Kërçova: identitet kulturor
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | Albanian |
| Veröffentlicht: |
Tetovë
Univ. i Europës Juglindore, Fakulteti i Gjuhëve, Kulturave dhe Komunikimit, Katedra e Gjuhës dhe Letërsisë Shqipe
2011
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 395 S. Ill., graph. Darst., Notenbeisp. |
| ISBN: | 9786084503644 |
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| 264 | 1 | |a Tetovë |b Univ. i Europës Juglindore, Fakulteti i Gjuhëve, Kulturave dhe Komunikimit, Katedra e Gjuhës dhe Letërsisë Shqipe |c 2011 | |
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Datensatz im Suchindex
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| adam_text | PASQYRA
ELENDES
PARATHËNIE
Kr
eu
і
pare:
PROLOG KULTUROR
1.1.
Dosmosdoshmëria
e njohjes dhe e studimit
te etnokulturës shqiptare ne* tërësinë
e saj
....................15
1.2.
Realizimi
injëdëshire... ekspedita
..............................18
1.3.
Arritjet
e
deritanishme dhe nevoja
përnjëekspeditë
komplekse
.......................................29
1.4.
Çfarëmerrpërsipërtëtrajtojë
monografia?
......................37
Kreu
і
dytë:
NJOHURITË PËRGJITHSHME
RRETH KËRÇOVËS
2.
l.Shtrirjagjeografike
.......................................................45
2. 2.
Dëshmi
historike
...........................................................48
2.3.
Përcaktimi etnografik
i krahinave
të Kërçovës
dhe ndarj
a administrative..............................................
53
2.4.Popuilsia
........................................................................58
2. 5.
Marrëdhënie
me zona e me
populisi
të
tjera
.....................64
2. 6.
Dukuri tëjetës
materiale................................................
66
Kreu i
trete:
JETA
E
FOLKLORIT
3.1.
Folklori
-
formacioni
і
vetëm
artistik kulturor.
.................79
3.2. Mjediset dhe rastet
e praktikimit te folklorit
......................81
3.
3.Bartesitdheinterpretuesitefolkłorit
..............................85
3.4.
Gjendjaefolkloritsot
..................................................90
3.5.
Folklori
ne skenë
dhe
përpunimi
і
tij
............................97
Kreu
і
hatért:
PËRBËRËSIT E FOLKLORIT
4.
l.Tekstetekëngëve
........................................................108
4.
l.l.Baladat
...................................................................111
4.
l^.Këngëtekreshnikëve
...............................................121
4.
1.3-Këngët
historike
.......................................................136
4. 1.4.
Këngët
lirike
.............................................................150
4.1.4.1. Praktika
për lehoninë dhe këngëtë dj
ep
it.............
152
4.1. 4.2. Praktika
dhe këngë të dasmës se synetisë
............155
4.1.4. 3.
Këngë për dashurinë
..............................................167
4. 1.4.4. Praktika
dhe këngë të ceremonialit
të dasmës së martesës
...........................................178
4. 1.4.
5.Vdekjadhevajtimet
...........................................199
4.1.4. 6. Praktika dhe
këngë
rituale
....................................203
4. 1. 4. 7.
Këngë për punën
..................................................223
АЛА.
8.
Këngë për mërgimin
...........................................227
4. 2.
Folklori muzikor.
...................................................232
4.2.1.
Të kënduarit e burrave
.......................................233
4.2.2.
Të kënduarit
e grave
..........................................258
4.2.3.
Instrumentet
muzikore
.......................................263
4.3.
Folklori koreografik
...........................................270
4.3.1.
Të kërcyerit
e burrave
.........................................271
4.3.2.
Të kërcyerit
e grave
............................................298
4.3. 3.
Të kërcyerit e perzier.
........................................325
Kreu
і
pestë:
RAPORTE
NDËRETNIKE NË FSHATRAT E
KËRÇOVËS
DHE
FOLKLORI
5.1.
Populisi
heterogj ene
nëKërçovë
.................................331
5.2.
Shqiptarët dhe maqedonët
.........................................335
5.3.
Shqiptarët dhe romët
................................................350
PËRFUNDIME
Folklori i
Kerçovës
-
pjese përbërëse
e
folklorit shqiptar.
...355
Këngët
e
kreshnikëve
-
hapësirë
e
panjohur praktikimi...
.363
Zgjerimi
і
trevave të praktikimit të shumëzërëshit
............365
Dukuri etnokoreologjike në rrafsh kombëtar.
.......................367
SUMMARY
BIBLIOGRAFIA
SUMMARY
With the precious contribution of the local chairmen of the
communes of Zajaz and
Oslóme
and the East European
University, during
1999-2003,
we, the two co-authors of this
monographic work, carried out ethno-folkloric researches in
Albanian villages of
Kërçova,
in Macedonia. Due to hospitality
and generosity of the bearers wherever we went, the attained
results were highly satisfactory. We undertook this monographic
work on this documentary basis and after exploiting all
publications made so far in relation to the ethno-culture of
Kërçova.
Further down we will summarize the main conclusions
we have reached also based on the special components of
folklore.
Folklore of
Kërçova - part
of Albanian folklore
The entire consideration of the folklore practiced in the
Albanian area of
Kërçova
fully proves that we have to do with a
cultural diversified asset, with abroad extension of topics, motives,
with a gallery full of personages, artistic means of expression, a
373
number of special phenomena. All these are results of the
particular conditions of the life courses of its population, as well
as phenomena originating from the internal nature of folklore itself.
On the other hand, after coverage in previous chapters, quite
naturally one may ask: what does this folklore represent? Is it
part of a system and if yes, what part of the system does it
represent? Furthermore, after these questions get relevant
responses, others will be following: What is the place that the
folklore of
Zaj az
and
Oslóme
occupies in the Albanian folklore?
This question may get an accurate
ansëer
if the problem can be
viewed in two reflections. First, what are the common points of
this folklore with the entirety of Albanian folklore? Secondly, what
are those elements this folklore adds to the entire Albanian
folklore?
The full consideration of such relationships like that between
the regional, local and national elements would throw light on the
question whether Albanian folklore is a unit or a mosaic, and the
features, specific characteristics of the local, regional elements
are brought to evidence, with the national unit of Albanian folklore
concretely expressed. We agree with the opinion of F. Mehdiu
who divided the songs in
Kërçova
into: a) songs of other
territories; and b) local songs. But we would add here that the
first division he has made might be reviewed in regard to the
songs of other areas conception. It is quite common knowledge
that, as this scholar states, songs for figures like:
Sali
Shabani,
Lil
Macuñi,
Qorr Istrefi,
Sulejman Lita
and others are borrowed
from areas of Kosovo or from Dibra. Likewise, in the entirety of
the songs practiced in
Kërçova
there are some which have taken
374
various paths, but they are songs on deeds of Shkodra brave
men, like: Dan Danushi, Hysen Kardashi, and others. We would
group separately all these creations whose origin could be more
or less discovered; we would similarly act also for another number
of creations, whose origin is very much unknown or are a
consequence of an inherited substratum. Let s say, it is a very
known fact that a number of ballades are international, such as
those having as their motive human sacrifice, re-acquaintance,
etc., besides, we find them also in other peoples.
Based on the above, the folklore gathered so far in Albanian
villages of
Kërçova
brings forth this picture: Firstly, it carries
creations of an inter-regional or all-national fund; secondly, it
has creations borrowed from other bordering zones or even
remoter ones; thirdly, there is also another remaining group of
folkloric creations which clearly shoe of their creative and folkloric
circulation origin in the area of
Kërçova.
Also such a categorization proves that folkloric circulation in
Kërçova
has been realised like in other spaces of Albanian
folkloric circulation: it has been created, inherited, enriched, it
has followed a give-and-take process. Such a situation has made
possible for a number of folkloric creations in different genres
and types to be of an inter-regional or pan-Albanian plane,
although acquiring their specific features. We can mention here,
among others, many ritual creations, ballades, etc. Among the
ballades of this character we would highlight those whose
fundamental motive is the immurement, keeping the pledge,
reunion of husband and wife, sister and brother, etc. Whereas
among ritual creations we would mention here those on calendar
375
celebrations such as the Summer Day,
Shëngjergj, etc.
Regardless of discussions on the origin of proto-creation and
relevant ways of their inclusion in folkloric circulation at certain
historic periods, we note that creations of such a nature in
Kërçova
also have a local colouring. They not only expand the general
information through various variants, extension of the geographic
space of a practically applied topic, motive, but also enrich the
inventory by representing something local, as well.
Songs of other territories in
Kërçova
are those whose events
and personages do not belong to that area. Along with historical
songs, we would say borrowings have also occurred from other
folkloric genres. Let us mention here a number of love, soldier
(nizam-Turkish term) songs, etc., as well as some dances the
names of which quite openly show their creative origin or starting
point. Naturally, these borrowings have not been realised purely
mechanically. We could at least mention the attempts to adapt
the melodies of these borrowed songs to the song singing mode
in
Kërçova. On
the basis of this simple fact, such songs prove
the existence of a process of adaptation, regardless of the fact
whether the variants appear to be more accomplished or less
accomplished compared to the prototype or basic variant. In
this case we would agree with the opinion of scholar F. Mehdiu,
who says that these songs (borrowedfrom other territories)
are distinguished from the native ones regardless of the fact
that their melody has marked some transformations, but they
have not totally been adapted to the country
melisma
.
The
correct judgement from F. Mehdiu on the distinction of borrowed
songs from the native ones does not seem completely justified
376
with his explanation that with the first ones it may happen that
they are not sung to the end,
or the song loses its integrity
if not sung to the end or if lines are skipped.
We hold that F. Mehdiu was completely correct when stating
that there are inaccurate or incomplete variants of the borrowed
songs in the folkloric circulation of
Kërçova.
But this is not a
general phenomenon. Mehdiu himself says that there might be
cases
when songs are not song through to the end. Then the
opposite that songs may be fully sung up to the end is implied.
Besides this, such a statement also depends on the role of the
folklore collector while he selects the best bearers. In the final
end, incomplete, mixed, deformed variants may be collected by
various collectors also as far as the local source is concerned.
This statement goes in line with the scientific opinion that folklore
lives through variants. From this point of
vieë,
we do fully support
Mehdiu s opinion that: it is of interest that borrowed songs
are given a special consideration.
Lastly, in reference to creations borrowed from other areas,
near or remoter ones, we may say that they have come to
Kê rçova
villages through various ways. The geographic position
of this
areal
has made it serve as a linking bridge in which different
sorts of exchanges are mingled, including continuous artistic inter¬
regional communication, as well. In this context, the preferable
creations were borrowed. As from lyrics, most desirable were
those covering brave deeds, as well as those of lyrical character.
The way of singing them was generally that of
Kërçova.
Naturally
such an act was not a merely mechanical adoption. Assimilation
has been creative, in accord with the musical system of
Kërçova,
377
as well as with the various changes or modifications, among which
linguistic or dialectical ones, too.
The borrowing phenomenon is also noticed in different kinds
of lyrics, such as those of epic and lyrical nature, therefore
research shall be made case by case. In order to prove this idea,
it would be sufficient to focus here only on some lyrics devoted
to historical characters like AH
Pashë Tepelena.
It is of interest
that a creation for the ruler of one of Albanian pashalic area in
the second half of the
1
8th century is found as far as the villages
of
Kërçova.
Analysis of the lyrics convincingly proves that we
have to do with a creation which has circulated in many Albanian
territories.
Therefore, when there are evidences or possibilities to make
comparisons the problems get simpler when the kind of source
has to be determined. But the problem is even more difficult and
debated in view of the source of various songs; we think that it
relates to the songs of kreshniks (brave men). Subsequently, we
hold that in the future special studies of structural character should
be made comparatively with all other creations of kreshniks songs
among Albanians.
The third group of folkloric creations of
Kërçova,
mentioned
above, is of great interest. More evident creations to be defined
as creations of native source are, first of all, a considerable number
of creations of historical epics. Among the songs that
ее
and
some other collectors have recorded, we would highlight as lyrics
ornative
origin those in historical songs, like: Kalosh
Dani, Sefer
Zajazi, Sadin Selmani, This Zajazi three hundred homes,
Sul
liana of
Çafa, etc.
These lyrics are devoted to historical
378
events or figures from villages of Zajaz or
Oslóme
who have
participated in them. Practically speaking, in an effort not to be
subjugated by any invader these zones, with a very rich history,
have had many patriots, progressive figures, and a part of them
has been perpetuated in lyrics of folk songs, too.
Likewise, of the same source are also a number of historical
songs, which have not direct relation to the villages of
Zaj az
and
Oslóme,
since they have nothing to do with the events or figures
of those areas. Part of this group is also the lyrics of some songs
on historical figures like Ahmet Zogu, etc. The total number of
the lyrics of such a character in this zone is much higher.
Lyrics, whose origin stems from these areas, are available
also in other folkloric types. To mention here are the lyrics of
songs on the celebration of circumcision, cradle songs, love,
wedding songs, soldier and mourning songs, to come then to
some rituals. Here we mean the practice followed in order to
keep off grave and massive diseases, such as typhoid, cholera
known under the name of prezheshka. In order to keep the
disease away from the village, one morning it was announced
that in the afternoon of the same day the aunt would be
married . Avoidance to mention evil s name, and trying to stroke
it down, shows that this is a generally ancient practice.
All the ceremony carried out further on for this occasion is
analogous with the practices during Rusica, when young girls
went to bury the sun s mother . If during Rusica just a
handful of flour
was requested, during Prezheshka, the answer
to in-laws question what was the hostess going to give them
was A small amount of ashes/1 wish I II never see it at home/
379
Here it is some manure,/andI wish I ll never see it again!
Further continuation of this practice shows of closer relation to
Kërçova
environment. The song in the form of mourning, when
sung by inhabitants of villages of Zajaz, continues with lines like:
We are going to see our Aunt married,
ojë,
/We want to
have her away from our village,
ojë,
/Let us take aunt to
Oslóme,
/to eat bread,
ojë, ojë.
From the aforesaid, we believe that local colouring is quite clear.
To be further discussed is whether we have to do with rites relating
to the cult of the deceased, to the sacrifice for one saint, rebirth as
a force of land fertility and living stock or to the health recovery.
We think that generally speaking, of local origin are also all
those songs consisting of concrete, clear indicators as to their
origin, such as: elements of onomastics, the topics treated, artistic
features, etc.
The text structure also in the creations of historical epics of
native origin flows in the bed of creations in Albanian North-eastern
territories, which is characteristic for the homophonic way of singing.
They have a descriptive narration of certain events or moments, in
many lines, although the mode of their singing changes a lot
compared to the territories mentioned above for text analogy.
Songs of kreshniks
-
an unknown space of practice
Generally speaking, scholars have described the practicing
space of the kreshnik songs among Albanians in some limited
number of environments, along the upper part of the
Drini
River.
There are also some opinions saying that this practicing space is
380
somewhat broader, but they link it mainly with the population
that has moved from the territories in which kreshnik songs were
genuinely practiced.
But the life-cycle of the songs of kreshniks also in the villages
of
Kërçova
is now a fact admitted by various scholars. Quite
naturally one may ask: What is the explanation for the presence
of kreshnik songs like: Exhedi
Brahëjmi,
Beno
jumped heading
toëards
coffee shop, Dylber Angj
elina,
ho
ë
do you find him,
tell us MefinetAga, A Black man is going round, Pas ho
Muja,
Emin Mixha,
and others, in the villages of
Kërçova?!
Some supposition might be that we have to do with borrowings
from areas considered as ones which are genuinely practicing
the cycle, which have undergone thorough, extensive
modifications; however there are few motives which have not
been noted in pure kreshnik cycle practicing territories. Such is,
for example, the motive of the kreshnik who fell ill because his
mother had cursed him.
But the supposition can be made quite in the opposite way.
The real territories where kreshnik songs have been practised
might have been broader, including also intermediate zones,
located between pure territories in view of kreshnik song
practicing and
Kërçova
environment.
The problem becomes even more complicated if we recall
that specialists have generally stated that songs of kreshniks among
Albanians have always been accompanied with lute, and later on
with the two-stringed lute. The lute has been considered as the
instrument which has always accompanied kreshnik songs. The
songs of heroic legendary epos have been traditionally known as
381
closely linked with the lute. For this purpose, they are
frequently named by the people, besides other names, also
as lute songs. Furthermore, there are statements saying that:
Without this instrument, the legendary heroic song would
have lost most of its values; probably it might not have
existed as such.
But it results that the kreshnik songs in the
villages of
Kërçova
are sung with several voices and without
any musical instrument accompaniment.
Such a phenomenon leads to the necessity to revise the
conclusions reached so far. Regardless of the great respect and
high consideration for the heritage of Albanian folkloristic science
so far, now there is no more room for compromising approaches.
Because of lacking recognition of the Albanian folkloric reality in
its entirety, under political conditions which are known to
Albanians, it was not so easy to come up with correct, all-
embracing conclusions. Nowadays, when information on
Albanian folklore has chances to be expanded, let us point out
the objective shortcomings of Albanian folkloristic science. The
only benefit out of it is knowledge on Albanian ethno-culture.
Any effort to justify or perpetuate inaccuracies of the predecessors
would harm the development of folkloristic development.
Extension of Albanian territories
in which multiple-voice practice is applied
Albanian ethno-musicologists have determined the two key
ways of singing of Albanian folk songs, homophonic and
polyphonic, as well the general boundaries of their practicing.
382
The scholars have normally set as a dividing border, namely
Shkumbini River, between the territories practicing polyphonic
songs and those practicing homophonic ones. The truth is that
there are also defined some intermediate or transitory zones,
located even farther, in which phenomena of a non-general
practicing are noticed, a fact which is characteristic in the mode
of singing of other geographically near-distanced regions.
There are some scholars who have accepted the presence of
the two-voice polyphony also in certain regions of Kosovo, like in
Kaçanik
and Opoja, in addition to the Republic of Albania,
downwards Shkumbin, where this is mainly practiced by women.
Likewise, there is also some multiple-voice practicing also among
Albanians of Macedonia. Now, there is more and more reference
to the multiple-voice singing among the Gheg-named musical
traditions. Among these zones or regions, which constitute an
exception
from the homophony-polyphony dividing
law
,
is also
Kërçova. Long
ago it has been said that
the ghegs polyphony
extends to the plain of Pollog, starting from the district of
Tetova,
Gostivar up to the district of
Kërçova
in the South.
Naturally, many records are missing, along with the systematic and
full tracing of the modes of singing everywhere among Albanians.
But also based on what has been made possible, including our
work in
Kërçova,
there is no doubt that the dividing concepts of
Albanian spaces on the mode of singing have been overpassed.
Moreover, there is a conviction that it is nonsense to still find
nowadays in the study literature in the Albanian language the
stereotype thinking that ghegs sing in homophony and Tosks
sing in polyphony, which is now outdated.
383
The definition of multiple-voice practicing also among men of
the villages of Zajaz and
Oslóme
creates real possibilities and
the necessary scientific space to consider the phenomenon in a
more general plane, on national level. The idea may be extended
even further, by bringing arguments that: practicing the two-voice
polyphony in group, at least, has probably extended in a pan-
Albanian space.
From the aforesaid, it is evident the importance that the
presence of the two-voice polyphony in group among
Korça
men, has in bridging the Gheg and Tosk areas as for the singing
mode due to geographic position. Such presences may help
throw light on and explain ethno-musicological and generally
ethno-cultural phenomena which are of interest at national level.
National level phenomena of ethno-choreology
Along with the occurrence of local, regional phenomena and
specifics, in the dances of the area of
Kërçova
we also find
features typical for Albanian specific character and nature. In
addition to the displacement of the file to the right-hand side of
the dancers in group dances, or the plastic character of dances
we mentioned above, we find some various elements as
ëell as
typical phenomena of Albanian ethno-choreographic folklore,
which show of the very early existence of the tradition of Albanian
dancing in Albanian villages of Zajaz and
Oslóme.
To highlight here is that in some women dances as is the case
mentioned for the young ladies dance of the village
Cervice,
the
first
3-4
dancers create a small circle. Such an inclination is also
384
noted when the two ends of the half-circle get closer during the
interpretation of the dance, creating in this way the approximate
image of a closed circle dancing.
The inclinations or approximation towards closed circle lead to
dances dating back to ancient times. The same conclusion is also
reached based on some other features and characteristics of folk
dancing in the villages of
Kërçova,
such as: the free, simple, quite,
slow walking-like steps in some forms of dancing, mostly among
women, between the two-step or successive step movements.
Such features and characteristics lead to unification with the
hore
type dancing, actually considered by Albanian ethno-
choreology as one of the most ancient and authentic forms of
Albanian folk dancing. Of this nature are also the dances with
double three-step or mutual four-step motives.
The general view and special analyses of folklore (in its
components of syncretism) in Albanian villages of the communes
of Zajaz and
Oslóme
proves that we have to do with a creative
unity, that some specific features have also been outlined within
the general bed, thus giving Albanian folklore more breathing
space. The folk traditions of these environments, almost unknown
until lately, may help explain and interpret some of the most
important problems of folklore and Albanian folk culture in general.
Full recognition and study of the folklore of Albanian villages
of
Kërçova
creates not only the possibility to come up with
accurate conclusions on the spread and expansion of the kinds
385
and genres, but at the same time, it helps create re-judgements
about Albanian folklore in general, since a thorough work to know
everything on Albanian folklore has been missing; consequently,
conclusions could not have been totally correct. Reviews fill in
the vacuum and bring to light Albanian folklore and its
components...
At the present time,
Kërçova
and its outskirts are inhabited
by various ethnic people, like: Albanian, Macedonian, Rom, Serb,
Turkish and Wallachian. Co-habitation, the give-and-take
process, even though spontaneously, have also created inter¬
communication relationships in different fields, in some
components of the Albanian culture. Their recognition by
highlighting these relationships positive aspects might help
encourage cooperation among different ethnic groups, first of
all, among specialists of the field, alongside reiteration of the
distinguishing characteristics of these features.
As is also defined by the UNESCO Recommendations, when
understood as an expression of folk culture, the folklore
constitutes a part of universal heritage of mankind and is a powerful
means to unite various peoples and social groups. Nowadays,
when European integration is a focusing issue, it is a preliminary
need to have integration, harmonization and compactness
between different ethnic groups within a certain administrative
structure. Proceeding from such parameters, we judge that it is
necessary to create conditions for
Kërçova
and its outskirts to
further develop ethnic inter-communication. Chances for this
purpose are numerous, but we are convinced that cultural inter¬
communications in the folk culture integral fields of different ethnic
386
groups would be more expressive, more easily understandable
since they are more and more present, and gradually realised
over years, without artificial influences or tension, but simply
through a normal, natural way.
While experiencing co-habitation, in nearly similar or equal
developing conditions, with daily mutual exchanges of most
different natures, representatives of these ethnic groups have also
acquired folk cultures with their own distinguishing characteristics,
as well as contact, common points. Suffice to mention here that
in addition to state divisions since early history up to present
days among Albanian and Macedonian populations in the village
of
Kërçova,
mostly lived by Albanians, as we said above, in
some components of their folk cultures have also existed common
points of various natures. Hence, it is natural that folk culture has
united and unites people, in its own way, creating inter¬
communication spaces, commonness, lowering tensions and
conflicts of political nature. All these values of the folk culture
should not only be recognised and publicised, but, we think, they
must also serve as models for cooperation in other components
or fields of life.
It is understandable that such considerations are very limited,
not to say they are totally missing, as a result of relations or conflicts
of political nature. With the purpose of over passing these
deficiencies, we judge that it is of interest that full researches are
made in all area of
Kërçova,
in all social and ethnic groups living
there in order to bring to light precisely the ethnic inter¬
communications in various components of folk culture and then
to continue with their joint publication. In this way, publication
387
would serve as the first step towards mutual recognition of
different ethnic groups in a study level, and towards their
cooperation, as well.
Consideration of the ethno-culture of Albanian villages of
Kërçova
naturally brings forth evidence and information which
have allowed us to draw general conclusions, to create a tableau
about the life and ethno-folkloric circulation in those Albanian
spaces; to finally bring to light as much as possible that cultural
identity which has quite little recognition or is not known at all
also among scholars of various fields of Albanian ethno-culture
in general.
But on the scientific plane of the realisation of this monograph,
this is the right place to make present one deficiency. The intention
is to fill in this gap also with a special treatment of the folklore
and folk traditions of
Kërçova
in general, of the life of
Kërçova
emigrants far from their environments, in foreign countries. This
is a road followed by folklorists of all other countries, in the Balkan
space as well.
Kërçova
people have shown interest in and have
conveyed the folklore of their people in new environments where
they are settled as displaced minorities. On this basis, different
works up to the level of monographs can be realised.
Proceeding from scientific demands, during the preparation
of this monograph we had and continue to have the feeling that it
would be of great interest devoting a special chapter to the ethno-
folkloric situation of Albanian emigrants from
Zaj az
and
Oslóme,
settled in a country like USA, where they live in great numbers,
organised in communities or associations. But in order to come
to this realisation, it is necessary to organise a research-scientific
388
expedition, naturally in the environments with the largest
Kërçova
people settlements.
If this becomes true, the scope of ethno-folkloric topics would
possibly broaden and would throw light not only on the
aforementioned problems but also would set an example to further
studies of Albanian folklore in all real spaces of its existence and
circulation.
389
|
| any_adam_object | 1 |
| author | Xhagolli, Agron 1949- Bogdani, Ramazan 1934- |
| author_GND | (DE-588)1058011537 (DE-588)137288913 |
| author_facet | Xhagolli, Agron 1949- Bogdani, Ramazan 1934- |
| author_role | aut aut |
| author_sort | Xhagolli, Agron 1949- |
| author_variant | a x ax r b rb |
| building | Verbundindex |
| bvnumber | BV042060186 |
| ctrlnum | (OCoLC)891146631 (DE-599)BVBBV042060186 |
| format | Book |
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| geographic | Kičevo Region (DE-588)4477920-3 gnd |
| geographic_facet | Kičevo Region |
| id | DE-604.BV042060186 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T01:11:40Z |
| institution | BVB |
| isbn | 9786084503644 |
| language | Albanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027501078 |
| oclc_num | 891146631 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 395 S. Ill., graph. Darst., Notenbeisp. |
| publishDate | 2011 |
| publishDateSearch | 2011 |
| publishDateSort | 2011 |
| publisher | Univ. i Europës Juglindore, Fakulteti i Gjuhëve, Kulturave dhe Komunikimit, Katedra e Gjuhës dhe Letërsisë Shqipe |
| record_format | marc |
| spelling | Xhagolli, Agron 1949- Verfasser (DE-588)1058011537 aut Kërçova identitet kulturor Agron Xhagolli ; Ramazan H. Bogdani Tetovë Univ. i Europës Juglindore, Fakulteti i Gjuhëve, Kulturave dhe Komunikimit, Katedra e Gjuhës dhe Letërsisë Shqipe 2011 395 S. Ill., graph. Darst., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Volkskultur (DE-588)4063849-2 gnd rswk-swf Albaner (DE-588)4068517-2 gnd rswk-swf Volksmusik (DE-588)4063854-6 gnd rswk-swf Kulturelle Identität (DE-588)4033542-2 gnd rswk-swf Volksliteratur (DE-588)4135284-1 gnd rswk-swf Kičevo Region (DE-588)4477920-3 gnd rswk-swf Kičevo Region (DE-588)4477920-3 g Albaner (DE-588)4068517-2 s Volksmusik (DE-588)4063854-6 s Volkskultur (DE-588)4063849-2 s Volksliteratur (DE-588)4135284-1 s Kulturelle Identität (DE-588)4033542-2 s DE-604 Bogdani, Ramazan 1934- Verfasser (DE-588)137288913 aut Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027501078&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027501078&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Xhagolli, Agron 1949- Bogdani, Ramazan 1934- Kërçova identitet kulturor Volkskultur (DE-588)4063849-2 gnd Albaner (DE-588)4068517-2 gnd Volksmusik (DE-588)4063854-6 gnd Kulturelle Identität (DE-588)4033542-2 gnd Volksliteratur (DE-588)4135284-1 gnd |
| subject_GND | (DE-588)4063849-2 (DE-588)4068517-2 (DE-588)4063854-6 (DE-588)4033542-2 (DE-588)4135284-1 (DE-588)4477920-3 |
| title | Kërçova identitet kulturor |
| title_auth | Kërçova identitet kulturor |
| title_exact_search | Kërçova identitet kulturor |
| title_full | Kërçova identitet kulturor Agron Xhagolli ; Ramazan H. Bogdani |
| title_fullStr | Kërçova identitet kulturor Agron Xhagolli ; Ramazan H. Bogdani |
| title_full_unstemmed | Kërçova identitet kulturor Agron Xhagolli ; Ramazan H. Bogdani |
| title_short | Kërçova |
| title_sort | kercova identitet kulturor |
| title_sub | identitet kulturor |
| topic | Volkskultur (DE-588)4063849-2 gnd Albaner (DE-588)4068517-2 gnd Volksmusik (DE-588)4063854-6 gnd Kulturelle Identität (DE-588)4033542-2 gnd Volksliteratur (DE-588)4135284-1 gnd |
| topic_facet | Volkskultur Albaner Volksmusik Kulturelle Identität Volksliteratur Kičevo Region |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027501078&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027501078&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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