Pub Date : 2020-12-20DOI: 10.47802/AMET.2020.34.01
Viorel Cioti
"The role of the tools in the wooden peasant architecture This paper refers at the role of tools in peasant wood architecture. The “Preliminary considerations” part is a review of the needed tools in processing agricultural products (sickle), primitive tools (ax, hammer and knife) and a tool offered by nature (stone). The extended part is reserved for presenting tools and their role in building houses. The working tools used in building mono-cellular houses (hoe, ax and knife), the tools needed in raising a house (ax, bard and knife) and the tools needed to build different roof types (ax, bard, steel blade two-handle knife and sawmill) are presented. The last part is aimed for types of hand saw and conclusions. Keywords: tool, architecture, wood, house, role "
{"title":"Rolul uneltelor în arhitectura țărănească de lemn","authors":"Viorel Cioti","doi":"10.47802/AMET.2020.34.01","DOIUrl":"https://doi.org/10.47802/AMET.2020.34.01","url":null,"abstract":"\"The role of the tools in the wooden peasant architecture\u0000\u0000This paper refers at the role of tools in peasant wood architecture. The “Preliminary considerations” part is a review of the needed tools in processing agricultural products (sickle), primitive tools (ax, hammer and knife) and a tool offered by nature (stone).\u0000The extended part is reserved for presenting tools and their role in building houses. The working tools used in building mono-cellular houses (hoe, ax and knife), the tools needed in raising a house (ax, bard and knife) and the tools needed to build different roof types (ax, bard, steel blade two-handle knife and sawmill) are presented. \u0000The last part is aimed for types of hand saw and conclusions.\u0000Keywords: tool, architecture, wood, house, role\u0000\"","PeriodicalId":373761,"journal":{"name":"Anuarul Muzeului Etnograif al Transilvaniei","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123909493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-20DOI: 10.47802/AMET.2020.34.09
A. Florian
"Sacred and sacredness in contemporary objectual visual arts Study in the area of ceramics, glass and installation, from personal works This article is an honest analysis of the personal artistic creation, over more than two decades, as seen by the author and at the same time by the arts teacher; an examination devoid of intermediaries, but also of predominantly presumptive external opinions. The series of arguments on the complexity and on the major advantage of studying the Ceramics, of the involved study of the university curriculum specific to this art, beneficially completed by arguments for the training and operation with the formalization technologies characteristic to glass, stained glass and tiffany techniques; all make a determining argumentation. Studying and operating in glass-ceramics requires a good command of the techniques and materials specific to all the other fields of visual arts. Our major argument is to demonstrate the unrestricted mobility that the ceramist creator has in operating very efficiently his complex creation, by using all these means. The variety of approaches: conceptual, plastic, expressive, dimensional and material, treated in our work, is argued beyond doubt by the series and cycles of works presented in the illustrations. The consistently sustained exposition of the personal convictions, justified and assumed, on the creator's relationship with the divinity, fully illustrates the personal approach of relating to our own objectual-artistic creation; thus, we unanimously find that all our representation models already exist in the surrounding world and we are only granted the great privilege and the relatively rare capacity to observe them and to try to understand them, in order to be able to use them later in our creation. The exposition continues by highlighting the constant presence of the formal or symbolic elements of sacredness, in each category, series or cycle of objects or by a brief analysis focused on the object. The fact that some elements of the sacred are present in the personal work is not at all due to a premeditation. Their appearance during the elaboration of each work, from our point of view, is due to the inspiration and revelations, of unexplainable origin, that came to influence our path towards completion. Among the elements presented there are well-known themes such as: The Reliquary, The Altar, The Portal, The Wreath, The Cup, The Cross, The Trinity, Man, The All-Seeing Eye, The Seed, The Fountain, The Window, The Book, The forbidden Fruit etc. Each of these works or cycles has a more or less obvious meaning with a sacred or religious content and resonance - beyond that expressed in its title - through the formal, chromatic, textural or the evocative symbolic elements. The final conclusion is that it is difficult to find in an already created world a subject that does not already bear the hand of its creator; and among the great graces with which we have been endowed by the same Only
{"title":"Sacru și sacralitate în artele vizuale obiectuale contemporane. Studiu în arealul ceramicii, sticlei și instalației, din opera personală","authors":"A. Florian","doi":"10.47802/AMET.2020.34.09","DOIUrl":"https://doi.org/10.47802/AMET.2020.34.09","url":null,"abstract":"\"Sacred and sacredness in contemporary objectual visual arts\u0000Study in the area of ceramics, glass and installation, from personal works\u0000\u0000This article is an honest analysis of the personal artistic creation, over more than two decades, as seen by the author and at the same time by the arts teacher; an examination devoid of intermediaries, but also of predominantly presumptive external opinions. The series of arguments on the complexity and on the major advantage of studying the Ceramics, of the involved study of the university curriculum specific to this art, beneficially completed by arguments for the training and operation with the formalization technologies characteristic to glass, stained glass and tiffany techniques; all make a determining argumentation. Studying and operating in glass-ceramics requires a good command of the techniques and materials specific to all the other fields of visual arts. Our major argument is to demonstrate the unrestricted mobility that the ceramist creator has in operating very efficiently his complex creation, by using all these means. The variety of approaches: conceptual, plastic, expressive, dimensional and material, treated in our work, is argued beyond doubt by the series and cycles of works presented in the illustrations.\u0000The consistently sustained exposition of the personal convictions, justified and assumed, on the creator's relationship with the divinity, fully illustrates the personal approach of relating to our own objectual-artistic creation; thus, we unanimously find that all our representation models already exist in the surrounding world and we are only granted the great privilege and the relatively rare capacity to observe them and to try to understand them, in order to be able to use them later in our creation. The exposition continues by highlighting the constant presence of the formal or symbolic elements of sacredness, in each category, series or cycle of objects or by a brief analysis focused on the object. The fact that some elements of the sacred are present in the personal work is not at all due to a premeditation. Their appearance during the elaboration of each work, from our point of view, is due to the inspiration and revelations, of unexplainable origin, that came to influence our path towards completion. Among the elements presented there are well-known themes such as: The Reliquary, The Altar, The Portal, The Wreath, The Cup, The Cross, The Trinity, Man, The All-Seeing Eye, The Seed, The Fountain, The Window, The Book, The forbidden Fruit etc. Each of these works or cycles has a more or less obvious meaning with a sacred or religious content and resonance - beyond that expressed in its title - through the formal, chromatic, textural or the evocative symbolic elements.\u0000The final conclusion is that it is difficult to find in an already created world a subject that does not already bear the hand of its creator; and among the great graces with which we have been endowed by the same Only ","PeriodicalId":373761,"journal":{"name":"Anuarul Muzeului Etnograif al Transilvaniei","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128269016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-20DOI: 10.47802/amet.2020.34.12
Sebastian Paic
"Netnography Netnography deals with ethnographic type of research on internet. Although the history of the field dates back to 1980, when the first networks where created, in the romanian ethnographic specialized literature there is not yet a proper approach neither in the academic sphere nor at the level of university education. This paper aims to briefly present this scientific area, emphasizing its development and main features. Adjusting research methods of classical ethnography in virtual space involves a series of epistemological expansions, expressed by broadening the meaning of specific notions such as space, place, border, enculturation, tradition, cultural group and others. At the same time, it is necessary to discuss some ethical aspects generated by the type of interaction of the researcher with the subject and between the individuals of a cultural group. Intermediation of technology can limit access to the individual's real feelings, beliefs, behaviors, or reasoning. The screen of the device becomes a mask that the user manipulates according to current interests or according to his own projections. The problem of these masks is also present in classical ethnographic research, but in this case it deepens and acquires new valences. Nevertheless, study of netnography involves a number of valuable applications such as marketing or sociology and, especially, the understanding of man in the modern context, whose dynamics are specific and determined by the world of the internet. Keywords: netnography, the history of netnography, epistemological expansions, deontological aspects, applications "
{"title":"Netnografia","authors":"Sebastian Paic","doi":"10.47802/amet.2020.34.12","DOIUrl":"https://doi.org/10.47802/amet.2020.34.12","url":null,"abstract":"\"Netnography\u0000\u0000Netnography deals with ethnographic type of research on internet. Although the history of the field dates back to 1980, when the first networks where created, in the romanian ethnographic specialized literature there is not yet a proper approach neither in the academic sphere nor at the level of university education. This paper aims to briefly present this scientific area, emphasizing its development and main features. Adjusting research methods of classical ethnography in virtual space involves a series of epistemological expansions, expressed by broadening the meaning of specific notions such as space, place, border, enculturation, tradition, cultural group and others. At the same time, it is necessary to discuss some ethical aspects generated by the type of interaction of the researcher with the subject and between the individuals of a cultural group. Intermediation of technology can limit access to the individual's real feelings, beliefs, behaviors, or reasoning. The screen of the device becomes a mask that the user manipulates according to current interests or according to his own projections. The problem of these masks is also present in classical ethnographic research, but in this case it deepens and acquires new valences. Nevertheless, study of netnography involves a number of valuable applications such as marketing or sociology and, especially, the understanding of man in the modern context, whose dynamics are specific and determined by the world of the internet.\u0000Keywords: netnography, the history of netnography, epistemological expansions, deontological aspects, applications\u0000\"","PeriodicalId":373761,"journal":{"name":"Anuarul Muzeului Etnograif al Transilvaniei","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128485756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-20DOI: 10.47802/AMET.2020.34.20
Laura Troșan
"Restoration of an antimension dated 1822 The antimension is a consecrated liturgical textile object, it is kept on an altar, and without it the Divine Liturgy cannot be celebrated. The antimension is made of a rectangular linen or silk cloth, decorated with the representation of the Entombment of Christ and of the four Evangelists, in various printing techniques. The restoration operations carried out include mechanical dry cleaning, removal of wax deposits, rehydration and regaining the original shape of the piece. Keywords: Antimension, restoration, cult objects, Romanian in the Cyrillic alphabet, Slavonic "
{"title":"Restaurarea unui antimis datat 1822","authors":"Laura Troșan","doi":"10.47802/AMET.2020.34.20","DOIUrl":"https://doi.org/10.47802/AMET.2020.34.20","url":null,"abstract":"\"Restoration of an antimension dated 1822\u0000\u0000The antimension is a consecrated liturgical textile object, it is kept on an altar, and without it the Divine Liturgy cannot be celebrated. The antimension is made of a rectangular linen or silk cloth, decorated with the representation of the Entombment of Christ and of the four Evangelists, in various printing techniques. The restoration operations carried out include mechanical dry cleaning, removal of wax deposits, rehydration and regaining the original shape of the piece.\u0000Keywords: Antimension, restoration, cult objects, Romanian in the Cyrillic alphabet, Slavonic\u0000\"","PeriodicalId":373761,"journal":{"name":"Anuarul Muzeului Etnograif al Transilvaniei","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125332126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-20DOI: 10.47802/AMET.2020.34.18
Monica Cristian
"The restoration of a cupboard from the Transylvanian Museum of Ethnography Collection The cupboard is one of several staple pieces that are found in the traditional households across Romania. The 19th century cupboard was acquired by the Transylvanian Museum of Ethnography from Trip village, Satu Mare County in 2002. Long before its acquisition, the artefact was covered with a thick layer of paint which obstructed the original embellishments. The removal of the paint layer was deemed necessary as it devalued the cupboard from both a historical and an aesthetical perspective. The cleaning process was done slowly and gradually using chemical (dimethylformamide or DMF) as well as mechanical methods (spatula, scalpel). Keywords: cupboard, traditional, museum, restoration "
{"title":"Restaurarea unui podișor din patrimoniul Muzeului Etnografic al Transilvaniei","authors":"Monica Cristian","doi":"10.47802/AMET.2020.34.18","DOIUrl":"https://doi.org/10.47802/AMET.2020.34.18","url":null,"abstract":"\"The restoration of a cupboard from the Transylvanian Museum of Ethnography Collection\u0000\u0000The cupboard is one of several staple pieces that are found in the traditional households across Romania. The 19th century cupboard was acquired by the Transylvanian Museum of Ethnography from Trip village, Satu Mare County in 2002. Long before its acquisition, the artefact was covered with a thick layer of paint which obstructed the original embellishments. The removal of the paint layer was deemed necessary as it devalued the cupboard from both a historical and an aesthetical perspective. The cleaning process was done slowly and gradually using chemical (dimethylformamide or DMF) as well as mechanical methods (spatula, scalpel). \u0000Keywords: cupboard, traditional, museum, restoration\u0000\"","PeriodicalId":373761,"journal":{"name":"Anuarul Muzeului Etnograif al Transilvaniei","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126964101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-20DOI: 10.47802/AMET.2020.34.05
Adriana Țuțuianu
"Peasant technical installations and crafts from the area of the Gurghiu Valley (Mures County) On the Gurghiu Valley are spread settlements, some of which are first mentioned in an official document from newer or ancient times. Those at the lower valley are clustered settlements, and those upper rivers are scattered, generally found in upland regions: Bicașu, Toaca, Dubiștes, Isticelul, Arșicea, Uricea, Tireul, Ibănești - Pădure, Blidireasa, Zimți, Piriul - Mare, Dulcea, Bradețel. Eleven settlements developed on this valley: Solovăstru (1853), Jabenița (1453), Adrian (1393), Gurghiu (1248), Orșova (1453), Cașva (1453), Glăjarie (1760), Hodac (1453), Toaca, Ibănești - Sat (1453), Ibănești - Pădure. History of villages from the Gurghiu Valley was related to the fortress and Gurghiu domain for many centuries. In August 1329, a document mentioned Petru Georgyu. However, the fortress was only firstly documented in 1364, on the appointment of Dionisie as voivode of Transylvania. Now, besides the castellans of fortresses from Deva, Hunedoara and Ciceu, also appears Iohannis Lepesde Gurghen as castellan of Gurghiu fortress. Development of the economic life and ever increasing requirements of the population led to improvement and development of peasant technical installations (mills, oil mills, traditional rural whirlpools, sawmills) but also crafts and trades (carpentry, flute making, wheel righting, blacksmithing, pottery). Manufactory plants were set up, beginning with the 17th century; these were the first form of industrialisation, based on work division and manual techniques, a preliminary stage of transition from small-scale commodity production to large-scale machine production. Keywords: Gurghiu Valley, peasant technical installations, mill, crafts, wood processing "
{"title":"Instalațiile tehnice populare și meșteșugurile din zona Valea Gurghiului (județul Mureș","authors":"Adriana Țuțuianu","doi":"10.47802/AMET.2020.34.05","DOIUrl":"https://doi.org/10.47802/AMET.2020.34.05","url":null,"abstract":"\"Peasant technical installations and crafts from the area of the Gurghiu Valley (Mures County)\u0000\u0000On the Gurghiu Valley are spread settlements, some of which are first mentioned in an official document from newer or ancient times. Those at the lower valley are clustered settlements, and those upper rivers are scattered, generally found in upland regions: Bicașu, Toaca, Dubiștes, Isticelul, Arșicea, Uricea, Tireul, Ibănești - Pădure, Blidireasa, Zimți, Piriul - Mare, Dulcea, Bradețel. Eleven settlements developed on this valley: Solovăstru (1853), Jabenița (1453), Adrian (1393), Gurghiu (1248), Orșova (1453), Cașva (1453), Glăjarie (1760), Hodac (1453), Toaca, Ibănești - Sat (1453), Ibănești - Pădure.\u0000History of villages from the Gurghiu Valley was related to the fortress and Gurghiu domain for many centuries. In August 1329, a document mentioned Petru Georgyu. However, the fortress was only firstly documented in 1364, on the appointment of Dionisie as voivode of Transylvania. Now, besides the castellans of fortresses from Deva, Hunedoara and Ciceu, also appears Iohannis Lepesde Gurghen as castellan of Gurghiu fortress.\u0000Development of the economic life and ever increasing requirements of the population led to improvement and development of peasant technical installations (mills, oil mills, traditional rural whirlpools, sawmills) but also crafts and trades (carpentry, flute making, wheel righting, blacksmithing, pottery). Manufactory plants were set up, beginning with the 17th century; these were the first form of industrialisation, based on work division and manual techniques, a preliminary stage of transition from small-scale commodity production to large-scale machine production. \u0000Keywords: Gurghiu Valley, peasant technical installations, mill, crafts, wood processing\u0000\"","PeriodicalId":373761,"journal":{"name":"Anuarul Muzeului Etnograif al Transilvaniei","volume":"2015 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133165752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-20DOI: 10.47802/amet.2018.32.10
Ion Taloș, Germania Köln
Dans le présent article, nous nous proposons de montrer que les recherches consacrées à l’oralité roumaine représentent une contribution indispensable au patrimoine culturel national, à côté de l’archéologie, de l’histoire ou de la philologie. Proches l’une de l’autre, ces trois disciplines partagent parfois certaines méthodes d’analyse, poursuivant en fin de compte un but commun : l’acquisition d’un savoir approfondi du passé comme du présent des Roumains. Ainsi, dans la ballade Miorița, comme d’ailleurs dans d’autres ballades, plaintes et contes roumains, on retrouve un rite funéraire ignoré par d’autres aires scientifiques : il s’agit du rite des « funérailles suspendues » (à des piliers ou à des plateformes). Grâce à la découverte d’autres rites funéraires, on a pu démontrer qu’il existe en Roumanie deux foyers folkloriques situés dans les régions plus vastes des Carpates, là où la population locale avait fui les invasions des populations migratoires. Toujours dans le folklore roumain, on retrouve soit des informations concernant la conquête romaine de la Dacie, soit des thèmes latins adaptés, comme par exemple le combat d’un jeune homme avec un lion (Virtus Romana), évoquant la passion des empereurs Antonins (96-192) pour la chasse aux lions. On examine également des rapprochements possibles entre la Divine Comédie de Dante et la ballade roumaine Le Soleil et la Lune, de même qu’entre la chanson de geste française La Chanson de Roland et la ballade populaire Miorița. Les résultats de ces recherches justifient pleinement, à notre avis, une collaboration plus étroite entre les spécialistes des trois aires d’expertise mentionnées ci-dessus.
{"title":"Folclor literar și istorie. Pe marginea unor studii recente","authors":"Ion Taloș, Germania Köln","doi":"10.47802/amet.2018.32.10","DOIUrl":"https://doi.org/10.47802/amet.2018.32.10","url":null,"abstract":"Dans le présent article, nous nous proposons de montrer que les recherches consacrées à l’oralité roumaine représentent une contribution indispensable au patrimoine culturel national, à côté de l’archéologie, de l’histoire ou de la philologie. Proches l’une de l’autre, ces trois disciplines partagent parfois certaines méthodes d’analyse, poursuivant en fin de compte un but commun : l’acquisition d’un savoir approfondi du passé comme du présent des Roumains. Ainsi, dans la ballade Miorița, comme d’ailleurs dans d’autres ballades, plaintes et contes roumains, on retrouve un rite funéraire ignoré par d’autres aires scientifiques : il s’agit du rite des « funérailles suspendues » (à des piliers ou à des plateformes). Grâce à la découverte d’autres rites funéraires, on a pu démontrer qu’il existe en Roumanie deux foyers folkloriques situés dans les régions plus vastes des Carpates, là où la population locale avait fui les invasions des populations migratoires. Toujours dans le folklore roumain, on retrouve soit des informations concernant la conquête romaine de la Dacie, soit des thèmes latins adaptés, comme par exemple le combat d’un jeune homme avec un lion (Virtus Romana), évoquant la passion des empereurs Antonins (96-192) pour la chasse aux lions. On examine également des rapprochements possibles entre la Divine Comédie de Dante et la ballade roumaine Le Soleil et la Lune, de même qu’entre la chanson de geste française La Chanson de Roland et la ballade populaire Miorița. Les résultats de ces recherches justifient pleinement, à notre avis, une collaboration plus étroite entre les spécialistes des trois aires d’expertise mentionnées ci-dessus.","PeriodicalId":373761,"journal":{"name":"Anuarul Muzeului Etnograif al Transilvaniei","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130376569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-20DOI: 10.47802/amet.2018.32.01
Ion Cherciu
One of the great challenges of the Romanian ethnography after the union of Transylvania with Romania was - in parallel with the delimitation of the main ethnographic areas - the formation of a typology of the Romanian folk costume. Due to the specific history of this great province, this approach proved to be extremely complicated: compared to the conservative and eminently Romanian areas as the "cultural costumes" of the Apuseni (L. Apolzan), Năsăud, Ţara Oltului, Maramureş, Haţeg etc. , there were identified regions where, at least at first sight, the traditional costume worn by the Romanian population was far from being considered, according to the classic patterns in our ethnography, a specific Romanian identity mark. Such a case is the " villagers traditional costume" in Șiria region, Arad county, seen as a mixture of foreign styles (Hungarian, German and Slovak), the only remaining pieces of the old costume being the shirt, the lap and the winter coat. Marcel Olinescu's suggestion to study the costume in Șiria from the perspective of the Sociological School of Bucharest, therefore analysing it as a "social fact" leads to the conclusion that we are facing a specific phenomenon of creating a Romanian identity mark with a precise motivation meant to emphasize the privileged economic and social status of the Arad winegrowers. Compared to the white clothes worn by the mass of seasonal workers attracted to this El Dorado, the costume from Șiria, made of expensive fabrics, such as silk and velvet fabrics, brought the inhabitants of this area closer to the models at the top of the Arad society, where the clerks and the owners of the former large landed properties belonged to the cohabiting ethnic groups.
特兰西瓦尼亚与罗马尼亚合并后，罗马尼亚民族志面临的最大挑战之一是——与主要民族志地区的划分同时——罗马尼亚民间服装类型学的形成。由于这个大省的特定历史，这种方法被证明是极其复杂的:与保守和突出的罗马尼亚地区相比，作为阿普塞尼(L. Apolzan)， n suniud， Ţara Oltului, maramureei, Haţeg等的“文化服装”，至少在第一眼看来，根据我们民族志中的经典模式，罗马尼亚人所穿的传统服装远远没有被认为是一种特定的罗马尼亚身份标志。阿拉德县Șiria地区的“村民传统服装”就是这样一个例子，它被看作是外国风格(匈牙利、德国和斯洛伐克)的混合，唯一遗留下来的旧服装是衬衫、大腿和冬衣。Marcel Olinescu建议从布加勒斯特社会学学派的角度研究Șiria中的服装，因此将其作为“社会事实”进行分析，从而得出结论，我们正面临着创造罗马尼亚身份标志的特定现象，其确切动机旨在强调阿拉德葡萄酒种植者的特权经济和社会地位。与被吸引到这个黄金国的大批季节工所穿的白色衣服相比，来自Șiria的服装，由丝绸和天鹅绒等昂贵面料制成，使这个地区的居民更接近阿拉德社会上层的模特，那里的职员和以前的大地主属于同居的民族群体。
{"title":"O marcă identitară controversată: Portul sătenilor din Șiria, jud. Arad","authors":"Ion Cherciu","doi":"10.47802/amet.2018.32.01","DOIUrl":"https://doi.org/10.47802/amet.2018.32.01","url":null,"abstract":"One of the great challenges of the Romanian ethnography after the union of Transylvania with Romania was - in parallel with the delimitation of the main ethnographic areas - the formation of a typology of the Romanian folk costume. Due to the specific history of this great province, this approach proved to be extremely complicated: compared to the conservative and eminently Romanian areas as the \"cultural costumes\" of the Apuseni (L. Apolzan), Năsăud, Ţara Oltului, Maramureş, Haţeg etc. , there were identified regions where, at least at first sight, the traditional costume worn by the Romanian population was far from being considered, according to the classic patterns in our ethnography, a specific Romanian identity mark. Such a case is the \" villagers traditional costume\" in Șiria region, Arad county, seen as a mixture of foreign styles (Hungarian, German and Slovak), the only remaining pieces of the old costume being the shirt, the lap and the winter coat. Marcel Olinescu's suggestion to study the costume in Șiria from the perspective of the Sociological School of Bucharest, therefore analysing it as a \"social fact\" leads to the conclusion that we are facing a specific phenomenon of creating a Romanian identity mark with a precise motivation meant to emphasize the privileged economic and social status of the Arad winegrowers. Compared to the white clothes worn by the mass of seasonal workers attracted to this El Dorado, the costume from Șiria, made of expensive fabrics, such as silk and velvet fabrics, brought the inhabitants of this area closer to the models at the top of the Arad society, where the clerks and the owners of the former large landed properties belonged to the cohabiting ethnic groups.","PeriodicalId":373761,"journal":{"name":"Anuarul Muzeului Etnograif al Transilvaniei","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114162819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-20DOI: 10.47802/amet.2018.32.13
Laura Cristina Pop
Romulus Vuia, the founder of Transylvanian Museum of Ethnography (founded in 1922) is a famous personality of the begining of the 20th century’s in Transylvania. As a museum founder and director, as a university professor, he was very active in academic life. He represented Romania at international congresses and conferences between 1924 and 1944 and his whole activity was, in a way, aimed to create a good image of Romanian traditional culture abroad, fact that is shown also in the German language press from Germany, in 1944.
{"title":"Romulus Vuia - om de imagine a României","authors":"Laura Cristina Pop","doi":"10.47802/amet.2018.32.13","DOIUrl":"https://doi.org/10.47802/amet.2018.32.13","url":null,"abstract":"Romulus Vuia, the founder of Transylvanian Museum of Ethnography (founded in 1922) is a famous personality of the begining of the 20th century’s in Transylvania. As a museum founder and director, as a university professor, he was very active in academic life. He represented Romania at international congresses and conferences between 1924 and 1944 and his whole activity was, in a way, aimed to create a good image of Romanian traditional culture abroad, fact that is shown also in the German language press from Germany, in 1944.","PeriodicalId":373761,"journal":{"name":"Anuarul Muzeului Etnograif al Transilvaniei","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116738316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-20DOI: 10.47802/amet.2018.32.12
Tamás Mohay, Universitatea „Eötvös Loránd” din Budapesta
The article offers the analysis of a temporary exhibition carried out by the "Haáz Rezső" Museum in Odorheiu Secuiesc and itinerated at the Hungarian National Museum in Budapest. The joint work of five Hungarian ethnographers from the counties of Harghita, Covasna and Mureş, the exhibition "Anna - Destiny of a Woman in the Twentieth Century" offers the visitor the presentation of a historical stage through the biography of a woman. Biography is not, in this case, a separate reality, metamorphosed in an exhibition, after going through the filter of curatorial conception, but the biography was itself created as an element of this conception. Anna's life is not just an invented, but a created story: it is a story that can be played in the countless colours of reality, a written monologue with an arc extended between 1920 and 1990.
{"title":"Soarta femeii - în oglindă. Anna. Expoziția temporară a Muzeului „Haáz Rezsö” din Odorheiu Secuiesc la Muzeul Național Maghiar din Budapesta","authors":"Tamás Mohay, Universitatea „Eötvös Loránd” din Budapesta","doi":"10.47802/amet.2018.32.12","DOIUrl":"https://doi.org/10.47802/amet.2018.32.12","url":null,"abstract":"The article offers the analysis of a temporary exhibition carried out by the \"Haáz Rezső\" Museum in Odorheiu Secuiesc and itinerated at the Hungarian National Museum in Budapest. The joint work of five Hungarian ethnographers from the counties of Harghita, Covasna and Mureş, the exhibition \"Anna - Destiny of a Woman in the Twentieth Century\" offers the visitor the presentation of a historical stage through the biography of a woman. Biography is not, in this case, a separate reality, metamorphosed in an exhibition, after going through the filter of curatorial conception, but the biography was itself created as an element of this conception. Anna's life is not just an invented, but a created story: it is a story that can be played in the countless colours of reality, a written monologue with an arc extended between 1920 and 1990.","PeriodicalId":373761,"journal":{"name":"Anuarul Muzeului Etnograif al Transilvaniei","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127604986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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