• 2018-2022close
• Open Access close
• Journal of Education Culture and Society close
• Digital Humanities and Cultural Heritage close

At the beginning of the XXI century Ukrainian art observed activization of the artist’s interest for the political life of the country. The starting point was 2004, marked by protests against unfair elections in the country, the birth of the first “Maidan” and “Orange revolution”. In a number of artistic actions organized by art groups we can see the reflection of the revolution events and, later, the frustrations of its ideals. The most striking manifestation of political issues in contemporary art in Ukraine was the great creativity following the second “Maidan” (2013). In this spontaneous Performance everyone plays a role: the participants are the protesters, official persons, fighters of “Berkut” and interior force troops, journalists and others. Protesters’ tents, barricades, a statue of Lenin and “Maidan” itself (or Independence Square) as a place of free will and creativity became the Symbols of the “Maidan” and its own art objects.

The ageing population is a great challenge for the whole world including churches, Christian communities, Christian families and the so-called “Christian countries”. The respect and support for elderly people is almost a common rule of social life in developed countries regardless of religious views. But in the Christian world this obligation has very strong religious justification – obligation enshrined in the Commandments of Old (the fourth/fifth Commandment) and New (the second one of The Greatest Commandments of Love) Testaments. Therefore between the Christianity – understood as a set of different communities sharing their beliefs in Jesus Christ – and aging population there are many very different connections including among others: honour and respect, privilege, obligations, giving – receiving relations, duty, charity, solidarity, dependency. They are present both in the teaching and the practice of different Christian communities starting with Churches, through NGOs and Christian societies, ending with Christian families. The paper shows some of these connections. It also tries – based on a case of Poland – to answer the question whether the Christianity is ready to face the aging of global population.

The paper is concerned with Maksimilian Voloshin’s Japanese woodblock print collec-tion. It starts with a short historical sketch of Orientalism in Europe and Russia, illustrating various highlights and the evolution of the image of the East in the minds of Europeans, and designed so that the emergence of Voloshin’s interest in Japanese art and his activity of collecting Ukiyo-e prints can be considered in the context of European Orientalism.

Aim. The aim of the research is to study the symbolic capital of northern cities (semiotic potential) contained in "urban texts" and the influence of the historical memory of a multiethnic region on the political process of the region and the country as a whole, through a comprehensive and interdisciplinary study of the symbolic space of cities in the Republic of Sakha (Yakutia). Methods. The study used the cognitive approach, the method of space-time analysis, and the method of historicism and questionnaire survey. Symbolic space as a text is a heterogeneous content. Results. The results of the study show the importance of a symbolic resource as a brand tool, first, depending on the political context and introduction into the collective memory through a constant "reminder" of its importance and significance in the socio-cultural and everyday life of citizens. The resulting databases of monuments served as the basis for compiling a virtual album of monuments and art objects in the cities of the Republic of Sakha (Yakutia). The research results can practically be applied in the field of education, politics, culture, in the study and promotion of the cultural and historical heritage of the regions of Russia. Conclusions. The urgent problem is the task of preserving the accumulated experience and values, places of memory, relics of the past, as well as ideas about the past that are stored in the memory of its inhabitants and the transfer of this knowledge to the younger generation.

Aim. We tend to believe that the religious life of Romanians in the diaspora – living in the proximity of the Romanian borders (we do not take into account the groups that left towards Spain, Italy, Germany, and so on at the beginning of the third millennium) - is a taboo subject. The Orthodox (Romanian) clerical elite focused less on the assiduous study of the religious life of their Romanian brothers outside the borders; in this case, in Hungary. Therefore, we have the scientific duty—but more importantly, the moral duty—to bring to light the truths that are either not known or are known in a distorted form. The road of Voniga (Giula-Giroc) that we followed during the PhD research period was a blessing from the point of view of a scientific void/niche. Methods. In our study, we have applied two “simple” components: the archive and the specialised bibliography. Results. The archive was largely preserved only by Elena Csobai and Emilia Martin. The respectable ladies professionally structured the archive (Romanian Orthodox Church in Hungary) and saved hundreds of research sources from the depth of history. Conclusion. As Moisa noted (2011), the puzzling ethnographic, linguistic, cultural, and historical bulk material is without a doubt focused on the Church. The church is inextricably linked to the lives of Romanians in Hungary. Going through the tens of thousands from the mentioned fields, even superficially, there is an undeniable truth: the spirituality is present, more or less, in the writings of most of the select researchers who have worked in the scientific field for the past three decades.

Mihai Eminescu is known as the Romanian national poet, the most important writer of the XIXͭʰ century in Romanian literature, whose writings have been intensely interpreted since his poetic debut. Therefore, this paper proposes a study of the way the literary dictionaries build the image of “the national poet”. This identity construct is significant to our investigation because it influences the interpretation of the poet figure through history. In order to have a wider view of the problem, we consulted a series of literary dictionaries and, also, dictionaries for students use to see how the figure of Eminescu is taught in schools. Moreover, we did not put aside foreign dictionaries, which bring a more objective perspective to the issue. The majority of Romanian dictionaries alter the poet’s portrait in favor of a “national construct”, created partly by the use of rhetoric figures. Another way of composing him a deformed image is accomplished by writing subjective and opaque interpretation of his poems. Consequently, such hermeneutics focuses on developing a myth that reflects mainly the way Romanians as nation want to be recognized and remembered.

The relationship between photography and sculpture, unlike the dialogue between the latter and painting, was long treated as a peripheral issue. Yet as early as the mid-20th century photography began to show potential that sculpture seemed to be lack. Aware of a large degree of overlap between the two forms of artistic expression, (e.g. with respect to materiality, spatiality, or accentuating frozen gestures) sculptors did not leave sculpture for photography, but attempted to create works that were interdisciplinary in structure. The rise of interest in photography displayed by Polish sculptors was closely connected with the evolution of the concept of sculpture. In the mid-20th century artists creating traditional sculptures (understood as a solid or as a visually rendered spatial form) began to experiment and cross the boundaries of well-established artistic tradition. The changes introduced enabled sculptors to interweave their field with other artistic disciplines, especially photography, even more closely. More and more frequently, sculpture started to establish multi-faceted relations with the new medium. At the beginning the potential of photography as a documentation tool was exploited. Then sculptors began to appreciate photography’s core values, using it to capture and preserve a given moment in time. Finally, they applied it in works that can be classified as close to hyperrealism. The employment of still newer materials and tools made the link between sculpture and photography inextricable, as can be shown through works of Polish artists.

In the context of the worldwide globalization processes the issues pertaining to the quest for national identity acquire a particular signifi cance. This is true in the case of Ukraine as a newly-independent state in the establishment and consolidation phase.In the conditions marked by a general obliteration of folk customs and traditions it is folk amateur choirs/gatherings (hurts) that often become vehicles of folk culture. This study pres-ents rare records of traditional Ukrainian songs, some of them dating back to the 19th century, which the author made in the course of several fi eld trips.

At fi rst glance, the movie by Jon Turteltaub entitled The Sorcerer’s Apprentice (2010) seems not to have any connections with Greco-Roman antiquity whatsoever. To fi nd the hidden connection we have to go back to year 1797 when Johann Wolfgang Goethe publi-shed his famous ballad Der Zauberlehrling (The Sorcerer’s Apprentice)Almost a century later, this work inspired a French composer Paul Dukas to write his masterpiece, the sympho-nic scherzo L’apprenti sorcier. Dukas’ music became the leitmotif of both Disney’s movies: Fantasia (1940) and Fantasia2000 (1999) whose action is based on Goethe’s ballad. Also, the basic elements of the plot were used in one of the episodes of the series Alfred Hitchcock Presents (1961). This is where we touch the ancient roots of the story. A good friend of J.W. Goethe, Christoph Martin Wieland, happened to have published in 1789 the fi rst complete German translation of Lucian of Samosata’s (120-180 AD) works, including a dialogue entitled Philopseudes (The Lover of Lies). The tenth story told in Philopseudes turned out to be very similar to the one written by J. W. Goethe and then adapted into Disney’s and Turteltaub’s movies. In my paper I try to show the transmission of the Lucianic text from antiquity to modern fi lm adaptations. The original Lucian tale, rewritten by J.W. Goethe, becomes very infl uential. The so-called “sorcerer’s apprentice syndrome” can be found at the root of many fantastic stories in which humans could not curb their creations (i.e. robots) which eventually would turn against their makers. The primary focus of this paper is on how the story of a young apprentice changed over centuries and how it was adopted by cinematography.

Aim. The presented study aims to briefly present the possibilities of using and implementing elements of traditional culture in the teaching processat primary and secondary schools in Slovakia. It points out all the aspects and factors that enter the educational process when using these elements. Concept. Regional education is beingappliedin the educational environment of schools in order to develop the children with the right stimuli. The aim of including knowledge and partial topics of traditional folk culture in teaching is mainly to motivate students and arouse their interest in the cultural heritage of their ancestorsand country. We use comparative methods to clarify the relationships between ethnology, pedagogy, ethnopedagogy, and their interconnection in the pedagogical process. We define the primary goals of regional education, methods, and forms of teaching regional education, focusing on interactive forms of teaching. Results and conclusion. The values and the importance of traditional culture should be assessed in terms of the functions of education and training ina broader societal perspective.Regional education should make a significant contribution to the transmission of culture in education. The research results indicate the need to implement ethnopedagogy into the current educational process at all levels of education and scientifically verify its success. Research restrictions. The main research problems or limitations are related to the factthat this subdiscipline has not yet received attention in Slovakia. Originality. The paper presents an original view of ethnopedagogy and regional education issues through the lens of ethnology and pedagogy and defines key subjects of interest focusing on Slovak/Central European needs and contexts.