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The present volume is a delayed edition of a manuscript which was born one hundred years ago, on the Collection of Coins and Antiques of the Transylvanian Museum Society (TMS).Founded in 1859, the TMS was conceived as a replica of the Transylvanian Hungarian society against the neo-absolutist regime, established following the defeat of the Hungarian revolution and fighting for freedom of 1848–1849. Its objective was the salvation, conveyance to the public and scientific analysis of natural and inherited man-made treasures. This noble intention was marked by the establishment of a library, a natural collection, and also a collection of coins and antiques.On the fiftieth anniversary of the TMS, Béla Pósta, professor at the archaeology department of the university and also the manager of the collection of coins and antiques, was asked to present the history and background of the collection he was entrusted with. The invitation was sent at the beginning of 1909 and a year later the manuscript, together with its addenda, was ready to be printed. The publication did not take place however, initially because of a lack of funds and later because of the start of WWI and the political changes that followed this. The manuscript was recently discovered in the archives of the TMS and brought to the attention of those who were interested by Professor Csetri Elek. Although delayed, the publication of the manuscript is motivated by the fact that it is the most comprehensive presentation of the collection and is therefore a reference work for those who are going to come into contact with the past of the museum movement of Cluj and of Transylvania.The history of the collection, which takes up more than half the manuscript, is divided into three shorter periods. Although the initial offers and donations arrived later, the first period (1862–1872) is calculated from the time when Henrik Finály was elected custodian of the collection of coins and antiques; he was charged with organising the collection, which in the meantime became independent. The 25 year long second period, which lasted from 1872 to 1898, was dominated by the takeover of the management of the collection by the recently established university, though this did not compromise the TMS’s ownership of the collection. From that moment on, the pieces of the collection were used in the educational process as well as in obtaining new sources of income, which were used to enrich the collection.The re-housing of the collection, caused by the start of construction work on the ornate new university building, and the death of Finály in 1898 threatened the double collection with a Cinderella-like destiny, but the third period, the next 10 years (1899–1909), which began with the appointment of Pósta, marked the renaissance of the collection. This was a decade of growth and spiritual excitement, its benefits increased vertiginously in the next five years, until the start of WWI. The second half of the manuscript is richly illustrated and presents the objects of the collection in historical order and also catalogues them according to where they came from. Among the acquisitions of the Finály period a number of pieces stand out; the Zsófia Torma collection from Turdaş followed by the Greek helmet discovered at Uioara, the Roman funeral statue (mother and child) from Potaissa, appendages from the princely tomb (Omharus) in Apahida and Albert Bíró’s collection of majolica. During the Pósta period the collection grew constantly by buying valuable new objects (the little bronze statue of Venus from Potaissa, tankards, the altars from Jimbor and Guşteriţa and oriental carpets), and thanks to donations and deposits (vestments and paintings by Hungarian contemporary artists).However, thanks of their scientific value, the most important additions were the acquisitions that came from the archaeological excavations initiated by the new curator (at Iclod, Balsa and Sântana de Mureş), as well by ethnographic collections (fishermen’s tools, embroideries). Among the most recent acquisitions the manuscript mentions are the bronze finds from Uioara, bought in 1909, and the contents of the tombs which came from the migration era cemeteries of Târgu Mureş, excavated in 1909–1910. The Egyptian mummy, which was received in December 1909, was omitted from the list, perhaps because it was not possible to include it with the monuments of Transylvanian history, the basis of the collection. It is clear that the discoveries made in 1910–1911 at the Turdaş, Valea Nandrului, Cioclovina and Cluj excavations, and which substantially modified knowledge of the Paleolithic and Neolithic in Transylvania, and also the period of the Hungarian establishment, remained out of the presentation.The description of the coin collection is missing from the manuscript. István Kovács, Pósta’s disciple, was asked to write this since he was assigned to supervise the collection. The title of the mentioned study appears in a contemporary enumeration of his speciality works, but only an extract of it was published, being the introduction of an article in which is described the jubilee plaque of the TMS. The original manuscript did not come down to us.In the present publication, in the annex of Pósta’s work, one can find Kovács’s article, and thus the reader can get a fairly accurate image of the double collection a hundred years ago. A second annex offers another unpublished manuscript by Pósta, which has the text of the conference dedicated to the presentation of the above mentioned plaque. Most of the pictures are publications of the images selected by Pósta, though a few missing photographs were replaced from other sources. Included in this category is a published image of the plaque, as well as two photographs of some pages from the manuscript dedicated to the double collection.The original manuscripts, and also most of the pictures in the present publication, are in the National Archives, Cluj County Department. After the dissolu tion of the TMS, at the start of the communist regime, its collections were taken to different state run museums in Cluj, but the most valuable pieces were taken to Bucharest. Following the collapse of the dictatorial regime, the Transylvanian Museum Society is still waiting for the restitution of those spiritual items it was deprived of in dark times.

Romania --- Antiquities. --- History --- Fine Arts / Performing Arts --- Architecture --- Local History / Microhistory

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This monograph considers a type of the youth slang which refers to the world of music as one of the very important interest areas of the young people (some of whom are deeply involved in it while others are just gathered around it), and which also labels them as members of the particular social group, serving them too ― which is here less important ― as a tool for affirming themselves within the group. Namely, it is about the young adults whose way of speech witnesses the way how they feel, experience and interprete the musical reality. This heterogeneous group of the young people, who may differ in social background and educational level, do share, however, a common communication code (lexicon) relative to the musical context. The monograph presents how the slang lexemes listed in the appended Serbian and Russian music mini-lexicons have been created or, in particular, (1) the models of their structure formation, including the productivity and frequency of some suffixes, their meaning/function, as well as characteristic details from the derivation point of view; (2) their semantic motivation for naming certain entities. The chapter entitled Obratni muzički pogled na žargonizme [A "Reverse Musical View" on the Slang Lexemes] analyses the slang use of musical terms for naming various non-music entities and concepts. Finally, a comparative analysis of the two mini-lexicons has been undertaken on a synchronic perspective in order to highlight the basic structural correspondences between the music slangs of the young people from the two Slavic milieus.

Social Sciences --- Language and Literature Studies --- Fine Arts / Performing Arts --- Music --- Applied Linguistics --- Sociology --- Sociology of Culture --- Philology

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Овај рад је писан у сенци три велике сумње: а) многи су сматрали да поткултуре код нас уопште не постоје, б) други би и уочавали њихово постојање (додуше као маргиналиих друштвених и културних појава), али не и мотив да се оне научно третирају, ц) трећи су те недоумице решавали тако што су једноставно cматрали да то није посао за етнолога. Од недавно, пажња јавности кoја се cве више поклања поткултурама, као да те сумње претвара у заблуде. Поткултура је у медијима, поткултура је у публицистици, проналази cвоје место и у науци, има је чак и у званичним расправама. Оснивају се специјализовани часопиcи који вапе за текстовима (помало затечених) аутора. Захтева се темељит приступ: поткултура са cоциолошкoг, психолошкoг, филозофског, уметничко-теoриjcког становишта... придружују се демагошки, сензационалистички, произвотно-журналиcтички приступи. Ускоро се cваки човек од лера, „коме је иоле било стало до cебе", труди да папише нешто и о „поткултури”. Млади, супкултура, алтернатива... постају цењене, а убрзо и „друштвено кориcне” таме. Открива се да је и новокомпонована музика „поткултурна (!), и ова „промоција" претвара „испреcање жучи" на ту музичку врсту у нови, благи, аналитички приступ. Цветају гeнералне поделе наше културе на ове или оне моделе, од којих је бар један обавезно — подкултурни.

Anthropology --- Social Sciences --- Language and Literature Studies --- Fine Arts / Performing Arts --- Music --- Theoretical Linguistics --- Communication studies --- Sociology --- Semantics --- Cultural Anthropology / Ethnology --- Sociology of Culture --- Social Norms / Social Control

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In the history of a settlement the aspects linked to technical history are of major importance, as they are part of the course of culture and civilization. Research work, the insertion of findings in the complex of historical sciences is up-to-date in present historiography.This book contains the results of research in the field of technical history, research done in Văleni-Călata. The settlement appears for the first time in the written documents of the XIII-th century (in 1213) under the name of Vulchoi villa. As the years passed the settlement became also known as Wolcov (1291), Walko (1297), Wolko (1372), and Walko again (1468).In the year 1291 the settlement was among those ones that were paying taxes to the bishop of Oradea.The name of the settlement is most likely linked to the name of the noble Valkay family, onwer of lands, whose last representative disappeared in the year 1730.From the point of view of the settlement's history the XVIth and XVIIth centuries brought about great changes. Reformation, the invasion of Tartars, the multiple fires - all had benefic consequences. The devastated church was rebuilt and a fortress was erected around it. The tower was built and it got the function of a watchtower as well, in the fortified defence system of the settlement.The church is placed in a lovely region, under the protection of a forest arch. The building is architecturally well balanced, its tower has an unmatched robustness and it can be regarded as one of the most beautiful churches belonging to the Reformed Episcopate of Transsylvania.The general architectural characteristic of the church belongs to the Gothic style, although it also has a series of elements of the Roman styleand Gothic, respectively.A special feature, unique to this church in the whole region is that, the space under the tower is part of the pro–nave, augmenting its dimensions.From the point of view of technical history the counter–fortress walls of the church are made of adzed rectangular stones, this being a real demonstration of the skill of the carvers of the time. As a binding element mortar with lime was used and this gave the building enough resistence. The church is entirely covered with shingle. This refers to the church tower and also to the four small towers with cellular ceilings painted by the renowned carpenter and church ceiling painter Lőrinc Umling. This adds to the architectural and artistic value of the church.The monumental aspect is better underlined owing to some elements of building in Roman style originating from the previous building. These elements were organically incorporated in the present architecture of the church.The church tower gives home to three liturgy bells and a small bell to presignal the stroke of the horologe. Two of the bells, the biggest in dimension, were casted in Cugir in 1924 by the bell founder Oszkar Klein. The third bell originates from the bell foundry of the Andraschovski family in Cluj. For over a century the family had been known as famous for casting bells, a tradition passed on from father to son. The bell from Văleni wascasted in 1855 by János Andraschovski. The three bells are beautifully decorated in Baroque and Gothic style. They are placed on a wooden rack made from oak wood carved with a poleaxe. The wood of the rack is the very casing of the bell bail axes.Keeping company to the bells is the horologe built to the special order of the parish in the year 1839. As to where, and in which workshop of the time it was built, one doesn't yet have an answer. It is believed that the building took place in Oradea because this is the place of origin for several other horologes of the churches in the neighbourhood. This particular horologe is made up of three functional modules. The first module is the one that makes the horologe work and it rules the other two. The second module is responsible for the strokes of the quarters, while the third module makes the pre–signal bell work.The pre–signal bell marks the hours and it is located at the extremity of the tower, above the southern part of the porch. This porch surrounds the tower and it is used as an observation turret. The horologe worked till the mid–seventies of last century. At the moment it is incomplete, as its cinematic chain of movement transmission to the clock hands and the pre–signalling bell is missing.A chapter of the book deals with the presentation of the folk architecture development in the settlement. The evolution of the wooden constructions specific to the region is shown: the system of scaffolding and covering, the ornamentation of the facades. The development of the living space is dealt with in a sub–chapter of the book. Here one can come across examples ranging from the most simple living spaces with one room to the more sophisticated ones, set in an order characteristic not only to Văleni but to the entire region of Călata.Among the specific aspects of regional folk architecture one can put into evidence the widespread use of carved or uncarved spruce masonry, daubed either on one or on both sides.The structure of scaffoldings is detailed and so is the shingle covering that replaced in a relatively short while the prevalent straw covering of Călata.Owing to its position in the vicinity of the forest, the settlement came to be noticed as a center for the folk handicraft of shingle fabrication. Shingle was traded outside the settlement too. Handicrafts specific to mountainous regions can be found here woodwork and carpentery. The Văleni dwellers were nicknamed "the resinous ones" because of the spruce resin on the clothes of the people who processed it.Another business specific to the settlement, with a technical side to it, was the carving of spindles and of the nicely decorated, washer shaped spindle weights. These washers have a central orifice corresponding in dimension with the lower diameter of the spindle. This gives stability and inertia to the spinning during the process of spinning the hemp or woolen yarn.The yarn was at the core of another handicraft - the weaving of textiles for husehold needs. The spindle makers used an arch - like device. The string wrapped around the carved, semi-fabricated body of the would - be spindle and the movement generated by the bow gave the semi-fabricated item a bidirected rotation move. The semifabricate body was fixed between two heads and the whole assembly formed a primitive lathe that rounded the spindles. A similar device, used to round off and perforate pieces can be found in the Roman epoch too.Shingle fabrication and spindle making survived in Văleni till mid-XXth century. From that point on industrial products in building material and textiles have gradually replaced the famous products of the Văleni craftsmen.The findings presented in this book are the result of field investigation and registry document study. They demonstrate the fact that although a certain region has been "exhaustively" studied so far, new research and investigation can reveal other characteristic aspects of that region, unnoticed so far.Considering this, the book has the value of pioneering and of a model to be followed for those who wish to study a settlement from the point of view of technical and technological history.

Vernacular architecture --- Văleni (Romania) --- Buildings, structures, etc. --- Architecture, Anonymous --- Architecture, Indigenous --- Architecture, Vernacular --- Folk architecture --- Indigenous architecture --- Traditional architecture --- Magyarvalkó (Romania) --- History --- Fine Arts / Performing Arts --- Architecture --- Essay|Book Review |Scientific Life --- Local History / Microhistory --- Scientific Life

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Călata, an area with particular history and folklore, generated a specific, unmistakable architectural style, used especially in the construction of churches. Combining in harmony the Transylvanian tradition of the style and techniques used in the construction of the fortified Saxon churches, those of the Orthodox churches made of wood and of folk architecture in the area, the Călata style refers to churches with slim towers and shingle roofs. Most of these religious buildings, characterized by a perfect harmony of their proportions, most of them built in the Romanesque style and located on the most visible sites of the settlements, represent, even today, the attachment of the inhabitants to spiritual continuity and their homeland in the area of Călata.Five churches, built during the thirteenth and fourteenth centuries, stand out among the complex of such buildings in Călata through the fact that they share a series of architectural elements typical for the late Gothic style, with elements characteristic for the Transylvanian Gothic, with roots leading towards a beginning called the Cârþa Context. It was a puritan Gothic style created in the thirteenth century at the foot of the Southern Carpathians, in the settlement of Cârþa, in Sibiu County. The first Gothic church was built there. The style had been brought by the Cistercian monks in their expansion towards Eastern Europe. The first churches in the south and center of Transylvania were built following the style and building technique employed in the erection of the monastic architectural complex in Cârþa. Prejmer, Hărman, Braºov, Bistriþa and Cluj were the settlements adopting these rules in the building of their own churches.Abandoning the specificities of the Romanesque style, with its robust semicircular arcades, and employing a well-known, traditional building technology, people promoted the newdaring style,with tallwindows, full of light, ending in ogees, decorated with sculpted stone rails. It had ogee-shaped inner vaults, supported by profiled ribs ending in sculpted stone corbels embedded in the church walls and rows of slender pillars.The new style reached Călata later, towards the middle of the fifteenth century.Elements of this style were used in some churches, adapted to the architectural con ditions and dimensions of the existing churches in the area. Five such buildings were extended according to the Gothic architectural style, namely those in Huedin, Mănăstireni, Văleni, Căpuºu Mic, and Dorolþu.The first part of the present book consists of a comparative analysis of these five churches, focusing on the presence of Gothic elements and their preponderance in the complex of the respective edifices. The windows, gates, consolidations with buttresses, ogee vaults, and other stylistic elements are compared, aiming at determining, as much as possible, the motivation of those who promoted the new architectural style in this region.The second part of the book continues the research, from the point of view of the history of technology, with the other three Gothic churches, the ones in Văleni and Mănăstireni being presented in detail in two individual volumes recently published. Archive research and investigations have been performed, but on site measurements predominate. The construction, employed techniques, and stylistic elementsof the three churches, in Huedin, Căpuºu Mic, and Dorolþu were the aim of repeated field trips, measurements, and analyses.The bells in the towers of these three churches are another topic of interest in the present research. The history of these bells and of those preceding them, the circumstances leading to the disappearance of some medieval bells from these towers offer, not only to the authors but also to the reader, a true foray in the past of a craft considered up to the present day a top profession.The nineteenth century clocks placed in three of the five churches under discussion, have been, at the time they were bought, peak accomplishments of technology. The fact that these settlements managed to own clocks indicates that there was a social demand for their installation and there were significant financial resources at hand. The research includes the analysis of the kinematical scheme of these clock mechanisms and a comparison of their stylistic, technical, and technological elements in order to establish their origin.Three churches are thus analyzed in more detail in the present book, but the Gothic elements of the churches in Mănăstireni and Văleni are also presented succinctly for those readers who do not possess the first two volumes of the series which detail the history of technology researches related to the above mentioned settlements.The present volume ends a series of researches in the region of Călata. The three volumes related to the history of technology can be considered as opening new lines of research in the field and for other geographical areas.

Church buildings --- Architecture, Medieval --- Hungarians --- Architecture --- Religion. --- Technological innovations --- History. --- Călata (Romania) --- Buildings, structures, etc. --- Architecture, Primitive --- Architecture, Western (Western countries) --- Building design --- Buildings --- Construction --- Western architecture (Western countries) --- Art --- Building --- Ethnology --- Finno-Ugrians --- Magyars --- Middle Ages --- Churches --- Church facilities --- Church architecture --- Design and construction --- Kalotaszeg (Romania) --- History --- Fine Arts / Performing Arts --- Essay|Book Review |Scientific Life --- Local History / Microhistory --- Scientific Life