Avtorica se ozira v zadnje desetletje dela in življenja v Inštitutu za slovensko narodopisje ZRC SAZU. V prvem delu pokaže na nekaj vezi z začetki delovanja inštituta, s poudarkom na tem, kako sta se veda (narodopisje, etnografija) in inštitut postavila v družbo. V drugem je razgrnjen zemljevid projektnih in programskih vsebin v letih 2011–2021, razpetih med že utrjenimi inštitutskimi znanstvenimi interesi (disciplinarna in institucionalna identiteta) in sodobnim razmerjem z aktualnimi družbenimi temami, ki jih pogosto narekujejo razpisi različnih raziskovalnih projektov. Ti so namreč v veliki meri krojili obstanek na sodobnem raziskovalnem tržišču, ko se je zahtevi »objavljaj ali izgini« pridružila rešitev v »prijavljaj aplikativne projekte«. Izkušnjo turbulentnega desetletja sklepa misel o odprti, avtonomni in počasni znanosti.

In the article, the author starts from the different approaches between heritage studies on the one hand and disciplinary heritage approaches on the other hand to consider current and future developments in the field of intangible cultural heritage. In the play between critical studies and broader studies, there are risks of regression as well as opportunities for progress. To underpin his analysis, he refers to his experience of development processes in the field of cultural heritage and to some recent research in France on the institutional functioning of UNESCO in the field of intangible cultural heritage. He then focuses on the notions of “retrotopia” (Bauman, 2017) and “prospective” (Godet, 2004), which seem to him to be suitable for triggering a fundamental anthropological reflection on the future of cultural heritage research. At the end, he draws some conclusions about the possibilities of progress – or, conversely, regression – in intangible cultural heritage.

The article focuses on changes in the roles and uses of Gottscheer folk song from the mid-nineteenth century to the present day. The first part addresses how nationalist activists used folk songs from the end of the nineteenth century to 1941/42 in order to instill the idea of a national identity in the Kočevje region. The second part offers insight into the role of folk song in preserving the identity of present-day Gottscheers in the diaspora. The paper also touches on the concept of “German linguistic islands” and points to the role of scholarship in the (mis)understanding of the multicultural reality of linguistically mixed regions.

This paper explores how wildlife’s purposeful migrations across the Hungarian-Slovenian border engenders relations between nonhumans and humans and stimulates people’s borderwork activities. Following a lead from Stef Jansen’s argument about the incompatibility of symmetrical and asymmetrical treatment of humans and nonhumans, the author performs a two-step analysis of animals’ involvement in borderwork. *** Avtor v clanku raziskuje vprasanje, kako namerno gibanje divjadi cez madžarsko-slovensko mejo ustvarja razmerja med ljudmi in neljudmi ter spodbuja cloveska dejanja izdelovanja meje. Pri tem sledi argumentom Stefa Jansena o nezdružljivosti simetricne in asimetricne obravnave ljudi in neljudi, zato izvede temu ustrezno dvostopenjsko analizo vloge živali v izdelovanju meje.

Prispevek je nastal kot etnografski oris delovanja kantorjev in pogrebnih pevcev na območju Prekmurja in Porabja ter z njimi povezanih vsebinskih in kontekstualnih vprašanj. V središču zanimanja so nosilci glasbenih aktivnosti, povezanih z bogoslužjem in pogrebnim obredjem, zato se osrednja vprašanja nanašajo na glasbeni repertoar, kulturnozgodovinsko umestitev delovanja kantorja in pogrebnih pevcev ter na njihovo vlogo in pomen v skupnosti. Prispevek temelji na opazovanju tako v madžarskih kot slovenskih skupnostih v Prekmurju in Porabju, in sicer v okviru protestantske kot tudi katoliške cerkve.***The paper is an ethnographic outline of the activities of cantors and funeral singers in the Prekmurje region in Slovenia and the Raba Valley in western Hungary related to textual and contextual questions. The research focuses on music performers at liturgies and funeral rituals, so the main issue addresses the music repertoire, the cultural and historical status of the cantor and funeral singers, and their role in the community. The paper is based on the observation in both Hungarian and Slovenian communities in Prekmurje region and in the Raba Valley, both within Protestant and Catholic churches.

The article focuses on the verbal limitations and non-verbal possibilities of narrating fear through movement on the example of theater amateurism. The goal is also to examine the modes of approaching the narrations of unpleasant and painful emotions and their silences with a focus on movement and its narrative and research potential in ethnology, cultural anthropology and folklore research. The complexity of the relationship between verbal language and fear, along with the complexity of the relationship between fear and body, demands new insights, new methodologies and new boundaries between the artistic, the scientific, the performative and the textual in ethnography. For that purpose, the author examines the possibilities of performance ethnography that has been influenced the most by Dwight Conquergood, who shifted the focus from the ethnography of performance to contemporary qualitative research methods surrounding performance ethnography. *** Članek se na primeru predstav amaterskega gledališča osredinja na omejitve govora in neverbalno možnost izražanja strahu z gibanjem. Namen je tudi preučiti načine približevanja k pripovedim o neprijetnih in bolečih čustvih in molka o njih s pozornostjo na gibanje in njegovo izražanje, s tem pa tudi premisliti raziskovalno moč etnologije, kulturne antropologije in folkloristike. Kompleksnost razmerja med verbalnim jezikom in strahom, skupaj s kompleksnostjo razmerja med strahom in telesom, zahteva nove premisleke, nove metodologije in nove razmejitve med umetniškim, znanstvenim, performativnim in besednim v etnografiji. Avtorica zato preučuje možnosti uporabe etnografije uprizarjanja/izražanja, na katero je najbolj vplival Dwight Conquergood, ko je premaknil fokus z etnografije izvedbe/uprizoritve na sodobne kvalitativne raziskovalne metode, ki so blizu performativni etnografiji.

This article brings overview of the First World War monuments in Montenegro. Unlike in other allied nations, there are only a few First World War monuments in Montenegro. Although Montenegro fought with the allies, it lost the peace; Montenegro was stripped of its sovereignty by Serbian troops in 1918. After the First World War, the storyline becomes about the “unification” of Montenegro into the Kingdom of Serbs, Croats, and Slovenes and then its submersion into the Kingdom of Yugoslavia. *** Ta članek vsebuje pregled spomenikov prve svetovne vojne v Črni gori. Za razliko od drugih zavezniških narodov je v Črni gori le malo spomenikov, posvečenih prvi svetovni vojni. Čeprav se je Črna gora borila z zavezniki, je izgubila suverenost, saj jo je leta 1918 zavzela srbska vojska. Po prvi svetovni vojni gre za zgodbo o »združitvi« Črne gore v kraljestvo Srbov, Hrvatov in Slovencev in nato njeni podreditvi Kraljevini Jugoslaviji.

The First World War—also known as the Great War, which lasted from 1914 to 1918—left a significant mark on the twentieth century. It radically changed the demographic composition of Europe (about seventeen million people were killed), resulted in the dissolution of four empires (Austria-Hungary, Russia, Germany, and the Ottoman Empire), had a crucial impact on European values, inspired the search for the new man during the interwar period, and ultimately significantly influenced the shaping, perception, and reception of cultural heritage. Upon the hundredth anniversary of the war’s end, it is worth revisiting certain fundamental starting points and objectivizations—that is, chronotopes—of the First World War from the perspective of ethnology and cultural anthropology. This study thus focuses on three segments or perspectives: 1) the recording of memories or symbolization on monuments and graves; 2) the representation, understanding, and use of heroes, or the main social actors, as well as past and contemporary commemorations; and 3) the interpretations and reinterpretations of cultural and natural environments. *** Prva svetovna vojna ali Velika vojna od 1914 do 1918 je bistveno zaznamovala 20. stoletje. Usodno je vplivala na demografsko podobo Evrope, saj je umrlo okrog 17 milijonov ljudi, na konec štirih imperijev (Avstro-Ogrske, Rusije, Nemčije in Osmanskega cesarstva); usodno je vplivala na njene vrednote in na iskanje po novem človeku med obema vojnama, naposled na oblikovanje, percepcijo in recepcijo kulturne dediščine. Ob stoletnici zato velja z etnološkega in kulturnoantropološkega vidika na novo premisliti nekatera temeljna izhodišča in objektivacije, drugače povedano, označevanja kronotopov prve svetovne vojne. V raziskavi je zato poudarek na treh segmentih oz. pogledih: prvi (1) je zapisovanje spomina oz. simbolizacija, ki jo razbiramo na spomenikih, grobovih in drugo; pomembno (2) je odtiskovanje, razumevanje in raba junakov, glavnih socialnih akterjev; izhodišče so tudi nekdanje in sodobne komemoracije, predmet spora ali sprave in soglasja, da je bila nesmiselna; končno (3) gre za interpretacije in reinterpretacije kulturnih in naravnih prostorov, zaznamovanih s prvo svetovno vojno.

V projektu Utopija Evropa. Pogled od zunaj vs. pogled od znotraj je bilo eno osnovnih vprašanj misliti in razumeti možnosti Evrope kot utopičnega imaginarija in projekta, ki je nastal v zamislih očetov, predvsem Roberta Schumana in Jeana Monneta. V projektu je fokus tako na zgodovini in tvornosti utopične imaginacije, na dilemah in različno zasnovanih utopijah samih družbenopolitičnih sistemov, vprašanju mostov ali meja in skupin, ki jih snujejo, navsezadnje pa na imaginariju Evrope - raja, zdi se da nadvse privlačnega za begunce in migrante.

V razpravi, ki temelji na enakovredni uporabi metod folkloristike in literarne vede, se sprašujemo, kakšna je podoba Božje Matere Marije v slovenskih legendarnih in nabožnih pesmih. Na kratko predstavimo vire njene podobe (Sveto pismo, apokrifi, družbene razmere). Marijine lastnosti so obravnavane z vidika dveh razsežnosti njene osebnosti: njene človeškosti (Marija ima arhetipske ženske lastnosti, je človeška mati iz ljudskega okolja) in »nebeške« razsežnosti Božjega materinstva (moč odpuščanja, priprošnje, zavetništvo). Medbesedilna obravnava primerja slovenske legendarne in nabožne pesmi in izbrane avtorske pesmi z Marijinim motivom iz obdobja med obema svetovnima vojnama. Pri teh medbesedilnost ni eksplicitna, čeprav pesniki zajemajo iz ljudskega izročila. *** This paper considers the image of the Virgin Mary, Mother of God, in Slovenian legendary and religious folk songs through folklore and literature methodology. There is a short presentation of the sources of her image (the Bible, the Apocrypha, social circumstances). Mary’s characteristics are discussed from the two perspectives of her portrayal: her humanity (Mary has the archetypical characteristics of a woman; she is a human mother from everyday life) and her “divine” characteristics as the mother of God (power of forgiveness, intercession, and the role of patroness). The intertextual analysis discusses examples of Slovenian legendary and religious songs and selected poems with Marian motifs from the interwar period. The poems’ intertextuality is not explicit despite the fact that some of the poets use folk song elements.