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Livros sobre o tema "Romani Folk art"

Autor: Grafiati
Publicado: 25 de julho de 2024
Última modificação: 31 de julho de 2024

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1

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

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2

Skonda, Mária, Mária Völgyi e 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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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

Martin, Laura C. Fairy Island: An enchanted tour of the homes of the little folk. New York: Black Dog & Leventhal, 2005.

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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

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

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16

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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17

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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18

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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19

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

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20

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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21

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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22

Frederiksen, Martin Demant, e Ida Harboe Knudsen, eds. Modern Folk Devils: Contemporary Constructions of Evil. Helsinki University Press, 2021. http://dx.doi.org/10.33134/hup-13.

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The devilish has long been integral to myths, legends, and folklore, firmly located in the relationships between good and evil, and selves and others. But how are ideas of evil constructed in current times and framed by contemporary social discourses? Modern Folk Devils builds on and works with Stanley Cohen’s theory on folk devils and moral panics to discuss the constructions of evil. The authors present an array of case-studies that illustrate how the notion of folk devils nowadays comes into play and animates ideas of otherness and evil throughout the world.Examining current fears and perceived threats, this volume investigates and analyzes how and why these devils are constructed. The chapters discuss how the devilish may take on many different forms: sometimes they exist only as a potential threat, other times they are a single individual or phenomenon or a visible group, such as refugees, technocrats, Roma, hipsters, LGBT groups, and rightwing politicians. Folk devils themselves are also given a voice to offer an essential complementary perspective on how panics become exaggerated, facts distorted, and problems acutely angled. Bringing together researchers from anthropology, sociology, political studies, ethnology, and criminology, the contributions examine cases from across the world spanning from Europe to Asia and Oceania.
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23

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

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24

Reily, Suzel Ana. Local Music Making and the Liturgical Renovation in Minas Gerais. Editado por Jonathan Dueck e Suzel Ana Reily. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.003.

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Suzel Reily’s essay discusses the implication of the universalist thrust of the Roman Catholic Church upon local traditions. While in Brazil local music making has been historically linked to Catholic practice, the clergy’s understandings of “the popular” derive from their interpretations of Vatican II directives along with a preoccupation with liturgical fidelity. In this setting, lay religious repertoires are being discouraged in favor of folk-like musics rooted in imagined local traditions. But alongside a clash in musical aesthetics, Reily shows how the musical practices associated with the new repertoire actually mitigate against collective singing, whilst threatening to shift local practices from the religious sphere to, at best, a secular folklorized arena.
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25

Maunder, Chris, ed. The Oxford Handbook of Mary. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780198792550.001.0001.

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The Oxford Handbook of Mary includes chapters on textual, literary, and media analysis; theology; Church history; art history; studies on devotion in a variety of forms: liturgy, hymns, homilies, prayer, pilgrimage, lived belief and practice; also cultural history; folk tradition; gender analysis; apparitions; and apocalypticism. These have been contributed by a range of scholars, established names in Marian Studies, writing about Mary the mother of Jesus from within their own expertise. The group is international in scope, from the three countries of North America; various nations in Europe; Jerusalem; Taiwan; Australia. As well as those of no religious affiliation, chapters have been written by Jewish, Muslim, and Christian academics, the last group including priests from within the Eastern Orthodox, Roman Catholic, and Anglican traditions. What is shared between everyone in this diverse group is a commitment to academic rigour as well as a special interest in Mary the mother of Jesus, who is known as the Theotokos, Mother of God. The Handbook looks at both Eastern and Western perspectives and tries to correct imbalance in previous books on Mary towards the West. There is also a chapter on Mary in Islam, and on pilgrimages shared by Christian, Muslim, and Jewish adherents. Mary can be a source of theological disagreement, but the emphasis of this volume is on Mary’s rich potential for inter-faith and inter-denominational dialogue and shared experience.
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26

Flitter, Derek. Personal Demons and the Spectre of Tradition in Spanish Romantic Drama. Editado por Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.25.

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One thing which emerges as a consistent feature of Spanish Romantic drama, from Larra to Rivas, from Hartzenbusch to Zorrilla, is the contestatory exposition, normally by the male lead, of a radical and challenging prescription for a new understanding of love, life, and the world which is then defeated by external forces or, more commonly, is mitigated by the mediating figure of the heroine. Parallels with prevalent trends in the narratives of Spanish historiography evince an alluring seduction by the wiles of Enlightenment France before a return to the traditional Spanish fold is an obvious suggestion, but there are others. Espronceda’s student of Salamanca and his demise at the hands of the spectre of the past (past love, past Calderonian play, and uncompromising theocentric history) would certainly fit into this.
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27

Jackson, Denise, e Ellen Vaughn. It's All About Him: Finding the Love of My Life. Thomas Nelson, 2007.

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28

Jackson, Denise, e Ellen Santilli Vaughn. It's All about Him: Finding the Love of My Life. Nelson Incorporated, Thomas, 2007.

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