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Livres sur le sujet « Romani Folk art »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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1

Bódi, Zsuzsanna. Magyarországi cigány mesterségek. Cigány Népművészek Országos Egyesülete, 2001.

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2

Skonda, Mária, Mária Völgyi, and Miklós Péti. Naivok 2018: Naív és autodidakta magyar és cigány művészek : válogatás a Völgyi-Skonda gyűjteményből. Völgyi-Skonda Gyűjtemény, 2018.

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3

Balas, Edith. Brancusi and Romanian folk traditions. Columbia University Press, 1987.

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4

Beissinger, Margaret H. The art of the lăutar: The epic tradition of Romania. Garland, 1991.

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5

Balas, Edith. Brancusi and Rumanian folk traditions. East European Monographs, 1987.

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6

Suba, László. Torda és környéke fazekassága. Kriza János Néprajzi Társaság, 2005.

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7

Stoica, Georgeta. Dicționar de artă populară. Ed. Enciclopedică, 1997.

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8

Stoica, Georgeta. Dicționar de artă populară. Editura Ştiințifică și Enciclopedică, 1985.

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9

Suba, László. Torda és környéke fazekassága. Kriza János Néprajzi Társaság, 2005.

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10

Dancu, Dumitru. Icoane pe sticlă din România. Editura Meridiane, 1998.

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11

Martin, Laura C. Fairy Island: An enchanted tour of the homes of the little folk. Black Dog & Leventhal, 2005.

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12

Cartianu, Ana. Saints on glass: Peasant picture from Ardeal with folk tales. Paideia, 2008.

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13

Ilisan, Mihaela-Corina. Icoanele pe sticlă şi xilogravurile populare din Transilvania în viziunea lui Ion Muşlea. Editura Mega, 2019.

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14

Popoiu, Paula. Sărbătorile românilor: Paștele și Crăciunul în icoane și cuvinte = The Romanian's holidays : Easter and Christmas in icons and words. Editura Universitaria, 2013.

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15

Marinescu, John Gabrian. Eastern European Folk Designs. Schiffer Publishing, 2003.

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16

Lange, Barbara Rose. Sampling and Commercialization in Danubian Trances and Boheme. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0010.

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Chapter 9 discusses the reuse of old recordings as an aspect of neoliberalism, examining Hungarian reactions to the ways that local and West European musicians sampled and processed recordings of folk music. The chapter contrasts two projects: the French duo Deep Forest’s album Boheme and Károly Cserepes’s album Danubian Trances: Mikroworld-ambient. Both projects remixed recordings of Hungarian and Romani (Gypsy) vernacular music. The chapter details how Hungarians treated Danubian Trances and some other local remixes as prestigious art music compositions. It outlines how Hungarians gave Bohem

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17

Lange, Barbara Rose. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0001.

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The Introduction outlines a historical and cultural framework for musical fusion projects in Central Europe, specifically Hungary, Slovakia, and Austria, between 1989 and 2008. It argues that such projects participate in a regional artistic heritage of stylistic virtuosity and social critique. It describes how Central Europeans treat some of their own world music, folk music, and ethnojazz as high or “serious” art, while in Western Europe, world music is part of the popular music industry. The Introduction argues that the Central European projects are experiments in economic independence and i

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18

Lange, Barbara Rose. Local Fusions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.001.0001.

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Local Fusions: Folk Music Experiments in Central Europe at the Millennium explores musical life in Hungary, Slovakia, and Austria between the end of the Cold War and the world financial crisis of 2008. It describes how artists made new social commentary and tried new ways of working together as the political and economic atmosphere changed. The book presents case studies from Budapest, Bratislava, and Vienna, drawing from ethnographic research and from conversations about the arts in Central European publications. The case studies illustrate how young musicians redefined a Central European his

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19

Lange, Barbara Rose. Autobiography, Sexuality, and Ethnicity in the Music of Bea Palya. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0004.

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Chapter 3 discusses how the singer and writer Bea Palya explored dimensions of women’s experience in Hungary that had been kept private before the 2000s. The chapter describes one of Palya’s first solo projects with composer Samu Gryllus, a setting of Sandor Weöres’s Psyché; Weöres’s postmodernist poetry collection explores sexuality, violence, and other facts of life for its female protagonist. The chapter describes how this project enabled Palya to connect autobiography and art, and details how Palya balanced a modern sexual image with other performances dramatizing Christian spirituality. A

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20

Balas, Edith. Brancusi & Romanian Folk Traditions (Carnegie Mellon University Press Art History Series). Carnegie-Mellon University Press, 2006.

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21

Poteries roumaines, art et tradition: Guide de la ceramique de Roumanie, vingt-six centres potiers actifs. Federation des ecomusees et musees de societe, 1999.

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22

Frederiksen, Martin Demant, and Ida Harboe Knudsen, eds. Modern Folk Devils: Contemporary Constructions of Evil. Helsinki University Press, 2021. http://dx.doi.org/10.33134/hup-13.

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The devilish has long been integral to myths, legends, and folklore, firmly located in the relationships between good and evil, and selves and others. But how are ideas of evil constructed in current times and framed by contemporary social discourses? Modern Folk Devils builds on and works with Stanley Cohen’s theory on folk devils and moral panics to discuss the constructions of evil. The authors present an array of case-studies that illustrate how the notion of folk devils nowadays comes into play and animates ideas of otherness and evil throughout the world.Examining current fears and perce

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23

Petrescu, Paul, and Jan Harold Brunvand. Casa Frumoasa: The House Beautiful in Rural Romania (East European Monographs). East European Monographs, 2004.

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24

Reily, Suzel Ana. Local Music Making and the Liturgical Renovation in Minas Gerais. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.003.

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Suzel Reily’s essay discusses the implication of the universalist thrust of the Roman Catholic Church upon local traditions. While in Brazil local music making has been historically linked to Catholic practice, the clergy’s understandings of “the popular” derive from their interpretations of Vatican II directives along with a preoccupation with liturgical fidelity. In this setting, lay religious repertoires are being discouraged in favor of folk-like musics rooted in imagined local traditions. But alongside a clash in musical aesthetics, Reily shows how the musical practices associated with th

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25

Rus, Alin. Globalization of Rural Plays in the Twenty-First Century. The Rowman & Littlefield Publishing Group, 2022. https://doi.org/10.5040/9781978734630.

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The Globalization of Rural Plays in the Twenty-First Century excavates the neglected ideological substratum of peasant folk plays. By focusing on northeastern Romania and southwest Ukraine—two of the most ruralized regions in Europe—this work reveals the complex landscape of peasant plays and the essential role they perform in shaping local culture, economy, and social life. The rapid demise of these practices and the creation of preservation programs is analyzed in the context of the corrosive effects of global capitalism and the processes of globalization, urbanization, mass-mediatization, a

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26

Maunder, Chris, ed. The Oxford Handbook of Mary. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780198792550.001.0001.

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The Oxford Handbook of Mary includes chapters on textual, literary, and media analysis; theology; Church history; art history; studies on devotion in a variety of forms: liturgy, hymns, homilies, prayer, pilgrimage, lived belief and practice; also cultural history; folk tradition; gender analysis; apparitions; and apocalypticism. These have been contributed by a range of scholars, established names in Marian Studies, writing about Mary the mother of Jesus from within their own expertise. The group is international in scope, from the three countries of North America; various nations in Europe;

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27

Flitter, Derek. Personal Demons and the Spectre of Tradition in Spanish Romantic Drama. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.25.

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One thing which emerges as a consistent feature of Spanish Romantic drama, from Larra to Rivas, from Hartzenbusch to Zorrilla, is the contestatory exposition, normally by the male lead, of a radical and challenging prescription for a new understanding of love, life, and the world which is then defeated by external forces or, more commonly, is mitigated by the mediating figure of the heroine. Parallels with prevalent trends in the narratives of Spanish historiography evince an alluring seduction by the wiles of Enlightenment France before a return to the traditional Spanish fold is an obvious s

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28

Jackson, Denise, and Ellen Vaughn. It's All About Him: Finding the Love of My Life. Thomas Nelson, 2007.

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29

Jackson, Denise, and Ellen Santilli Vaughn. It's All about Him: Finding the Love of My Life. Nelson Incorporated, Thomas, 2007.

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