This Thesis discusses the mapping and documentation of the folklore of Moravian Slovakia and traditional folk culture in collections of the Museum of Czech Literature. The collections of this culture government organization have never been researched from this point of view before. The thesis findings reveal that a great number of archives oriented on folkloric rich ethnographic region of Moravian Slovakia have been found in the collections of the Museum of Czech Literature, specifically in the three following departments of the museum: Literary Archive, Art Collections, and Library. The vast majority of the found materials come from the 19th century and first half of the 20th century. The archives are composed of a wide range of materials, such as manuscripts, typescripts, photography, cuttings, printings, drawings, lithography, graphics, sculptures, paintings, publications, periodicals, bibliophile books. The found materials belong to the traditional folk culture, as far as high art and culture. The outcome of this study is a proposal for the exhibition project Slovácko! which is intended to illustrate possible ways how to propagate and present the explored artifacts and archive materials from the collections. Drafts of financial sources, staffing, concept of the exhibition and graphic solution of some promotional designs are included in the proposal.

The thesis aims to determine the influence on the development and preservation of traditional folk culture which had the inscription of two cultural assets, The Ride of kings and The Slovácko verbuňk, on the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO in the region of Slovácko. In general the thesis also introduces applicable regulations of UNESCO in the field of intangible cultural heritage and their application in the Czech Republic. In more detail, the thesis devotes to the process of inscription of both cultural assets on the Representative List of UNESCO, particularly to the safeguarding measures and obligations arising from it for the Czech Republic. In conclusion the thesis explains how these safeguarding measures are met, and analyzes the impact of the entry to the UNESCO for assets themselves and their recipients and for general public.

Jiří Dynda Gods and Demons: The Construction of the Slavic Paganism in the Medieval Textual Sources PhD Thesis, Faculty of Arts, Charles University Abstract The thesis focuses on the analysis of ways of discursive construction of Slavic paganism in medieval written sources. Three chapters attempt to answer the basic research question: how are the elements of Slavic paganism (and especially its concept of divinity) described before; shortly after; and long after Christianization. In other words, how paganism was portrayed as an active external enemy, as a defeated enemy, and as an internal enemy of medieval Christianity. The discourses analysis is applied to more than a dozen case studies of specific sources or their groups. These written sources are analysed also in comparison with other textual, archaeological and ethnographic sources. By thorough identification of several discursive strategies (idolatric, demonological, ortho-practical, euhemeristic and Graeco- Roman interpretation) in the sources the thesis is directed towards a detailed knowledge of the specifics of the Christian perspective (interpretatio Christiana) on the Slavic pagan religions. Thus, the thesis contributes to the possibilities of their understanding. In particular, the concept of divinity in functioning pagan societies in comparison...

This Diploma Thesis is focused on the issues of care for the traditional folk culture in the Czech Republic. In the theoretical part there is described the development of international and Czech legislative in the field of traditional folk culture, which has an impact on the practical care. The care is practised by the assigned regional centres of care for traditional folk culture in all regions of the Czech Republic. The assigned centres work in accordance with the Strategy of Improved Care for Traditional Folk Culture in the Czech Republic 2011-2015. Aim of this thesis is to find out by means of analysis and comparison whether the assigned regional centres fulfil the specific tasks formulated in the Strategy. For this purpose a special questionnaire was created and evaluated. The results of the analysis will be used as a source material by the Ministry of Culture Czech Republic. On the basis of the results it will be possible to change, reduce of re-formulate the tasks for the regional centres in the new Strategy.

This thesis comprises translations of five articles by the Russian ethnolinguist Nikita Iljich Tolstoy, some of which deal with the theory of the ethnolinguistic approach to language and the Slavic culture and others demonstrate a practical application of such an approach and such methods on the traditional Slavic culture. They present this approach as a continuous development of linguistic research which draws on the rich tradition and at the same time transcends its past and enriches it with new points of view. This also constitutes a unique way of preserving the legacy of our ancestors while simultaneously showing it in a new light. Aside from the translations the present thesis also includes an introductory study dealing with general characteristics of ethnolinguistics, its goals, subject, methods, and various schools of thought. In addition, chapters are included introducing the scientific work of N. I. Tolstoy and other members of the Moscow School of Ethnolinguistics. Present are also notes and comments on the translation, clarifying terms from the Russian cultural tradition not necessarily familiar in the Czech environment and explaining certain terms that may be difficult to translate.

Made available in DSpace on 2016-08-03T12:30:18Z (GMT). No. of bitstreams: 1 DAlmeida.pdf: 1180900 bytes, checksum: 75438076e785258e5c78b3858cae16b6 (MD5) Previous issue date: 2003-12-09 / This work seeks to identify the ways in which folk culture is (re)interpreted in the mass media through the analysis of documentary movies produced between 1968 and 1970 in the Northeast by Caravana Farkas; the pioneer in documenting the manifests of the Brazilian folk culture. In order to accomplish such purpose, Farkas s documentaries are discussed in this study as to how they fit in the Brazilian political-cultural perspective of the 60 s. This study also looks at which conditions allowed for the building of Farkas s speeches, the rules such speeches established, and finally how and why such folk cultural manifestations have become object of study and attention of the so many movie makers ¾ and what was defined by them as folk culture . The basic theme that transpires in Farkas s documentaries is one of the other culture, one which has its place in the past and does not belong in the here and now of modernity. The individuality and the representation of the other are trespassed by the social differences and the character of the political and cultural resistance of the folk culture. In the movie makers point of view, much is lost in the appearances of a world whose destiny has already been determined: the extinction. The documentaries, on the other hand, serve as a mean of confrontation between the different cultures and also as a mean of dialogue between them, generating new and multiple meanings that do not depend on the movie makers will. As a consequence, a new speech about a determined reality arises to life. Not much as an image (as the one seen in a mirror), but more a reference of a time and space that cannot be relived. On the tracks of the folk culture, the trip of the Caravana Farkas does not lead to a final or tranquil ending; for it is intertwined by contradictions and incompatibilities that questions aroused by the discussion of reality brings about. But the trip makes evident that its importance for the studies in Communication is in its own journey and in its permanent and endless dialogue between cultures it provokes. / Este trabalho busca identificar a maneira pela qual a cultura popular é (re)interpretada nos meios de comunicação de massa, a partir da análise dos filmes documentários produzidos pela Caravana Farkas, um projeto pioneiro de documentação de manifestações de cultura popular brasileira, realizado entre 1968 e 1970 no Nordeste. Para tanto, discute-se como os filmes se inserem no panorama político-cultural do Brasil da década de 60; quais as condições que permitiram a construção de seus discursos; que regras esses discursos estabeleceram; como e por que as manifestações culturais populares passaram a constituir objeto de estudo e de registro dos cineastas; e o que era definido por eles como cultura popular . O tema básico que perpassa os filmes é o da cultura de uma classe outra, que está no passado e não tem lugar no aqui e agora da modernidade. A alteridade e a representação do outro estão traspassadas pelas diferenças de classe, e o caráter de resistência cultural e política das manifestações de cultura popular, na visão dos cineastas, se perde na aparência de um mundo cujo destino já está traçado: é a extinção. Os filmes documentários, por outro lado, servem de lugar de confronto das diferentes culturas e de diálogo entre elas, gerando novos e múltiplos significados, que independem da vontade dos cineastas. É dessa maneira que constroem um novo discurso acerca de uma determinada realidade. Menos um reflexo, no sentido de espelhamento, mais uma referência de um tempo e um espaço que não se repetirão. Nas trilhas da cultura popular, a viagem da Caravana Farkas não chega a um termo nem a um final tranqüilo, pois é envolvida pelas contradições e incompatibilidades que as questões suscitadas pela discussão do real provocam. Mas deixa evidente que a sua importância para os estudos da Comunicação está na própria jornada e no diálogo permanente e infinito entre culturas que esse caminhar provoca.

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Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2013-12-03T16:52:00Z No. of bitstreams: 2 Costa, Tony Leao-Tese-2013.pdf: 2384708 bytes, checksum: de1317c23c9d40d0479b92c65528f53a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2013-12-03T16:52:00Z (GMT). No. of bitstreams: 2 Costa, Tony Leao-Tese-2013.pdf: 2384708 bytes, checksum: de1317c23c9d40d0479b92c65528f53a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2013 / O presente estudo trata de um duplo e complementar fenômeno histórico. Primeiro, elucida uma tradição de elaboração de música popular no Pará a partir da cidade de Belém. Essa tradição foi constituída de uma vertente de música identitária, que tem no carimbo o seu principal símbolo, e de uma segunda vertente de música popular “povão”, a qual se estabeleceu marginalmente junto à primeira. Essas duas vertentes constituíram a tradição local que está, por sua vez, em constante processo de mudança e reelaboração. Como pano de fundo desse processo esteve a “hipermagem” da cidade de Belém, entendida como o território da cultura popular e musical dos subúrbios e periferias, e suas conexões com o interior do estado do Pará e com o “centro” da cidade. Esse território marginal é visto aqui como mediador, por excelência, de gostos musicais subalternos, que em alguns momentos tenderam a se expandir e a contribuir para a constituição da tradição musical local. O segundo tema aqui estudado é a relação de aproximação e/ou afastamento entre essa tradição local e a grande tradição da música popular no restante do Brasil. Os contatos da “música regional” com a “música brasileira” estiveram sempre permeados por uma tensão constituinte, geradora de diferenciação e de identidades mais ou menos intercambiáveis. Observou-se, portanto, que, a partir da hipermagem da cidade de Belém, gostos e gêneros musicais foram cultivados, reelaborados e expandidos para a tradição local, mediados por agentes como a indústria cultural, a intelectualidade artística e a rede de festas populares. Em um circuito mais amplo, essa mesma tradição local estabeleceu contatos com a grande tradição nacional ou com tradições musicais alternativas, como a música caribenha. O mundo cultural da hipermagem e as conexões de sua cultura popular e musical a partir de Belém constituíram uma narrativa sonora subalterna e divergente à narrativa oficial e aos padrões de gosto da tradição musical do Pará e do Brasil. / The present study is about a double and complementary historical phenomenon. First, the scheduling of a tradition of popular music in Pará starting from Belém city. This tradition was built from a strand of identitary music which has “carimbó” as its main symbol and a second strand of popular music “povão” that established slightly with the first. These two strands settled down the local tradition that is, in its turn, in a constant process of changing and redesigning. The “hipermargem” of Belém was working as a background of this process, which is understood as folk culture and musical territory of the suburbs and peripheries and their connections with the interior of Pará state nad the “center” of the city. This unrestrained territory is seen here as a worth mediator of subordinate musical tastes that sometimes tended to expand and contribute to the local musical tradition establishment. The second topic studied here is the closeness and/or deviation relationship of this local tradition with the great popular music tradition in the rest of Brazil. The contacts of “regional music” with “Brazilian” music have always been permeated with a basic tension, generating differentiation and more or less interchangeable identities. It was observers, therefore, that since the “hipermargem” of Belém tastes and musical genres were cultivated, reworked and expanded to the local tradition, mediated by agents such as the culture industry, the artistic intellectuality and the popular festivals network. In a wider circuit this same local tradition established contacts with the great national tradition or with alternative musical traditions such as Caribbean music. The “hipermargem” cultural world and its folk culture and musical connections from Belém constituted a sound subordinate narrative opposite to the official narrative and patterns of taste and musical tradition of Pará and Brazil.

The dissertation focuses on the phenomenon of a new presence of references to traditional folk culture in contemporary Czech and Slovak art. Emphasis is placed on the period from the year 2000 to the present. The core of the work consists of chapters devoted to artists who in this period significantly thematized various aspects of traditional folk culture, either as a partial element of specific projects or in the form of continuous interest in the field. The essence of this part is to show the breadth and heterogeneity of the examined manifestations across the media spectrum. The main purpose of the work is to analyze and place the researched phenomena in a relevant context within the theory and history of art. The reason is their different nature from thematically similar manifestations in the 19th and 20th centuries. In addition, when compared with current trends abroad, a number of connections are shown, such as links to environmental issues, criticism of the state of society and, above all, to new issues related to personal and collective identification. Therefore, I base the analysis of these phenomena on a hybrid interdisciplinary basis using theoretical approaches to identity in the social sciences and humanities. I do so in the introductory theoretical chapters, but the main focus is on the final analytical synthesis. To a large extent, it also builds on data obtained from interviews with artists, the transcripts of which the reader will find in the appendix. Finally, the documentation of curatorial projects and exhibitions realized as a practical part of the dissertation project is attached.

The thesis focuses on folk culture in Chodsko. The main focus is folk songs and collectors. It provides an insight into the differences between the Upper and Lower Chodsko region. Reader will find important historical and present personalities for regional folk culture. At the end of the thesis there is a proposal for working with Chodsko's folk culture in the primaey school environment. KEYWORDS Chodsko, folclore, folk culture, folk music, folk dance, Ludvík Kuba, folclore to school, Here we are home