Studia mythologica Slavica https://ojs.zrc-sazu.si/sms <p><em>Studia mythologica Slavica</em> is transnational and multydisciplinary scientific journal covering the themes from the field of ethnology and folklore, history, archaeology, linguistics, religious studies, literary studies and philosophy. It is published by the Institute of Slovenian Ethnology at the Scientific Research Centre of Slovenian Academy of Sciences and Arts, and by the University of Udine. The journal was first published in 1998, and since then it is published each year in a multi-lingual peer-reviewed academic publication.&nbsp;</p> <p>The accompanying book series <strong>Studia mythologica Slavica – Supplementa </strong>(ISSN 1581-9744) is being published since 2004. More about it see: <a href="http://sms.zrc-sazu.si">http://sms.zrc-sazu.si</a></p> en-US <p><span style="font-weight: 400;">Authors guarantee that the work is their own original creation and does not infringe any statutory or common-law copyright or any proprietary right of any third party. In case of claims by third parties, authors commit their self to defend the interests of the publisher, and shall cover any potential costs.</span></p> <p><span style="font-weight: 400;">More in: <a href="https://ojs.zrc-sazu.si/sms/prispevki">Submission chapter</a></span></p> monika@zrc-sazu.si (Monika Kropej) mateja@zrc-sazu.si (Mateja Belak) Thu, 05 Sep 2019 00:00:00 +0200 OJS 3.1.2.4 http://blogs.law.harvard.edu/tech/rss 60 ZMAGO ŠMITEK (29. 11. 1949 – 15. 9. 2018) https://ojs.zrc-sazu.si/sms/article/view/7595 Mirjam Mencej Copyright (c) https://ojs.zrc-sazu.si/sms/article/view/7595 Towards an Archaeological Approach to Prehistoric RockTowards an Archaeological Approach to Prehistoric Rock Carvings. From Method to Symbolics: the Finale Area (Western Liguria, Italy) as a Case-Study<br>Verso un approccio archeologico allo studio delle incisioni rupestri preistoriche. Dal metodo alla simbologia: il caso-studio del Finale (Liguria occidentale)</br> https://ojs.zrc-sazu.si/sms/article/view/7596 This article presents an insight into archaeological approach in the study of rock carvings. The first section is mainly methodological and highlights the significant problems within dating this kind of evidence. Furthermore, it delves into the specific contribution of interdisciplinary research in this field. The second section focuses on the Finale area (Liguria, Italy) as a case study, which has not been studied systematically until now. A hypothesis on the dating and significance of carvings from the Finale area is formulated by comparison with two contexts in which rock-carving art has been studied in detail: the Mount Bego area (France) and Valcamonica (Italy). A table as an appendix is made to propose a first chrono-typology of the carvings from the Finale area. Martina Olcese Copyright (c) https://ojs.zrc-sazu.si/sms/article/view/7596 Rugian Slavic God Sventovit – One More Time<br>Rugijski slovanski bog Sventovit – ponovno</br> https://ojs.zrc-sazu.si/sms/article/view/7598 This paper critically analyses and discusses two recent re-interpretations of the name of the Slavic god known as Sventovit. This deity was worshipped on Rügen Island, on Wittow Peninsula, at a locality called Arkona. The temple of Sventovit, with his four-headed statue, stood there on the cliff there in the Middle Ages until its destruction by the Danes in 1168/9. The paper explores an article by Michał Łuczyński published in the Polish journal <em>Ling Varia</em> in 2015, and a chapter on Sventovit in the book by Judith Kalik and Alexander Uchitel, titled <em>Slavic Gods and Heroes</em>, which was published by Routledge in 2018, in the USA and UK. In his work, Łuczyński postulated that root-stem -<strong><em>vit</em></strong> in the name of a deity is, in fact, a suffix -<strong><em>ovit</em></strong> implying its attributive character. The paper argues for a widely accepted explanation that root-stem -<strong><em>vit</em></strong> derives from the Slavic <strong><em>vitędzь</em></strong>, denoting warrior, hero, freeman, lord, master or ruler. In their book, Kalik and Uchitel argued that the name “Sventovit” was a corrupted form of the name of the Christian Saint Vitus. This article challenges this notion, arguing that the deity’s name Sventovit has nothing to do with Saint Vitus. Roman Zaroff Copyright (c) https://ojs.zrc-sazu.si/sms/article/view/7598 New Insights on Slavic God Volosъ / Velesъ from a Vedic Perspective<br>Novi uvidi o staroslovenskom bogu Volosu / Velesu iz vedske perspektive</br> https://ojs.zrc-sazu.si/sms/article/view/7597 <span style="line-height: 115%; font-family: 'Helvetica','sans-serif'; font-size: 11pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: AGaramondPro-Italic; mso-ansi-language: SL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-font-style: italic;">In 1973, Ivanov and Toporov developed an attempted reconstruction of the presumably central theme of ancient Slavic mythology, viz. the cosmic battle between the thunder-god <em>Perunъ</em> and his adversary <em>Volosъ</em> the cattle god, modelled after the analogous examples taken from Baltic folklore and Vedic mythology, whereby the Slavic god <em>Volosъ</em> was identified with the Vedic demon, <em>Vala</em>. On the same footing, in 2008, came Katičić with similar results, but he identified the Slavic god <em>Volosъ</em> with the Vedic demon <em>Vr̥tra</em>. However, the evidence from the primary Vedic and Sanskrit sources presented in this treatise soundly disproves the above interpretations and identifications and reveals quite a different image of the Slavic god.</span> Milorad Ivanković Copyright (c) https://ojs.zrc-sazu.si/sms/article/view/7597 Ob arhaičeskih čertah narodnoj kul'tury rusin Vostočnoj Slovakii<br>On the Archaic Features of the Ruthenian Folk Culture in Eastern Slovakia</br> https://ojs.zrc-sazu.si/sms/article/view/7599 <span style="line-height: 115%; font-family: 'Helvetica','sans-serif'; font-size: 11pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: AGaramondPro-Italic; mso-ansi-language: SL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-font-style: italic;">This article continues the study of Ruthenian spiritual culture and aims at the determination of ancient elements in the selected rituals and their parts in folk meteorology, wedding, funeral and birth ceremonials, and beliefs about animals and birds in the all-Slavic context. It is shown that the traditional Ruthenian culture is very close to the West Ukrainian ones on the one hand and that it has substantive differences, which allow considering Ruthenian tradition a separate East-Slavic tradition with deep historical background.</span> Marina M. Valentsova Copyright (c) https://ojs.zrc-sazu.si/sms/article/view/7599 Myth in 300 Strokes<br>Mit v 300 taktih</br> https://ojs.zrc-sazu.si/sms/article/view/7600 <span style="line-height: 115%; font-family: 'Helvetica','sans-serif'; font-size: 11pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: AGaramondPro-Italic; mso-ansi-language: SL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-font-style: italic;">This paper aims to explore the phenomenon of the <em>opera minute</em> which emerged from the avant-garde experimentalism after WWI; its beginner and one of the foremost masters, the French composer Darius Milhaud put three short, eight-minute operas on stage in 1927. Others soon followed, among them the Slovenian composer Slavko Osterc who composed the <em>opera-minute</em> “Medea” in 1932. This paper is the first to transcribe in length the manuscript of Osterc’s “Medea”, comparing it to Euripides’ original. Furthermore, the article aims to establish the fine similarities and distinctions between the approach regular opera took towards myth and that of the avant-garde <em>opera-minute</em>.</span> Gregor Pobežin, Igor Grdina Copyright (c) https://ojs.zrc-sazu.si/sms/article/view/7600 V poiske arhetipa: ot arhetipa materi k arhetipu Baby-Jagi<br>In Search of the Archetype: from the Mother Archetype to the Archetype of Baba Yaga</br> https://ojs.zrc-sazu.si/sms/article/view/7601 <span style="line-height: 115%; font-family: 'Helvetica','sans-serif'; font-size: 11pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: AGaramondPro-Italic; mso-ansi-language: SL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-font-style: italic;">Archetypes express themselves in various forms and sources, but many of them can be traced in folk tales. This article describes the most significant symbols and images that reveal the deepest meaning and significance of the Mother archetype in Russian folk culture.</span> Irina S. Guseva, Vladimir G. Ivanov, Maria G. Ivanova Copyright (c) https://ojs.zrc-sazu.si/sms/article/view/7601 Reuse of Ancient Sacred Places in South Ural Region – The Case of Emir Edigey’s Grave<br>Povtornaja sakralizacija drevnih svjatyn' na Južnom Urale (Primer Mogily Ėmira Edigeja)</br> https://ojs.zrc-sazu.si/sms/article/view/7602 <span style="line-height: 115%; font-family: 'Helvetica','sans-serif'; font-size: 11pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: AGaramondPro-Italic; mso-ansi-language: SL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-font-style: italic;">The processes of the sacralization of archaeological sites in the South Urals are analysed in the context of Emir Edigey’s Grave. The history of the archaeological study of the subject is considered in detail. The works of domestic and foreign authors, electronic publications, and internet video resources are being analysed. Based on personal field research held in May 2015 within the Russian Foundation for Humanities’s grant for “Islam in the South Urals geographical information system”, the chronology of the formation of the sacred space on the territory of historical and cultural heritage is being restored. In conclusion, the modern sacralization processes taking place on the significant site under consideration and throughout the whole South Urals are characterized.</span> Ainur I. Tuzbekov, Ilshad I. Bakhshiev Copyright (c) https://ojs.zrc-sazu.si/sms/article/view/7602 Tanatologičeskie motivy «Strašnoj mesti» Nikolaja Gogolja v kontekste ètnokul'turnyh svjazej ukraincev<br>The Thanatological Motifs of <em>A Terrible Vengeance</em> Story by Mykola Gogol in the Context of the Ethnocultural Connections of the Ukrainians</br> https://ojs.zrc-sazu.si/sms/article/view/7603 <span style="line-height: 115%; font-family: 'Helvetica','sans-serif'; font-size: 11pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: AGaramondPro-Italic; mso-ansi-language: SL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-font-style: italic;">This article deals with the description of the posthumous destiny of the dead in the horror story <em>A Terrible Vengeance</em> by Mykola Gogol. It describes the patrimonial cemetery of the sorcerer, where all his ancestors were buried. Their corpses rise from their graves, but the first local dead man, the largest of them, cannot rise, and his movements cause earthquakes. These images can be fully understood only in comparison with Chuvash beliefs about the first buried dead person as the cemetery master and also with Zoroastrian and Ossetian mythological concepts. The Chuvashes and the Iranian-speaking nations, primarily the Ossetians, have parallels to the plot about a father coveting his daughter and killing his grandchild, the soul’s wanderings during sleep, and other related motifs. Thus, the folkloric motifs on which the story is constructed help to reveal the ethnocultural connections of the early Ukrainians.</span> Kostyantyn Rakhno Copyright (c) https://ojs.zrc-sazu.si/sms/article/view/7603 Medkulturnost v pravljicah Dorotheae Viehmann, Laure Gonzenbach in Tine Vajtove ob primeru pravljic o začarani nevesti (ATU 402)<br>Interculturalism in the Fairy Tales of Dorothea Viehmann, Laura Gonzenbach, and Tyna Wajtawa, Presented on the Example of Folktale Type the Animal Bride (ATU 402)</br> https://ojs.zrc-sazu.si/sms/article/view/7604 <span style="line-height: 115%; font-family: 'Helvetica','sans-serif'; font-size: 11pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: AGaramondPro-Italic; mso-ansi-language: SL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-font-style: italic;">In the article, three female storytellers are compared – Dorothea Viehmann, Laura Gonzenbah and Tyna Wajtawa, with an investigation of their narrative repertoire and their socio-cultural background. Their fairy tales reflect multilingualism and interculturalism, with the influence of elements of German, Romance and Slavic cultures. Based on the comparative analysis of the ATU folktale types, it was discovered that they have all included in their repertoire a fairy tale of the folktale types ATU 402 (animal bride) and ATU 425 (searching for a lost husband). The article includes a comparative analysis of the similarities and differences of their variants of fairy tale type ATU 402 “The Animal Bride”.</span> Milena Mileva Blažić Copyright (c) https://ojs.zrc-sazu.si/sms/article/view/7604 Bees and Beekeeping from the Perspective of the Ontological Turn<br>Čebele in čebelarstvo v luči ontološkega obrata</br> https://ojs.zrc-sazu.si/sms/article/view/7605 <span style="line-height: 115%; font-family: 'Helvetica','sans-serif'; font-size: 11pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: AGaramondPro-Italic; mso-ansi-language: SL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-font-style: italic;">With a particular emphasis on the perspective of the human-animal relationship, the author presents forms of beekeeping as well as related narrative culture and painted beehive panels, which came into vogue in the second half of the 18<sup>th</sup> century, decorating Slovenian apiaries. This practice was unique in Europe but was largely abandoned by the first decades of the 20<sup>th</sup> century due to changing economic, social, and spiritual conditions. While apiculture and the industry involving bee products have become very profitable worldwide, in Slovenia beekeeping is also perceived as a true national symbol. Beekeeping has also found its place in larger cities, mainly on terraces and in parks. In contrast, however, the often harmful human intervention has also accidentally exterminated bees in many natural habitats. The author discusses the relationship between man and bees in the light of posthumanism, which has revolutionized the way scholars perceive non-human mental lives and abilities.</span> Monika Kropej Telban Copyright (c) https://ojs.zrc-sazu.si/sms/article/view/7605 Daritvena pogača <em>župnik</em> in Valvasorjev <em>Hausgötze – gospodarček</em><br>The Offering Bread <em>župnik</em> and Valvasor's <em>Hausgötze – gospodarček</em></br> https://ojs.zrc-sazu.si/sms/article/view/7606 <span style="line-height: 115%; font-family: 'Helvetica','sans-serif'; font-size: 11pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: AGaramondPro-Italic; mso-ansi-language: SL; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-bidi-font-style: italic;">The author analyses the uses of the Christmas festive bread <em>poprtnik</em> and the age-old tradition of baking such offerings in Slovenia. These offerings, along with the names of certain Slavic deities, were first mentioned four hundred years ago. One of these Christmas breads has preserved its name – <em>župnik</em>, documented in Ribnica in Dolenjsko / Lower Carniola. This name <em>župnik</em> was passed on to this offering bread after the early medieval Slavic administrative unit <em>župa</em>, and not after the Slovenian term for a Catholic priest – <em>župnik</em>, which was first introduced only just after the year 1860.</span> Ilija Popit Copyright (c) https://ojs.zrc-sazu.si/sms/article/view/7606 Eda Kalmre: What a Wonderful World of Legends! Articles on rumours and legends https://ojs.zrc-sazu.si/sms/article/view/7722 Monika Kropej Telban Copyright (c) https://ojs.zrc-sazu.si/sms/article/view/7722 Mon, 09 Sep 2019 00:00:00 +0200 Cimafej Avilin: Pamiž nebam i zjamlëj: Ètnaastranomija [Between the Sky and the Earth: Ethnoastronomy] https://ojs.zrc-sazu.si/sms/article/view/7723 Nejc Petrič Copyright (c) https://ojs.zrc-sazu.si/sms/article/view/7723 Mon, 09 Sep 2019 00:00:00 +0200 Suzana Marjanić: Topoi umjetnosti performansa: lokalna vizura [The Topoi of Performance Art: a Local Perspective] https://ojs.zrc-sazu.si/sms/article/view/7724 Mirjam Mencej Copyright (c) https://ojs.zrc-sazu.si/sms/article/view/7724 Mon, 09 Sep 2019 00:00:00 +0200