Добірка наукової літератури з теми "Peasant Furniture"

<p class="ber"><span lang="EN-GB">While many Zimbabweans are searching for foreign based economic opportunities for trade and exchange, the local market can also be used as a source of adding value through identifying and capitalising on the existing domestic absolute and comparative advantages. The development of linkages between rural markets and urban markets based on agricultural produce, farm implements, manufactured products and furniture products were used as case study products for identifying and evaluating comparative advantages in this study. A quantitative approach that collected and analysed rural and urban product units and price perceptions of 40 rural peasant farmers and 20 urban business people was used. The study established the comparative advantages that outweighed transport costs in the domestic rural and urban trade opportunities. Major products that attracted comparative advantages were cattle, goats, maize, ground nuts, farm implements, furniture and packaged food products. The research was unique due to its focus on stimulating inbuilt economic development projects.</span></p>

The island of Ruhnu is an ancient area of Swedish settlement in Estonia. As a result of the emigration of the people of Ruhnu during World War II, the traditional peasant culture has practically disappeared along with the farms and furnishings. Today, no relevant information or precise answers can be found concerning the carpenters who created the furniture that is specific to Ruhnu, including about those who made colourfully decorated furniture. Previous knowledge suggested that the furniture of Ruhnu was created by the farmers themselves mainly by following the examples of the Swedish farmers’ so-called ‘high-status’ furniture. However, detailed visual observation suggests that the fine farm furniture characteristic of the island is recognisably similar in style, and that not all the inhabitants of Ruhnu could have possessed such technical and artistic skills in carpentry. This assumption has been confirmed by Leila Pärtelpoeg, an interior designer who has studied the furniture and furnishings of Ruhnu, and who believes that the fine barn cupboards have either been made by a small group of artisans or perhaps even by a single person. This article gives an overview of a study concerning the connections between carpentry tools and the furniture of the island in order to provide possible answers regarding the carpenters who were working in the farms in Ruhnu. In order to get these answers, the remaining furniture details were compared with the carpentry tools from Ruhnu still to be found in Estonian museums and private collections. The research material contained catalogued pieces of furniture and carpentry tools from the Estonian National Museum, as well as from the island of Ruhnu. Information gathered during fieldwork proved useful too. Initial observations revealed that similar techniques had been used for creating the barn cupboards of the farm buildings in Ruhnu, thus supporting the earlier hypothesis suggesting that the compatibility between carpentry tools and profiled wood pointed to a particular Ruhnu artisan (or to specific farms where highly skilled carpenters worked). In order to gain confirmation concerning particular artisans or farms where especially skilled carpenters worked, the catalogued pieces of furniture had to be compared to the carpentry tools of Ruhnu, all of which bore a farm or property mark. Using such property marks (by carving them on the artefacts) was the only way of distinguishing between the carpentry tools from different farms. This gave me the opportunity to place every single tool into the context of a specific farm. In order to find Breadwinner these connections, the similarities between the shape of profile planers’ cut and the laths of the pieces of furniture were compared with the property marks. Mapping the tools on basis of the farms made it possible to compare them to the remaining pieces of furniture and uncover the connections between specific farms and the carpenters’ work. Arriving at answers to my research questions was nevertheless difficult as there were few remaining pieces of furniture and carpentry tools that could be used in comparisons. The similarities between the altar of Ruhnu’s old wooden church and the profiles of the cupboard at Korsi farm were the only ones that were really certain. Based on these results, we can suggest that local carpenters and artisans who worked on Ruhnu’s wooden church might have been the same people using the same tools, or that the church furniture only served them as an example. The possibilities of finding apparent similarities between the wooden profiles of the furniture of Ruhnu and the remaining carpentry tools was limited because there was not enough reference material, meaning the results were not as clear as had been expected. Keywords: Ruhnu, barn cupboard, farm furniture, carpentry tools, property marks, carpenters

The island of Ruhnu is an ancient area of Swedish settlement in Estonia. As a result of the emigration of the people of Ruhnu during World War II, the traditional peasant culture has practically disappeared along with the farms and furnishings. Today, no relevant information or precise answers can be found concerning the carpenters who created the furniture that is specific to Ruhnu, including about those who made colourfully decorated furniture. Previous knowledge suggested that the furniture of Ruhnu was created by the farmers themselves mainly by following the examples of the Swedish farmers’ so-called ‘high-status’ furniture. However, detailed visual observation suggests that the fine farm furniture characteristic of the island is recognisably similar in style, and that not all the inhabitants of Ruhnu could have possessed such technical and artistic skills in carpentry. This assumption has been confirmed by Leila Pärtelpoeg, an interior designer who has studied the furniture and furnishings of Ruhnu, and who believes that the fine barn cupboards have either been made by a small group of artisans or perhaps even by a single person. This article gives an overview of a study concerning the connections between carpentry tools and the furniture of the island in order to provide possible answers regarding the carpenters who were working in the farms in Ruhnu. In order to get these answers, the remaining furniture details were compared with the carpentry tools from Ruhnu still to be found in Estonian museums and private collections. The research material contained catalogued pieces of furniture and carpentry tools from the Estonian National Museum, as well as from the island of Ruhnu. Information gathered during fieldwork proved useful too. Initial observations revealed that similar techniques had been used for creating the barn cupboards of the farm buildings in Ruhnu, thus supporting the earlier hypothesis suggesting that the compatibility between carpentry tools and profiled wood pointed to a particular Ruhnu artisan (or to specific farms where highly skilled carpenters worked). In order to gain confirmation concerning particular artisans or farms where especially skilled carpenters worked, the catalogued pieces of furniture had to be compared to the carpentry tools of Ruhnu, all of which bore a farm or property mark. Using such property marks (by carving them on the artefacts) was the only way of distinguishing between the carpentry tools from different farms. This gave me the opportunity to place every single tool into the context of a specific farm. In order to find Breadwinner these connections, the similarities between the shape of profile planers’ cut and the laths of the pieces of furniture were compared with the property marks. Mapping the tools on basis of the farms made it possible to compare them to the remaining pieces of furniture and uncover the connections between specific farms and the carpenters’ work. Arriving at answers to my research questions was nevertheless difficult as there were few remaining pieces of furniture and carpentry tools that could be used in comparisons. The similarities between the altar of Ruhnu’s old wooden church and the profiles of the cupboard at Korsi farm were the only ones that were really certain. Based on these results, we can suggest that local carpenters and artisans who worked on Ruhnu’s wooden church might have been the same people using the same tools, or that the church furniture only served them as an example. The possibilities of finding apparent similarities between the wooden profiles of the furniture of Ruhnu and the remaining carpentry tools was limited because there was not enough reference material, meaning the results were not as clear as had been expected. Keywords: Ruhnu, barn cupboard, farm furniture, carpentry tools, property marks, carpenters

The specific character of unification of taditional folk culture of utilitarianism and aestheticism in the worldview and everyday life of people, indivisibility of life and existence, perceived well by Rostyslav Rybalchenko (1932 – 2019), the outstanding local historian of Slobozhanshchyna, creator of his own skansen and author of a number of books with the detailed description of material world of rural people of Ukraine in the 20th century, are analyzed in the article. Pragmatic and aesthetic unity of rural everyday tasks is described on the specific examples from the book Rostyslav Rybalchenko and His Rural World. For example, white-washing in a Ukrainian house even in the second half of the 20th century has been not only a forced sanitary-hygienic procedure but also a sacral action with a spiritual context. It has been done at least three times a year: before the Feast Day of the Protection of the Mother of God, Christmas and Easter. In such a way the routine task has become the festive one as a holiday starts psychologically not on the very day of the holiday but from the preparation for it. Besides, tidiness inside the house is not only useful, but also beautiful from the aesthetic point of view. Moreover, it has been filled with religious sense and become the equivalent of the Christian’s state of soul before celebrating-commemorating the most significant evangelical events. In the 1950s it has been easy to do the white-washing because there is little furniture in the houses. According to Rybalchenko’s accurate observation, “the fact that the chamber is not cluttered” has also the following sense: “<…> nothing superfluous can press the consciousness, nothing steals the space”, which is usually scarce as poor people’s houses are rather small. The house is the mirror of the soul, which should not be cluttered. The yard, the orchard, the vegetable garden are all space signs which require a special sense in traditional folk culture of Ukrainians. According to R. Rybalchenko, in peasants’ opinion the homestead space has to be clean, tidy, beautiful as well as uncluttered not because otherwise neighbours would gossip but because of the inner necessity of the majority of the owners. Some attributes of the rural space and domestic equipment, the pragmatics of which is inseparable from the aesthetic component, especially those connected with water: the well, the beam, the anchor, etc., are also analyzed in the article.

The article reveals the decoding mechanisms of linguoculturemes occurring in the translation of the novel “Zuleikha opens her eyes” by G. Yakhina into the English language. In the original text of the novel linguoculturemes express ethnical and socio-cultural identity of the main character Zuleikha. Working on the translation of the novel Lisa Hayden, the translator, uses different types of adaptive transcoding for interlanguage and intercultural communication. The translation is characterized by double transcoding that is based on three languages: Tatar, Russian and English. Tatar words and expressions with explicit national cultural elements form a cultural background in the novel and often have no equivalents or definitions in the English language. The comparative analysis of the original text and its translations highlight a number of different groups of linguoculturemes, such as terms for members of ethno-cultural community and types of address, names of mythical and religious characters, names of objects, elements of interior design of a peasant’s home, pieces of furniture, and clothes. Linguoculturemes also help to recreate the historical atmosphere in Russia in the 1920-1930s, as well as the relationships in a traditional patriarchal family, conventional values of a local ethno-cultural community and socio-political realia depicted in the novel. A complex hierarchy of contextual image levels of the novel in the process of translation of the novel. The outer level of the story (the plot) is being transformed and many story lines are translated into English without any significant semantic change. Universal human problems represented via archetypes are well received by the English-language readers regardless of their language and socio-cultural background. The inner levels of the story expressing specific social relationships and interactions, ethnocultural, religious, and ethnopsychological stands with the help of linguoculturemes appear to be “encoded” for readers with different language backgrounds, but open in their complete semantic value to the bearers of the given social, religious and ethnical cultures. The authors’ message is that the English translation of the text does not lack in national cultural identity or ethnocultural values, it is just that these values become secondary and, as a result, harm the intimacy of the unique world perception of the main character.

This is the third in a series of essays, linked thoughts about change over time. In the space of very few years in world historical terms, English beaches and wave-like rolling hills were transformed. For centuries people turned cottages away from strong winds. Then came the impulse to face the sea, to breathe the air in and cast like anglers for awe, possibly to catch the sublime. This is an extraordinary change of mind. On Dover Beach Arnold escaped social constraints, but he feels unease about change. Ignorant armies had gathered themselves up, pulled themselves together, moved to the city, wanting to leave behind the dirt and cold and grind, the middens of peasant life. They found... new versions of the same. Some then lived to see life in the trenches of World War One. They had lawns and gardening and, eventually, all-conquering patio furniture.

The article is dedicated to the revelation of the purpose and peculiarities of childcare in Ukraine in 1900-1917. Childcare was aimed at ensuring basic protection of children and their care that is necessary for life. It was caused by low level of education and culture of children and their social insecurity. The peculiarities of realization of childcare were the following: taking measures aimed at strengthening children’s health; organization of social work with orphaned children and children deprived of parental care; satisfaction of children’s material needs. Taking measures aimed at strengthening children’s health included provision of hospital care to children, conducting medical examinations of children, examination of children’s institutions, proper arrangement of children’s institutions with educational materials and providing them with rationally constructed furniture, conducting conversations with parents, teachers and children about the necessity of healthy lifestyle, arranging school first aid kits, establishing children’s summer camps, organization of special classes for refugee children during summer holidays. Organization of social work with orphaned children and children deprived of parental care included establishment and maintenance of welfare institutions, identification of the causes of neglecting children and preventing these cases, children’s patronage (children were taken by urban and peasant families that fed and bring them up), support of activity of courts for juvenile offenders (they were in Odesa, Kharkiv and Kyiv). Satisfaction of children’s material needs included creation of free canteens, providing children’s with hot breakfast at educational institutions, rent of apartments for children, providing children with financial aid of different types.

Franz Bergel was born on 13 February 1900 in the Alsergrund quarter of Vienna and lived there until 1908 when the Bergel family (parents, Franz and his younger brother, Otto, born in 1904) moved to permanent residence in the Viennese suburban area of Doebling. His father was born and brought up in Hungary of peasant forebears and only came to Vienna at the age of 16 where, with his elder brother, he established a wine-importing business specializing in Hungarian wines. Presumably he was a native Magyar speaker because, according to Franz, although he spoke the Viennese dialect fluently, he never really mastered the German language. In marked contrast, Franz’s mother was born in Teplitz- Schönau (now Teplice) in Bohemia (now Czechoslovakia); she was bilingual in Czech and German although German was always the language of the Bergel family, and I doubt whether Franz Bergel could speak either Czech or Magyar with any fluency. Unlike her husband, Franz’s mother came of bourgeois stock, her family having a variety of business and professional interests. Her father was a successful carpet manufacturer who, unfortunately, fell victim to an incurable and incapacitating disease that confined him to a wheelchair and forced him to give up his business in the late 1880s. Undaunted, his wife—Franz Bergel’s grandmother—moved with her husband and family to Vienna where she developed a small but successful business selling Bohemian glass and porcelain. Also in Vienna lived her sister, Hedwig (Franz’s great-aunt), who was married to a Bohemian maker of wickerwork furniture and other goods whose business in Austria was so successful that he and his family settled in Vienna and lived in rather opulent circumstances on the outskirts of the city. Franz’s mother lived during the latter part of her girlhood with her Aunt Hedwig; indeed, it was while living there that she met the young Hungarian wine merchant, Moritz Bergel, whom she later married.

Wood is hard, fibrous tissue found in many trees. It has been used for hundreds of thousands of years for both fuel and as a construction material. This paper focuses on some of the challenges of the forests products trade in the Democratic Republic of the Congo to bring out the analysis we would like to make. The existing informations on the forest exploitation in the Democratic Republic of the Congo, based mainly on the bibliographic review were considered. These data are time-series data of secondary source in the range of 2000 to 2015. According to the actual estimations, the population of the DR Congo consumes about 45 million m3 of wood per year. This estimation concerns the industrial wood exploitation, the fire wood, services wood, medicinal wood, house constructions, peasant’s fields, etc. Wood can be used as fuel, construction, sports and art material, furniture and utensils. The roundwood is the most exported forest product in the Central Africa for the international trade. Gabon is the first roundwood producing country in the Central with about 53% of the production. Wood and its sub-products have a great importance through the world. International trade in forest products particularly the wood can involve producing forest products, such as paper, in one country, sourcing timber from another country to meet production demand and then exporting the finished products to others countries. Keywords: Wood, forest, product

The Middle Ages were marked by dramatic social, economic, political, and religious changes. Diverse regional and local conditions, and varied social classes - including peasant, artisan, merchant, clergy, nobility, and rulers - resulted in differing needs for furniture. The social settings for furniture included official and private residences both grand and humble, churches and monasteries, and civic institutions, including places of governance and learning, such as municipal halls, guild halls, and colleges. This volume explores how furniture contributed to the social fabric within these varied spaces. The chronological range of this volume extends from the fall of the Roman Empire through to the early Renaissance, a period which exhibited a wide array of types, styles, and motifs, including Byzantine, Romanesque, Gothic, and Renaissance. Rural and regional styles of furniture are also considered, as well as techniques of furniture manufacture. Drawing upon a wealth of visual and textual sources, this volume presents essays that examine key characteristics of the furniture of the period on the themes of Design and Motifs; Makers, Making, and Materials; Types and Uses; The Domestic Setting; The Public Setting; Exhibition and Display; Furniture and Architecture; Visual Representations; and Verbal Representations.

The aim of the research is to investigate the symbols of birds on the furniture artefacts stored in the National Museum of Lithuania: dowry chests. In general, Lithuanian ethnic culture can be called “a tree culture”. The main construction and equipment material of Lithuanian dwellings was wood. Lithuanians made all household items, furniture, as well as work tools from wood. Wood is also the main material for furniture. As far as it is known, Lithuanian peasants loved to decorate, to paint mostly the dowry chests and the cabinets. The decoration of cabinets with polychromatic painting is identical to the decoration of dowry chests (however, the decoration of cabinets began later than that of the dowry chests).

Abstract In Mary Leadbeater’s Cottage Dialogues Among the Irish Peasantry (1811) Jem explains his decision to postpone marriage until he and his fiancee have saved for a good house with a chimney and furniture. He declares he would shun life “in a mud hovel without a chimney; the parents and children all pig together, on the same wisp-the father goes out to look for food, and when the mother prepares it, they all fall to, and tear it with their fingers and devour it. In the evening they smoke and afterwards-.” He is then interrupted by his friend Tim, who reports that his father’s family lives in just the manner described by Jem. The imagery of this passage is both horrific and fraught with ideological tension.

In this article, our attention is focused on the BED as an element of peasant furniture, on the territory of the Republic of Moldova (late nineteenth century - mid-twentieth century). The bed derives in most cases from the bench. As furniture with a special shape, the bed appears in the rural house in the 19th century, first in wealthy families. It is more widespread in the interwar period and after the Second World War. According to the system of joining the parts, the classification of beds can be divided into two categories: beds joined in «feather and gutter»; beds joined with «plug and hollow». The tables present the largest decoration of the bed through various wavy profiles, through variations of planes, turned parts, in rare cases decorated with simple paintings or by imitation veneer. The detailed analysis of the peasant furniture, and of the beds, in particular, starting from the craftsman, who made this furniture, the execution and decoration technique used, tell us about the tendencies of a period, which is worth following closely to better understand the artistic peculiarities of the furniture and traditional art.

Wooden parts, from the simplest utensils to furniture, and the basic components of house construction, have been present since ancient times. It should be noted that almost any householder could provide the minimum number of parts needed in a household. The basic craftsmen in making the furniture were carpenters and joiners, who, in addition to work performed in their own household, were also employed in guilds, workshops and later in factories. Initially, the carpenters, who were involved in the construction of the houses, also made the necessary furniture. Starting with the 19th century, and in the peasant household with the end of the 19th century, the beginning of the 20th century, in addition to the carpenter's furniture the joiner's (city) furniture appears. This delimitation of craftsmen in the carpenters and joiners is based on the tools used, the joining techniques, as well as the characteristic ornamentation; however this division is a conventional one without precise borders. The domestic trades of Bessarabia played an important role in the industrial production from the end of the 19th century, mid-20th century. Factories appeared mainly on the basis of such small trades.

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.

Downstream of the Somma-Vesuvius volcanic complex, the countryside records the flourishing of communities based on agricultural economies that have been facilitated, since the early modern history, by the fertility of the land, the mildness of the climate and the favourable location with respect to the natural routes of communication. The adaptation and dialogue between this territory and man led to the realization of the so-called “masserie”, the articulated rural artefacts, mostly developed on a primitive compositional structure at court, in which residential and working functions seamlessly coexist. The paper discusses the sustainable and bioclimatic solutions for building and running evidence of this volcanic vernacular system, to inquire how the constructive knowledge, based on the awareness of the properties of local materials, has given solutions to various needs. Indeed, the peasants used the different characteristics of the various igneous rocks, exploited to their maximum performance capabilities, to realize rubble masonry, light vaults, outdoor flooring, and even fixed furniture. In the same functional and “green” resource use, the plan layout follows a distribution corresponding to the best use of the sun and its effects on environmental optimization, and the rainwater collection system connects multiple wells to the underground tank whose position, spatial conformation and materials are expertly engineered. The study finally deepens a case study (the masseria of the Duke of Salza) representing the application of local building tradition in terms of construction features and typological aspects, and the evidence of the history and vulnerabilities of the Vesuvian land. In addition, the specificities of the masseria sample allow mastering the functioning of the whole building organism and the quality of the finishes, which demonstrate how, in their formal simplicity, these vernacular “monuments” were soberly embellished and complexly designed.