Шта ради и где седи „Бели анђео“? : један пример конструисања и реконструисања традиције
The White Angel: Where He Sits and What He Does? : An example of construction and reconstruction of a tradition
Članak u časopisu (Objavljena verzija)
Metapodaci
Prikaz svih podataka o dokumentuApstrakt
Слика Белог анђела у цркви манастира Милешеве представља део
веће композиције под називом „Мироносице на гробу Христовом“.
Међутим, у савременој, популарној култури у Србији, он је издвојен из
контекста и егзистира као самостална целина која се репродукује на
најразличитијим материјалима и подлогама. Анализа процеса и
узрока његовог „исецања“ из смисаоне целине, функција коју ова
„икона“ данас врши, као и митологизација њене садржине,
представљају садржај рада.
The question of "invented traditions" became very popular among academics of various backgrounds, especially among anthropologists and ethnologists. It becomes almost a rule to proclaim that such and such custom or cultural element belongs in fact to "the invented tradition", made up by some power group as a means to a political or social end. Most contemporary authors faced with a problem of the invented/not invented tradition do not even try to rule out/find out what makes or constitutes such phenomena of invented/objective tradition. Therefore, we are left with a conclusion that such "invented" traditions exist in all epochs; the question of a "true", non-invented traditions is left unexplained or unanswered. Some will argue that a tradition is always a construct, while I think that the basis for such thinking is that there is no consensus among academics on what/which are the true contents of a tradition. Cutting it out and taking it out of its original context, the White Angel bec...ame an invented tradition by itself. Namely, the White Angel from the monastery Mileševa belongs to a fresco composition called "Mironosice na grobu" (female religious believers who carry an ethereal oil, to unction Christ body) whose significance and meaning can be understood only in context of Resurrection. However, cutting out of the White Angel from its original fresco composition and its mass reproduction created the invented tradition of worship of the White Angel itself. Based on a questionnaire and some media products, I came to a conclusion that most "consumers" of this invented tradition have no clue on the real and original context/content of the fresco, where the White Angels sits, and what is his role.
Ključne reči:
измишљање традиције / реконструкција / „Мироносице на гробу“ / „Бели анђео“ / invention of tradition / reconstruction / Mileševa / the White AngelIzvor:
Гласник Етнографског института САНУ / Bulletin of the Institute of Ethnography SASA, 2005, 53, 187-195Izdavač:
- Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA
Finansiranje / projekti:
- Савремена сеоска и градска култура – путеви и трансформација, бр. 1868 / Contemporary Rural and Urban Culture - Ways of Transformation, no. 1868
URI
http://www.ei.sanu.ac.rs/index.php/gei/article/view/704/633https://dais.sanu.ac.rs/123456789/8801
Institucija/grupa
Етнографски институт САНУ / Institute of Ethnography SASATY - JOUR AU - Павићевић, Александра PY - 2005 UR - http://www.ei.sanu.ac.rs/index.php/gei/article/view/704/633 UR - https://dais.sanu.ac.rs/123456789/8801 AB - Слика Белог анђела у цркви манастира Милешеве представља део веће композиције под називом „Мироносице на гробу Христовом“. Међутим, у савременој, популарној култури у Србији, он је издвојен из контекста и егзистира као самостална целина која се репродукује на најразличитијим материјалима и подлогама. Анализа процеса и узрока његовог „исецања“ из смисаоне целине, функција коју ова „икона“ данас врши, као и митологизација њене садржине, представљају садржај рада. AB - The question of "invented traditions" became very popular among academics of various backgrounds, especially among anthropologists and ethnologists. It becomes almost a rule to proclaim that such and such custom or cultural element belongs in fact to "the invented tradition", made up by some power group as a means to a political or social end. Most contemporary authors faced with a problem of the invented/not invented tradition do not even try to rule out/find out what makes or constitutes such phenomena of invented/objective tradition. Therefore, we are left with a conclusion that such "invented" traditions exist in all epochs; the question of a "true", non-invented traditions is left unexplained or unanswered. Some will argue that a tradition is always a construct, while I think that the basis for such thinking is that there is no consensus among academics on what/which are the true contents of a tradition. Cutting it out and taking it out of its original context, the White Angel became an invented tradition by itself. Namely, the White Angel from the monastery Mileševa belongs to a fresco composition called "Mironosice na grobu" (female religious believers who carry an ethereal oil, to unction Christ body) whose significance and meaning can be understood only in context of Resurrection. However, cutting out of the White Angel from its original fresco composition and its mass reproduction created the invented tradition of worship of the White Angel itself. Based on a questionnaire and some media products, I came to a conclusion that most "consumers" of this invented tradition have no clue on the real and original context/content of the fresco, where the White Angels sits, and what is his role. PB - Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA T2 - Гласник Етнографског института САНУ / Bulletin of the Institute of Ethnography SASA T1 - Шта ради и где седи „Бели анђео“? : један пример конструисања и реконструисања традиције T1 - The White Angel: Where He Sits and What He Does? : An example of construction and reconstruction of a tradition SP - 187 EP - 195 VL - 53 DO - 10.2298/GEI0553185P UR - https://hdl.handle.net/21.15107/rcub_dais_8801 ER -
@article{ author = "Павићевић, Александра", year = "2005", abstract = "Слика Белог анђела у цркви манастира Милешеве представља део веће композиције под називом „Мироносице на гробу Христовом“. Међутим, у савременој, популарној култури у Србији, он је издвојен из контекста и егзистира као самостална целина која се репродукује на најразличитијим материјалима и подлогама. Анализа процеса и узрока његовог „исецања“ из смисаоне целине, функција коју ова „икона“ данас врши, као и митологизација њене садржине, представљају садржај рада., The question of "invented traditions" became very popular among academics of various backgrounds, especially among anthropologists and ethnologists. It becomes almost a rule to proclaim that such and such custom or cultural element belongs in fact to "the invented tradition", made up by some power group as a means to a political or social end. Most contemporary authors faced with a problem of the invented/not invented tradition do not even try to rule out/find out what makes or constitutes such phenomena of invented/objective tradition. Therefore, we are left with a conclusion that such "invented" traditions exist in all epochs; the question of a "true", non-invented traditions is left unexplained or unanswered. Some will argue that a tradition is always a construct, while I think that the basis for such thinking is that there is no consensus among academics on what/which are the true contents of a tradition. Cutting it out and taking it out of its original context, the White Angel became an invented tradition by itself. Namely, the White Angel from the monastery Mileševa belongs to a fresco composition called "Mironosice na grobu" (female religious believers who carry an ethereal oil, to unction Christ body) whose significance and meaning can be understood only in context of Resurrection. However, cutting out of the White Angel from its original fresco composition and its mass reproduction created the invented tradition of worship of the White Angel itself. Based on a questionnaire and some media products, I came to a conclusion that most "consumers" of this invented tradition have no clue on the real and original context/content of the fresco, where the White Angels sits, and what is his role.", publisher = "Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA", journal = "Гласник Етнографског института САНУ / Bulletin of the Institute of Ethnography SASA", title = "Шта ради и где седи „Бели анђео“? : један пример конструисања и реконструисања традиције, The White Angel: Where He Sits and What He Does? : An example of construction and reconstruction of a tradition", pages = "187-195", volume = "53", doi = "10.2298/GEI0553185P", url = "https://hdl.handle.net/21.15107/rcub_dais_8801" }
Павићевић, А.. (2005). Шта ради и где седи „Бели анђео“? : један пример конструисања и реконструисања традиције. in Гласник Етнографског института САНУ / Bulletin of the Institute of Ethnography SASA Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA., 53, 187-195. https://doi.org/10.2298/GEI0553185P https://hdl.handle.net/21.15107/rcub_dais_8801
Павићевић А. Шта ради и где седи „Бели анђео“? : један пример конструисања и реконструисања традиције. in Гласник Етнографског института САНУ / Bulletin of the Institute of Ethnography SASA. 2005;53:187-195. doi:10.2298/GEI0553185P https://hdl.handle.net/21.15107/rcub_dais_8801 .
Павићевић, Александра, "Шта ради и где седи „Бели анђео“? : један пример конструисања и реконструисања традиције" in Гласник Етнографског института САНУ / Bulletin of the Institute of Ethnography SASA, 53 (2005):187-195, https://doi.org/10.2298/GEI0553185P ., https://hdl.handle.net/21.15107/rcub_dais_8801 .