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• Die Vertreibung als Zäsur im religiös-kulturellen Leben der ungarndeutschen Gemeinde Budaörs/Wudersch?

  87-118

  Viktória Muka

  Views:

  169

  Die Arbeit befasst sich mit der Frage, inwieweit und warum sich die Vertreibung der deutschsprachigen bzw. -stämmigen Bevölkerung aus Ungarn, die 1946 in Budaörs/Wudersch begann, als historische Zäsur in der Gestaltung der dortigen Fronleichnamstraditionen durchsetzte. Wissenschaftliche Arbeiten, zumeist verfasst von Budaörser Ortshistorikern und Ortshistorikerinnen, behaupten, die Vertreibung hätte unmittelbar zur Änderung der Festgestaltung der vermeintlich 300 Jahre alten Budaörser Tradition des Blumenteppichlegens an Fronleichnam geführt. Beschreibungen des Festes in der heutigen Form beziehen sich auf die Vertreibung als die Zäsur, die zur Verkürzung des Prozessionsweges führte, welcher nun nur mehr um die Kirche herum führen durfte. In der vorliegenden Arbeit wird die Vertreibung 1946 als einzig mögliche Zäsur in der Festgestaltung hinterfragt. Dies geschieht aufgrund der Auseinandersetzung mit dem Wesen und den Charakteristika von historischen Zäsuren und der Analyse der lokalen politischen und gesellschaftlichen Entwicklungen in Budaörs in den Kriegsjahren. Um diese Entwicklungen auf lokaler Ebene in Budaörs nachzuvollziehen, wird in der Arbeit auf die Rolle von Kardinal József Mindszenty und der katholischen Kirche in Ungarn in den Jahren 1945–1949 eingegangen. Nach der theoretischen Auseinandersetzung mit Alben und ihrer identitätsstiftenden Funktion wird ein bisher zur Forschung nicht herangezogenes Quellenmaterial, ein Album im Erzbischöflichen Archiv in Esztergom/Gran, vorgestellt und analysiert. Das Kardinal Mindszenty 1948 anlässlich der von ihm durchgeführten Firmung in Budaörs zum Geschenk gemachte Album mit Fotos dieses Ereignisses und der lokalen Fronleichnamstradition zeugt davon, dass die Vertreibung nicht unmittelbar zur Veränderung des Prozessionsweges führte. Die Veränderungen in der Brauchgestaltung sind vielmehr als Folgen einer langjährigen Umwälzungs- und Anpassungsperiode an die politischen und sozialen Gegebenheiten zu verstehen, mitunter der sukzessiven Verfolgung der katholischen Kirche, die in der Festnahme von Mindszenty im Jahr 1948 mündete.

• Lore and the Process of Tradition: Locating the Place of Belief Narratives in Ka Phur Nongjri and Sohbar

  89-102

  Views:

  111

  Since the earliest times, the villages of Nongjri and Sohbar, located in the Southern Khasi Hills of North-Eastern India, have had their own religious ceremonies, customs, ways of behaving and beliefs that they share in their practice and narration. Their beliefs in certain village deities are linked with the well-being of the entire village, and are said to have existed from the time these villages were established. In the beliefs of the inhabitants of Nongjri and the village of Sohbar, the deities, mani­fest themselves in various performances and folksongs, and therefore, have become part of the performance itself. Deities, often in the form of human beings, engage in conversation with the villagers. Folklore also tells us that during festivities the ap­proval of the celebrations by village deities becomes the key aspect to foretell the particular nature of the coming year.

  The lore gathered from the places considered for this study would provide us with a new perspective on belief narratives existing in the Khasi community, while continu­ally locating the position of lore and various processes of tradition in the socio-cultural and religious milieu of both Nongjri and Sohbar. The narratives explored in this paper will also provide – in the Khasi cultural context – the essence of War-Khasi beliefs and rituals that have remained largely undocumented.

• Post-UNESCO Effect: Chhau’s journey from Cultural Sentiment to Commercialization

  69-88

  Views:

  140

  Chhau, a traditional masked dance form of West Bengal has been enlisted as ‘UNESCO- Intangible Cultural Heritage of Humanity, 2010’. In 2015, UNESCO along with the MSME of Government of West Bengal developed a ‘Rural Craft Hub’ in Chorida village of Purulia district centring Chhau. Consequently, tourism in the area got international and national patronage. This entire phenomenon encouraged the commercialization of the traditional dance and craft form associated with Chhau as a result of heritagization. Unfortunately, the implication of the heritagization happened in a flawed fashion which eventually led to folklorization and institutionalization while compromising their contextual significance. The paper explores how heritagization ensures the sustainability of intangible tradition like Chhau while leading to folklorization and institutionalization of performance and craft. The paper also documents the history and ritualistic significance of Chhau to draw a lucid comparison between the traditional form and the form which is the result of folklorization. The paper establishes that the Heritagization- Folklorization- Institutionalisation are intertwined with each other in the context of Chhau.  From the interviews of the tourists and locals associated with Chhau, it is evident that the organization concerned with policy making should keep it in mind that an enormous distortion of craft and performance comes along when the target buyers in the market are alien to the traditional context. In such a scenario, the contextual significance of a craft form can be kept intact if the targeted buyers can be made aware of the contextual and functional relevance of the folkloric element that they are consuming in its modernized version.

• english

  205-216

  Andreea Buzas

  Views:

  70

  This paper work is a very brief presentation that brings the reader into the front of the most important open-air museums from Romania and tries to emphasize the value of their identity. This work is, in fact, a presentation of an extensive doctoral program, after which we will publish a book, and we hope that we will be able to develop certain topics right in the pages of the journal Ethnographica et Folkloristica Carpathica. The quick development of museums has generated a veritable Romanian school of museography, recognized both nationally and internationally. The source of this development is represented by the speech of museum; that is how the museum manages to revaluate its available potential and to get imposed in areas of interest from most various: scientific, educational, cultural, touristic, ensuring the representation of as many ethnographical areas as possible. Although the concept of ethnographical museum allows multiple approaches and definitions, this essay highlights the role of the identity of museums and their way of representing the traditional village, given the dynamics and the abandonment of traditions. 

• Posthumous Culture of Montenegrins on a Timeline between Past and Present : The Pattern of Behavior

  33-53

  Milena Medojevic

  Views:

  89

  Montenegro is a country with a valuable and long tradition of everything related to life, especially death. Posthumous culture is remarkably detailed and significant for the people, most importantly in the earlier period when it represented the only foundation that held society together in difficult historical moments. This type of partially morbid way of self-expression of people has its roots in the deep and troubled past, often difficult and cruel to the inhabitants of Montenegro. The attention was pointed at the many traditional aspects, unwritten rules, and customs different from place to place, but in general, preserving the same function. From the type of clothes for the deceased, the eulogies uttered at the gravesite, to the male and female roles at the commemorations – the article handles the typical funeral processes. The aim of this paper is to acquaint the reader with the manner of behaviour of the Montenegrins towards the phenomenon that occurs when a person in the community dies and how a typical family handles the situation. For the sake of the research, interviews with two subjects providing their own perspectives were conducted. The significance of the study is personified by the sometimes contradictory stances of the people on death and the inevitable merging of secular and religious life.

• Der Sattel: Unser östliches Kulturerbe

  149-193

  Imre Gráfik

  Views:

  100

  Der Beitrag fasst die wichtigsten Erkenntnisse über den Sattel, das östliche Erbe der ungarischen Kultur, basierend auf den Ergebnissen von Forschung und einer Ausstellung zusammen.Die Pferdezucht hatte eine wichtige Rolle im Leben der sich im Karpatenbecken angesiedelten Ungarn. Die Bedeutung des Reitens ist in Ungarn bis zur Hälfte des XX. Jahrhunderts zu beobachten. Die Gegenstände – unter ihnen die verschiedenen Sättel - die mit der reitenden Lebensweise und Kultur zusammenhängen, waren gleichermaßen unter den Andenken der höheren Gesellschaftsklassen und der volkstümlichen Bildung zu finden.So wie fast jeder feste Bestandteil unserer gegenständlichen Kultur, so durchlief auch der Sattel viele verschiedene Stadien, Typen und Formen, je nachdem, wer ihn zu welchem Zweck oder Anlass bestieg. Mit den Jahrhunderten wandelten sich die Lebenswelten und –bedingungen, und parallel dazu entwickelten sich auch unsere allseits bekannten Gegenstände. Der Sattel stellt hier keine Ausnahme dar, obwohl eingeräumt werden muss, dass er zu jenen Kulturgütern gehört, die schon sehr früh ihre optimale funktionelle Form und Struktur erhielten, sodass er im Laufe der Zeit kaum geändert werden musste.Die von den Ungarn benützten Sättel entsprachen hervorragend den verschiedenen Anforderungen der Reitkultur, wie Fernritte, Ritterkämpfe usw. Eine der besten Eigenschaften der hierzulande bekannten Holzsättel ist, dass sie das Pferd schonen. Die Sättel können allgemein in zwei Grundarten eingeteilt werden, je nach struktureller Eigenart. In der Umgangssprache werden diese Kategorien östlicher bzw. westlicher Typ genannt. Aber rein fachlich gesprochen, wäre es aufgrund des untersuchten Materials eher angebracht, grundsätzlich zwischen den beiden Grundtypen Zwiesel-Flügel-Sättel und Gabel-Seitenbrett-Strukturen zu unterscheiden. Wichtigstes Merkmal des ungarischen Sattels ist, dass er ein ausgeprägter Osttyp ist.Der Sattel von Tiszafüred war eine distinkte und berühmte Variante des ungarischen Sattels. Nach dem Vorbild der ungarischen Husaren verbreitete sich die leichte Kavallerie in ganz Europa, und mit ihr wurde über Jahrhunderte hinweg der ungarische Sattel verbreitet, als unabdingbarer Ausrüstungsgegenstand.Heutzutage kann beobachtet werden, dass das Interesse an der Geschichte und den Traditionen der Reitkultur wieder im Steigen begriffen ist.

• Legends of a Transylvanian Shrine to the Virgin Mary

  43-68

  Views:

  77

  My paper presents a legend tradition related to a well-known Hungarian (Transyl­vanian) place of pilgrimage. Csíksomlyó (Miercurea–Ciuc/Sumuleu) – cur­rently part of Romania ‒ has become a significant place of pilgrimage in the 20^th century, similarly to Austria’s Mariazell, Spain’s Santiago de Compostela, the Orthodox Church’s Athos, or the main international shrines to the Virgin Mary (Lourdes, Fatima, Medjugorje). Around this famous pilgrimage place known from the 15^th century a thematically rich legend circle has developed over the centuries, typical of Hungarian folklore, which abounds in historical and narrative traditions. At the centre of the group of legends stands the statue of the Virgin Mary, of gothic origin, the miraculous reputation of which is complemented by several historical legend themes (foundational traditions, wars, heroes and saints, crime and punish­ment and other legend motifs inspired by the sacred place). I highlight the most important historical perspectives, the chronological characteristics, the geographical distribution and, above all, the typological diversity of these legends. The legend circle of the shrine of Csíksomlyó in Romania is the totality of the related narrative traditions, that is to say, both the hundred-year-old miracle stories found in written form in different historical sources, and the recent folklore texts collected from oral tradi­tion. Although the time and the circumstances of the records differ significantly, the aim of the narration and the topic of the legends are the same. The legends about the shrine – separated into the given thematic groups – are an organic part of the Catalogue of Hungarian Historical Legends.

• Hannā Diyāb’s “A Sultan of Samarcand”, an Eleventh-Century Old Georgian St. George Legend, and the Construction of an Early Modern Fairy Tale

  7-22

  Views:

  136

  Of the sixteen stories Hannā Diyāb told Antoine Galland to help the elderly scholar complete his 12-volume Mille et Une Nuits (1704–1717) six were omitted. This article examines one of the six discarded tales, “A Sultan of Samarcand”. Rediscovered by Hermann Zotenberg in the late 1880s, translated soon there­after into English by Richard Burton, it was contextualized historically as a product of Eastern Christian narrative tradition by Joseph Szövérffy in 1956 and categorized typologically by him within the Aarne–Thompson tale-type index, as it then existed. Kevin Tuite’s recent research and translation of an eleventh-century Georgian religious legend supports my hypothesis that the Christian St. George legend supplied the story’s core episode. The role of reference works is introduced inter alia to illuminate their role within knowledge creation in general and in the discontinuities of “A Sultan of Samarcand” research in particular.