Zaraza nadchodzi i odchodzi – myślenie o chorobach epidemicznych utrwalone w języku

In this article, I present selected aspects of the linguistic image of the plague (I am especially interested in names and their etymology, the causes of the disease, images of the plague, and remedies). I mainly rely on materials related to Polish folk culture, but I also mention some contemporary contexts to show a certain durability of beliefs related to the plague. I use the notion of a linguistic and cultural image of the world understood as a colloquial interpretation of reality that can be explicated not only using verbal data, but also with non-verbal data preserved in petrified texts of culture. In my considerations, I refer to the so-called cognitive definition. The material basis of the analysis presented (in line with Jerzy Bartmiński’s assumptions) consists of lexical and textual data: names (confirming the “perspective of reality”), information transmitted on an onomasiological basis, revealed in the etymological and word-formation analysis, meanings given in the definitions in Polish and dialectal dictionaries, word-formation derivatives, metaphorical extensions, phraseologisms, collocations (phrases), metaphors, proverbs, healing formulas, etc. In Polish folk culture, the plague was imagined as a living creature (woman) who could roam the land (come and go), come to the village, talk to people, put them to death, or save the ones she chose to live. These images of the plague made peasants try to secure their space and to create a safe zone for themselves and their community by means of various magical procedures.

Chronotope of Ukrainian folk art culture as a dialectical unity of traditional and innovative models of life in the space and time of the XXI century

The purpose of the article is the conceptualization and rethinking of the meaning of Ukrainian children's folklore as an integral part of the structure of Ukrainian folk art culture and carefully crafted magic rituals. Updating the concept «Ukrainian children's folklore» in the context of cultural knowledge, defining the essence of this phenomenon in the chronotope of the 21st century and evaluating temporal and spatial unity, which contributes to the preservation of the national cultural heritage, the dialogue of different cultures and human unity, is also the goal of the work. The delineation of the essence of this phenomenon in the chronotope of the XXI century and the assessment of temporal-spatial unity, which contributes to the preservation of the national cultural heritage and dialogue of different cultures, is also the goal and object of analysis. The methodology consists in applying comparative and concrete-historical methods for conceptualization of Ukrainian children's folklore in the context of national folk art culture, use of formal method, as well as hermeneutic interpretation method for analysis of the concept of «children's folklore» and its functions in today's chronotope. The scientific novelty lies in the actualization and conceptualization in the context of culturological knowledge of Ukrainian folklore, including children's (riddles), as a complex phenomenon and an integral part of the morphology and typology of national folk art culture in the chronotope of the XXI century. Scientific novelty also consists in revealing on the basis of delineation and comprehension of essence, dynamics of laws of development and an estimation of internal structure and space-time unity of functions of the Ukrainian national art culture, consideration of interaction of oral folk art of the childhood and dialogue of various cultures. Conclusions. In modern socio-cultural reality the question of understanding the chronotope of Ukrainian folk art culture as a dialectical unity of traditional and innovative models of life in space and time and conceptualization of Ukrainian children's folklore (riddles) in the context of culturological knowledge as an integral part of morphology and typology of national folk art culture. Ukrainian children's folklore in its diversity of forms, types, functions, purposes is an attractive phenomenon that requires further conceptualization and continuation of thorough research. Defining the essence of this phenomenon in the chronotope of national folk culture contributes to the preservation of national cultural heritage and dialogue of different cultures in the XXI century. Keywords: Ukrainian folk art culture, folklore, children’s folklore, riddles, musical folklore, dialogue of cultures, oral folk art, national culture, chronotope, space-time interrelations.

The Influence of Daoism on the Dramatization of the Liaozhaixi of Chuanju

This study employs a collection of fresh resources of the Liaozhaixi of Chuanju (Sichuan opera) to examine the influence of Daoism upon the dramatization of Chinese theatre. In contrast to Buddhism, it has long been supposed that Daoism has exerted only a minor influence on Chinese theatre. Despite some progress after the year 2000, the research into Daoism’s influence on Chinese theatre is still in its infancy. Noting the gap in the literature, the study identifies that the Liaozhaixi of Chuanju has provided us with some exceptional insights into Daoism’s influence on Chinese theatre. Since 2012, the successive publication of 24 Liaozhaixi scripts of Chuanju allows us to more fully enter the exploration. Reinforced by these fresh resources, the study summarizes the influence of Daoism on the Liaozhaixi of Chuanju into two typical adaptation approaches, “transplantation” and “improvement”. By analyzing the two approaches, the study will manifest how Daoism has shaped the dramatization of the Liaozhaixi of Chuanju and will employ these approaches to exemplify the confluence of religions and dramas in Chinese folk culture.

Aleksei Petersoni roll vepslaste ja udmurtide rahvuslikus taassünnis (1980.–1990. aastad)

Estonian ethnographers have always taken a keen interest in Finno-Ugric peoples, their linguistic kin. The golden age of Finno-Ugric studies in Estonian ethnography began in the 1960s and lasted until the early 1990s. The State Ethnographic Museum of the Estonian SSR in Tartu (the current Estonian National Museum) emerged as the center of Finno-Ugric research with its long-term director Aleksei Peterson at the helm of the enterprise. Estonian ethnographers visited almost all Finno-Ugric peoples, with the major focus given to the Veps in the 1960s and 1970s, and to the Udmurts, in the 1980s. The museum acquired an awe-inspiring number of ethnographic objects, descriptions, photographs, drawings and films. Did all this benefit the peoples visited? What was the relationship of Estonian ethnographers with the subjects of their research? Did their plight affect Estonian scholars? The Estonian ethnographers had a high regard for the ethnic particularities, languages and traditional folk cultures of the kindred peoples and resisted their disappearance. Their views contradicted the Soviet nationalities policy which until the mid-1980s, emphasized the convergence and assimilation of nations. The interaction between the Estonian ethnographers and the Veps and Udmurts during the long series of expeditions helped to stimulate the suppressed and weak ethnic self-esteem of the latter. The mid-1980s marked the beginning of the era of Gorbachev’s glasnost and perestroika. As a result, national issues could be discussed openly, and it was at that time that the national revival of the Veps and Udmurts began. Estonian ethnologists embraced the process and actively contributed to it. This is especially true of Peterson, who was quite well known in Vepsia and Udmurtia and had a certain authority there. In his speeches at various events and in the press, Peterson encouraged the use of Veps and Udmurt in public life, including the schools. He emphasized the need to place a greater emphasis on traditional folk culture, which he considered to be critical to the national identity of small nations. His ideas influenced the creation of the open-air museum of the Udmurts. He supported the territorial autonomy of the Veps. He could speak as a messenger of perestroika whose word had weight. Thus Veps and Udmurt activists and nationally-minded ordinary people received inspiration and moral support from Peterson (and other Estonian ethnographers) for the preservation of their mother tongue, national identity and cultural heritage.

From Sementovskij to the 20th century. Notes on the Lutsis in the Latvian press

The Lutsis, a historically South Estonian-speaking language island community located near the town of Ludza in southeastern Latvia, have come increasingly into public awareness in Latvia over the last decade with the release of books on Lutsi history and language suitable for both professional and lay audiences as well as other new works relating to Lutsi folk culture. However, even before this recent burst of activity, the Lutsis have been mentioned in the Latvian and Estonian press and have also appeared in the field notes of researchers whose work was connected with the Lutsis. This article traces the descriptions of the Lutsis in a variety of sources from the first descriptions in the mid-19th century, through the interwar independence of Latvia, and as late as the 1970s when important expeditions by Latvian researchers documented the impressions of the last Lutsi speakers on the state of their language and culture. Kokkuvõte. Hannes Korjus: Sementovskijst 20. sajandisse. Märkmeid lutsidest Läti ajakirjanduses. Kunagine lõunaeestikeelne lutside kogukond elas Kagu-Lätis Ludza linna ümbruses. Lätis on nad saanud suurema avaliku tähelepanu osalisteks alles viimastel kümnenditel, kui on ilmunud raamatuid nende ajaloo ja keele kohta nii asjatundjatele kui ka laiemale huvirühmale ning on hakatud elavdama lutsi rahvakultuuri. Siiski ka enne seda viimast aktiivsuse tõusu on lutsidest kirjutatud Läti ja Eesti ajakirjanduses ja on ilmunud välitööde märkmeid lutsidega seotud uurimuste tegijatelt. Antud artikkel jälgib lutside kirjeldusi erinevates allikates alates varastest mainimistest 19. sajandi keskel, jätkates maailmasõdadevahelise perioodiga ning jõudes viimaks 1970. aastateni, kui Läti uurijad dokumenteerisid oma ekspeditsioonidel viimaste lutsi kõnelejate keelelist ja kultuurilist olukorda.

Echoes of Medieval and Pre-Modern Animal Trials in the Interlude Declamatio sub forma iudicii (1735)

Declamatio sub forma judicii can be found in the Graudenz Codex (1731–1740). It is an interlude that jokingly reports an animal trial. The interlude is a humorous treatment of the historical trials on animals that continued from the Middle Ages to the eighteenth century. Onthe one hand, such eighteenth-century discussions of animal trials continued the medieval tradition. This would confirm the diagnosis about the existence of the “long Middle Ages”, especially in Central and Eastern Europe, where the cultural trends could be somehow belated in comparison to those in the West. On the other hand, perhaps writing about animal trials in the eighteenth century was already a form of medievalism. High culture propagated anthropocentrism in its thinking about animals, while folk culture entailed anthropomorphism. In animal trials animals are treated as subjects to the same regulations as humans, which means that they were seen as very much similar to humans. The eighteenth-century interlude recreates this tradition, but it is a source of satirical laughter.

The Expression and Research of Folk Culture in Book Binding Design

Nowadays, with the rapid development of China, Folk culture turned to be ignored due the openness and progressive. Folk culture needs to be inherited as well as developed. So, we need to pay more attention to folk culture. Meanwhile, book binding design is inseparable from culture. This dissertation studies how to design books better and how to publicize Gannan Hakka culture which belongs to Folk culture better through books. This article revolves around Gannan Hakka culture under the folk culture, to get in further logically and discover the method of how to design the book which could be able to represent the feature of Gannan Hakka Cultuer hierarchically. Firstly, this dissertation introduces the present situation of book binding design and the importance of folk culture to the design of book binding. Secondly, we can take some examples about the behavior to the book binding design in folk culture from three elements in visual communication design graphic, text and color. And then drawing a conclusion with the design principles and performance techniques in the design of the book binding, besides illustrating the specific performance of Gannan Hakka by diet, customs, clothing, architecture. Finally, I finish the "Gannan Hakka culture," this book is the final research results of my book binding design used in Gannan Hakka culture.

Role of folk culture in ecological education

At the present stage, the topic of environmental research is actively developing in all areas of human activity, and becomes a cornerstone in their formation and development. The following concepts are widely accepted: ecological nurture, the issue of ecology in science and art, ecological education, ecology of culture, ecology of human behavior, ecological safety of the environment, etc. The conservation and development of environmental criteria seems to be a factor in the sustainable development of all processes of human activity in the context of globalization and internationalization. The issues of preserving the identity and ecology of culture are of particular importance. In this article, using the Kazakh language as an example, are given the words that reflect the essence of the cultural ecology of the people. According to the opinion of the authors, the study of a foreign language must begin with words that reveal spiritual life, ideology, worldview, beliefs, a strong connection that unites the outdated, living and future generations of the people into one great historical living whole. It is proposed to adopt a comprehensive method of learning a foreign language through the study of the entire culture of the people.

Wianki i wieńce w kulturze ludowej – symbolika i magia. Zarys problematyki

[Garlands and wreaths in folk culture – symbolism and magic. An outline] The paper analyzes symbolic and magical significance of garlands and wreaths in folk culture. It takes into consideration their shapes and component parts as cultural codes. It presents examples of using woven plants in folk practices, both in rites of passage and in magical activities (fortune-telling, protective magic). It also includes basic analysis of the symbol of a garland in folk songs.