scholarly journals Folk Tradition and Multimedia in Contemporary Estonian Culture

2020 ◽  
Vol 24 (2) ◽  
pp. 396-407
Author(s):  
Anneli Mihkelev
Keyword(s):  
Oral Tradition ◽  
Literary Work ◽  
Visual Poetics ◽  
The Social ◽  
Long Time ◽  
Cultural Texts ◽  
Manor House ◽  
Folk Tradition ◽  
The Village ◽  
Aesthetic Values

The legends of the kratt or the treasure-bearer have existed in lively oral tradition in Estonian culture for a very long time. These myths and legends have traversed from the oral tradition to literary works, visual culture and music. All these texts on the kratt exist in the culture as metatexts which create the world of the kratt, where different cultural memories and interpretations are intertwined. This means that the kratt as a cultural text is also a multimedial text. Different media use different tools and this makes the interpretations more playful and interesting. Andrus Kivirähk’s novel Rehepapp (The Old Barny, 2000) is the central literary work on the kratt in contemporary Estonian literature. Kivirähk combines the mythical kratt with the figure of Old Barny (rehepapp), who is the unofficial leader of the village and a cunning manor house barn-keeper. There are several cultural texts based on Kivirähk’s novel, but the most important are the opera Rehepapp (2013) by Tauno Aints, libretto by Urmas Lennuk, and the film November (2016) by Rainer Sarnet. The 2015 production of the ballet Kratt (1943) by Eduard Tubin is more contemporary in its setting and represents everyday life in the modern factory. The article analyses how different multimedial texts about the kratt and Old Barny use and combine multimedia to create and convey the social meaning of the kratt, and how multimedia use audio-visual poetics to convey a greater number of emotions and aesthetic values in the cultural text. The film by Rainer Sarnet and the ballet by Eduard Tubin represent harmony with different poetics factors and the meanings of the cultural texts.

MYTHOLOGIZING YORUBA ORATURE: LOBOTO MIZING SWIVELLED PULSES OF LAUGHTER IN NIYI OSUNDARE’S WAITING LAUGHTERS AND REMI RAJI’S A HARVEST OF LAUGHTERS

Imbizo ◽  
2017 ◽  
Vol 6 (2) ◽  
pp. 22-42
Author(s):  
Niyi Akingbe
Keyword(s):  
Seasonal Variations ◽  
Agricultural Production ◽  
Oral Tradition ◽  
Literary Work ◽  
Oral Poetry ◽  
Social Changes ◽  
Oral Performance ◽  
The Social ◽  
Momentary Happiness ◽  
Political Turmoil

Every literary work emerges from the particular alternatives of its time. This is ostensibly reflected in the attempted innovative renderings of these alternatives in the poetry of contemporary Nigerian poets of Yoruba extraction. Discernible in the poetry of Niyi Osundare and Remi Raji is the shaping and ordering of the linguistic appurtenances of the Yoruba orature, which themselves are sublimely rooted in the proverbial, chants, anecdotes, songs and praises derived from the Yoruba oral poetry of Ijala, Orin Agbe, Ese Ifa, Rara, folklore as well as from other elements of oral performance. This engagement with the Yoruba oral tradition significantly permeates the poetics of Niyi Osundare’s Waiting laughters and Remi Raji’s A Harvest of Laughters. In these anthologies, both Osundare and Raji traverse the cliffs and valleys of the contemporary Nigerian milieu to distil the social changes rendered in the Yoruba proverbial, as well as its chants and verbal formulae, all of which mutate from momentary happiness into an enduring anomie grounded in seasonal variations in agricultural production, ruinous political turmoil, suspense and a harvest of unresolved, mysterious deaths. The article is primarily concerned with how the African oral tradition has been harnessed by Osundare and Raji to construct an avalanche of damning, peculiarly Nigerian, socio-political upheavals (which are essentially delineated by the signification of laughter/s) and display these in relation to the country’s variegated ecology.

scholarly journals HONORING STEPHEN OF PERM IN FOLK TRADITION OF THE NIVSHERA’S KOMI

2021 ◽  
Vol 15 (2) ◽  
pp. 272-283
Author(s):  
Alexey Nikolaevich Rassykhaev
Keyword(s):  
Popular Culture ◽  
Komi Republic ◽  
Local Version ◽  
Orthodox Church ◽  
Place Of Residence ◽  
Main Area ◽  
The Future ◽  
Long Time ◽  
Folk Tradition ◽  
The Village

The article analyzes the local version of veneration of St. Stephen of Perm among the Nivshera’s Komi. The microlocal folklore tradition of the village Nischera (Komi Republic) is geographically far from the place of residence of the first bishop of Perm and the main area (Lower Vychegda and Vym) of the spread of traditions about a religious saint, who was called the “Zyryansky Apostle”. Meanwhile, the chapel (now lost) in honor of the saint and the saved life icon in the small village Rusanovskaya helped preserve the memory of a religious figure in popular culture. The post-temple life of the icon is amazing: relatives of the shrines who saved from death made a vow to hold home services. According to the established model in the Nivshera tradition off-temple services began to be held also before the reproduction of the icon Stefan Perm. The work attempted to compare scenarios and strategies for conducting home worship in two places. To some extent, the future of such practices will depend not only on the capabilities of the guardians of the icon and the presence of successors of this matter, but also on the socio-cultural situation of the village and interaction with the Orthodox Church. To some extent, the future of such practices will depend not only on the capabilities of the guardians of the icon and the presence of successors of this matter, but also on the socio-cultural situation of the village and interaction with the Orthodox Church. The cult veneration of Stefan Perm in the Nivshera folklore tradition is evidenced by recorded oral stories about a saint who visited the Vishera District, climbing a boat along the river, expelled rats for a long time, saved the village from fire, and provides general patronage to the village Rusanovskaya.

scholarly journals KAJIAN FILOSOFIS LONTAR CALONARANG

2018 ◽  
Vol 2 (1) ◽  
pp. 274
Author(s):  
I Gusti Ayu Widayanti ◽  
I Made Surada ◽  
I Made Adi Brahman
Keyword(s):  
Literary Work ◽  
Social Function ◽  
Cultural Preservation ◽  
Work Of Art ◽  
Literary Works ◽  
Art Form ◽  
The People ◽  
The Social ◽  
Black Magic ◽  
The Village

<p><em>Lontar Calonarang's literary works is a work of art. Calonarang term other than as one of the works of literature, Calonarang also means characterization</em><em> </em><em>or the name of a man in the play known as Rangda ing Girah. Calonarang is also known as art form such as wayang pacalonarangan and in staging pacalonarangan dance drama. Lontar Calonarang is a lontar manuscript that specifically tells about Calonarang revenge using black magic against the people in Girah village. This is because the people in the village of Girah no one wants to marry Calonarang child is Ratna Manggali. Lontar Calonarang literary work is interesting to read and researched because this literary work has a philosophical meaning of construct so easy to be understood in depth. </em></p><p><em>The results that can be obtained from this literary work are Teachings contained in lontar Calonarang include Rwa Bhineda, Catur Asrama, and Tantra. The function of the teachings contained in the Calonarang lontar is the religious function, the social function, and the function of cultural preservation. While the philosophical meaning derived from this literary work is the meaning of balance, meaning of education, and the meaning of divinity.</em><strong><em></em></strong></p>

scholarly journals Profesor Klonimir Škalko

2018 ◽  
Vol 24 (1) ◽  
Author(s):  
Mate Zaninović
Keyword(s):  
High School ◽  
Literary Work ◽  
Teaching Profession ◽  
The Other ◽  
Preparatory School ◽  
The Social ◽  
Social Realm ◽  
The Village

Professor Klonimir Škalko came from a family of teachers so that he also decided upon a teaching profession. He was born in Olib in 1895 and after completing elementary and preparatory school which in those days was equivalent to the lower grades of high school, he enrolled at the Male School of Teaching in Arbanasi near Zadar, this being the title by which the school went at that period. He graduated in 1914 and bis first teaching post was in the village of Ba- njevci, the Benkovac district. He remained here from October 1, 1914 to September 30, 1919. Because the threat existed of being arrested when the Italians occupied Dalmatia after WWI, he left for Zagreb where he worked in the publishing-informative department of the People’s council in Zagreb. After a short while a letter arrived from Ivko Radovanović, who had become the provincial school supervisor in 1920, informing him to return to Zadar and assume the teaching duties in the School of teaching. Although to return was difficult he took over the the duties of teacher in the school and of prefect in the pupil’s dorm. After the Rapallo agreement of November 12, 1920 he departed with the other teachers of the school for Dubrovnik, enrolling afterwards at the Higher School of Pegagogy in Zagreb. For a certain period of time he worked in Vis and upon graduating from the Higher School he received a teaching post at the School of Teaching in Šibenik. He went on with his studies in Zagreb — College of Pedagogy — and after graduating became the professor for the pedagogical group of subjects at the School of Teaching in Šibenik. Before the outbreak of WWII he became the principal of this school, but when the Italian forces entered Šibenik he was arrested and sent off to a prisoner’s camp where he remained till the end of 1943. After the liberation of tire country he took up residence and worked in Zagreb where he passed away in 1961. Professor Klonimir Škalko did literary work and, as an excellent pedagogue, he wrote a number of prominent pedagogical monographs and treatise. According to his convictions he was liberal and democratic, as well as being a great patriot, while he was also active and engaged in the social realm up to the time of his death.

scholarly journals Periferni likovi u romanu U registraturi Ante Kovačića

2021 ◽  
pp. 272-285
Author(s):  
Marijana Terić
Keyword(s):  
Social Order ◽  
The Novel ◽  
Fantasy Literature ◽  
City Life ◽  
The Social ◽  
Literary Process ◽  
Long Time ◽  
Fantastic Realism ◽  
The Village ◽  
The City

In this paper, the author examines a work of one of the most significant Croatian literary writers, Ante Kovačić, whose novel U registraturi (In the Registry Office) is considered by many literary critics and theoreticians to be the best writing of Croatian realism. It is an author who was not understood at the time when his work appeared, which is why the text was published in the form of a novel with a twenty-three year delay. Nonlinear composition of the text, elements of fantasy literature and innovative literary process in creating a fabula and sujet course of events confused literary critics as well as readership, which points to the fact that Ante Kovačić was treated for a long time as a peripheral author. In this narrative text, the misery and helplessness of peasants and their revolt against their feudal lords in Croatia are described, therefore the object of our analysis will be the characterisation of figures from various layers of society, with a particular focus on the “peripheral characters” of Kovačić’s prose. Using the term “peripheral characters” we will attempt to bring close those characters of subjugated peasants in relation to the feudal-capitalist social layer and thereby emphasise their role in the novel in relation to their fate. Unlike the characters of the peasants – Ivica Kičmanović (whom the social order turns into a lackey and scoundrel); Jožica Zgubidan (the personification of a poor person from Zagorje), Anica (a patriarchal girl with an angelic face); Miha; Perica; the neighbouring Kanoniks; and the Medonjićes – Kovačić brings us harsh, drastic images of moral vacillations in the city in which figures, distorted into caricatures, dominate. By contrasting the rural environment with the city life, the author is writing an “epopee of the village and city” in which the “peripheral characters” become tragic ones. These characters are the carriers of elements of “fantastic realism,” and their function is to show all the depravities of society and to announce the phenomenon of the innovative processes of narration familiar to authors of the modern literature. Finally, we come to the conclusion that Ante Kovačić made a step forward in relation to the generation of realists, with the peripheral position of his creation disappearing with the emergence of modern literary achievements, which ultimately gives the author and his work a polished place in Croatian literature.

The Image of Tist Ivan in V. A. Savin’s Story “Lucha” and the Vishera Folklore Tradition of the Komi

2020 ◽  
pp. 108-117
Author(s):  
Алексей Николаевич Рассыхаев
Keyword(s):  
Oral Tradition ◽  
Central Moment ◽  
Komi Republic ◽  
First Century ◽  
Soviet State ◽  
New Name ◽  
Twenty First Century ◽  
Folk Tradition ◽  
The Village ◽  
The Demonic

В статье проанализирован образ Тист Ивана в устных рассказах, записанных в начале XXI в. среди вишерских коми, и рассказе коми писателя В. А. Савина «Луча» (1926). Авторский рассказ был создан на основе слухов и сообщений о неординарном поступке Тист Ивана (Ивана Феоктистовича), который впервые в селе провел «октябрины» вместо крещения сына. Нарративы о нем локализуются преимущественно в фольклорной традиции села Большелуг (Корткеросский район, Республика Коми). В других местах рассказы о нем тяготеют к демонологической прозе, в которой герой в образе еретника занимается ритуальным отниманием коровьего молока накануне Великого четверга. В литературном и фольклорном дискурсе герой одинаково активен: он постоянно находится в движении, перемещается из одного населенного пункта в другой на вороном коне. Центральным моментом является имянаречение новорожденного сына героя. Если в рассказе В. А. Савина Тист Иван сначала дает сыну новое имя, а потом его жена крестит новорожденного в церкви, то в фольклорной традиции сначала жена крестит сына в церкви, где священник нарекает его Лукой, а потом Тист Иван дает сыну новое имя, связанное с Советским государством - Новолучинский. В отличие от литературного героя, фольклорный персонаж безнаказанно ворует в соседнем селе из амбаров хлеб, используя для этого напоенного вином коня. По мере распространения книжного источника рассказ «Луча» начинает оказывать влияние на фольклорную традицию. The article analyzes the image of Tist Ivan in oral stories recorded at the beginning of the twenty-first century among the Visher Komi, and in the story by the Komi writer V. A. Savin, “Lucha” (“Beam”) of 1926. The author’s story was based on rumors and reports about the extraordinary act of Tist Ivan (Ivan Feoktistovich), who for the first held an “Oktyabrina” in the village in place of a baptism. Narratives about it are circulated mainly in the folklore of Bolshelug Village (Kortkeros District, Komi Republic). In other places, stories about him tend to the demonic, in which the hero, in the form of a heretic, engages in the ritual of stealing cow’s milk on the eve of Great Thursday. In literary and folkloric descriptions, the hero is equally active: he is constantly on the move, going from one place to another on a black horse. The central moment is the naming of the hero’s newborn son. If in V. A. Savin’s story Tist Ivan first gives his son a new name and then his wife baptizes him in church, in the oral tradition the wife first baptizes her son in church, where the priest names him Luka, and then Tist Ivan gives his son a new name associated with the Soviet state - “Novoluchinskiy” (New Beam). In contrast to the literary hero, the folkloric character steals bread from barns in a neighboring village with impunity, using a horse drunk with wine for this purpose. As the literary version has become increasingly well known, it has begun to have an impact on the folk tradition.

L'image du Flamand dans la tradition populaire wallonne depuis un siècle

Res Publica ◽  
1978 ◽  
Vol 20 (3) ◽  
pp. 391-406
Author(s):  
Yves Quairiaux ◽  
Jean Pirotte
Keyword(s):  
Oral Tradition ◽  
Dramatic Works ◽  
Agricultural Labourer ◽  
The Social ◽  
Folk Tradition

How, according to the folk-tradition, do the Walloons see the Flemish population ? An analysis of a stereotype is attempted here, considering the importance of stock-phrases and tags with regard to relations between populations. For an historian, the study of the folk-tradition sets a lot of problems concerning the research and the critical use of a complex documentation : oral tradition (popular phrases, songs, by-words, interviews), French and dialect al literature (navels, dramatic works, satirical writings), newspapers, etc. With such a documentation, we are able to describe some «patterns» of Flemings : the pedlar, the play-character, the militant Fleming, the farmer, the agricultural labourer and the worker. These portraits generally emphasize the dull-witted and rough appearance of the Fleming. The rise of these ideas, at a some time, among the Walloon population appears resulting from the social and cultural position of a great deal of the Flemish immigrants into the Walloon area.

scholarly journals Fighting tuberculosis in the social sector of the village

2021 ◽  
Vol 30 (9) ◽  
pp. 809-814
Author(s):  
Yu. A. Klebanov
Keyword(s):  
Clinical Features ◽  
Rural Areas ◽  
Rural Population ◽  
Social Sector ◽  
Extensive Discussion ◽  
Remote Areas ◽  
The Social ◽  
Soviet Literature ◽  
Long Time ◽  
The Village

In the Soviet literature on tbc, especially in recent years, there has been an extensive discussion of the clinical features of the course of tbc in the countryside. The indisputable position is that TB infection of the rural population has been widespread in the distant past. This is confirmed by old surveys of the rural population of the 1990s, by the large number of TB infections found in remote areas of the Union during expeditionary surveys, and by the experience and observations of all doctors who have lived and worked in rural areas for a long time.

scholarly journals Conversation and Civility

2018 ◽  
pp. 470-486
Author(s):  
Delphine Denis
Keyword(s):  
Seventeenth Century ◽  
Decisive Role ◽  
Social Dimension ◽  
Cultural Phenomenon ◽  
The Social ◽  
The World ◽  
Long Time ◽  
New Form ◽  
French Nation ◽  
Aesthetic Values

In the wake of Italian handbooks of good manners, France forged the figure of the honnête homme from 1630 onward. If his merits were evident in conversation, it was thanks to conversation itself that he was able to acquire them. A new form of sociability flourished, one in which women played a decisive role. A host of terms concurrently attempted to define gentle and refined manners, among others civilité (civility), politesse (courtesy), urbanité (urbane elegance), and galanterie (gallantry). Trained in the school of the world, the galant homme should not be confused with the honnête homme, whose ideal, with a solid moral basis, was reshaped by the late seventeenth century. The air galant converted the social qualities of refined society into aesthetic values, thus giving birth to a new form of modern literature, although not without quite a few objections. In its social dimension as well as in its artistic achievements, galanterie was a genuine cultural phenomenon. As such, it was and remained identified for a long time as a key feature of the French nation.

scholarly journals Dialektika Islam dan Budaya Lokal dalam Bidang Sosial sebagai Salah Satu Wajah Islam Jawa

2012 ◽  
Author(s):  
Andik Wahyun Muqoyyidin
Keyword(s):  
South Asia ◽  
Social Relations ◽  
Seventh Century ◽  
Local Culture ◽  
Village Community ◽  
Malabar Coast ◽  
The Social ◽  
Long Time ◽  
The Face ◽  
The Village

<div class="WordSection1"><p>This article is to unravel the issue of dialectic of Islam and local culture in the social field as one face of Javanese Islam. Historically, Islam came to Indonesia there is a record seventh century AD, but there are also the states of the thirteenth century AD. This means that Islam has been a long time to adapt and dialogue with the culture, customs, attitudes and ways of thinking locals Indonesia. Moreover, many aspects of Islamic teachings that can be flexible so it can receive the local elements are in harmony with the teachings of Islam. The style of Islam in Java in many ways resembles Islam in South Asia. Kerala, the Malabar coast became an important area for the spice trade. Therefore, this area is also very likely to be a transit area for the purpose of trading with the merchants and simultaneously broadcast and Sufi Moslem are deliberately seeking new areas for development of Islam. For this reason, the face of Islam in Java is the result of dialogue and dialectic between Islam and local culture which then displays the face of Javanese Islam. In fact, Islam in Java is indeed not a single, not a monolith, and not simple. Among these are reflected in social relations syncretic Javanese Moslem community with other communities go naturally with the local knowledge base in the village community at large.</p> <p> </p> <p>Artikel ini ingin mengurai persoalan dialektika Islam dan budaya lokal dalam bidang sosial sebagai salah satu wajah Islam Jawa. Secara historis, Islam datang ke Indonesia ada yang mencatat abad VII Masehi, tapi ada juga yang menyatakan abad XIII Masehi. Ini berarti Islam telah lama beradaptasi dan berdialog dengan budaya, adat kebiasaan, sikap dan cara berpikir penduduk lokal Indonesia. Terlebih lagi, banyak aspek dari ajaran Islam yang dapat bersifat fleksibel sehingga dapat menerima unsur-unsur lokal yang selaras dengan ajaran Islam. Corak Islam di Jawa dalam banyak hal menyerupai Islam di Asia Selatan. Kerala, di pantai Malabar menjadi daerah penting untuk perdagangan rempah-rempah. Oleh karena itu, daerah ini juga sangat mungkin menjadi daerah transit bagi kaum pedagang dengan tujuan perdagangan dan sekaligus menyiarkan Islam dan kaum sufi yang secara sengaja mencari daerah baru untuk pengembangan Islam. Karena itulah, wajah Islam di Jawa merupakan hasil dialog dan dialektika antara Islam dan budaya lokal yang kemudian menampilkan wajah Islam yang khas Jawa. Dalam kenyataannya, Islam di Jawa memanglah tidak bersifat tunggal, tidak monolit, dan tidak simpel. Di antaranya adalah tercermin dalam relasi sosial komunitas Islam Jawa sinkretis dengan masyarakat lainnya berjalan secara alamiah dengan mendasarkan pada kearifan lokal masyarakat desa pada umumnya.</p> <p> </p></div> <br />

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