búcsú” - jahrzeit - “világtalálkozó”. Egy rítus szerepe a Magyarországról elszármazott zsidó virtuális közösségek életében ["Jewish fair" - jahrzeit - "world gathering". Role of a rite in the life of Jewish virtual communities originating from Hungary
The structures, or architectural forms, can be very various. They are independent both as to text and tune, are inconcievable by lyrics or melody taken separately, have nothing to do with the conscious intention or representation of the singers themselves, and are spontaneously actualized during the singing. Due to such immaterial structuring possibilities, and using only the formal possibilities of the syntagmatic, in Romanian traditional/folk singing a single poetic text can receive 64 formal treatments/versions. For establishing the existence of these architectural variants I have started from observations such as the one belonging to Bartók, who noticed that Romanians had the peculiarity of singing the same verse four times. Other observations spoke about tree times repetitions of each verse, while in someother circumstances verses are repeated just once. If we logically establish all possible forms of sytagmatic repetitions we obtain this sum of 64 variants, which constitute the equally real and virtual being of each and any folk song. These structures and architectures were very important to the old, traditional/peasant aesthetics, and their actualization was essential espetially to ceremonial repertories such as Winter-Solstice-Songs (carols). By giving up devices such as verse repetition and stanzaic refrains, and by shortening the time for performing the epic songs of the peasant carol, what was lost was the immaterial aspect of unconscious constructing, the abysmal pleasure for implied mathematics, was lost one of the essences of the sacred experience, which is -as philosophers put it - 'experiencing the Number'.
In the present paper a Hungarian Krishna devotee’s attitude towards Christianity is being scrutinized. It is postuleted that the devotee’s re-interpretation of Christian doctrines of faith can be regarded as an aim of inculturation which is in accordance with his religious community’s main principles. The temporary virtual communities formed by readers leaving comments are also included in the analysis.
The article is based on
Diószegi's studies of traditional shamans in the mid-20th century and the
modern case study of “a female shaman without a drum”, a specific history of
the transformation of traditional professional Sagai shamanism in Soviet and Post-Soviet
Russia is provided. Unique materials are illustrated, shamanic perceptions and
religious practices of old woman Tadyare analysed.
The article commemorates a certain scientific conception of “Folklore” which was presented by Arnold Van Gennep in the early years of the 20th century and which is widely unknown nowadays. Further, the issue is dealing with some points of Van Gennep’s narrative research i.e. the religious legends. The article discusses a particular and eminent problem in researching “rites of passage,” the problem of stillborn children, who could not be baptized and therefore could not be buried by a church ceremony either. There are and were very different and controversial definitions on the liminal space where these children’s souls may dwell, which can be localised neither in heaven nor in hell.
In the following article, Jarmo Valkola investigates the originality of the Hungarian director Béla Tarr’s filmmaking practice. Tarr represents European pictorialism that is motivated by the commitment to develop and increase the function and effectiveness of images, sounds and performances that aesthetically formulate, translate and change the effects of contemporary cinema to higher dimensions and qualities of art. Tarr emphasises the selective and manipulative role of the camera in orchestrating his narrative concerns. The significance of the form comes forward, and the photographic dimension of the narrative creates static and momentarily captured intensities. Like Jancsó before him, Tarr also invests the narrative with plan-sequences. Some of them can be very long, involving continuous and intricate camera movements, like simultaneous track-tilt-pans, compounded by the ‘virtual’ movement of the omnipresent camera. Tarr’s filmic iconography sets standards for pictorial filmmaking in the sense of an increasingly personal touch of dramatics defining and distilling a cinematic language that is endless in its search for the almost silent colloquy between the artist’s visions and aspirations. Sátántangó, Werckmeister Harmonies, The Man from London, and The Turin Horse are the films referred in this article.
Authors:Eyad Almasri, Fadi Balaawi, and Yahya Alshawabkeh
In 1937 and 1938, a group of high-relief and round statues were uncovered during the joint expedition of the American School of Oriental Research in Jerusalem and the Department of Antiquities in Palestine at the Khirbet et-Tannur Temple, located in Jordan. This expedition was headed by Nelson Glueck (Figs 1, 2). The statues uncovered are important in that they offer considerable information about Nabataean art and religion. This paper concentrates on one of the high-relief statues, called the Atargatis Panel by its excavator, Glueck. It was chosen as a case study for its availability in Amman, Jordan. The other Atargatis statues found at the site are now in the Cincinnati Art Museum in the United States of America. This paper also examines the Nabataean religious beliefs concerning Atargatis and her fertility cult, in addition to the art style of the statue. Furthermore, the digital 3D imaging documentation of the Atargatis statue at The Jordan Museum is presented. Dense image matching algorithms presented a flexible, cost-effective approach for this important work. These images not only provide geometric information but also show the surface textures of the depicted objects. This is especially important for the production of virtual 3D models used as a tool for documentary, educational and promotional purposes.