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Książki na temat „Romanian Folk art”

Autor: Grafiati
Data publikacji: 29 lipca 2024
Data aktualizacji: 31 lipca 2024

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1

Balas, Edith. Brancusi and Romanian folk traditions. New York: Columbia University Press, 1987.

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2

McNulty, Karsten D. Romanian folk art: A guide to living traditions. Farmington, Conn: Aid to Artisans, 1999.

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3

McNulty, Karsten D. Romanian folk art: A guide to living traditions. Farmington, Conn: Aid to Artisans, 1999.

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4

Balas, Edith. Brancusi and Rumanian folk traditions. Boulder: East European Monographs, 1987.

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5

Suba, László. Torda és környéke fazekassága. Kolozsvár: Kriza János Néprajzi Társaság, 2005.

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6

Stoica, Georgeta. Dicționar de artă populară. București: Ed. Enciclopedică, 1997.

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7

Stoica, Georgeta. Dicționar de artă populară. București: Editura Ştiințifică și Enciclopedică, 1985.

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8

Suba, László. Torda és környéke fazekassága. Kolozsvár: Kriza János Néprajzi Társaság, 2005.

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9

Beissinger, Margaret H. The art of the lăutar: The epic tradition of Romania. New York: Garland, 1991.

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10

Dancu, Dumitru. Icoane pe sticlă din România. București: Editura Meridiane, 1998.

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11

Gheorghiu, Mihai, i Maria Mateoniu. Muzeul Țăranului Român: Ghidul expoziției permanente = Museum of the Romanian Peasant : guide to the permanent exhibition. Bucuresți: Litera, 2012.

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12

Cartianu, Ana. Saints on glass: Peasant picture from Ardeal with folk tales. București: Paideia, 2008.

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13

Ilisan, Mihaela-Corina. Icoanele pe sticlă şi xilogravurile populare din Transilvania în viziunea lui Ion Muşlea. Cluj-Napoca: Editura Mega, 2019.

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14

Popoiu, Paula. Sărbătorile românilor: Paștele și Crăciunul în icoane și cuvinte = The Romanian's holidays : Easter and Christmas in icons and words. Craiova: Editura Universitaria, 2013.

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15

Bódi, Zsuzsanna. Magyarországi cigány mesterségek. Budapest: Cigány Népművészek Országos Egyesülete, 2001.

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16

Skonda, Mária, Mária Völgyi i Miklós Péti. Naivok 2018: Naív és autodidakta magyar és cigány művészek : válogatás a Völgyi-Skonda gyűjteményből. Budapest: Völgyi-Skonda Gyűjtemény, 2018.

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17

Balas, Edith. Brancusi & Romanian Folk Traditions (Carnegie Mellon University Press Art History Series). Carnegie-Mellon University Press, 2006.

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18

Poteries roumaines, art et tradition: Guide de la ceramique de Roumanie, vingt-six centres potiers actifs. Federation des ecomusees et musees de societe, 1999.

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19

Marinescu, John Gabrian. Eastern European Folk Designs. Schiffer Publishing, 2003.

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20

Lange, Barbara Rose. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0001.

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The Introduction outlines a historical and cultural framework for musical fusion projects in Central Europe, specifically Hungary, Slovakia, and Austria, between 1989 and 2008. It argues that such projects participate in a regional artistic heritage of stylistic virtuosity and social critique. It describes how Central Europeans treat some of their own world music, folk music, and ethnojazz as high or “serious” art, while in Western Europe, world music is part of the popular music industry. The Introduction argues that the Central European projects are experiments in economic independence and in ethnic inclusion stemming from the region’s history of war, exclusion of Romani (Gypsy) and Jewish minorities, and transition to neoliberal capitalism. The Introduction discusses artistic precedents of the 1970s and 1980s, and delineates aspects of the sociopolitical atmosphere for the arts in Central Europe between 1989 and 2008.
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21

Lange, Barbara Rose. Sampling and Commercialization in Danubian Trances and Boheme. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0010.

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Chapter 9 discusses the reuse of old recordings as an aspect of neoliberalism, examining Hungarian reactions to the ways that local and West European musicians sampled and processed recordings of folk music. The chapter contrasts two projects: the French duo Deep Forest’s album Boheme and Károly Cserepes’s album Danubian Trances: Mikroworld-ambient. Both projects remixed recordings of Hungarian and Romani (Gypsy) vernacular music. The chapter details how Hungarians treated Danubian Trances and some other local remixes as prestigious art music compositions. It outlines how Hungarians gave Boheme less prestige, viewing that album’s success as an instance of broader commercial exploitation of Central Europe by West European and multinational companies.
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22

Petrescu, Paul, i Jan Harold Brunvand. Casa Frumoasa: The House Beautiful in Rural Romania (East European Monographs). East European Monographs, 2004.

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23

Lange, Barbara Rose. Local Fusions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.001.0001.

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Local Fusions: Folk Music Experiments in Central Europe at the Millennium explores musical life in Hungary, Slovakia, and Austria between the end of the Cold War and the world financial crisis of 2008. It describes how artists made new social commentary and tried new ways of working together as the political and economic atmosphere changed. The book presents case studies from Budapest, Bratislava, and Vienna, drawing from ethnographic research and from conversations about the arts in Central European publications. The case studies illustrate how young musicians redefined a Central European history of elevating the arts by fusing poetry, local folk music, and other vernacular music with jazz, Asian music, art music, and electronic dance music. Their projects contradicted ethnic exclusions and gender asymmetries in Central Europe’s past expressive culture and in its present far-right political movements. The case studies demonstrate how musicians had to become skilled neoliberal actors, even as they asserted female power, broadened masculinities, and declared affinity with regional minorities such as the Romani (Gypsy) people. The author contrasts the live performances and physical recordings of world music 1.0 with the peer-to-peer networks of world music 2.0, arguing that Central European musicians occupy a liminal space between the two spheres. An epilogue describes how economic shocks of the late 2000s transformed sociality, creative processes, and the market for musical experiments in Central Europe.
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24

Lange, Barbara Rose. Autobiography, Sexuality, and Ethnicity in the Music of Bea Palya. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0004.

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Chapter 3 discusses how the singer and writer Bea Palya explored dimensions of women’s experience in Hungary that had been kept private before the 2000s. The chapter describes one of Palya’s first solo projects with composer Samu Gryllus, a setting of Sandor Weöres’s Psyché; Weöres’s postmodernist poetry collection explores sexuality, violence, and other facts of life for its female protagonist. The chapter describes how this project enabled Palya to connect autobiography and art, and details how Palya balanced a modern sexual image with other performances dramatizing Christian spirituality. Although Palya fused local folk sounds with Asian music, West Europeans wanted to emphasize the Romani part of Palya’s multiethnic background with a ragged Gypsy image. The chapter details how Palya was able to reject this pressure, since Hungarian audiences accepted her treatment of race as an everyday matter within a larger frame of modern feminine experience.
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