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Journal articles on the topic 'National socialism and folklore'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Ķencis, Toms. "Ethno-Graphics: Folklore and Baltic Printmaking in the Period of Late Socialism." Folklore: Electronic Journal of Folklore 93 (August 2024): 213–44. http://dx.doi.org/10.7592/fejf2024.93.kencis.

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Visual representations of folklore and mythology played an ambivalent role in Baltic art and society during late socialism. On the one hand, it was often a safe choice promoted by Soviet national cultural policy; on the other, artwork tapping into national and ethnic identities carried a subversive, anti-Soviet potential. Exploring folkloric themes, Baltic artists of the 1970s developed different strategies to navigate the cultural field between Soviet censorship, folklore revival, modern forms of expression, and resistance to sovietisation in their home countries. The renowned Estonian printmaker Kaljo Põllu (1934–2010) created a powerful fusion of ethnographic research and creative practice to re-imagine Finno-Ugric mythology and build an alternative foundation for Estonian identity. Latvian printmaker Dzidra Ezergaile (1926–2013) laid the groundwork for an ethno- and eco-critical approach towards Soviet modernisation through a novel visual exploration of Latvian folklore motifs. Finally, Lithuanian illustrator and monumental painter Birute Žilytė (b. 1930) revolutionised Lithuanian childhood imagery, providing Lithuanian folklore and myths with bright and brave contemporary forms. A postcolonial reading of Baltic printmaking during late socialism generates an interpretive grid for understanding the role of folklore and folklorism within broader cultural trends and political dispositions. A combination of folklore studies and art history might efficiently contribute also to gender studies and environmental humanities.

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Loboda, M. I. "M.P.Drahomanov about freedom of conscience and social functionality of religion." Ukrainian Religious Studies, no. 9 (January 12, 1999): 55–59. http://dx.doi.org/10.32420/1999.9.823.

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Our research is based on a rather large "library" of various works by M. Drahomanov, which contains his views on religion. Among them: Paradise and Progress, From the History of Relations Between Church and State in Western Europe, Faith and Public Affairs, Fight for Spiritual Power and Freedom of Conscience in the 16th - 17th Centuries, , "Church and State in the Roman Empire", "The Status and Tasks of the Science of Ancient History," "Evangelical Faith in Old England," "Populism and Popular Progress in Austrian Rus, Austrian-Russian Remembrance (1867- 1877)," "Pious The Legend of the Bulgarians "," The Issues of Religious Freedom in Russia, "" On the Brotherhood of the Baptist or the Baptist in Ukraine, "" The Foreword (to the Community of 1878), " Shevchenko, Ukrainianophiles and Socialism "," Wonderful thoughts about the Ukrainian national affair "," Zazdri gods "," Slavic variants of one Gospel legend "," Resurrection of Christ (folklore record) ", etc.

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Abazi, Enika, and Albert Doja. "From the communist point of view: Cultural hegemony and folkloric manipulation in Albanian studies under socialism." Communist and Post-Communist Studies 49, no. 2 (April 28, 2016): 163–78. http://dx.doi.org/10.1016/j.postcomstud.2016.04.002.

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In the standard folkloric and ethnographic tradition of Albanian studies, various efforts to seize an authentic, traditional and popular culture, supposed to have really functioned in a society of official ideology, were devoted primordially to a catalogue of descriptivist and empiricist research, which only served to confirm the ultimate goal of constructing a primarily essentialized national specificity and a particularly antiquated view of national culture. Whereas the long-term continuities in the Albanian studies of peoples culture (kultura popullore), which pre-dated and out-lived socialism, together with the ambiguous relationship to anthropology are emphasized elsewhere, in this paper we look more closely at the limited changes and innovations that occurred in the decades of communist regime in Albania. The aim is to uncover how the traditional ethnographic-folkloric studies of peoples culture, marked by intellectual isolation and stigmatized by association with moralist and nationalist ideologies, were mobilized to service the shifting ideological needs and state policies towards the cultural hegemony of the communist regime.

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Pozhidaeva, Galina A. "The Originality of the Musical Work of the Composer Vladimir Pozhidaev (1946–2009)." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023): 366–78. http://dx.doi.org/10.37816/2073-9567-2023-69-366-378.

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The paper shows the composer's work appeal to serious and significant topics related to the historical and spiritual life of the people of Russia, both in the past and today. Typical artistic images of folk culture and the national nature of the musical language make it possible to qualify the composer’s work as the mainstream of “new folklore wave” of the 50 – 70s of the 20th century through to the 90s and enriching it with folk-instrumental genre. The leading instrumental form in the composer's work becomes a symphony, a concerto - which applies to the principles of genre and epic symphonism. Particular emphasis should be placed on the importance of the spiritual mentality of the Russian people and their musical and liturgical culture The organic fusion of the music of folk life and the high spiritual culture of Holy Rus' allows us to take a fresh look at the composer's work. It brings a new quality to the “new folklore wave”, revealing, along with a genuine folklore stream, a deep Orthodox faith concealed from the official direction of socialist realism, preserved among the people despite all prohibitions and persecution. In the work of V. Pozhidaev, the ancient layers of folk and Christian musical culture are connected in an original way. The depth of the content, the organicity of the folk and professional, expressed by modern means — all this gives rise to a surprisingly original musical world, full of kindness and illuminated by the inner light.

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5

Б.А., БЕРБЕРОВ,. "KARACHAY-BALKAR SONG: INTRAGENRE VARIETIES AND POETICS." Kavkaz-forum, no. 12(19) (December 14, 2022): 19–33. http://dx.doi.org/10.46698/vnc.2022.19.12.011.

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Песня – универсальный фольклорный жанр, имеющий свои специфические особенности в культуре каждого этноса. В статье в краткой форме рассматриваются основные жанровые модификации карачаево-балкарской песни, обусловленные факторами национальной истории, художественными традициями, ментальностью горцев Северного Кавказа. Среди них – трудовые, историко-героические, любовные, песни-плачи, религиозно-духовные песни. Ввиду малоисследованности наибольшее внимание автор уделяет жанру историко-героической песни. Впервые в национальной фольклористике дается культурологическая оценка уникальному специализированному номеру журнала «Минги тау» («Эльбрус»), изданному в 1993 г. в виде антологии историко-героических песен карачаево-балкарского народа. Наиболее репрезентативные из них проанализированы с точки зрения онтологической поэтики. Антропоцентризм выявлен как основной атрибутивный признак, определяющий тематику, сюжет, композицию и в целом жанрово-стилистические особенности историко-героической песни. В той же мере скрупулезно выявлены и проинтерпретированы изобразительно-выразительные средства элегических песен, среди которых особое место занимают эпитеты, метафоры, сравнения, гипербола, сравнение, повторы, символика цвета. В качестве примера приводятся три характерных произведения: «Песня горовосходителей на Эльбрус», «Первая эпидемия» и «Вторая эпидемия», основанные на реальных событиях. После революции 1917 г. лиро-эпическая жанровая система карачаево-балкарского фольклора пополнилась так называемыми «советскими песнями», посвященными строителям нового общественного строя, рабочему классу, колхозникам, героям Отечественной войны, социалистическому соревнованию, дружбе народов, высокой и верной любви. На основании исследования делается вывод о том, что национальная история карачаевцев и балкарцев нашла полновесное отражение в этнофольклорной системе, богатой своими жанровыми модификациями. The song is a universal folklore genre that has its own specific features in the culture of each ethnic group. The article briefly examines the main genre modifications of the Karachay-Balkar song, due to the factors of national history, artistic traditions, and the mentality of the highlanders of the North Caucasus. Among them are labor, historical-heroic, love, lamentation songs, religious-spiritual songs. In view of the lack of research, the author pays the most attention to the genre of historical and heroic song. For the first time in national folklore, a culturological assessment is given to the unique specialized issue of the magazine “Mingi Tau” (“Elbrus”), published in 1993 in the form of an anthology of historical and heroic songs of the Karachay-Balkarian people. The most representative of them are analyzed from the point of view of ontological poetics. Anthropocentrism is revealed as the main attributive feature that determines the theme, plot, composition and, in general, the genre and stylistic features of the historical heroic song. The figurative and expressive means of elegiac songs are scrupulously identified and interpreted to the same extent, among which a special place is occupied by epithets, metaphors, comparisons, hyperbole, comparison, repetitions, symbolism of color. As an example, three characteristic works are given: “The Song of the Climbers on Elbrus”, “The First Epidemic” and “The Second Epidemic”, based on real events. After the revolution of 1917, the lyrical-epic genre system of Karachay-Balkarian folklore was replenished with the so-called “Soviet songs” dedicated to the builders of a new social system, the working class, collective farmers, heroes of the Patriotic War, socialist competition, friendship of peoples, high and true love. Based on the study, it is concluded that the national history of the Karachays and Balkars has found a full reflection in the ethno-folklore system, rich in its genre modifications.

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Andrzejak, Izabela. "Folk dance as a tool of socialist propaganda based on Paweł Pawlikowski’s Cold War." Dziennikarstwo i Media 15 (June 29, 2021): 37–50. http://dx.doi.org/10.19195/2082-8322.15.4.

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The article addressed the issue of using folk dance as a tool of propaganda by the communist party. It is not uncommon to associate the activity of folk groups with the period of socialist realism and the years that followed in. Folk song and dance ensembles have always been a colorful showcase of the country outside of its borders and have often added splendor to distinguished national events with their performances. Nevertheless, their artistic activity was not motivated solely by the beauty of Polish folklore, for folk ensembles formed after World War II were often created to aid the goals of the communist party. Reaching for folk repertoire and transferring regional songs and dances to the stage was seen as opposition to the elite culture. Cultural reform made performances accessible to the working class, and folk song and dance expressed admiration for the work of people in the countryside. In addition to traditional songs from various regions of Poland, the repertoire of these ensembles also included many songs in honor of Stalin and about the Polish-Soviet friendship. Paweł Pawlikowski’s award-winning film, Cold War, which partially follows a song and dance ensemble (aptly named Mazurek), shows many of the dilemmas and controversies that the artists of this period had to face.

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Arzamazov, Aleksey A. "Forgotten worlds of Mari and Mordovian Soviet poetry: The works of Valentin Dmitriev and Alexander Martynov." Philological Sciences. Scientific Essays of Higher Education, no. 6s (November 2023): 114–23. http://dx.doi.org/10.20339/phs.6s-23.114.

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The article examines the national variations of socialist realism on the example of two poetic systems. The importance of a new appeal to the history and artistic reality of this literary trend, its language and features is emphasized. Texts by V.D. Dmitriev and A.K. Martynov, who are bright but already almost forgotten representatives of the Mari and Mordovian (Erzya) Soviet poetry, are in the focus of scientific research. It is concluded that despite significant ideological restrictions, the authors convey the ethnic worldview of their people, refer to its mythopoetic resources, aesthetic ideals and value-conceptual categories in their poems. Special attention is paid to the analysis of the figurative-symbolic layer of poetry, the main problem-thematic complexes are identified, their possible semantic connection with folklore is established. The question is raised about the lack of attention of translators to the source texts. Translators reduce the ethno-cultural expressiveness of the works and bring Finno-Ugric literary samples closer to the canons of Russian literature. Some ethno-mental characteristics of the Mari and Mordovian authors are determined. Their genre preferences are analyzed, the creative desire for large lyrical epic forms is explicated.

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8

Savić, Vanja-Ivan. "‘Our Father’ – In or Out? : Religious Education and Secular Tendencies in Croatian Public Schools in the European Context." Law, Identity and Values 1, no. 1 (2021): 131–43. http://dx.doi.org/10.55073/2021.1.131-143.

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This study discusses religious education in Croatian and European schools, within the overall context of religious symbols in public life. Europe is a vibrant and non-homogenous continent that comprises many cultures and traditions based mostly on Roman law. Various legal cultures and value systems have developed in Europe, which differ due to developmental variations within the European continental system. Religious education is offered in most European countries in various forms. Only three European countries, Albania, Slovenia, and (to some extent) France do not allow religious teaching in public schools. For instance, the crucifix is a part of faith and folklore in Italy, religious celebrations during Christmas, St. Nicholas Day, and Days of the Bread are part of the religious tradition in Croatia (forcibly) broken during the socialist Yugoslavia era, and crosses are present on the national flags of many nations, although their citizens might have forgotten why. Praying and mentioning God, and singing, do not harm anyone but, rather, can serve as a call for friendship, mutual understanding, and peace. It would be useful to create a legal document (e.g. a by-law) that established standards for such public behaviour in schools, which could be followed on a voluntary basis by students, including non-religious children. The Croatian State should organise alternative courses for children who do not follow religious education in order to diminish differences and prevent dissatisfaction and feelings of isolation. Also, education experts should consider the principles of Christian ethics, which secure respect for every citizen. Croatian history and legal traditions as well as International treaties between the Holy See and Croatia secure a place for ‘Our Father’ and other religious appearances in Croatian public schools. Prayer as well as religious folklore is an important part of religious education and thus an important part of regular curricula. It could be used to build respect for everyone within the Croatian community.

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Kuzhuget, Ailana K. "The Cultural Aspect of M.B. Kenin-Lopsan Scientific Work." Polylinguality and Transcultural Practices 17, no. 4 (December 15, 2020): 454–61. http://dx.doi.org/10.22363/2618-897x-2020-17-4-454-461.

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The article is devoted to some aspects of the scientific work of the outstanding Tuvan writer Mongush Borakhovich Kenin-Lopsan, Doctor of Historical Sciences, Peoples Writer of the Republic of Tyva, Honored Worker of Culture of the Tuva Autonomous Soviet Socialist Republic, Honored Scientist of the Republic of Tuva, Full Member of the New York Academy of Sciences, holder of the international title Living Treasure of Shamanism. Being the permanent president of the republican society of shamans Dungur and the only connoisseur of the secret knowledge of the ancient religion at the moment, he reveals to the reader its basic ideological concepts, explains the essence of ritual practice and attributes of shamans. The scientific works of M. Kenin-Lopsan are gaining more and more value in connection with the new phenomena of neoshamanism, the inclusion in the traditional system of innovations that distort the understanding of the national religion of Tuvans. A study of his works leads us to the conclusion that the scientist reveals the general features of the ancient culture of the SayanAltai Turks of the pre-Mongol period of Tuva. He recorded the unique stories of the best connoisseurs of folklore and traditions of Tuvans during the Soviet era, when interest in traditional culture was considered as a manifestation of nationalism

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Лобков, Александр Евгеньевич. "А. K. Konchevsky and V. V. Paskhalov: From the History of the Study of Crimean Musical Folklore." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 3 (September 25, 2021): 161–73. http://dx.doi.org/10.26158/tk.2021.22.3.013.

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В статье рассматривается история сотрудничества известного любителя-собирателя песен и мелодий народностей Крыма А. К. Кончевского с Этнографической секцией Государственного института музыкальной науки (ГИМН), возглавляемой В. В. Пасхаловым. Благодаря материальной поддержке Наркомата просвещения РСФСР музыкально-этнографическое исследование песен крымских татар, караимов, крымчаков и греков стало одним из приоритетных направлений в работе ГИМНа середины 20-х гг. ХХ в. В 1923-1925 гг. Кончевский провел три экспедиции для записи песен и мелодий на фонографические валики. Собранный им фольклорный материал был представлен на расшифровку в Этнографическую секцию. Научно-теоретическим осмыслением музыкальной структуры крымских песен занимался В. В. Пасхалов. Гармонизировал песни пианист М. А. Ставицкий, неоднократно аккомпанировавший Кончевскому на его этнографических концертах-лекциях. Кончевский, Пасхалов и Ставицкий совместно подготовили два сборника - «Песни Крыма» (1924) и «Песни Востока» (1925). Автор характеризует специфику научно-этнографического исследования музыкального фольклора Крыма в ГИМНе и раскрывает причины, по которым оно было практически свернуто. Статья основана на неизвестных ранее материалах архива Российского национального музея музыки. This article examines the history of cooperation between the well-known amateur collector of Crimean songs and melodies Arkady Konchevsky and the Ethnographic Section of the State Institute for Musical Science (GIMN). With the financial support of the People’s Commissariat of Education of the Russian Soviet Federated Socialist Republic, musical and ethnographic research on the songs of Crimean Tatars, Karaites, Krymchaks, and Greeks became one of GIMN’s priorities in the mid-1920s. In 1923-1925 Konchevsky conducted three expeditions to record songs and melodies on phonographic cylinders. He submitted the material he collected to the Ethnographic Section, headed by Vyacheslav Paskhalov, who was engaged in analysis of the musical structure of Crimean songs. The songs were arranged by pianist Mikhail Stavitsky, who repeatedly accompanied Konchevsky on piano at ethnographic concert-lectures. Together Konchevsky, Paskhalov and Stavitsky prepared two songbooks for publication - “Songs of the Crimea” (1924) and “Songs of the East” (1925). The author describes the scholarly and ethnographic research on the musical folklore of Crimea at GIMN and reveals the reasons for which it was essentially curtailed. The article is based on previously unknown material from the archives of the Russian National Museum of Music.

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N.V., Yaremenko, and Kolomiets N.Ye. "ESCAPISM AS A WAY OUT “OVER THE EDGE” IN THE PROSE OF UKRAINIAN WRITERS OF THE MID-TWENTIETH CENTURY." South archive (philological sciences), no. 84 (December 23, 2020): 47–51. http://dx.doi.org/10.32999/ksu2663-2691/2020-84-7.

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The purpose of this study is to identify the features of the specifics of the artistic expression of escapism as a form of resistance to Soviet unification based on the prose by Yu. Yanovskyi, O. Dovzhenko, O. Honchar.Methods. The article applies a combined technique based on elements of hermeneutic and semiotic analysis, the method of typological comparison of literary facts. The authors also used the toolkit of structural analysis. Results. It has been established that during the socio-cultural situation of the middle of the twentieth century, when the development of literature was going through politicization, excapism was a specific strategy of self-identification, a form of national and cultural manifestation of a number of artists. The authors emphasized that the leveling of national differences and the eradication of aesthetic pluralism led to the forced transfer of mental markers to the margins and forced mid-twentieth-century artists, who were constantly threatened with various punishments for deviating from the party and government, to balance between official, ideological requirements and their own creative potential to achieve consonance. The circumstances of the monopoly position of socialist realism, the dictates of the norms of creative behavior, the lack of conditions for self-reflection of the artist led to the fact that artistic cognition of the cultural environment, the outline of mental boundaries and semantic matrices of the nation were not possible. This kind of context allows us to consider escapism in these works not only as an escape from the problems of reality, but also as a way to transform the world.Conclusions. The study revealed that due to the presence of artists in the conditions of neutralization of the pro-Ukrainian part of the population, the escapic vector of works allowed to “slip” beyond the socialist-realist canon. Forms of expression of this tendency in the prose of Yu. Yanovskyi, O. Dovzhenko, O. Honchar were orientation to previous historical eras, excursions into the past, accents on cultural national codes. Specific features of artistic modeling of reality in the works “Four Swords” by Yu. Yanovskyi, “Ukraine on Fire” by O. Dovzhenko, “Man and Weapon” by O. Honchar are the appeal to folklore, the rise of national values, the expression of basic ethno-national features in subtextual layers. Such an emphasis on mental matrices undermined socialist realist guidelines, showed opposition to the official artistic tendency, allowed the authors to identify national self-identification and to form appropriate values in the recipients.Key words: escapism, socialist-realist canon, ethno-national features, subtext layers. Мета. Мета статті полягає в тому, щоб з’ясувати специфіку художнього вираження ескапізму як форми мистецького опору тоталітарній системі на матеріалі прози Ю. Яновського, О. Довженка, О. Гончара.Методи. У статті застосовано комплексну методику, в основі якої елементи герменевтичного та семіотичного аналізу, метод типологічного зіставлення літературних фактів. Використано також інструментарій структурального аналізу.Результати. У розвідці спостережено, що внаслідок перебування митців в умовах нейтралізації проукраїнськи налашто-ваної частини населення, ескапічний вектор творів дав змогу «вислизати» за межі соцреалістичного канону і був специфіч-ною стратегією самоідентифікації, формою проявлення творчої позиції Ю. Яновського, О. Довженка, О. Гончара. Авторами акцентовано на тому, що нівеляція національних відмінностей та викорінення естетичного плюралізму призвели до приму-сового переміщення ментальних маркерів на марґінеси. Виявлено, що в обставинах монопольного становища соцреалізму та відсутності умов для саморефлексії митця, ескапізм постає не стільки як втеча від проблем реальності, а й як спосіб трансформації світу.Висновки. Формами вираження ескапізму в прозі були орієнтація на попередні історичні епохи, екскурси в минуле, акцен-ти на культурних національних кодах. Специфічними ознаками художнього моделювання дійсності у творах «Чотири шаблі» Ю. Яновського, «Україна в огні» О. Довженка, «Людина і зброя» О. Гончара є апеляція до фольклорних первнів, піднесення загальнолюдських цінностей, увиразнення базових етнонаціональних ознак у підтекстових пластах. Акцентування на мен-тальних матрицях підривало соцреалістичні настанови, виявляло опозиційність до офіційної мистецької тенденції, давало авторам змогу виявити національну самоідентифікацію. Таким чином, ескапізм у художній картині світу прозових творів митців був специфічною формою протидії процесам стандартизації в мистецтві, які нав’язувалися радянською владою.Ключові слова: ескапізм, соцреалістичний канон, етнонаціональні ознаки, проза, підтекстові пласти.

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Kõiva, Mare, and Kristina Muhu. "Changes in Estonian School Calendar Holidays in 1992–2018." Yearbook of Balkan and Baltic Studies 3 (December 2020): 183–212. http://dx.doi.org/10.7592/ybbs3.09.

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The paper compares changes in the celebration of holidays in the period from 1992 to 2018. The data originate from large Estonian children’s lore corpora from 1992, 2007, and 2018. The first collections are preserved at the Estonian Folklore Archives of the Estonian Literary Museum (ELM) in Tartu, Estonia, and the 2018 collection as well as the digitized data of the earlier campaigns are available in the digital archives EFITA – the Research Archives of the Department of Folkloristics of the ELM. The calendar corpus allows us to monitor changes in the structure and essence of folk/ethnographic/local traditions, feasts celebrated at home, church feasts, and public holidays at school. The authors indicate that endeavours to establish national public holidays to accompany traditional agrarian ones began in the early 20th century. During the 20th century, the system of holidays changed three times (1918, 1940, 1991) due to political changes: the establishment of an independent state in Estonia, the loss of independence and continuation as the Estonian Soviet Socialist Republic, and restoration of independence in 1991. In addition to state, church, and folk holidays different ways to introduce novel international holidays (Valentine’s Day, Mother’s Day, Father’s Day, Halloween, Mother Tongue Day), and a search for new forms of celebration were also noteworthy during this period. As students, youngsters participate in the celebrations of their school as well as in the celebrations of public holidays, and at the same time are involved in maintaining their family traditions.

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Vdovychenko, H. V. "CULTURAL AND PHILOSOPHICAL ORIGINS AND ATTITUDES OF THE EARLY WORKS OF P. TYCHYNA: "THE LAST SUPPER, GUILLOTINE DAYS"." UKRAINIAN CULTURAL STUDIES, no. 2 (7) (2020): 28–37. http://dx.doi.org/10.17721/ucs.2020.2(7).05.

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The article explores cultural and philosophical origins and attitudes of the early works of P. Tychyna, namely defining the ones events and phenomena of domestic and foreign ethnocultural and professional cultural life, cultural and philosophical ideas and teachings, as well as P. Tychyna's own cultural and philosophical views, revealed mainly in his poetry books of 1918 – 1924. One of the most important, but still little- known pages of the biography and ideological and artistic evolution of P. Tychyna is the formation during the first third of the twentieth century, fundamental for his entire life cultural and philosophical guidelines of early creativity. The study of this problem is closely connected with the long overdue need for unbiased systematic classification and consideration of the whole spectrum of cultural and philosophical sources and guidelines of ideological and artistic evolution of the poet of ideologically contradictory poems-myths of Ukrainian national renaissance and enslavement – "Golden Homin" as a sacred figure-symbol of modernism and, at the same time, social realism in Ukrainian literature, the most famous and, at the same time, the most criticized domestic artist-model of evaluative polarity of official and public myth-making in the USSR and, later, in Ukraine. In light of the assessment of the main achievements of tychynology, a cultural-philosophical-literary analysis of the three stages of the ideological and artistic evolution of P. Tychyna of this period was carried out. These stages are: 1. formation (Kyiv-Chernyhiv): 1906 – 1916; 2. creative rise and blossoming (Kyiv): 1917 – 1921; 3. decline and crisis (Kyiv-Kharkiv): 1922 – 1929. Two groups of origins of the poet's early works were examined. The first one is represented by domestic and foreign ethnocultures and consists of three subgroups of folklore: 1. Ukrainian; 2. foreign (of other Slavic peoples); 3. foreign, mainly of the peoples of the Near and Middle East (Armenian, Turkish and Indian). The second group is represented by domestic and foreign professional cultures, the last of which is divided into three subgroups: 1. Russian; 2. European and North American; 3. Eastern (the Near, Middle and Far East). P. Tychyna was a symbol and myth of modernism and Socialist realism in the literature and culture of the Ukrainian SSR, and the early stages of his cultural and philosophical credo's evolution from the neopagan-Christian Ukrainian national-patriotic myth to the national-communist pantheistic-materialistic cosmogony.

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14

Wiesen, S. Jonathan, and Geoff Eley. "Beyond National Socialism?" German Studies Review 35, no. 3 (October 2012): 475–79. http://dx.doi.org/10.1353/gsr.2012.a488481.

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15

Seo Gyu-Hwan and WanJong Lee. "Socialism and National Question." Korean Journal of Slavic Studies 23, no. 1 (June 2007): 1–30. http://dx.doi.org/10.17840/irsprs.2007.23.1.001.

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16

Xiyuan, Xiong. "Socialism and National Consciousness." Chinese Studies in Philosophy 28, no. 2 (December 1996): 10–18. http://dx.doi.org/10.2753/csp1097-1467280210.

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17

Nitzschke, Bernd. "Psychoanalysis and national socialism." International Forum of Psychoanalysis 12, no. 2-3 (January 2003): 98–108. http://dx.doi.org/10.1080/083037060310007915.

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18

ERDMANN, K. D. "National-socialism, Fascism, Totalitarianism." Australian Journal of Politics & History 27, no. 3 (April 7, 2008): 354–63. http://dx.doi.org/10.1111/j.1467-8497.1981.tb00472.x.

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19

de Bruin, Jan. "Parsons on national socialism." European Legacy 1, no. 6 (October 1996): 1965–68. http://dx.doi.org/10.1080/10848779608579650.

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20

Letica, Slaven. "National Socialism, Serb Style." Foreign Affairs 74, no. 5 (1995): 188. http://dx.doi.org/10.2307/20047368.

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21

Moore, Robin. "Black Music in a Raceless Society: Afrocuban Folklore and Socialism." Cuban Studies 37, no. 1 (2006): 1–32. http://dx.doi.org/10.1353/cub.2007.0009.

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22

SAMUELS, ANDREW. "National Psychology, National Socialism, and Analytical Psychology." Journal of Analytical Psychology 37, no. 1 (January 1992): 3–28. http://dx.doi.org/10.1111/j.1465-5922.1992.00003.x.

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23

SAMUELS, ANDREW. "National Psychology, National Socialism, and Analytical Psychology:." Journal of Analytical Psychology 37, no. 2 (April 1992): 127–48. http://dx.doi.org/10.1111/j.1465-5922.1992.00127.x.

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24

Togayev, Tulqin Mamanazarovich. "NAVOI’S POETRY AND NATIONAL FOLKLORE." Theoretical & Applied Science 86, no. 06 (June 30, 2020): 517–20. http://dx.doi.org/10.15863/tas.2020.06.86.97.

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25

Chernousova, Irina P. "Emergence of National Folklore linguoconceptology." Philological Sciences. Scientific Essays of Higher Education, no. 3 (May 2018): 10–16. http://dx.doi.org/10.20339/phs.3-18.010.

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26

Rani, Sangeeta. "Thoughts of Jayaprakash Narayan and Lohia in the National Movement." Research Review Journal of Social Science 2, no. 1 (July 15, 2022): 21–27. http://dx.doi.org/10.31305/rrjss.2022.v02.n01.004.

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It has become clear that the socialists were the first nationalists. His socialism was not an imaginary idea but was in search of a solution to the national problems. That is why sometimes he was also accused of being a national socialist. This allegation was true, but the socialism of any country is not anti-national. Socialism was discovered only in connection with the solution of the problems of their respective countries. The claim of socialism to be international than to be national is truer. So far as the problems of all countries are the same, socialism is international. But due to the separation of countries and problems, it is also national. Sometimes it seems that it is national oriented. Its aim is an international solution to national problems. Some problems are international. Modern science and technology have created similar problems in all countries. From this point of view, it is international, even though it is national, are the revolutions of Russia and China international? Aren't their national problems at their core? If socialism were only international, it would have universal spread. There was uniformity everywhere. A country like Japan has not even touched socialism. But socialism remained the main cause in China. Because China saw the solution to its problem in socialism, Japan's growing industrialization found socialism useless.

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27

Ridley, Hugh, and J. M. Ritchie. "German Literature under National Socialism." Modern Language Review 80, no. 1 (January 1985): 237. http://dx.doi.org/10.2307/3729470.

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28

Turner, B. S., and Uta Gerhardt. "Talcott Parsons and National Socialism." Contemporary Sociology 23, no. 2 (March 1994): 325. http://dx.doi.org/10.2307/2075287.

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29

Shalvey, Aisling. "Little’s Disease During National Socialism." Medizinhistorisches Journal 57, no. 3 (2022): 230. http://dx.doi.org/10.25162/mhj-2022-0009.

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30

Edler, Frank. "Heidegger, Hölderlin, and National Socialism." Janus Head 4, no. 2 (2001): 271–84. http://dx.doi.org/10.5840/jh20014225.

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31

Rockmore, Tom. "Heidegger, National Socialism and “Imperialism”." Symposium 13, no. 2 (2009): 128–45. http://dx.doi.org/10.5840/symposium200913228.

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32

Ajzner, Jan, and Uta Gerhardt. "Talcott Parsons on National Socialism." Social Forces 73, no. 2 (December 1994): 767. http://dx.doi.org/10.2307/2579834.

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33

Hunley, J. D., Monika Renneberg, and Mark Walker. "Science, Technology and National Socialism." Technology and Culture 37, no. 1 (January 1996): 196. http://dx.doi.org/10.2307/3107224.

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34

Buxton, William, Ute Gerhardt, Uta Gerhardt, and Talcott Parsons. "Talcott Parsons on National Socialism." Canadian Journal of Sociology / Cahiers canadiens de sociologie 19, no. 3 (1994): 425. http://dx.doi.org/10.2307/3340741.

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35

Siefken, Hinrich. "NATIONAL SOCIALISM AND GERMAN LITERATURE." German Life and Letters 38, no. 2 (January 1985): 177–95. http://dx.doi.org/10.1111/j.1468-0483.1985.tb00625.x.

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36

Paquette, Laure. "Heidegger, Pride and National Socialism." International Journal of Philosophy 1, no. 1 (2013): 1. http://dx.doi.org/10.11648/j.ijp.20130101.11.

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37

GILLESPIE, MICHAEL ALLEN. "Martin Heidegger's Aristotelian National Socialism." Political Theory 28, no. 2 (April 2000): 140–66. http://dx.doi.org/10.1177/0090591700028002002.

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38

Fuchs, E. "Talcott Parsons on National Socialism." German History 12, no. 3 (July 1, 1994): 430–31. http://dx.doi.org/10.1093/gh/12.3.430.

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39

Harwood, J. "Science, Technology and National Socialism." German History 13, no. 2 (April 1, 1995): 274–75. http://dx.doi.org/10.1093/gh/13.2.274.

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40

Grenville, A. "German Literature under National Socialism." German History 2, no. 1 (January 1, 1985): 65–67. http://dx.doi.org/10.1093/gh/2.1.65.

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41

Brockman, Richard. "Freud, Hitler and National Socialism." Psychoanalytic Review 90, no. 5 (October 2003): 709–22. http://dx.doi.org/10.1521/prev.90.5.709.25197.

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42

Pereira, S. M., J. Bohun, and S. Guimarães. "Psychiatry, politics and national socialism." European Psychiatry 26, S2 (March 2011): 762. http://dx.doi.org/10.1016/s0924-9338(11)72467-1.

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IntroductionThe misuse of psychiatry by politics during dictatorships has mainly happened in the first half of the last century during the Third Reich and Stalinist period in Soviet Union. Even today the psychiatric diagnoses may be changed in an abusive way for politic purposes as they were in the past. This may undermine the credibility of psychiatry. The psychiatric professional organizations only recently start to discuss and investigate this issue.MethodsThe authors made a literature review in historic and psychiatric books. They also visited some memorial sites were psychiatry and dictatorship were sadly connected in history. Using as main example the abuse made by psychiatrists as a politic instrument in the Third Reich period, the authors aim to make a historic review about the relationship between psychiatry and politics.ConclusionAbuse and misuse in psychiatry may also easily be done nowadays. Psychiatry is a science with not so clear boundaries, what is normal or abnormal may be sometimes unclear mainly if not seen in a serious and ethic perspective. Because of this psychiatrists should be very clear about their position in ethics, science and society.The psychiatric professional organizations should face the facts of the tragic relationship between psychiatry and politics in history, discussing this issue more openly for an appropriate understanding of the past and for preventing new errors in the future.

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43

Krischel, Matthis. "German urologists under national socialism." World Journal of Urology 32, no. 4 (October 18, 2013): 1055–60. http://dx.doi.org/10.1007/s00345-013-1183-3.

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44

Stackelberg, Roderick. "?Cultural aspects of national socialism?" Dialectical Anthropology 12, no. 2 (1987): 253–60. http://dx.doi.org/10.1007/bf00263329.

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45

Artamoshin, Sergey. "Ideological Origins of National Socialism." Novaia i noveishaia istoriia, no. 3 (2019): 76–88. http://dx.doi.org/10.31857/s013038640004840-2.

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46

Dow, James R. "German Volkskunde and National Socialism." Journal of American Folklore 100, no. 397 (July 1987): 300. http://dx.doi.org/10.2307/540327.

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47

Walker, Mark. "National Socialism and German Physics." Journal of Contemporary History 24, no. 1 (January 1989): 63–89. http://dx.doi.org/10.1177/002200948902400103.

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48

Sedakova, Irina. "Bulgarian Conference on the Ethnology of Socialism: Five Senses in Everyday and Festive Life." Yearbook of Balkan and Baltic Studies 5 (December 2022): 311–16. http://dx.doi.org/10.7592/ybbs5.13.

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The International Online Conference “Socialism Through the Lens of the Five Senses” was organised between 3rd and the 4th of March 2022 by the Center for Ethnology and Cultural Anthropology of St Cyril and St Methodius University of Veliko Turnovo (hereinafter VTU) and the Institute of Ethnology and Folklore Studies with Ethnographic Museum of the Bulgarian Academy of Sciences (hereinafter IEFEM).

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49

Rakysh, Zh. "THE TERMS OF THE KAZAKH FOLKLORE STUDIES: THE EXPERIENCE OF THE PREPARATION OF THE DICTIONARY." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 254–60. http://dx.doi.org/10.51889/2020-3.1728-7804.38.

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This article introduces the principles and practice of developing a terminological dictionary of Kazakh folklore, also were analyzed new terms based on the current achievements in Kazakh folklore. The main stages and directions of development of Kazakh folklore concepts and terms are directly related to the history of the terminology base formation in national folklore.The analysis showed that in Kazakh folklore there is a predominance of national and general Turkic terms, and the share of Russian language borrowed words is less.However, while folklore genres consist mainly of national terms, general folklore terms and concepts consist of international terms.In order to unify the terms in Kazakh folklore the systematization and formation of folklore scientific terms, transformation of authorized traditional terms, polysemy and competitive use of terms were considered.

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50

Englund, Steven. "Robert Stuart.Marxism and National Identity: Socialism, Nationalism, and National Socialism during the French Fin de Siecle.:Marxism and National Identity: Socialism, Nationalism, and National Socialism during the French Fin de Siècle.(SUNY Series on National Identities.)." American Historical Review 112, no. 3 (June 2007): 934–35. http://dx.doi.org/10.1086/ahr.112.3.934a.

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