Halottbúcsúztató versek Erdélyben a 20. század második felében: rituális genealógiai és biografikus emlékezet, műfajiság és szövegfunkció
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | Hungarian |
| Veröffentlicht: |
Kolozsvár
Erdélyi Múzeum Egyesület
2020
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| Schriftenreihe: | Emberek és kontextusok
18 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract Abstract |
| Beschreibung: | 680 Seiten, 15 ungezählte Seiten Tafeln Illustrationen, Porträts 30 cm DVD-ROM (12 cm) |
| ISBN: | 9786067391596 |
Internformat
MARC
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Datensatz im Suchindex
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TARTALOM BEVEZETÉS .9 I. A KUTATÁS SZEMLÉLETI KERETE ÉS AZ ÉRTELMEZÉS PARADIGMÁI. 13 1.1. A populáris írás kutatása. 13 1.2. Az emlékezéskultúra szempontjai. 15 II. KUTATÁSTÖRTÉNETI ELŐZMÉNYEK ÉS EREDMÉNYEK . 17 II.1. Egyháztörténeti megközelítések. 17 II.l.l. A búcsúztatók formai és tartalmi vonatkozásai a tiltás kontextusában . . 17 II.1.2. Műfaji változatok és kifogásolt tartalmi, formai sajátosságok. . 20 II.2. Irodalmi recepció, kiadás- és kutatástörténet. 24 II.2.1. A búcsúztató mint költői (irodalmi) termék: irodalmi elvárások - irodalomtörténeti forrás. 24 II.2.2. A búcsúztató-mintakönyvek szerzőinek népnevelői stratégiája . 26 II.2.3. Közköltészet és népköltészet - értelmezési szempontok. 29 II.2.4. Irodalmi példákból kibontakozó kántori, verselői szerepkör . 31 II.2.5. Az irodalomtörténet és a folklorisztika határterületén. 32 II.3. Néprajztudomány-történeti megközelítések.33 II.3.1. A magyar néprajzkutatás
eredményei.33 II.3.1.1. Lokális és regionális néprajzi megközelítések. 34 II.3.1.2. A halottbúcsúztatás műfajgenetikai kapcsolatai és kategorizációja. . 47 II.3.1.3. Búcsúztató és prédikáció - szemelvények történeti forrásokból . . 50 II.3.1.4. A biografikus szöveg mint történeti, mentalitástörténeti, nyelvészeti forrás.53 II.3.1.5. A búcsúztatáshoz való közösségi ragaszkodás. 55 II.3.1.6. A búcsúztatóparódia mint alműfaj. 58 II.3.1.7. A kántori szerepkörre irányuló néprajzi érdeklődés példái . . . 59 II.3.1.8. Szöveghasználat és értelmezői attitűdök az Ethnographia folyóiratban. 60 II.3.1.9. A Magyar Néprajz és Antropológia Tanszék keretében megvalósult gyűjtések. 67 II.3.2. Román nyelvű folklorisztikai párhuzamok. 72 II.4. Összegzés. 73 5
Tartalom III. A HALOTTBÚCSÚZTATÁS EGYÉNI HABITUSAI ERDÉLYBEN A 20. SZÁZAD MÁSODIK FELÉBEN.75 III. 1. Az írás egy mezőségi autodidakta író mindennapi életében Kiss Dániel versírói gyakorlata. 75 III.1.1. „A fóldi életem utolsó napján elmondott önéletrajz” - Kiss Dániel életútja.75 III.1.2. Kiss Dániel verses halotti búcsúztatói. 80 III.1.3. Az írás szerepe Kiss Dániel életében. 91 III.1.4. Összegzés. 104 III.2. Kőbe vésett biografikus emlékezet Kalló Ferenc verses sírfeliratai az inaktelki temetőben.106 III.2.1. Az íráshasználat mint családi (anyai) örökség.120 III.2.2. Erdély-reprezentáció a Szentendrei Szabadtéri Néprajzi Múzeumban a kalotaszegi népi írásbeliség reprezentatív példája.123 III.2.3. A táncadatközlői szerep és a versírói tevékenység metszéspontjai . . .125 III.2.4. A sírfeliratok szerkezete és a kihelyezett szövegek társadalmi jelentései. 129 III.2.5.
Összegzés. 132 III.3. Kurtucz István halottbúcsúztatói mint a kisiratosi segédkántorok írásgyakorlatának forrásai. 134 III.3.1. Sarusi Mihály-Kurtucz István unokaöccse - narratívája . . . .138 III.3.2. A kisiratosi halottbúcsúztatás történeti kontextusai. 141 III.3.3. A búcsúztatók mint a családi kötelékek megerősítésének szövegemlékei. 143 III.3.4. A lakodalmi „zenészből” lett kántor: Almási László. 146 III.3.5. Falkus Margit segédkántori szerepei.151 III.3.6. A halottbúcsúztató előadása mint közösségi esemény. 157 III.3.7. Összegzés. 158 III.4. Halottbúcsúztatás Györgyfalván Test(kép)-reprezentációkjaskó István búcsúztatóiban. 160 III.5. Az írás helyi specialistái - öt versíró specialista írásszokásai.168 III.5.1. Ágoston János (Nagypetri). 168 III.5.2. Babán János (Bogártelke). 170 III.5.3. Zsoldos István (Sinfalva). 175 III.5.4. Sándor Botond
(Nagyenyed). 179 III.5.5. Gál Jankó László (Zsobok). 184 KÖVETKEZTETÉSEK. 190 6
Tartalom FELHASZNÁLT IRODALOM. 196 Egyéb források, újságcikkek. 209 Kántori mintakönyvek.209 A Magyar Néprajz és Antropológia Tanszék keretében megvalósult gyűjtések . . 210 VÁLOGATÁS A HALOTTI BÚCSÚZTATÓKAT ÍRÓ KÁNTOROK, NÉPI VERSELÔK SZÖVEGREPERTÓRIUMÁBÓL. 213 1. Ágoston János (*1941), Nagypetri. 214 2. Almási László (1950-2012), Kisiratos. 220 3. Ágoston M. István, Sztána. 233 4. András Márton (*1922), Gyergyócsomafalva. 237 5. Babán János (*1930), Bogártelke. 282 6. Falkus Margit (*1940), Kisiratos. 332 7. Fancsali Boldizsár, Vágás. 337 8. Gál Ilona (1901-1973), Inaktelke. 342 9. Gál Jankó László (*1955), Zsobok.344 10.
Geréd Vilmos (*1950), Kolozsvár.357 11. Gyuricza István (1925-2000),Tornya. 360 12. Jaskó István (Pitti) (1929-2013), . . 380 13. Kalló Ferenc (Malmi) (1923-2013), Inaktelke. 471 14. Kolozsi István (*1920), Lövéte. 513 15. Kiss Dániel (1924—2010), Mezőkeszü. 519 16. Korpos Dezső, Sárvásár.541 17. Kovács György Bandi, Körösfő. 544 18. Kurtucz István (1913-1980), Kisiratos. 545 19. Sándor Bálint,Torockószentgyörgy.616 20. Sándor Botond (*1955), Nagyenyed. 620 21. Szalai Ferenc Szénási (*1944), Zsobok. 627 22. Zsoldos István (1929-1984), Sinfalva. 632 23. Névtelen szerző 1. 654 24. Névtelen szerző
II.655 MELLÉKLETEK. 657 A halottbúcsúztatók szerzői. 658 A szerzőkkel készült interjúk. 660 Helynévmutató. 664 Térképek.667 REZUMAT. 674 SUMMARY. 676 DVD-MELLÉKLET.679 KÉPEK. 681 7
REZUMAT In partea introductivä a cärtii sunt prezentate consideratiile referitoare la aspectele generale ale poeziilor funerare, precum si observatiile care dezväluie relatia dintre genul si fiinctiile textelor bazate pe unele articole reprezentative ale literaturii etnografice maghiare. In cursul cercetärilor am efectuat analiza detaliatä ale versurilor funerare maghiare din Transilvania. De-a lungul analizei m-am concentrât pe întelegerea fùnctiei si traditiei iertäciunilor. Pe baza interviurilor biografice structurate sau semi-structurate m-am sträduit sä reconstituiesc contextul utilizärii versurilor funerare: cine a ordonat textul, ce informatii au fost impärtäsite eu autorul poeziilor funerare. Am acordat o atentie deosebitâ autorului poeziilor funerare (biografie, profesie, prestigiu, mediu, educatie, traditie preluatä, obiceiuri creative), prezentärii poeziilor funerare (spectacol în cadrul ceremoniei de înmormântare, scrisa manual sau tipäritä, modul de conservare). Ca act de încheiere a studiilor de caz reprezentative si, de asemenea, la sfârsitul capitolelor mai scurte, am încercat sä rezum concluziile pe baza documentelor de referintâ luate ín considerare din anumite aspecte. Poeziile funerare sunt poezii rituale ale ceremoniei de înmormântare. Pe baza informatiilor oferite de un membru al familiei defùnctului, este redactatä de un érudit local (poet, cantor, poet au todidact). In secolele XVII-XVIII poezia fûnerarâ a reprezentál în rândul aristocratiei momentul culminant al ceremoniei de înmormântare. Din diferite motive (perturbarea ceremoniei bisericesti,
provocarea de tensiuni sociale, emotionale) din secolul al XlX-lea biserica a initiât excluderea acestui element din liturghie. Aceste interdictii au provocat nemultumirea familiilor, care au cäutat diferite moduri de a satisface aceastä necesitate. Prezenta publicatie documenteazä viata si functionarea ritului de expunere a biografiei defunctului, si de luare de rämas bun de la defunct. Pe baza investigatiilor efectuate în diferite localitäti transilvänene, se realizeazä reconstituirea procesul de redactare a poeziilor, reconstituirea vietii, operei si obiceiurilor de creatie ale autorilor, formelor si contextelor de prezentare a poeziilor. Primul capitol prezintä cele doua paradigme ale cercetärii, cea a antropologiei scrisului si a culturii memoriei. Antropologia scrisului urmäreste functiile, contextele, genurile textelor scrise, relatiile dintre oralitate, scris, cod vizual si gesturi, obiceiurile de redactare si de întrebuintare a scrisului în viata cotidianä, socializarea individului în universul scrisului, rolul scrisului pe parcursul carierei unei persoane. Capitolul al doilea trece în revistä literatura care vizeazä tema cercetatä. Grupate în frei subcapitole, publicatiile provin din domeniul istoriei literaturii bisericesti, al istoriei beletristicii si al folcloristicii. Abordarea etnologicä-antropologicä relevä caracterul terapeutic al ritualului de luare de rämas bun de la defunct si caracterul généalogie al poeziilor funerare. In urmätoarele capitole analitice sunt expuse datele culese. In subcapitole distinse sunt descrise cariera, obiceiurile de redactare a
poeziilor si colectia de texte a 9 autori din diferite localitäti (Chesäu-Cluj, Inucu-Cluj, Dorobanti-Arad, Gheorghieni-Cluj, Petrindu-Sälaj, Bägara-Cluj, CornestiAries, Aiud, Jebucu-Cälata). Patru dintre aceste analize se integreazä în paradigme distincte. In cazul lui Kiss Daniel poeziile funerare fac parte dintr-o operä bogatä si variatä. In localitatea Inucu, poeziile lui Kalló Ferenc sunt gravate pe monumentele funerare, matériáiul din Dorobanti dezväluie strategiile de reutilizare a traditiilor textuale locale ín situatiile actuale, iar în cazul poezii lor din Gheorghieni analiza urmäreste reprezentarea ipostazelor corporale. 674
Rezumat Fiecare subcapitol este câte un studiu de caz, care, pe rând, face vizibil varietatea si specificul contextului poeziilor: traditii individuale de creatie, atitudini colective locale, tensiuni si consensuri dintre bisericä si asteptârile familiale. Rezultatele capitolului III. 1. se refera la textele manuscrise aflate în caietele unui scriitor autodidact din Chesäu (comuna Mociu, Cluj). Textele scrise de Kiss Dániel sunt pástrate ín 28 de caiete. Acestea reprezintâ rodul a aproape 65 de ani de muncä, dar nu contin textele ocazionale scrise la comandá, dupa care autorul n-a facut o copie înainte de predarea lor, astfel ca ele nu figureazá in fondul sáu de manuscrise. Matériáiul scris de el se intregeste cu povestea personalá relatatá în interviul autobiografic, aie cärui fragmente selectate se refera în primul rând la practica scrisului, la scrierea necrologurilor în versuri, la ritualurile legate de obiceiul luârii de ramas bun de la morti. Din fondul de manuscrise aflate în colectia lui Kiss Dániel, capitolul prezintä repertoriul de necrologuri în versuri, texte scrise între anii 1945 si 2008, urmate de selectia si gruparea textelor din cele 28 de caiete pe terne si pe genuri. In colectia de scrieri ale autorului autodidact, pe rând, se însira însemnâri genealogice, familiale si de istoria localitätii; scurte însemnâri autobiografice, mârturii; serisori în versuri scrise pe vremea serviciului militar; reflectii asupra evenimentelor istorice, politice; genurile lirice ale oratiei de nunta; urâri de Crâciun, An Nou, Pásti, de Ziua Mamelor, a scolii, a pastorului;
urâri scrise pentru medici si asistente, serisori, poezii scrise pentru diferite ocazii; rugâciuni. Prin Kiss Dániel, gentil necrologului în versuri a pâtruns treptat în repertoriul ritualic al comunitätii, a devenit o prestatie solicitatâ, pe care autorul o percepe ca mijloc de mângâiere a celorlalti. Capitolul III.2. vizeazâ inscriptiile funerare, epitafùrile compuse si dâltuite în monumentele funerare de specialistul Kalló Ferenc din localitatea Inucu (jud. Cluj), în contextul oralitatii si scripturalitätii populäre. Aceastâ traditie fùnctioneazâ ca o forma a memoriei culturale, textele scrise si dâltuite în piatrâ imortalizeazâ atât viata defunctului cât si mediul sâu social, aceste monumente din partea a doua a secolului al XX-lea au devenit patrimoniul comunitätii locale ca o forma a istoriei sociale locale. In capitolul III. 3. sunt prezentate versurile funerare scrise de cantorul Kurtucz István care ulte rior au fost sursele activitätii cantorilor auxiliari, Falkus Margit si Almási László din Dorobanti (jud. Arad). Dupa detalierea contextelor istorice ale poeziilor funerare scrise de cântâretii de bisericä la Kisiratos, versurile fùnerare sunt interpretate ca texte memoriale ale întâririi si eternizärii legäturilor familiale. Capitolul III.4. vizeazâ versurile funerare, iertàciunile compuse de specialistul Jaskó István ’Pitti’ in satui Gheorghieni (jud. Cluj), în contextul oralitätii si scripturalitätii populäre. Putern afirma cä textele compuse de Jaskó István ’Pitti’ pot fi interpretate ca o forma particularâ a memoriei comunitare: imaginile bolii si sänätätii
care se desprind din textele iertäciunilor pästrate ín arhiva de manuscrise a familiei, reprezentatia textualä a procesului mortii, corpul urnán care suferä de bolile si accidentele des întâlnite în texte constituie centrul analizei etnografice. Pe baza surselor textuale primäre (42 de versuri funerare, interviuri), paralel cu evidentierea aspectelor semantice, cu clasificarea tipurilor de boli si cauzelor de moarte, se prezintä procesul de redactare a biografiei decedatului, contextul formärii si rostirii textelor rituale, activitatea legatâ de scris a specialistului. Capitolul de sintezâ reia si finalizeazä concluziile cercetärii, dintre care amintim cele referitoare la fùnctiile, istoria si interpretarea poeziei funerare, la tendintele de reorganizare a ritului de înmormântare, la caracterul activitätii poetilor autodidacti, la habitusurile individuale ale obiceiului luârii de ramas bun de la defunct. 675
SUMMARY In the introductory part of my study I outlined the considerations regarding the questions about the genre of funeral valedictions, as well as the observations revealing the relation between genre and the function of texts based on some representative texts of the Hungarian ethnographic literature. In my research I compiled and examined in detail the texts of the Hungarian funeral valedictions of Transylvania. During my analysis I focused on understanding the function and tradition of valedictions. Based on the structured or semi-structured biographical interviews I endeavored to reconstruct the context of the usage of funeral valedictions: who ordered the text, what information were shared with the author. I paid close attention to the author of the funeral valediction (biography, profession, prestige, environment, education, accepted tradition, creative habits), to the presentation of the funeral valediction (performance within the framework of the burial ceremony, handwritten or printed form, the way of preservation). As the closing act of the more extensive representative case analysis and also at the end of shorter chapters, I tried to summarize the conclusions based on the reference documents taken into consideration from given aspects. Throughout its history lasting hundreds ofyears the funeral valedictions have got a special status, a special community image. Due to church interdictions this custom has been almost completely marginalized, so I became aware of them in their secondary context, in sources of family archives in Transylvania, when neither
personal, nor community need could generate new texts, repertories. Those texts that were used during a funeral service as their primary context and that were popular and demanded at the second half of the 20th century, to some extent attracts just an ethnographic interest, in their secondary context, as a text object, as proof of folk literacy. Archive sources and other written documents that mention the interdiction offuneral valedictions and the regulations regarding the genre report about the confrontation between the secular approach and that of the official church. At the beginning, valedictions were included in the funeral service right after the pastoral sermon, then due to general interdictions, they were taken out of the service. Interdictions from the 17th century confirm that the question of funeral valediction, community reactions to the usage of texts and conflicts that were their outcome (disagreements on the payment for writing and singing, theological excuses, the low quality of rhyming, excessive length, aesthetic expectations etc.) were important for both the Protestant and the Catholic decisions makers. Anger and hatred were recurrent motives, they were sources of conflict that arose from the content specific to the genre, so these served as arguments in case of church interdictions. Dispositions often referred to the loss of community balance, they declared the funeral valedictions to be a genre that breaks the order. It was a common argument that rhyming and versified praise had to be cancelled because they minimalized the effect of a good funeral
sermon. Orders regarding the genre and attempts to regulate it reflect the need of the church to show its authority regarding valedictions that mentioned biographies and decent. Interdictions were evoked by the strong emotional effect of the poem. In the interviews made during field trips the communal force and cathartic function of valedictions either in the form of songs or poems were paralleled with the church service, often at the expense of the quality or the effect of the latter. Attempts to reform the content and form of funeral valedictions, interdictions introduced by the church, breaking with this problematic genre, a certain condemnation of this type of text should 676
Summary be interpreted within the context of the expectations of the audience, the community’s affection and the provoked reactions. The extent of the “suffering” of the function of the text as an important part of the burial varies from place to place, when the network of family and relatives as well as the biography of the deceased represented either in a song or in a poem shrinks to an additional part of the pastoral sermon. At the beginning, funeral valedictions were mentioned only in ethnographical descriptions about funeral customs. These sources and descriptions of customs reported mainly about how the valedictions were included within the context of the funeral service, how texts were created and performed. Data about valedictions in monographies state that these types of texts were usually present at the end of a funeral service, publishing these valedictions were illustrations of a practice belonging to the past and also to the present. Writing practice of specialists creating such texts and the community aspects of their poetic career were rarely mentioned in descriptions of customs focusing on events. The repertory of texts that I studied during my research, beyond the appearance of uniformity of form and content, bears witness to individual strategies of creating and using a text. They all reveal the effort of specialists to continue the tradition of funeral valedictions by complying with the criteria of content (biography, genealogy, narrative roles: usage of first or third person singular), of performance (reading, singing) fit in with the expectations of
church and community. In some cases controversy against church expectations is part of the strategy of how to use a text, even if that means to confront the pastor. In such cases strong community will and adherence. Daniel Kiss self-taught folk poet from Mezőkeszü started to write funeral valedictions and other occasional poems in the second half of the 1940’s. His activity and writing practice that had a personal motivation, became an accepted and needed service in the community. This had influenced his creative identity, the further evolution of his self-image. When communities started to use texts much rarer, writing became the tool of recording everyday life and career. His creativity resulted in creating a poetic genre based on funeral preachings written in prose. Through his written texts the self-taught poet enlarged the scale of phrasing of the society of Mezőkeszü. As a result of his creativity he became a conscious innovator, so by his speeches held in public, he could transform the script of local speech events. The III.l. chapter presents the reader with the handwritten contents of a Mezőkeszü self-educated writer’s notebooks. Kiss Dániel’s texts are written down in 28 notebooks, the fruit of almost 65 years’work. Unfortunately, some texts the writer produced on special occasions for various persons have not been copied and therefore are missing from these notebooks. His writings are completed by the story of his fife as related to the editor; this story is mostly made up of episodes related to the habit ofwriting, the writing of the itinerary poems and the
custom of bidding farewell to the dead. Everyday writing enriched Ferenc Kalló from Inaktelke with a special identity. He worked intensively to preserve his memory in the last period of his life. Recording the story of his family he preserved and passed on a genealogical knowledge. His texts engraved in tombstones record not only the life career, the death circumstances of the dead from Inaktelke, but also their social environment. These signs on the tombs have become part of the cultural and material heritage of the community, they are the unique footprints of local history, community identity. The epitaphs functioning as funeral valedictions are biographical texts engraved in stones, they are stories about life careers that are part of the local community memory. The purpose of this chapter is to present funeral poems as official documents carved on tombstones in the village Inucu (Cluj county) by stonemason specialist Kalló Ferenc, and the list of deceased local people as a personal document compiled by the carver 677
Halottbúcsúztató versek Erdélyben a 20. század másodikfelében between 1930 and 1975. This tradition fonctions as a form of cultural memory: the texts written and carved in stone capture the life of the deceased and his social environment. By the end of the20,h century this tradition became the heritage of the local community, a form of local history. István Kurtucz’s chorister valedictions from Kisiratos present a tradition of texts getting more and more prestige. After the death of the chorister, the legacy that was a source of subsequent foneral valedictions was included in the collection of local cultural values. As a representative tradition, it was enriched with symbolic value, with added meaning. Due to external interest, manuscripts get more value, and through the names, network of relatives, biographical allusions they become the footprints of the local history of a place, of the community identity of Kisiratos. Analyzing the life career and activity of the three specialists, the role of the individual is shown in passing on tradition. In case of István Jaskó the starting point of my analysis was the health and illness image of foneral valedictions, the textual representation of dying, the body suffering a tragic accident. Creating a biography it was inevitable to present physical suffering, the physical act of the representation of illness was the act of putting the dead body into the grave. István Jaskó had recognized his poetic talent at an early age, and he realized that he could contribute to the communal experience of loss, to mourning by his writing. He was
appreciated because of his knowledge, and even after foneral valedictions were becoming more and more rare, writing had a high value for him. His poetic activity, his texts constructing a special visual world illustrate how a writing person could influence the practice of local text usage. The shorter, illustrative analysis consisting of five subchapters are about local writers that try to alter the image of the church’s prohibition of foneral valedictions. Examples that vary according to denominations and regions prove that the differentiated study of text usage in particular places, or the ready for a compromise attitude of a church employee is better than discussing prohibitions in a simplistic manner. The role of the individual in preserving tradition becomes obvious by studying the life career of specialists using writing. Poetic and performative activities are not isolated phenomena: poets of a specific region, area knew about each other’s work, they evaluated and paid attention to each other’s writing and performative skills. There was a community consensus about who was the ideal speaker, performer. Several interviews and notes in manuscripts emphasize this (e.g. Körösfő, Zsobok, Inaktelke, Bogártelke). Talking about the dead, about their personal life career, about family ties and relatives had a special significance. Valedictions as special moments of foneral services, as the imprint of the religious and remembering practice of the community could become a decisive component of collective identity when the dead are no longer greeted in the form of a song or poem
(e.g. Kisiratos, Zsobok). Biography and genealogy are such basic editing structures, that could be the basis of a world of texts that are different in terms of content, length and form. 678 |
| adam_txt |
TARTALOM BEVEZETÉS .9 I. A KUTATÁS SZEMLÉLETI KERETE ÉS AZ ÉRTELMEZÉS PARADIGMÁI. 13 1.1. A populáris írás kutatása. 13 1.2. Az emlékezéskultúra szempontjai. 15 II. KUTATÁSTÖRTÉNETI ELŐZMÉNYEK ÉS EREDMÉNYEK . 17 II.1. Egyháztörténeti megközelítések. 17 II.l.l. A búcsúztatók formai és tartalmi vonatkozásai a tiltás kontextusában . . 17 II.1.2. Műfaji változatok és kifogásolt tartalmi, formai sajátosságok. . 20 II.2. Irodalmi recepció, kiadás- és kutatástörténet. 24 II.2.1. A búcsúztató mint költői (irodalmi) termék: irodalmi elvárások - irodalomtörténeti forrás. 24 II.2.2. A búcsúztató-mintakönyvek szerzőinek népnevelői stratégiája . 26 II.2.3. Közköltészet és népköltészet - értelmezési szempontok. 29 II.2.4. Irodalmi példákból kibontakozó kántori, verselői szerepkör . 31 II.2.5. Az irodalomtörténet és a folklorisztika határterületén. 32 II.3. Néprajztudomány-történeti megközelítések.33 II.3.1. A magyar néprajzkutatás
eredményei.33 II.3.1.1. Lokális és regionális néprajzi megközelítések. 34 II.3.1.2. A halottbúcsúztatás műfajgenetikai kapcsolatai és kategorizációja. . 47 II.3.1.3. Búcsúztató és prédikáció - szemelvények történeti forrásokból . . 50 II.3.1.4. A biografikus szöveg mint történeti, mentalitástörténeti, nyelvészeti forrás.53 II.3.1.5. A búcsúztatáshoz való közösségi ragaszkodás. 55 II.3.1.6. A búcsúztatóparódia mint alműfaj. 58 II.3.1.7. A kántori szerepkörre irányuló néprajzi érdeklődés példái . . . 59 II.3.1.8. Szöveghasználat és értelmezői attitűdök az Ethnographia folyóiratban. 60 II.3.1.9. A Magyar Néprajz és Antropológia Tanszék keretében megvalósult gyűjtések. 67 II.3.2. Román nyelvű folklorisztikai párhuzamok. 72 II.4. Összegzés. 73 5
Tartalom III. A HALOTTBÚCSÚZTATÁS EGYÉNI HABITUSAI ERDÉLYBEN A 20. SZÁZAD MÁSODIK FELÉBEN.75 III. 1. Az írás egy mezőségi autodidakta író mindennapi életében Kiss Dániel versírói gyakorlata. 75 III.1.1. „A fóldi életem utolsó napján elmondott önéletrajz” - Kiss Dániel életútja.75 III.1.2. Kiss Dániel verses halotti búcsúztatói. 80 III.1.3. Az írás szerepe Kiss Dániel életében. 91 III.1.4. Összegzés. 104 III.2. Kőbe vésett biografikus emlékezet Kalló Ferenc verses sírfeliratai az inaktelki temetőben.106 III.2.1. Az íráshasználat mint családi (anyai) örökség.120 III.2.2. Erdély-reprezentáció a Szentendrei Szabadtéri Néprajzi Múzeumban a kalotaszegi népi írásbeliség reprezentatív példája.123 III.2.3. A táncadatközlői szerep és a versírói tevékenység metszéspontjai . . .125 III.2.4. A sírfeliratok szerkezete és a kihelyezett szövegek társadalmi jelentései. 129 III.2.5.
Összegzés. 132 III.3. Kurtucz István halottbúcsúztatói mint a kisiratosi segédkántorok írásgyakorlatának forrásai. 134 III.3.1. Sarusi Mihály-Kurtucz István unokaöccse - narratívája . . . .138 III.3.2. A kisiratosi halottbúcsúztatás történeti kontextusai. 141 III.3.3. A búcsúztatók mint a családi kötelékek megerősítésének szövegemlékei. 143 III.3.4. A lakodalmi „zenészből” lett kántor: Almási László. 146 III.3.5. Falkus Margit segédkántori szerepei.151 III.3.6. A halottbúcsúztató előadása mint közösségi esemény. 157 III.3.7. Összegzés. 158 III.4. Halottbúcsúztatás Györgyfalván Test(kép)-reprezentációkjaskó István búcsúztatóiban. 160 III.5. Az írás helyi specialistái - öt versíró specialista írásszokásai.168 III.5.1. Ágoston János (Nagypetri). 168 III.5.2. Babán János (Bogártelke). 170 III.5.3. Zsoldos István (Sinfalva). 175 III.5.4. Sándor Botond
(Nagyenyed). 179 III.5.5. Gál Jankó László (Zsobok). 184 KÖVETKEZTETÉSEK. 190 6
Tartalom FELHASZNÁLT IRODALOM. 196 Egyéb források, újságcikkek. 209 Kántori mintakönyvek.209 A Magyar Néprajz és Antropológia Tanszék keretében megvalósult gyűjtések . . 210 VÁLOGATÁS A HALOTTI BÚCSÚZTATÓKAT ÍRÓ KÁNTOROK, NÉPI VERSELÔK SZÖVEGREPERTÓRIUMÁBÓL. 213 1. Ágoston János (*1941), Nagypetri. 214 2. Almási László (1950-2012), Kisiratos. 220 3. Ágoston M. István, Sztána. 233 4. András Márton (*1922), Gyergyócsomafalva. 237 5. Babán János (*1930), Bogártelke. 282 6. Falkus Margit (*1940), Kisiratos. 332 7. Fancsali Boldizsár, Vágás. 337 8. Gál Ilona (1901-1973), Inaktelke. 342 9. Gál Jankó László (*1955), Zsobok.344 10.
Geréd Vilmos (*1950), Kolozsvár.357 11. Gyuricza István (1925-2000),Tornya. 360 12. Jaskó István (Pitti) (1929-2013), . . 380 13. Kalló Ferenc (Malmi) (1923-2013), Inaktelke. 471 14. Kolozsi István (*1920), Lövéte. 513 15. Kiss Dániel (1924—2010), Mezőkeszü. 519 16. Korpos Dezső, Sárvásár.541 17. Kovács György Bandi, Körösfő. 544 18. Kurtucz István (1913-1980), Kisiratos. 545 19. Sándor Bálint,Torockószentgyörgy.616 20. Sándor Botond (*1955), Nagyenyed. 620 21. Szalai Ferenc Szénási (*1944), Zsobok. 627 22. Zsoldos István (1929-1984), Sinfalva. 632 23. Névtelen szerző 1. 654 24. Névtelen szerző
II.655 MELLÉKLETEK. 657 A halottbúcsúztatók szerzői. 658 A szerzőkkel készült interjúk. 660 Helynévmutató. 664 Térképek.667 REZUMAT. 674 SUMMARY. 676 DVD-MELLÉKLET.679 KÉPEK. 681 7
REZUMAT In partea introductivä a cärtii sunt prezentate consideratiile referitoare la aspectele generale ale poeziilor funerare, precum si observatiile care dezväluie relatia dintre genul si fiinctiile textelor bazate pe unele articole reprezentative ale literaturii etnografice maghiare. In cursul cercetärilor am efectuat analiza detaliatä ale versurilor funerare maghiare din Transilvania. De-a lungul analizei m-am concentrât pe întelegerea fùnctiei si traditiei iertäciunilor. Pe baza interviurilor biografice structurate sau semi-structurate m-am sträduit sä reconstituiesc contextul utilizärii versurilor funerare: cine a ordonat textul, ce informatii au fost impärtäsite eu autorul poeziilor funerare. Am acordat o atentie deosebitâ autorului poeziilor funerare (biografie, profesie, prestigiu, mediu, educatie, traditie preluatä, obiceiuri creative), prezentärii poeziilor funerare (spectacol în cadrul ceremoniei de înmormântare, scrisa manual sau tipäritä, modul de conservare). Ca act de încheiere a studiilor de caz reprezentative si, de asemenea, la sfârsitul capitolelor mai scurte, am încercat sä rezum concluziile pe baza documentelor de referintâ luate ín considerare din anumite aspecte. Poeziile funerare sunt poezii rituale ale ceremoniei de înmormântare. Pe baza informatiilor oferite de un membru al familiei defùnctului, este redactatä de un érudit local (poet, cantor, poet au todidact). In secolele XVII-XVIII poezia fûnerarâ a reprezentál în rândul aristocratiei momentul culminant al ceremoniei de înmormântare. Din diferite motive (perturbarea ceremoniei bisericesti,
provocarea de tensiuni sociale, emotionale) din secolul al XlX-lea biserica a initiât excluderea acestui element din liturghie. Aceste interdictii au provocat nemultumirea familiilor, care au cäutat diferite moduri de a satisface aceastä necesitate. Prezenta publicatie documenteazä viata si functionarea ritului de expunere a biografiei defunctului, si de luare de rämas bun de la defunct. Pe baza investigatiilor efectuate în diferite localitäti transilvänene, se realizeazä reconstituirea procesul de redactare a poeziilor, reconstituirea vietii, operei si obiceiurilor de creatie ale autorilor, formelor si contextelor de prezentare a poeziilor. Primul capitol prezintä cele doua paradigme ale cercetärii, cea a antropologiei scrisului si a culturii memoriei. Antropologia scrisului urmäreste functiile, contextele, genurile textelor scrise, relatiile dintre oralitate, scris, cod vizual si gesturi, obiceiurile de redactare si de întrebuintare a scrisului în viata cotidianä, socializarea individului în universul scrisului, rolul scrisului pe parcursul carierei unei persoane. Capitolul al doilea trece în revistä literatura care vizeazä tema cercetatä. Grupate în frei subcapitole, publicatiile provin din domeniul istoriei literaturii bisericesti, al istoriei beletristicii si al folcloristicii. Abordarea etnologicä-antropologicä relevä caracterul terapeutic al ritualului de luare de rämas bun de la defunct si caracterul généalogie al poeziilor funerare. In urmätoarele capitole analitice sunt expuse datele culese. In subcapitole distinse sunt descrise cariera, obiceiurile de redactare a
poeziilor si colectia de texte a 9 autori din diferite localitäti (Chesäu-Cluj, Inucu-Cluj, Dorobanti-Arad, Gheorghieni-Cluj, Petrindu-Sälaj, Bägara-Cluj, CornestiAries, Aiud, Jebucu-Cälata). Patru dintre aceste analize se integreazä în paradigme distincte. In cazul lui Kiss Daniel poeziile funerare fac parte dintr-o operä bogatä si variatä. In localitatea Inucu, poeziile lui Kalló Ferenc sunt gravate pe monumentele funerare, matériáiul din Dorobanti dezväluie strategiile de reutilizare a traditiilor textuale locale ín situatiile actuale, iar în cazul poezii lor din Gheorghieni analiza urmäreste reprezentarea ipostazelor corporale. 674
Rezumat Fiecare subcapitol este câte un studiu de caz, care, pe rând, face vizibil varietatea si specificul contextului poeziilor: traditii individuale de creatie, atitudini colective locale, tensiuni si consensuri dintre bisericä si asteptârile familiale. Rezultatele capitolului III. 1. se refera la textele manuscrise aflate în caietele unui scriitor autodidact din Chesäu (comuna Mociu, Cluj). Textele scrise de Kiss Dániel sunt pástrate ín 28 de caiete. Acestea reprezintâ rodul a aproape 65 de ani de muncä, dar nu contin textele ocazionale scrise la comandá, dupa care autorul n-a facut o copie înainte de predarea lor, astfel ca ele nu figureazá in fondul sáu de manuscrise. Matériáiul scris de el se intregeste cu povestea personalá relatatá în interviul autobiografic, aie cärui fragmente selectate se refera în primul rând la practica scrisului, la scrierea necrologurilor în versuri, la ritualurile legate de obiceiul luârii de ramas bun de la morti. Din fondul de manuscrise aflate în colectia lui Kiss Dániel, capitolul prezintä repertoriul de necrologuri în versuri, texte scrise între anii 1945 si 2008, urmate de selectia si gruparea textelor din cele 28 de caiete pe terne si pe genuri. In colectia de scrieri ale autorului autodidact, pe rând, se însira însemnâri genealogice, familiale si de istoria localitätii; scurte însemnâri autobiografice, mârturii; serisori în versuri scrise pe vremea serviciului militar; reflectii asupra evenimentelor istorice, politice; genurile lirice ale oratiei de nunta; urâri de Crâciun, An Nou, Pásti, de Ziua Mamelor, a scolii, a pastorului;
urâri scrise pentru medici si asistente, serisori, poezii scrise pentru diferite ocazii; rugâciuni. Prin Kiss Dániel, gentil necrologului în versuri a pâtruns treptat în repertoriul ritualic al comunitätii, a devenit o prestatie solicitatâ, pe care autorul o percepe ca mijloc de mângâiere a celorlalti. Capitolul III.2. vizeazâ inscriptiile funerare, epitafùrile compuse si dâltuite în monumentele funerare de specialistul Kalló Ferenc din localitatea Inucu (jud. Cluj), în contextul oralitatii si scripturalitätii populäre. Aceastâ traditie fùnctioneazâ ca o forma a memoriei culturale, textele scrise si dâltuite în piatrâ imortalizeazâ atât viata defunctului cât si mediul sâu social, aceste monumente din partea a doua a secolului al XX-lea au devenit patrimoniul comunitätii locale ca o forma a istoriei sociale locale. In capitolul III. 3. sunt prezentate versurile funerare scrise de cantorul Kurtucz István care ulte rior au fost sursele activitätii cantorilor auxiliari, Falkus Margit si Almási László din Dorobanti (jud. Arad). Dupa detalierea contextelor istorice ale poeziilor funerare scrise de cântâretii de bisericä la Kisiratos, versurile fùnerare sunt interpretate ca texte memoriale ale întâririi si eternizärii legäturilor familiale. Capitolul III.4. vizeazâ versurile funerare, iertàciunile compuse de specialistul Jaskó István ’Pitti’ in satui Gheorghieni (jud. Cluj), în contextul oralitätii si scripturalitätii populäre. Putern afirma cä textele compuse de Jaskó István ’Pitti’ pot fi interpretate ca o forma particularâ a memoriei comunitare: imaginile bolii si sänätätii
care se desprind din textele iertäciunilor pästrate ín arhiva de manuscrise a familiei, reprezentatia textualä a procesului mortii, corpul urnán care suferä de bolile si accidentele des întâlnite în texte constituie centrul analizei etnografice. Pe baza surselor textuale primäre (42 de versuri funerare, interviuri), paralel cu evidentierea aspectelor semantice, cu clasificarea tipurilor de boli si cauzelor de moarte, se prezintä procesul de redactare a biografiei decedatului, contextul formärii si rostirii textelor rituale, activitatea legatâ de scris a specialistului. Capitolul de sintezâ reia si finalizeazä concluziile cercetärii, dintre care amintim cele referitoare la fùnctiile, istoria si interpretarea poeziei funerare, la tendintele de reorganizare a ritului de înmormântare, la caracterul activitätii poetilor autodidacti, la habitusurile individuale ale obiceiului luârii de ramas bun de la defunct. 675
SUMMARY In the introductory part of my study I outlined the considerations regarding the questions about the genre of funeral valedictions, as well as the observations revealing the relation between genre and the function of texts based on some representative texts of the Hungarian ethnographic literature. In my research I compiled and examined in detail the texts of the Hungarian funeral valedictions of Transylvania. During my analysis I focused on understanding the function and tradition of valedictions. Based on the structured or semi-structured biographical interviews I endeavored to reconstruct the context of the usage of funeral valedictions: who ordered the text, what information were shared with the author. I paid close attention to the author of the funeral valediction (biography, profession, prestige, environment, education, accepted tradition, creative habits), to the presentation of the funeral valediction (performance within the framework of the burial ceremony, handwritten or printed form, the way of preservation). As the closing act of the more extensive representative case analysis and also at the end of shorter chapters, I tried to summarize the conclusions based on the reference documents taken into consideration from given aspects. Throughout its history lasting hundreds ofyears the funeral valedictions have got a special status, a special community image. Due to church interdictions this custom has been almost completely marginalized, so I became aware of them in their secondary context, in sources of family archives in Transylvania, when neither
personal, nor community need could generate new texts, repertories. Those texts that were used during a funeral service as their primary context and that were popular and demanded at the second half of the 20th century, to some extent attracts just an ethnographic interest, in their secondary context, as a text object, as proof of folk literacy. Archive sources and other written documents that mention the interdiction offuneral valedictions and the regulations regarding the genre report about the confrontation between the secular approach and that of the official church. At the beginning, valedictions were included in the funeral service right after the pastoral sermon, then due to general interdictions, they were taken out of the service. Interdictions from the 17th century confirm that the question of funeral valediction, community reactions to the usage of texts and conflicts that were their outcome (disagreements on the payment for writing and singing, theological excuses, the low quality of rhyming, excessive length, aesthetic expectations etc.) were important for both the Protestant and the Catholic decisions makers. Anger and hatred were recurrent motives, they were sources of conflict that arose from the content specific to the genre, so these served as arguments in case of church interdictions. Dispositions often referred to the loss of community balance, they declared the funeral valedictions to be a genre that breaks the order. It was a common argument that rhyming and versified praise had to be cancelled because they minimalized the effect of a good funeral
sermon. Orders regarding the genre and attempts to regulate it reflect the need of the church to show its authority regarding valedictions that mentioned biographies and decent. Interdictions were evoked by the strong emotional effect of the poem. In the interviews made during field trips the communal force and cathartic function of valedictions either in the form of songs or poems were paralleled with the church service, often at the expense of the quality or the effect of the latter. Attempts to reform the content and form of funeral valedictions, interdictions introduced by the church, breaking with this problematic genre, a certain condemnation of this type of text should 676
Summary be interpreted within the context of the expectations of the audience, the community’s affection and the provoked reactions. The extent of the “suffering” of the function of the text as an important part of the burial varies from place to place, when the network of family and relatives as well as the biography of the deceased represented either in a song or in a poem shrinks to an additional part of the pastoral sermon. At the beginning, funeral valedictions were mentioned only in ethnographical descriptions about funeral customs. These sources and descriptions of customs reported mainly about how the valedictions were included within the context of the funeral service, how texts were created and performed. Data about valedictions in monographies state that these types of texts were usually present at the end of a funeral service, publishing these valedictions were illustrations of a practice belonging to the past and also to the present. Writing practice of specialists creating such texts and the community aspects of their poetic career were rarely mentioned in descriptions of customs focusing on events. The repertory of texts that I studied during my research, beyond the appearance of uniformity of form and content, bears witness to individual strategies of creating and using a text. They all reveal the effort of specialists to continue the tradition of funeral valedictions by complying with the criteria of content (biography, genealogy, narrative roles: usage of first or third person singular), of performance (reading, singing) fit in with the expectations of
church and community. In some cases controversy against church expectations is part of the strategy of how to use a text, even if that means to confront the pastor. In such cases strong community will and adherence. Daniel Kiss self-taught folk poet from Mezőkeszü started to write funeral valedictions and other occasional poems in the second half of the 1940’s. His activity and writing practice that had a personal motivation, became an accepted and needed service in the community. This had influenced his creative identity, the further evolution of his self-image. When communities started to use texts much rarer, writing became the tool of recording everyday life and career. His creativity resulted in creating a poetic genre based on funeral preachings written in prose. Through his written texts the self-taught poet enlarged the scale of phrasing of the society of Mezőkeszü. As a result of his creativity he became a conscious innovator, so by his speeches held in public, he could transform the script of local speech events. The III.l. chapter presents the reader with the handwritten contents of a Mezőkeszü self-educated writer’s notebooks. Kiss Dániel’s texts are written down in 28 notebooks, the fruit of almost 65 years’work. Unfortunately, some texts the writer produced on special occasions for various persons have not been copied and therefore are missing from these notebooks. His writings are completed by the story of his fife as related to the editor; this story is mostly made up of episodes related to the habit ofwriting, the writing of the itinerary poems and the
custom of bidding farewell to the dead. Everyday writing enriched Ferenc Kalló from Inaktelke with a special identity. He worked intensively to preserve his memory in the last period of his life. Recording the story of his family he preserved and passed on a genealogical knowledge. His texts engraved in tombstones record not only the life career, the death circumstances of the dead from Inaktelke, but also their social environment. These signs on the tombs have become part of the cultural and material heritage of the community, they are the unique footprints of local history, community identity. The epitaphs functioning as funeral valedictions are biographical texts engraved in stones, they are stories about life careers that are part of the local community memory. The purpose of this chapter is to present funeral poems as official documents carved on tombstones in the village Inucu (Cluj county) by stonemason specialist Kalló Ferenc, and the list of deceased local people as a personal document compiled by the carver 677
Halottbúcsúztató versek Erdélyben a 20. század másodikfelében between 1930 and 1975. This tradition fonctions as a form of cultural memory: the texts written and carved in stone capture the life of the deceased and his social environment. By the end of the20,h century this tradition became the heritage of the local community, a form of local history. István Kurtucz’s chorister valedictions from Kisiratos present a tradition of texts getting more and more prestige. After the death of the chorister, the legacy that was a source of subsequent foneral valedictions was included in the collection of local cultural values. As a representative tradition, it was enriched with symbolic value, with added meaning. Due to external interest, manuscripts get more value, and through the names, network of relatives, biographical allusions they become the footprints of the local history of a place, of the community identity of Kisiratos. Analyzing the life career and activity of the three specialists, the role of the individual is shown in passing on tradition. In case of István Jaskó the starting point of my analysis was the health and illness image of foneral valedictions, the textual representation of dying, the body suffering a tragic accident. Creating a biography it was inevitable to present physical suffering, the physical act of the representation of illness was the act of putting the dead body into the grave. István Jaskó had recognized his poetic talent at an early age, and he realized that he could contribute to the communal experience of loss, to mourning by his writing. He was
appreciated because of his knowledge, and even after foneral valedictions were becoming more and more rare, writing had a high value for him. His poetic activity, his texts constructing a special visual world illustrate how a writing person could influence the practice of local text usage. The shorter, illustrative analysis consisting of five subchapters are about local writers that try to alter the image of the church’s prohibition of foneral valedictions. Examples that vary according to denominations and regions prove that the differentiated study of text usage in particular places, or the ready for a compromise attitude of a church employee is better than discussing prohibitions in a simplistic manner. The role of the individual in preserving tradition becomes obvious by studying the life career of specialists using writing. Poetic and performative activities are not isolated phenomena: poets of a specific region, area knew about each other’s work, they evaluated and paid attention to each other’s writing and performative skills. There was a community consensus about who was the ideal speaker, performer. Several interviews and notes in manuscripts emphasize this (e.g. Körösfő, Zsobok, Inaktelke, Bogártelke). Talking about the dead, about their personal life career, about family ties and relatives had a special significance. Valedictions as special moments of foneral services, as the imprint of the religious and remembering practice of the community could become a decisive component of collective identity when the dead are no longer greeted in the form of a song or poem
(e.g. Kisiratos, Zsobok). Biography and genealogy are such basic editing structures, that could be the basis of a world of texts that are different in terms of content, length and form. 678 |
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| author | Bajkó, Árpád 1982- |
| author_GND | (DE-588)1302770411 |
| author_facet | Bajkó, Árpád 1982- |
| author_role | aut |
| author_sort | Bajkó, Árpád 1982- |
| author_variant | á b áb |
| building | Verbundindex |
| bvnumber | BV047496300 |
| classification_rvk | EK 2550 |
| ctrlnum | (OCoLC)1347213988 (DE-599)BVBBV047496300 |
| discipline | Außereuropäische Sprachen und Literaturen Literaturwissenschaft |
| discipline_str_mv | Außereuropäische Sprachen und Literaturen Literaturwissenschaft |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| index_date | 2024-07-03T18:17:18Z |
| indexdate | 2025-01-10T13:16:26Z |
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| isbn | 9786067391596 |
| language | Hungarian |
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| spelling | Bajkó, Árpád 1982- Verfasser (DE-588)1302770411 aut Halottbúcsúztató versek Erdélyben a 20. század második felében rituális genealógiai és biografikus emlékezet, műfajiság és szövegfunkció Bajkó Árpád-István Kolozsvár Erdélyi Múzeum Egyesület 2020 680 Seiten, 15 ungezählte Seiten Tafeln Illustrationen, Porträts 30 cm DVD-ROM (12 cm) txt rdacontent n rdamedia nc rdacarrier Emberek és kontextusok 18 Geschichte gnd rswk-swf Literatură populară maghiară / Istorie şi critică Lamentaţii (Gen literar) Lamentaţii (Etnologie) Epitafuri Maghiari / Ritualuri şi ceremonii funerare / Transilvania (România) Klagelied (DE-588)4163998-4 gnd rswk-swf Totenkult (DE-588)4060506-1 gnd rswk-swf Magyaren (DE-588)4100008-0 gnd rswk-swf Siebenbürgen (DE-588)4054835-1 gnd rswk-swf (DE-588)4135952-5 Quelle gnd-content Siebenbürgen (DE-588)4054835-1 g Totenkult (DE-588)4060506-1 s Klagelied (DE-588)4163998-4 s Magyaren (DE-588)4100008-0 s Geschichte z DE-604 Emberek és kontextusok 18 (DE-604)BV035681646 18 Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032897459&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032897459&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032897459&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Bajkó, Árpád 1982- Halottbúcsúztató versek Erdélyben a 20. század második felében rituális genealógiai és biografikus emlékezet, műfajiság és szövegfunkció Emberek és kontextusok Literatură populară maghiară / Istorie şi critică Lamentaţii (Gen literar) Lamentaţii (Etnologie) Epitafuri Maghiari / Ritualuri şi ceremonii funerare / Transilvania (România) Klagelied (DE-588)4163998-4 gnd Totenkult (DE-588)4060506-1 gnd Magyaren (DE-588)4100008-0 gnd |
| subject_GND | (DE-588)4163998-4 (DE-588)4060506-1 (DE-588)4100008-0 (DE-588)4054835-1 (DE-588)4135952-5 |
| title | Halottbúcsúztató versek Erdélyben a 20. század második felében rituális genealógiai és biografikus emlékezet, műfajiság és szövegfunkció |
| title_auth | Halottbúcsúztató versek Erdélyben a 20. század második felében rituális genealógiai és biografikus emlékezet, műfajiság és szövegfunkció |
| title_exact_search | Halottbúcsúztató versek Erdélyben a 20. század második felében rituális genealógiai és biografikus emlékezet, műfajiság és szövegfunkció |
| title_exact_search_txtP | Halottbúcsúztató versek Erdélyben a 20. század második felében rituális genealógiai és biografikus emlékezet, műfajiság és szövegfunkció |
| title_full | Halottbúcsúztató versek Erdélyben a 20. század második felében rituális genealógiai és biografikus emlékezet, műfajiság és szövegfunkció Bajkó Árpád-István |
| title_fullStr | Halottbúcsúztató versek Erdélyben a 20. század második felében rituális genealógiai és biografikus emlékezet, műfajiság és szövegfunkció Bajkó Árpád-István |
| title_full_unstemmed | Halottbúcsúztató versek Erdélyben a 20. század második felében rituális genealógiai és biografikus emlékezet, műfajiság és szövegfunkció Bajkó Árpád-István |
| title_short | Halottbúcsúztató versek Erdélyben a 20. század második felében |
| title_sort | halottbucsuztato versek erdelyben a 20 szazad masodik feleben ritualis genealogiai es biografikus emlekezet mufajisag es szovegfunkcio |
| title_sub | rituális genealógiai és biografikus emlékezet, műfajiság és szövegfunkció |
| topic | Literatură populară maghiară / Istorie şi critică Lamentaţii (Gen literar) Lamentaţii (Etnologie) Epitafuri Maghiari / Ritualuri şi ceremonii funerare / Transilvania (România) Klagelied (DE-588)4163998-4 gnd Totenkult (DE-588)4060506-1 gnd Magyaren (DE-588)4100008-0 gnd |
| topic_facet | Literatură populară maghiară / Istorie şi critică Lamentaţii (Gen literar) Lamentaţii (Etnologie) Epitafuri Maghiari / Ritualuri şi ceremonii funerare / Transilvania (România) Klagelied Totenkult Magyaren Siebenbürgen Quelle |
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| volume_link | (DE-604)BV035681646 |
| work_keys_str_mv | AT bajkoarpad halottbucsuztatoversekerdelybena20szazadmasodikfelebenritualisgenealogiaiesbiografikusemlekezetmufajisagesszovegfunkcio |