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The paper interprets M. Krleža’s political and psychotic bestiary on the example of his plays, beginning with the first fragmental drama Saloma, which opens Krleža’s diary entries (dated 26 February 1914) from the First World War (this is his diary-memoir book Davni dani, subsequently published in 1956), and ends with the screenplay Put u raj (1970), by which Krleža completed his drama work. Focusing on that period (1914– 1970), the paper considers Krleža’s dominant zoo-metaphors in the framework of his negative anthropology. In Saloma, for instance, the zoo-lexeme dog is reflected as the dominant zoo-metaphor. Specifically, for Saloma, everything that happens on war-like Earth is determined by the dog’s existence as a subservient ingratiator toward all forms of power in the government. Instead of O. Wilde’s somewhat precious Secessionist ornamental language, Krleža’s Saloma begins with her aggressive nihilism and with Kyon-metaphors: “Nothing! You are as boring as wet dogs!” (Davni dani, diary entry dated 26 February 1914). This paper identifies Krleža’s dramatic political and psychotic bestiary on select examples (one play per dramatic period), taking into account the classification of Krleža’s dramatic work (18 plays) in five stylistic-generic cycles as part of Krleža’s negative anthropology.
In the screenplay Put u raj, a cricket as the dominant zoo-metaphor discloses himself by his singing to the drama binomials (the ego and alter ego: Bernardo and Orlando) in the urinal, while they are urinating together (the male urinating topos) following their narcotic bliss. By combining two issues, the subject of meditation on the death from the novel Cvrčak pod vodopadom and the theme of the eternal repetition of Human Stupidity from the Finale (see the book of political essays Deset krvavih godina, 1937), Krleža rounds out his personal view of the global anti-utopia and dystopia in this anti-war requiem play.
We conclude that Krleža’s political and psychotic bestiary which we have examined on select examples using the drama menagerie on a timeline from 1913/1914 to 1970 is consistent: within the framework of a permanent negative anthropology, Krleža’s preoccupation with documenting the all-powerful human stupidity of the man-ape who, when it learned to fly, bombs other apes, although in speciesist zoo-metaphors, we can say that Krleža does not find utopia in nature “as there is no justice even among flowers”, as the title of one of his ballads states. In short, by negating Feuerbach’s anthropological thesis Man with man – the unity of I and Thou – is God and by promoting the Ape to / as Man’s deputy, as Desmond Morris does with the cover of Naked Ape, Krleža shows that Man is at its core and being (the ontological structure of the human being) is not homo sapiens. Today’s pandemic picture of the world demonstrates all of this, or as Krleža would say in speciesist manner: man is still an ape, or as a non-speciesist statement: man is still man, the bloodiest animal.
Abstract
The images, characters, and events featured in a charm enter into mutual, organic relations with other images, characters, and events that are not explicitly included in the given text but contribute implicitly to the overall significance of the charm. The aim of the current article is to reveal the unspoken components of St. Elijah narrative file embedded in the deep horizon of beliefs and knowledge implied by a given charm. Following the charm step by step, I point out items that imply the unvoiced – but still present – level of images and beliefs taken from the non-charming narrative corpus.
mezőségi folklórban [The Romanian Priest and His Beliefs in the Folklore of the Mezőség]. Ethnographia 107 : 335 - 369 . Keszeg , Vilmos 2007 Interpreting a Case of Vitiation . In Lūse , Agita - Lázár , Imre (eds.) Cosmologies of Suffering
The Netherlands Open Air Museum in Arnhem is one of the oldest open air museums of Europe. From the 1990s the staff has been engaged in an intense process of fundamentally changing the museum. The major step was to redefine the museum’s institutional identity. We believed that a good museum not only needs a firm scholarly basis, but a self-conscious museology as well. This museology we call ‘inclusive’, because it includes much more than a traditional museum. It includes popular culture, social struggle, ‘other-peoples” history, contemporary history. In all the new projects we wanted the visitors to share their memories and experiences with each other — and with us. The turnaround of The Netherlands Open Air Museum proved to be a success. Not only had the number of visitors grown from 280 000 a year in the 1980s to more than 450 000 from 2007 onwards. In 2005 The Netherlands Open Air Museum received the European Museum of the Year award.
The article is focused on the traditional Bulgarian St. Trifon’s Day, which has long been celebrated as a feast of wine and vine-growers. Its roots can be traced back to the ancient Thracian cultural heritage mixed with paganism and Christianity. The whole ritual complex with the symbolic forms of behaviour during the ritual actions, as well as verbal blessing formulas, is intended to ensure economic prosperity and infl uence the fertility of the vineyards. Using the sustainability of traditions, during the totalitarian regime the authorities turned the St. Trifon’s Day into a component of the socialist festive system as a professional celebration of vine-growers. Over the last two decades of transition, the ideological clichés of the socialist period gave way to new transformations of the feast. Today, the semantic content of the event resembles a “postmodern” patchwork of folk traditions, Christian rites and urban festivity, which is inherent in current volatility in the production of cultural realities.
endeavor to do so by focusing on three aspects: (1) early career and legal folklore in Mártély; (2) wills and certificates of ownership; (3) compendia, plans, and recognition. Orientation and early career Ernő Tárkány Szücs came from a family that included
, undertook experiments and research, provided advice, and, where possible, offered its help.” ( Földiák 1996 :3) According to Ferenc Sebő, the institute oversaw contemporary amateur artistic activities, and not only in the field of folklore. In the
tükrében (1781–1821) [Legal Folklore in the Southern Great Plain as Reflected in a Legal Historical and Historical Source (1781–1821)] . Szekszárd : PTE IGYK . Szabó , István 1947 A jobbágy birtoklása az örökös jobbágyság korában [Serf Ownership in
personalities of German legal folklore research, Eberhard von Künssberg and Claudius von Schwerin ( Bónis 1938a , 1938b ), in the early sixties Ernő Tárkány Szücs reported in Ethnographia , the prestigious journal of the Hungarian Ethnographic Society, on H
