Suchergebnisse

This article features and interprets the 'Ploner-Debate', a public debate in Tyrol and South Tyrol, that focussed on the interdependencies between 'folk culture' ('Volkskultur') and NS-ideology in historical perspective and the contemporary dealing with this 'brown heritage' in political and public contexts. As one important result of this debate, the provincial government of Tyrol initiated research projects on this topic, among them one about the Intermediate Post for 'German Folk Costume' (Mittelstelle 'Deutsche Tracht') in Innsbruck (1939–1945), its head Gertrud Pesendorfer and its effects up to today. By reconstructing the debate, this article explains the background, aims and challenges of a research project about folk costumes in the context of current discussions around 'folk culture' ('Volkskultur') in European Ethnology. ; This article features and interprets the 'Ploner-Debate', a public debate in Tyrol and South Tyrol, that focussed on the interdependencies between 'folk culture' ('Volkskultur') and NS-ideology in historical perspective and the contemporary dealing with this 'brown heritage' in political and public contexts. As one important result of this debate, the provincial government of Tyrol initiated research projects on this topic, among them one about the Intermediate Post for 'German Folk Costume' (Mittelstelle 'Deutsche Tracht') in Innsbruck (1939–1945), its head Gertrud Pesendorfer and its effects up to today. By reconstructing the debate, this article explains the background, aims and challenges of a research project about folk costumes in the context of current discussions around 'folk culture' ('Volkskultur') in European Ethnology.

The purpose of the article is to study the diversity of elements of traditional Ukrainian clothing and their symbolic content in the folklore of the Cossack period; to conduct a substantive analysis of folk art samples in terms of their classification and references to the component parts of the costume. The research methodology is based on an interdisciplinary approach. To solve the tasks set, a number of scientific methods were used, namely: historical and chronological, method of comparison and generalisation, art historical analysis, using the principles of systematicity and historicism. The source base was the heritage of Cossack folklore – lyrical, epic, and lyric-epic works. Scientific novelty. The folklore heritage of the Cossack era – the works of the Cossacks themselves and oral folklore about the Cossacks – was studied in view of the presence in their numerous samples of references to elements of traditional costume as the personification of the material and spiritual culture of Ukrainians, where each part of the integral set of clothing performs utilitarian, aesthetic, ritual, ethno-patriotic, and other functions. This applies to such common costume components as shirt, hat, belt, outerwear, and shoes. They were not only everyday items but also symbols of individual events in Cossack life. Conclusions. The analysis of the national folklore heritage of the Cossack era – the works of the Cossacks themselves and oral folklore about the Cossacks – has testified to the presence in their numerous samples of references to elements of traditional costume as the personification of the material and spiritual culture of Ukrainians, where each part of the complete set of clothing plays utilitarian, aesthetic, ritual, ethnopatriotic, and other functions. It has been found that references to such elements of traditional clothing as headwear, underwear and outerwear, jewellery and footwear were used by the people in songs, dumas, legends, fairy tales, proverbs, and sayings to emphasise social status, romanticize, and heroise characters and events.
Key words: folk costume, traditional clothing, ritual, Cossacks, Cossack folklore, oral folk art.

Field research in the Storozhinet district, which includes the Romanian villages of Budenets, Cheresh, Chudei, Krasnoilsk, Izhivtsi, Nizhny and Verkhni Petrivtsi, as well as in the Hlybot district, in the village of Ropcha, convinced us that everywhere there is a special interest in preserving the Romanian language, names ancient folk clothing and Romanian culture in general by popularizing traditions and the Christian-Orthodox faith, which are the main components of spiritual identity, defining elements of Romanian identity not only in this zone, but also in other adjacent territories. The purpose of the article is to analyze the terminology related to folk clothing. The novelty of scientific research is due to the fact that the vocabulary for the designation of the Romanian folk costume in the valley of the Siret River is being studied for the first time. The relevance of the study is motivated by the need for an in-depth analysis of the terminology of traditional Romanian folk clothing from ethnographic, ethnological and ethnolinguistic points of view, which confirms the dynamics of the development of the Romanian language in Ukraine. Conclusion. So, after analyzing the specific terminology of the indicated ethnographic region, we came to the conclusion that language elements of Latin origin are the most productive. They testify that the investigated layer of vocabulary was formed a long time ago, and therefore reflects the mentality, linguistic and cultural features of the Romanians of Northern Bukovina, is part of their ethnographic and ethnolinguistic heritage.

The article is based on the materials of the Historical and Ethnografic Atlas of the Tatar People (volume "Folk Costume") prepared at the Institute of History of the Tatarstan Academy of Sciences. In the pre-national period of the Tatar's history there were many various local, ethno-confessional and other complexes of costume. Its formation was closely linked to the characteristic properties of the complex ethno-cultural history of the local groups of Tatars (the Kazan Tatars, the Mishar Tatars, and the Christian Tatars or Kryashens), as well as their religion (Islam, Christianity, Heathenism). In the late 19th – early 20th centuries, during the development of economic and cultural communications between Tatars of Russia's separate regions, the common national Tatar costume was formed. City traditions of the Kazan Tatars have lie at the core of its formation. These traditions were distinguished by the style of a costume tendency to change – from archaic monumental national forms to more refined, corresponding to directions of the all-European fashion of that time. The "secondary folklore forms" characterize the present stage of transformation of the Tatar national costume as a whole – the aspiration of professionals to use national traditions in professional culture (graphic, arts and crafts arts, theatre, scenic folklore, modern modeling, museum expositions as a symbol of reconstruction of ethnic identity). Several trends present folk costume traditions in the modern festive culture of the Volga-Ural Tatars: the ethnographic (authentic) Tatar costume; the folkloristic (neo-folklore) variation of traditional costume; the so-called symbolical national sign the avant-garde costume. As the element of the ethnic culture, the national costume is the most important related to the individual. It represents a symbolical sign-category, an original social-cultural code and transmits the ethnic information from the past to the future.