folk beliefs
Recently Published Documents


TOTAL DOCUMENTS

293
(FIVE YEARS 86)

H-INDEX

12
(FIVE YEARS 1)

Author(s):  
Iryna Gutnyk

The purpose of the article is to find out the characteristic features of the use of the images of Ukrainian demonology in the folk-stage choreography of Ukraine. The methodology consists in the application of general scientific methods of theoretical and empirical levels: analysis and generalization of scientific and theoretical bases of research, comparative and logical methods, interview method; also art analysis of choreographic numbers of amateur and professional groups of Ukraine. These methods make it possible to characterize the most common images of Ukrainian demonology and to determine the peculiarities of their use and embodiment in folk-stage choreography. Scientific novelty. For the first time, the article, based on the analysis of choreographic works from the repertoires of amateur and professional groups, highlights the characteristic features of the use of images of Ukrainian demonology in folk-stage dance art. Conclusions. Demonological beliefs of Ukrainians are a kind of synthesis of mythological and religious ideas of the human about the universe and at the same time the embodiment of zest for life and democracy. Demon spirits are endowed with anthropomorphic features, i.e. they usually have a human likeness, and this presupposes the possibility of their use in folk-stage dance art. Choreographers create choreographic works based on their own plot, based on folk beliefs, rituals, and legends, as well as on the motives of literary works, the main characters of which are demonological characters. A stylized folk-stage dance with elements of acrobatics is often used to convey all the versatility and mysticism of mythological images. The use of images of Ukrainian demonology in folk-stage choreography contributes to the popularization of folk choreographic art, as well as increases the interest of modern society in national traditions. Keywords: folk-stage dance; Ukrainian demonology, folk choreographic art.  


2021 ◽  
Author(s):  
Ngọc Uyên Phạm ◽  
◽  
Thị Tú Anh Nguyễn ◽  

This article systematizes the typical covered box ceramics after the excavation of the shipwrecks in Cham Islands, Hội An currently on display at the Museum of History in Hồ Chí Minh City. Comparisons lead to the assumption that such products can only satisfy the needs of the consumer market based on the iconographic interpretation accounting on traditional literature in Việt Nam and some Southeast Asian nations, such as Java, Malay, the Philippines. This article also assumes that it is a product ordered by foreign traders, or the creation of Vietnamese ceramic artists, because animals/other images that are shaped and decorated on pottery have so far not been fully accounted and researched in Vietnamese folk beliefs. Tiểu luận này hệ thống lại loại hình hộp gốm có nắp và hoa văn tiêu biểu của các loại di vật này trong sưu tập tàu đắm Hội An, hiện đang trưng bày tại Bảo tàng Lịch sử Thành phố Hồ Chí Minh. Các so sánh và diễn giải tiếu tượng học đưa đến nhận định rằng các sản phẩm gốm đó có thể chỉ đáp ứng nhu cầu của thị trường tiêu thụ dựa trên những tài liệu thành văn và truyện cổ giữa Việt Nam và truyền thống một số các quốc gia Đông Nam Á, như Java, Malay, Philippines. Bài viết này cũng giả thiết rằng đó là sản phẩm được các thương nhân nước ngoài đặt hàng, hoặc, là sự sáng tạo của nghệ nhân gốm Việt Nam, bởi các con vật/các đề tài khác được tạo hình và trang trí trên các di vật này cho đến nay vẫn chưa được ghi nhận đầy đủ và nghiên cứu sâu trong tín ngưỡng dân gian Việt Nam.


2021 ◽  
Vol 10 (4) ◽  
Author(s):  
Daria Degtyar ◽  

The article is devoted to revealing the peculiarities of the artistic language of folk-stage choreography at the beginning of the XXI century. and to determine the specifics of the use of motifs of folk dance movements in the process of modern stage interpretation of Ukrainian dance. The article considers the processes of creating signs that make traditional Ukrainian dances unique, as well as identifies the features of their use and transformation in the context of the development of modern stage folk dance. The study found that the leading, determining role in the system of heterogeneous means of artistic language of stage folk dance belongs to the authentic dance culture. This is explained by several aspects: first, the archetypal nature of the stage dance itself, which finds expression not so much in the return to the syncretism of the archaic, but in the appeal to the inexhaustible potential of artistic and aesthetic possibilities contained in any archetype; secondly, the fact that folk-stage choreography is extremely receptive to creative pursuits and bold artistic experiments. That is why even in the most difficult, crisis moments in the history of Ukrainian culture, in the moments of its transformation and transition to a new level, stage folk dance plays a special role, because against the background of complex transformations returns Ukrainian culture national spirit, and on the other the language of folk-stage dance determines the search for new forms and meanings. It is noted that authentic Ukrainian dance, whose motives come from folk beliefs, legends, myths, rituals and ceremonies, is designed to promote the national identity of the modern generation, which is an urgent problem of socio-cultural space of the early XXI century.


2021 ◽  
Vol 25 (4) ◽  
pp. 379-382
Author(s):  
Victoria Arakelova
Keyword(s):  

The paper discusses the genesis of the demoness Šaša, an antagonist of procreation of the human race, attested in folk beliefs of Iranian peoples.


2021 ◽  
pp. 491-511
Author(s):  
Mary Lusky Friedman

Vulnerable outsiders obsess García Márquez. Each of the three books of tales he published between 1962 and 1992 offers more than one telling of a newcomer’s reception in a community to which he does not belong. “La siesta del martes” and “Un día después del sábado,” in Los funerales de la mamá grande (1962); “Un señor muy viejo con unas alas enormes” and “El ahogado más hermoso del mundo,” in La increíble y triste historia de la cándida Eréndira y de su abuela desalmada (1972); and nearly all of the Doce cuentos peregrinos (1992) narrate the indignities, outright violence, and, occasionally, kindness with which new arrivals to a community are met. García Márquez’s “outsider” stories not only rehearse one of his most emblematic plot lines but also show his fascination with what this article calls “monstrous innocence.” Especially in his magical realist and later work, he conjoins the physically or morally grotesque with innocence, understood now as childlike vulnerability, now as the premodern “inexperience” of Caribbean folk beliefs. This article analyzes how, in the course of his career, García Márquez comes to relate the motifs of the vulnerable outsider and monstrous innocence. Drawing at times on García Márquez’s autobiography Vivir para contarla (2002) and detouring briefly to show how Cien años de soledad invests a whole community with monstrous innocence, the article concludes by showing that, in his final tales, García Márquez identifies in death itself the signal source of vulnerability and casts the artist as monstrous, his work as innocent.


2021 ◽  
pp. 167-196
Author(s):  
Tatiana Panina ◽  
◽  
Tatiana Vladykina ◽  

Forest spirits are widely represented in the Udmurt traditional belief system. The present study is aimed at systematising traditional folk beliefs about the best-known mythological beings living in the woods, namely the n’ulesmurt (‘forest man’), palesmurt (lit: ‘half-man’), and obyda (‘forest woman’). The article provides a detailed description of the appearance of forest spirits, analyses their distinctive features and functions, and presents how beliefs about those mythological beings have evolved over the last centuries.


Author(s):  
N.V. Deeva

The study of naive perceptions of certain fragments of reality helps to identify the specifics of the national consciousness of the people who speak a particular language. The article deals with a systematic description of naive ideas about the soul and spirit (as similar concepts) fixed in the Polish picture of the world. Contemporary ideas about the soul and spirit in the Polish picture of the world are formed under the influence of pagan folk beliefs (the soul as a transparent, thin matter filling the human body), scientific views on the world (the soul as a combination of psychological, intellectual, emotional features of a person), as well as religious views (the soul as an intangible, immortal foundation in a man, reviving his body and leaving him at the time of a death). Soul and spirit are conceptualized as essences inextricably linked with the human body. Conceptual metaphor allows to concretize, to give conditional visibility to such abstractions as “soul” and “spirit”. In the Polish naive picture of the world the soul / spirit is endowed with signs of a living creature (including a person), plants, artifacts such as paper, fabric, book. The metaphor of space allows to imagine the soul as a kind of receptacle, which has a bottom and is characterized by signs of depth and breadth, fullness or emptiness. The metaphors of the characterizing type focus on significant for representatives of Polish culture signs of the soul, such as purity, kindness, strength, etc. The concepts “soul” and “spirit” being significant for Polish lingvoculture have multiple representations in the language through words, as well as free and stable combinations that are metaphorical in nature. The soul in the Polish naive picture of the world, on the one hand, is a source of life in a person, on the other hand, is the source of information about him, as well as his internal regulator and some value.


2021 ◽  
Vol 21 (3-4) ◽  
pp. 346-369
Author(s):  
Arkadiusz Gut ◽  
Andrew Lambert ◽  
Oleg Gorbaniuk ◽  
Robert Mirski

Abstract The present study addressed two related problems: The status of the concept of the soul in folk psychological conceptualizations across cultures, and the nature of mind-body dualism within Chinese folk psychology. We compared folk intuitions about three concepts – mind, body, and soul – among adults from China (N=257) and Poland (N=225). The questionnaire study comprised of questions about the functional and ontological nature of the three entities. The results show that the mind and soul are conceptualized differently in the two countries: The Chinese appear to think of the soul similarly to how they view the mind (importantly, they still seem to see it as separate from the body), while Poles differentiate it both in ontological and functional respects. The study provides important insights into cross-cultural differences in conceptualizing the soul as well as into the nature of Chinese mind-body dualism.


Author(s):  
Андрей Андреевич Бадмаев

В современности духовное наследие народов России, включая их традиционную картину мира, является объектом общественного и научного интереса. В этом ключе представляется важным реконструкция народных воззрений о животном мире. Целью работы является выявление значений волка в мифологических суждениях бурят и включенности этого дикого животного в их обрядность. Источниками для исследования послужили различные этнографические, фольклорные и лингвистические материалы. В работе использован в качестве основного структурно-семиотический метод. Анализ показывает, что у бурят сформировался неоднозначный образ волка, характеризующийся амбивалентностью коннотации. Выявлена в представлениях об этом звере особая роль символики цвета. Волк имел небесную (белый волк) и мужскую символику. Положительная коннотация выражалась также в признании апотропейной функции его шкуры. О сакральности его образа указывает соблюдавшийся охотниками обычай снятия с убитого хищника шкуры с головой и некоторыми внутренними органами. Отрицательная характеристика волка связывалась с тем, что этот зверь воспринимался как медиатор между мирами. Он отождествлялся с бедой. Полагали, что он имеет демоническую природу, служит транспортом для нечистой силы. На хтоническое происхождение хищника указывала его взаимосвязь с вороном. Волк также нес символику агрессии и увязывался с воинским культом. В этом контексте следует рассматривать его ассоциацию с оружием и идею оборотничества. Выяснено, что в шаманской обрядности бурят волк имел священный статус, что проявилось в поэзии и атрибутике шамана (в ритуальной одежде, в использовании волчьего фетиша). Определено, что народные воззрения бурят о волке находят параллели в традиционном мировоззрении других народов, что указывает на универсальные и типологические феномены в бурятской мифологической фауне. In modern times, the spiritual heritage of the peoples of Russia, including their traditional picture of the world, is an object of public and scientific interest. In this context, it is important to reconstruct popular views about the animal world. The purpose of the work is to identify the meaning of the wolf in the mythological judgments of the Buryats and the inclusion of this wild animal in their rituals. Various ethnographic, folklore, and linguistic materials were used as sources for the research. The paper uses the structural-semiotic method as the main one. The analysis shows that the Buryats have formed an ambiguous image of the wolf, characterized by ambivalent connotations. The special role of color symbolism is revealed in the ideas about this animal. The wolf had a heavenly (white wolf) and male symbolism. A positive connotation was also expressed in the recognition of the apotropaic function of his skin. The sacredness of his image is indicated by the custom observed by hunters of removing the skin from the killed predator with the head and some internal organs. The negative characteristic of the wolf was associated with the fact that this beast was perceived as a mediator between worlds. He was identified with trouble. It was believed that it has a demonic nature, serves as a transport for evil spirits. The chthonic origin of the predator was indicated by its relationship with the raven. The wolf also carried the symbolism of aggression and was associated with a military cult. In this context, we should consider its association with weapons and the idea of werewolves. It was found out that in the shamanic rites of the Buryats, the wolf had a sacred status, which was manifested in the poetry and attributes of the shaman (in ritual clothing, in the use of a wolf fetish). It is determined that the Buryat folk beliefs about the wolf find parallels in the traditional worldview of other peoples, which indicates universal and typological phenomena in the Buryat mythological fauna.


2021 ◽  
pp. 159-174
Author(s):  
Dejan Ajdačić

The author analyzes the origins and characteristics of werewolves (human-wolves) and lycanthropus (human-dogs) as dual-natured beings within Slavic folk beliefs. He also analyzes the way their mythological properties transform through literature. The werewolf’s mythos is approached through texts of 19th century authors, Russians Orest Somov (Oboroten: narodnaja skazka, 1829) and Alexander Kuprin (Serebrjanyj volk, 1901) and the Pole from Belarus Jan Barszczewski(Wilkołak, 1844), while the lycanthrope’s is viewed through the lens of the literary fairy tale by Serbian Joksim Nović Otočanin (Vrzino kolo i Zlatni i Alem-grad, 1864). The author puts focus on symbolism, specifically that of the human-beast dichotomy. The literary representation of this man-beast duality in 19th century Slavic written prose indicates a fantasy view of the coexistence between beast and man – the beastly in men, or the human in beasts.


Sign in / Sign up

Export Citation Format

Share Document