romanticised Gypsy life. The paper shows without neglecting the historical perspective that the question of the essence of the genuine Gypsyness in music can be, at least partially, answered by taking a closer look at new genres associated with Gypsies and by analysing contemporary practices exercised by the Romany musicians. Consequently, the article is focused on the contemporary trends in the socalled Gypsy music, especially those which merged in the 2000s with popular genres such as Gypsy discopolo popular till today and enjoyed by large audiences in Poland. The article claims that such new genres as Gypsy discopolo should be considered as fine examples of Romany musical versatility proving the vitality of their tradition as cultivated today. Romany musicians adapt to the new situation in such a way as to address the requirements of contemporary listeners who expect that the socalled Gypsy music should be on a par with uptodate productions known from the mass media, while still adhering to the romanticised vision of the Gypsyness.
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Antonenko, Ekaterina Andreevna. "Functions of the audio background in the film version of L.N. Tolstoy’s novella “The Kreutzer Sonata” (director M. Schweitzer, composer S. Gubaidulina)." PHILHARMONICA. International Music Journal, no. 2 (February 2021): 85–95. http://dx.doi.org/10.7256/2453-613x.2021.2.35078.
Testo completoAbstract (sommario):
The author of the article analyzes the film “The Kreutzer Sonata” (director M. Schweitzer, composer S. Gubaidulina) and defines the role of audio background consisting of music and sound effects in the development of the concept of the film version of the same-name novella by L.N. Tolstoy. Based on the comparison of the piece of writing and its screen adaptation, the author describes the functions of the audio background and the role of music as a drama factor. The author emphasizes the importance of timbre and sound principles since the sound characteristics help to define the edges of the event line of the story (the past and the present), and the railway and urban noises become a marker outlining the key phrases of the dialogue of Pozdnyshev with his companion. For the film, the role of citations is important, which are used for describing the characters and interpreting them. Citations accompany the images of Liza (classic piano pieces, romance and French song), Pozdyshev (Strauss waltz, Offenbach’s cancan, and a prison song), and Trukhachevsky (P. Satasate’s gypsy songs). Three main characters are united by L. Beethoven’s Kreutzer Sonata which creates the psychological subtext in representing the relations between Liza, Trukhachevsky and Pozdyshev.  S. Gubaidulina’s music, using the minimum primary musical expressive means, and mostly by timbers characterises the range of Pozdnyshev’s emotions from love to hate and comments the inner dialogue of the character. The audio background in the film fulfils the illustrative, characterizing, subtextual and drama functions. The specific peculiarity of introducing music into the synthetic text is a frequent usage of the intraframe principle determined by both Tolstoy’s prose and the very title of the novel. The author proves that Schweitzer’s “Kreutzer Sonata” is more authentic as compared with other screen versions since it preserves the dialogues and remarks of characters, the unanimity of real events and flashbacks corresponds with the primary source, and the drama of the film is equal to that of the literary text; at the same time, the expression of culmination points is supported by music and sound effects thus helping to understand the idea of the novella.   
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Piotrowska, Anna G. "Tsyganshchina (цыганщина) and Romani Musicians in Tsarist, Soviet and Post-Soviet Russia: Change and Continuity". European History Quarterly 52, № 4 (2022): 554–71. http://dx.doi.org/10.1177/02656914221097293.
Testo completoAbstract (sommario):
The main goal of this paper is to recognize and explain the specificity of the public presence of Romani musicians in Russia, predominantly in the long nineteenth century as well as in the new (Soviet and post-Soviet) political situation of the twentieth century. The article offers a historically oriented outline of the Romani musical traditions deeply embedded into the cultural, political and economic situation of the country. A special focus is placed on the phenomenon of the so-called ‘Gypsy choirs’ and their reception in Russia both by Russians and by foreigners, the latter being often surprised that while in Central and Western Europe Romani musicians were known for instrumental music, in Russia their vocal music (particularly so-called ‘Gypsy romances’) gained considerable popularity. The paper argues that Romani musicians from ‘Gypsy choirs’ identified and learnt to address the Russian aesthetics and thus managed to secure and sustain their unique position within the Russian culture.
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Lazarev, S. E. "“Her main patrons were labor and talent”. An unfinished song by Anastasia Vyaltseva (on the occasion of her 150th birthday)." Voprosy kul'turologii (Issues of Cultural Studies), no. 3 (February 18, 2021): 220–36. http://dx.doi.org/10.33920/nik-01-2103-03.
Testo completoAbstract (sommario):
The paper is dedicated to the Russian pop singer, operetta artist Anastasia Dmitrievna Vyaltseva (1871–1913) and is timed to coincide with a significant date — the 150th anniversary of her birth. The name of A.D. Vyaltseva is especially dear to her compatriots — residents of Bryansk and Orlov, who cherish the documents associated with her in museum expositions and archival funds. Remarkable is her very path — the “Russian Cinderella”, who came out of the lower classes, literally out of nowhere, and achieved all-Russian fame and extraordinary popularity among different strata of society. At that time, the enlightened public had a demand for acquaintance with folk culture, which, it seems, no one really knew about. This explains the demand not only for A.D. Vyaltseva, but also the Itinerant artists, writers M. Gorky, N.A. Klyuev and others. Having become a fashion legislator in Russian and gypsy romances, she never managed to become a «serious» opera singer, was not accepted by the official musical circles of both capitals, which she had always dreamed of. As quickly as she appeared, she unexpectedly and tragically passed away without having said her last word.
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ANDERSON, ANDREW A. "Federico García Lorca, "Gypsy Ballads (Romancero gitano)", trans. with introduction and commentary Robert G. Havard (Book Review)." Bulletin of Hispanic Studies 69, no. 3 (1992): 298. http://dx.doi.org/10.3828/bhs.69.3.298c.
Testo completoTesi sul tema "Gypsy romance"
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Carter, Elizabeth Lee. "Taming the Gypsy: How French Romantics Recaptured a Past." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064929.
Testo completoAbstract (sommario):
In this dissertation, I examine the evolution of the Gypsy trope in Romantic French literature at a time when nostalgia became a powerful aesthetic and political tool used by varying sides of an ideological war. Long considered a transient outsider who did not view time or privilege the past in the same way Europeans did, the Gypsy, I argue, became a useful way for France's writers to contain and tame the transience they felt interrupted nostalgia's attempt to recapture a lost past.
My work specifically looks at the development of this trope within a thirty-year period that begins in 1823, just before Charles X became France's last Bourbon king, and ends just after Louis-Napoleon declared himself Emperor of France in 1852. Beginning with Quentin Durward (1823), Walter Scott's first historical novel about France, and the French novel that looked to it for inspiration, Victor Hugo's Notre-Dame de Paris (1831), I show how the Gypsy became a character that communicated a fear that France was recklessly forgetting and destroying the monuments and narratives that had long preserved its pre-revolutionary past. While these novels became models in how nostalgia could be deployed to seduce France back into a relationship with a particular past, I also look at how the Gypsy trope is transformed some fifteen years later when nostalgia for Napoleon nearly leads France into two international conflicts and eventually traps the French into what George Sand called a dangerous "bail avec le passé." In new readings of Prosper Mérimée's Carmen (1845) and George Sand's La Filleule (1853), I argue that both authors personify the dangers of recapturing the past, albeit in two very different ways. While Mérimée makes nostalgia and the Gypsy accomplices, George Sand gives France an admirable Gypsy heroine, a young woman who offers readers a way out of nostalgia's viscous circle. I conclude by arguing that nostalgia and this Romantic trope found their way back into France at the dawn of a new millennium, and the Gypsy has once again been typecast in art and politics as deviant for refusing to dwell in or on the past.<br>Romance Languages and Literatures
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Kabachnik, Peter Kabachnik Peter. "The place of the nomad situating gypsy and traveler mobility in contemporary England /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467888221&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Sokolova, Vera. "A matter of speaking : racism, gender and social deviance in the politics of the "gypsy question" in communist Czechoslovakia, 1945-1989 /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/10500.
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Birzescu, Anca. "Negotiating Roma Identity in Contemporary Urban Romania: an Ethnographic Study." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1383583352.
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Taggart, Ian. "Devising an adequate system of regional and domestic rights applicable to the gypsy/traveller minority in Scotland." Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources, 2008. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=26267.
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Tan, Sok-Hoon. "The gypsy style as extramusical reference a historical and stylistic reassessment of Liszt's Book 1, Swiss, of Années de pèlerinage /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6046.
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Derrington, Chris. "Social exclusion and cultural dissonance as salient risk factors in the engagement and retention of Gypsy traveller students in secondary education." Thesis, University of Northampton, 2008. http://nectar.northampton.ac.uk/2801/.
Testo completoAbstract (sommario):
This thesis comprises a critical appraisal and a collection of published works drawn largely from extensive qualitative data generated by a five-year longitudinal study of forty-four Gypsy Traveller students. Gypsy Traveller children’s disengagement and underachievement in the secondary phase of education has exercised educationalists and policy makers for over forty years. Historically, deficit theory associated with an impoverished and disadvantaged nomadic lifestyle prevailed but this is no longer sustainable. The vast majority of Gypsy Travellers in Britain today are housed or settled on established sites and the situation has barely improved. Other ‘pathological’ explanations such as the Traveller community’s determination to preserve a separate identity from the dominant population by defending cultural boundaries have also featured prominently in the literature and in professional discourses. The thesis is grounded in a social constructionist approach, which critically analyses psychosociocultural forces and their impact on relationships and human behaviour. From this analysis, a new perspective is proffered as to why Gypsy Traveller children so often find themselves out of the secondary education system. Social exclusion and cultural dissonance are identified as significant push factors that trigger certain coping responses, some of which are maladaptive
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Tan, Sok-Hoon. "The "Gypsy" style as extramusical reference: A historical and stylistic reassessment of Liszt's Book I "Swiss" of Années de pèlerinage." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6046/.
Testo completoAbstract (sommario):
This study examines Liszt's use of the style hongrois in his Swiss book of Années de pèlerinage to reference certain sentiments he had experienced. The event that brought Liszt to Switzerland is discussed in Chapter 1 in order to establish an understanding of the personal difficulties facing Liszt during the period when the Swiss book took shape. Based on Jonathan Bellman's research of the style hongrois, Chapter 2 examines the Swiss pieces that exhibit musical gestures characteristic of this style. Bellman also introduced a second, metaphoric meaning of the style hongrois, which is discussed in Chapter 3 along with Liszt's accounts from his book Des Bohémien as well as the literary quotations that are included in the Swiss book. Together, the biographical facts, the accounts from Des Bohémien, and the literary quotations show that Liszt was using the style hongrois to substantiate the autobiographical significance of the Swiss book.
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Gaga, Filip Daniel. ""This money begged here is paid with blood" : A qualitative study of the Romanian beggars' perceptions on their health status before and during begging, and their health maintaining strategies in Uppsala, Sweden." Thesis, Uppsala universitet, Institutionen för kvinnors och barns hälsa, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-263389.
Testo completoAbstract (sommario):
Introduction The beggars are one the most vulnerable and stigmatized groups in the European society and are determined to live in substandard conditions, characterized by lack of sanitation and overcrowdings, and bare the harsh weather conditions to earn their living. Often, they have limited access to healthcare and their lifestyle has a great impact upon their health. However, little is known about their own perceptions of their health and their strategies to keep it. Aim The aim was to explore the Romanian beggars’ perceptions of their health prior to and during begging, the perceived consequences of begging on their health, and their coping strategies to maintain health while begging in Uppsala, Sweden. Method Data was collected from 8 semi-structured interviews in Uppsala, Sweden during March 2015. The collected data was then analysed using manifest qualitative content analysis. Findings The Romanian beggars in Uppsala perceived their health status to be affected through their activity. Physical consequences involved developing new illnesses and conditions, but also aggravating previous health conditions, and mental consequences included degrading and marginalizing effects of begging, but also harassment from passersby. Access to healthcare in Sweden was limited and determined the beggars to develop alternative strategies for health management or to return to Romania for treatment. Conclusion The health status was found to be both negatively and positively affected through complex interactions between the individual and the surrounding levels: social network, community, institutions and society. More attention should be given to this group from all levels to improve their health status.
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DONERT, Celia. "Citizens of Gypsy origin : the Roma in the reconstruction of Czechoslovakia, 1948-1989." Doctoral thesis, 2008. http://hdl.handle.net/1814/10419.
Testo completoAbstract (sommario):
Defence date: 10 October 2008<br>Examining Board: Prof. Victoria de Grazia (EUI/Columbia University)-supervisor ; Prof. Michael Stewart (University College London) ; Prof. Eagle Glassheim (University of British Columbia) ; Prof. Philipp Ther (European University Institute)<br>PDF of thesis uploaded from the Library digital archive of EUI PhD theses<br>The term ‘citizen of gypsy origin’ [občan cikánského původu] came into use in Czechoslovakia after the Communist coup of February 1948 and was jettisoned almost as abruptly after the collapse of the socialist regime in 1989. Introduced as a replacement for the derogatory label, Gypsy [cikán], the ‘citizen of gypsy origin’ echoed the better-known term, ‘citizen of Jewish origin.’ Swiftly acquiring a pejorative undertone, the term was never fully absorbed into everyday speech. To a contemporary audience in the Czech or Slovak Republic, the ‘citizen of Gypsy origin’ is unthinkable outside a pair of inverted commas. It reverberates with the formalistic official discourse of scientific socialism or, in the words of the pseudonymous dissident Petr Fidelius, ‘the language of Communist power,’ which after thirty years of socialist rule had become so divorced from the ideals it claimed to represent that it seemed an empty carapace, a mere chain of signifiers lacking a referent. Almost immediately after the collapse of communism the Roma were recognised as a nationality in Czechoslovakia, having been defined only as an ‘ethnic group’ until 1989, and so in retrospect the ‘citizen of Gypsy origin’ seems implicated in a policy of coercive assimilation. At the same time, however, the ‘citizen of Gypsy origin’ was part of a much broader history: the struggle between states and societies over the meaning of citizenship under state socialism in East Central Europe after 1945.
Libri sul tema "Gypsy romance"
Più fontiCapitoli di libri sul tema "Gypsy romance"
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Cercel, Cristian. "“The rich villages around Sibiu and Braşov have been invaded by the Gypsy migration”." In Romania and the Quest for European Identity. Routledge, 2019. http://dx.doi.org/10.4324/9781315606873-7.
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"Introduction: “Particles, Legends, Romance”." In Gypsy. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300142457-001.
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"One. Undressing the Family Romance." In Gypsy. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300142457-002.
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Frankel, Noralee. "The Naked Genius." In Stripping Gypsy. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195368031.003.0011.
Testo completoAbstract (sommario):
Abstract At the New York World’s Fair in 1940, Mike Todd, the impresario of Gypsy’s show Streets of Paris, posted a large sign proclaiming no cooking backstage. Gypsy ignored it. When Todd confronted her, she explained that she loved to cook and it was more frugal than constantly eating in restaurants. Todd countered that the food smells wafted through the entire theater. Todd demanded to know what Gypsy was cooking. When Gypsy replied that she was frying knockwurst, Todd insisted, “It better be good. I’m a maven.” Before eating, so as not to be a hypocrite, he tore down the sign. Their romance began over their shared passion for sausage. During the most intense part of their relationship, Gypsy would have willingly given up her independence. Their successful business achievements and the excitement Todd brought to a relationship enthralled her. She admired Todd for being beyond any person’s control. He loved risk and adored gambling. “Nothing frightened Mike, not even fear,” his third wife stated. Such recklessness extended to the way he treated the people around him.
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Saul, Nicholas. "Half a Gypsy:." In Role of the Romanies. Liverpool University Press, 2004. http://dx.doi.org/10.2307/j.ctt5vjjv0.13.
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Rădulescu, Speranţa. "The Gypsy Musicians of Romania:." In Music – Memory – Minorities. Karolinum Press, Charles University, 2020. http://dx.doi.org/10.2307/jj.3643618.4.
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Hooper, Katharine. "The Gypsy Collections at Liverpool." In Role of the Romanies. Liverpool University Press, 2004. http://dx.doi.org/10.2307/j.ctt5vjjv0.7.
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"The Gypsy Collections at Liverpool." In The Role of the Romanies, edited by Katharine Hooper. Liverpool University Press, 2004. http://dx.doi.org/10.5949/liverpool/9780853236795.003.0003.
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Dumitrascu, Tatiana. "Intellectual Development of Children in Gypsy Families in Romania." In Merging Past, Present, and Future in Cross-Cultural Psychology. Garland Science, 2020. http://dx.doi.org/10.1201/9781003077473-28.
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Dumitrascu, Tatiana. "Intellectual Development of Children in Gypsy Families in Romania." In Merging Past, Present, and Future in Cross-Cultural Psychology. Garland Science, 2020. http://dx.doi.org/10.4324/9781003077473-28.
Testo completoAtti di convegni sul tema "Gypsy romance"
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Iudina, Vera. "Socio-cultural factors of formation and development of the urban song in prerevolutionary Russia: the late 17th – early 20th centuries." 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/iadc2022.13.
Testo completoAbstract (sommario):
In the process of evolution of the genre system of Russian musical folklore, the emergence of the city song was due to the interaction of various factors that determined the formation at the turn of the 17th-18th centuries of a new, europeanized type of culture — national and international, artistic-morphological and socio-historical. The article emphasizes the importance of the socio-cultural aspects of the formation and development of urban song folklore associated with a change in the mass consciousness of citizens, an increase in the level of urbanization, and, consequently, with the emergence of new cultural demands of the bulk of the city population. In the article is determined the system-forming role of the bourgeois subculture in the formation of various genres of the urban song: cant, romance (gypsy, salon, etc.), ditty, working (factory) and revolutionary song.
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Marushiakova, Elena, and Vesselin Popov. "Images and Symbols of the Gypsies (Roma) in the Early USSR." In GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.6-2.
Testo completoAbstract (sommario):
The October Revolution and the subsequent creation of the USSR, located on a vast area in Eurasia, was a spectacular historical attempt to create a ‘new society,’ characterised by radical changes in all social and cultural spheres, as well as the creation of new, Soviet symbolisms. This general historical context reflected on all spheres of life, including the state policy towards the Gypsies (labelled today as Roma), which was particularly active in the 1920s and 1930s. The name ‘Gypsies,’ which was used at that time, is more appropriate in our case, because in this general category, in addition to Roma (living scattered throughout the USSR), several other communities either did not identify as Roma or were not Roma by origin (Dom and Lom in the South Caucasus region, and the Lyuli or Jugi in Central Asia), but all shared Indian origin. Soviet policy towards the Gypsies had various dimensions, including codification of the Romani language, creation of Gypsy national literature and of a Gypsy national theater, Gypsy schools, Gypsy collective farms, and artisan’s artels. Along with this, new public images and symbolisms related to the Gypsies were created, and were presented in various forms in the USSR itself and broadcast to the West for propaganda. The new Soviet Gypsy symbolisms, were, using Stalin’s popular formulation of Soviet literature as an analogy, ‘national in form and socialist in content.’ Based on this formulation, the two main directions in which these images and symbols were developed and popularised were determined – firstly, based on the ancient social and cultural traditions of the Gypsies, and, secondly, in the presentation of the new, socialist dimensions which were occurring in their lives. In the synopsis, we will analyse examples of public images and symbols, distributed through various channels – photographs in the press (Gypsy and mainstream), the layout and illustrations of books, posters, stage plays, movies, etc. – covering both indicated directions. At the same time, we reveal how this new symbolism affected the Gypsy community and Soviet society as a whole, as well as a wider dimension, outside the USSR, including that of the present-day. Part of this symbolism (of the first type) is presently used, in a modified form, in digital spaces, mostly by various Roma organisations worldwide creating a new virtual world of Pan-Roma unity.
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Kalinin, Validemar. "The Bear’s Academy in the Care of the Romani Kings." In Conferinţă ştiinţifică naţională "Salvgardarea şi conservarea digitală a patrimoniului etnografic din Republica Moldova". Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841856.10.
Testo completoAbstract (sommario):
On the basis of archives, fieldwork and manuscripts, the author tries to show the history of the Bear Academy in Smorgon (Belarus) in its development of events and culture. The chronology of the publications dates back to the 15th century when Smorgon belonged to the Zenovichs clan, who might have acquired the Bear school from the Jewish community. As a marriage dowry, the Zenovichs gave an ordinary Bear school to the well-known landowners and politicians Radziwills, whose initiative turned the LITTLE KNOWN ELSEWHERE activity of catching bears and further trade with them into the famous Bear Academy. This happened before the fall and partition of the Polish-Lithuania Commonwealth in 1795. Three sources, namely, publications, archives and travellers’ notes, Jewish manuscripts and the Romani verbal folklore give us ground and reason to state, that regardless of the lack of the municipal and state archives the Academy functioned in reality for more than 170 years. It became a symbol of the joint Belarusian/Polish/ Lithuanian collaboration with the Jewish society and the Gypsy (Romani) community