Lidový oděv z obce Javorník na Horňácku – charakteristika a vývoj oděvních součástí

Field research in the Storozhinet district, which includes the Romanian villages of Budenets, Cheresh, Chudei, Krasnoilsk, Izhivtsi, Nizhny and Verkhni Petrivtsi, as well as in the Hlybot district, in the village of Ropcha, convinced us that everywhere there is a special interest in preserving the Romanian language, names ancient folk clothing and Romanian culture in general by popularizing traditions and the Christian-Orthodox faith, which are the main components of spiritual identity, defining elements of Romanian identity not only in this zone, but also in other adjacent territories. The purpose of the article is to analyze the terminology related to folk clothing. The novelty of scientific research is due to the fact that the vocabulary for the designation of the Romanian folk costume in the valley of the Siret River is being studied for the first time. The relevance of the study is motivated by the need for an in-depth analysis of the terminology of traditional Romanian folk clothing from ethnographic, ethnological and ethnolinguistic points of view, which confirms the dynamics of the development of the Romanian language in Ukraine. Conclusion. So, after analyzing the specific terminology of the indicated ethnographic region, we came to the conclusion that language elements of Latin origin are the most productive. They testify that the investigated layer of vocabulary was formed a long time ago, and therefore reflects the mentality, linguistic and cultural features of the Romanians of Northern Bukovina, is part of their ethnographic and ethnolinguistic heritage.

This article is dedicated to a comprehensive analysis of folk clothing from the Vyshhorod district of Kyiv region, based on the collection of the Vyshhorod Historical and Cultural Reserve. The research focuses on the reconstruction and interpretation of traditional folk clothing from the late 19th to the early 20th century. The article provides a systematic description of the main types of clothing: shirts, waist clothing (skirts, plakhtas, aprons, and sarafans), chest clothing (corsets and jackets), headdresses (ochipoks, namitkas, scarves, and brims), footwear (postoly, boots, and shoes), jewelry (necklaces, and seed bead items), and outerwear (peasant’s overcoats and sheepskin coats). A detailed analysis of the cut, materials, embroidery techniques, and decoration was conducted. This made it possible to identify local peculiarities and regional variations of the costumes. The scientific novelty of the research lies in the introduction of previously unpublished museum artifacts into scientific circulation and their interpretation in the context of ethnographic studies of Polissia and the Middle Dnieper region. Particular attention is paid to areal analysis, which reveals the common and distinctive features of neighboring ethnographic regions. The article is based on a wide range of sources, including archival materials, field research, and scientific works on ethnology and museology. Methods of comparative analysis, typologization, and mapping are used to identify patterns and differences in traditional clothing. The results of the research are significant for the reconstruction of the ethnocultural history of the region and the formation of local identity. The article emphasizes the importance of preserving and popularizing traditional clothing as an integral part of Ukraine’s cultural heritage, especially in the face of contemporary challenges related to war and the destruction of cultural values.

This study aims to point out a progressive orientation and activation of related works by analyzing the research trends in wedding fashion. The scope of the study covers domestic dissertations and those released in academic journals between 1969 and July 2017. An analysis of the research was conducted to identify the main research fields, the research subjects within each field, the methods used for research, the research target and research target area. Results from this study are as follows. First, research about wedding fashion increased greatly in the 2000s and continued to persistently increase. Second, the research field that took the largest portion was design/aesthetics, followed by marketing, history of costume, others, and apparel technical design/production, in descending order. Third, the preferred research methods used in the research included development studies, investigative studies, literature studies, case studies and experimental studies, also in descending order. Depending on the research field, however, it concentrated unequally on a certain method. Fourth, the research targets were primarily women, thus necessitating an extension to include men in the target audience. The research category leaned towards costume, which means that a diversity of research item is required. Fifth, regarding the targeted area, China was mentioned most except Korea. As to the comparison of area between Korea and China appeared most. As to the research period about costume history, 20C was researched the most often. However, when it came to traditional Korean wedding costumes, the research concentrated mostly on the Joseon period. Finally, the research on the usage of images unique to Korea and traditional costumes, focused on design development of costume history field or design/aesthetics field. The future research of wedding fashion would improve by reflecting the changes of the times and the changing needs of consumers if it could have access to research field, theme and method in more balanced and coordinated way.

Local and artistic features of Boiko`s region traditional clothing décor are studied. The attention is given to lace and knit decor, which gave the clothing components a unique and often was the artistic accent in Boiko`s clothing complexes. The methodological basis of the study is the principle of systematic approach and comprehensive research. The comparative-historical and typological methods were used for the study research subject. The analysis of lace and knit décor was done using the art study method. The main typological groups and items` types formed under the influence of ethno-cultural and historical factors were determined in the Boiko`s region based on artifacts from museum collections, field studios and scientific sources. The décor manufacturing textile techniques and technological methods are outlined, with pointed of common and distinctive features in comparison with folk clothing of the Carpathian region`s other ethnographic groups. Artistic and stylistic characteristics of knitting and lace are analyzed, taking into account the interplay of neighboring ethnicities cultures and border features. It is studied out that the lace décor was mostly common in female headwear, the waist wear and shirts. Sprang, lace, crocheting weaving techniques as well as other technological methods were used in the manufacturing lace adornments. Knitting, crocheting and weaving “on the laba” were used for gloves, “narakvytsias”, and socks-stockings manufacturing. In folk clothing Boikos applied weaving belts which were made in technique “on the wall”. This kind of belts also were used in Hutsul`s region – mainly on the Hutsul-Pokuttia border and were not common in Boikos. According to the artistic and stylistic features, it is possible to single out female coifs with lace bottoms, openwork ornaments on female shirts of Transcarpathian Boiko`s region, decoration low edges of aprons (“zapaskas”) with fringes using macramé. However, the ethno-local and artistic characteristic of lace and knitting within single centers were differed in their unique features. Scientific novelty consists in the introduction into the scientific circulation of materials about Boiko`s folk clothing. The focus is on the lace and knit décor that reveals the artistic diversity of Boiko`s region clothing art. The study allows expanding the knowledge of Boiko`s traditional garment and textile production, in particular, about the centers of manufacturing some types of clothing with openwork and knitting. This contributes to use the receives information in the further study of Boiko`s region traditional clothing.

The study aims to define the Korean Wave as global attention to Korea’s unique culture and consider the specificity of traditional Korean fashion images in Korean Wave content. The research method of this study is a case study through literature research. In order to collect Korean Wave content on YouTube, 24 channels with the highest number of views were selected from among content uploaded from 2018 to the present through keyword search, and up to two channels with high views showing traditional Korean fashion images. As a result of selecting the analysis target, 41 Korean Wave videos and 368 costumes were selected and analyzed based on fashion style elements, including item, color, detail, motif, styling, silhouette, and accessory. As a result of the study, music, broadcast, fashion, and other content were found in the Korean Wave content fields in which Korean fashion style appeared, and the characteristics of each field were derived. Music content was characterized by fashion style excluding stereotypes about traditional Korean costume, broadcast and fashion content was characterized by fashion style inherited from traditional costume, and other content was characterized by symbolic fashion style of traditional culture. This study is meaningful in revealing the formative characteristics of traditional Korean design elements recently shared online through the study of Korean traditional fashion images in Korean Wave content.

A critical question on the minds of many researchers is whether local leadership can influence democratic governance. All societies are characterized by a division of labor, which in turn presupposes a certain form of leadership and an asymmetrical division of power. Moreover, modern democratic societies are built on a foundation of complex and specialized institutions and structures, interconnected by vast formalized hierarchies that must be effectively managed. Therefore, a kind of inevitable paradox arises: societies based on the principle of equality between citizens. At the same time, they assume the existence of elite groups that have greater powers to manage social processes and the state compared to ordinary citizens. The article examines the features of the influence of local leadership on public administration in different strategies, in particular, in the implementation of a pan-European policy. In addition, in adapting the European experience in Ukraine, we will use the following analogies: EU - Ukraine, national European leadership - local Ukrainian leadership. This can be done with a certain degree of assumption, since in both the first and second cases we are talking about the influence of leadership of a smaller territorial level on the politics of a larger territorial level. Of course, each national leadership has its own characteristics according to various indicators, ranging from gender ratio to management style, but analyzing the process of influence of national leadership on EU policy. Therefore, the author of the article, summarizing, focuses on the fact that the main instrument of influence of local leadership on public administration is lobbying, and almost exclusively in a formalized form. The European leadership discussed in the article is highly dynamic; its composition is often formed from temporary representatives of national leadership, which contributes in the future to the return of local leaders to public administration at the national level to defend the interests of their own state along with pan-European interests. It is advisable to use such experience both in conditions of martial law in Ukraine and in the context of integration processes into the European Union.

Wearable antenna systems have attracted significant research efforts during the last decade and a rich pool of review papers can be found in the literature. Each scientific work contributes to various fields of wearable technology focusing, mainly, on constructing materials, manufacturing techniques, targeting applications, and miniaturization methods. In this review paper, we examine the use of clothing components in wearable antenna technology. By the term "clothing components" (CC), dressmaking accessories/materials such as buttons, snap-on buttons, Velcro tapes, or zips are considered. In light of their utilization in the development of wearable antennas, the clothing components can play a triple role: (i) that of a clothing item, (ii) that of an antenna part or the main radiator, and (iii) that of an integration means of the antennas into clothes. One of their advantages is that they consist of conductive elements, integrated into the clothes, which can be effectively exploited as operating parts of wearable antennas. This review paper includes classification and description of the clothing components used so far in the development of wearable textile antennas with an emphasis on designs, applications and performance. Furthermore, a step-by-step design procedure for textile antennas that use clothing components as a functional part of their configuration is recorded, reviewed, and described in detail. The design procedure takes into account the detailed geometrical models required for the clothing components and the way they are embedded into the wearable antenna structure. In addition to the design procedure, aspects of experimental procedures (parameters, scenarios, and processes) that should be followed in wearable textile antennas with an emphasis on antennas that use clothing components (e.g., repeatability measurements) are presented. Finally, the potential of textile technology through the application of clothing components into wearable antennas is outlined.

The relevance of the work is due to the need to study the features of the cut and decoration of the Tuvan costume, which are, on the one hand, a bright unique ethnic image, and on the other hand, carry the universal laws of the Universe inherent in the cultures of all the peoples of the Earth. The traditional costume is included in the “cultural core” of the Tuvan people and contributes to the preservation of its national identity. The aim of the work is to study the sacred semantics of a traditional costume. The object of research is the Tuvan folk costume, the subject is the sign-symbolic nature of the traditional Tuvan costume. The study uses a cultural-historical analysis that reveals the specifics of the Tuvan national clothing and its types, as well as the structural-semiotic method, which allows you to explore the features of the symbolic and symbolic nature of national clothing. National clothing is a complex structure that includes numerous types of upper and lower clothes, hats, shoes, jewelry, personal items and hairstyles. Tuvan clothes are classified according to their age and sex and eight traditional types are distinguished: children’s, girls’s suits, boys’s suits, bridesmaids suits, women’s suits, men's suits, and older’s suits. The traditional costume of Tuvans is a ritual object that has rich sacred semantics. The Tuvan costume is considered not only as a thing, but also as a symbolic sacred form, a sign in the context of culture. This semantic status of folk clothes was to be read and understood both by its owner and other members of traditional cultural communities, as a “sign (symbol, code, artistic image), composed of clothing, shoes, accessories, external behaviors, characteristics of the figure and human personality. The costume language is an image of the real world, the accumulated spiritual experience of people, the practical and aesthetic values of previous generations. Each element of the traditional costume had both functional significance and sacred semantics. The forms of cut and elements of the traditional Tuvan costume acquired particular semantic significance and translated the unity of the “earthly” and “sacred” worlds of mythological consciousness. The traditional Tuvan costume as the most important element of the material culture of the Tuvan people is a “mirror of myth”, reflecting various spheres of life, both material and spiritual. The traditional costume captures the diversity of all aspects of human life, the complexity of social relations and human behavior patterns in material embodiment. The entire costume complex is an integral system of ordered and interconnected signs and symbols, through which the accumulation, organization and transfer of cultural experience is carried out. The result of the study is the systematization of the cultural types of costume and the identification of their symbolic sound in a specific material expression (form, cut, decoration elements).

Kirjandus ja digitaalne tehnoloogia / Literature and Digital Technology

Traditional costume in Indonesia represents identity of a person and it displays the origin and the status of the person. Where culture and religion are fused, the traditional costume serves one of the most functions in rituals in Bali. This research aims to analyze the characteristics of Balinese costumes by focusing on the Legong dance costume. Quantitative research was performed using 332 images of Indonesian costumes and 210 images of Balinese ceremonial costumes. Qualitative research was performed by doing field research in Puri Saba, Gianyar and SMKN 3 SUKAWATI(Traditional Art Middle School). The paper illustrates the influence and structure of Indonesian traditional costume. As the result, focusing on the upper wear costume showed that the ancient era costumes were influenced by animism. They consist of tube(kemben), shawl(syal), corset, dress(terusan), body painting and tattoo, jewelry(perhiasan), and cross. The Modern era, which was shaped by religion, consists of baju kurung(tunic) and kebaya(kaftan). The Balinese costume consists of the costume of participants and the costume of performers. Bali dancing is grouped into Wali dance(sacred), Bebali dance(theatrical), and Balih-balihan dance(entertainment). The Legong dance is included in the Balih-balihan dance, and its costume developed from 1920 until present. The characteristics of Legong dance costumes are ‘Theatrical,’ ‘Angelic,’ ‘Charming,’ and ‘Decorative.’ In conclusion, the balance of religion, culture, and art gives a unique trait in Bali. The Balinese social system, which is based on Hinduism, has influenced art and its function. This relationship creates a strong structure to the Balinese ceremonial costume, especially the Legong dance costume.

The aims of this research are to participatory leadership of the Youth, Sports and Tourism Office on the Development of Pavilion Tourism Objects, Enrekang District, Enrekang district, Galonta Villagei. Theipopulationiin thisistudyiwere 47 employeesiatithe Department of Youth, Sports and Tourism with sampling using the saturated sample formula so that Obtained a sample of 47 people . This type of research is descriptive and quantitative. Data collection techniques used in this study were observation, questionnaires, and literature study. The data analysis technique used is the IBM SPSS Statistics 21.0 application. Theiresults ofithisistudyiindicateithat the influence of participatory leadership with a percentage of 61.4% has a good effect. The development of the Pavilion tourist attraction with a percentage of 50.1% is not good. The influence of leadership "Influential/Significant" onithe development ofithe tourist attraction ofithe platform ofithe Enrekang sub-district, Enrekang district, Galonta village withia valueiof ticount titable or 3.,331 ≥ 2,212 with an influence percentage of 19.8%, so the influence of participatory leadership ofithe youthsports anditourism officeion the development of the object Pavilion tourism in Gallonta Village, Enrekang District, Enrekang Regency has not been effective.

The background to this research is that there is a problem with organizational performance at the Information Communication and Statistics Service, West Bandung Regency, West Java Province, which is not yet optimal. Organizational performance problems are caused by a lack of influence of leadership, organizational culture, quality of human resources and communication on organizational performance. This research aims to determine the influence of leadership, organizational culture, quality of Human Resources and communication on organizational performance, both partially and jointly. The sampling technique in this research was proportional stratified random sampling with a sample of 102 respondents. This research method is included in the type of explanatory research which uses a quantitative approach. Data collection techniques use questionnaire techniques, literature study. The data collection tool for this research is a questionnaire based on a Likert scale. The data analysis technique in this research is validity test, reliability test, normality test, linearity test, multicollinearity test, heteroscedasticity test, F test and t test, simple and multiple linear regression. The research results prove that there is a significant and positive influence on organizational performance. First, there is an influence of leadership on organizational performance of 54.8%. Second, there is an influence of organizational culture on organizational performance of 55.2%. Third, there is an influence of the quality of Human Resources on organizational performance of 50.5%. Fourth, there is an influence of communication on organizational performance of 56.8%. And fifth, there is the influence of leadership, organizational culture, quality of Human Resources and Communication together on organizational performance of 70.8%. As a recommendation from the results of this research, organizational performance at the West Bandung Regency Communication, Information and Statistics Service can be achieved through the influence of leadership, organizational culture, quality of Human Resources and Communication. These four variables must be considered, so that organizational performance can increase.

The study examined the influence of elected leaders' roles in promoting community participatory development. The study was undertaken at Kidegembye ward in Njombe district council. The study area was purposively selected because, in 2018, it ranked second nationally in terms of environmental sanitation and cleanliness. This resulted from collective community efforts to enhance cleanliness in the area. A total of 11 respondents were purposely selected for the study, including village leaders, women's groups dealing with handicrafts, and members of the school and health committee. A case study was applied to get insights regarding the influence of the elected leaders' roles in promoting community participatory development. Interview guide and observations were used to collect data. The findings revealed that elected leaders play some roles in influencing participatory development. The roles include community mobilization for construction infrastructures for education and health services at Kidegembye ward. However, no evidence was registered regarding the influence of leaders’ roles in supporting community initiatives related to economic activities. This raised a question on the prevalence of effective community participation. If effective community participation could be in place, projects beyond the push of the ministries would be enhanced. The study recommended that leaders play a part in social and economic activities. Likewise, the political party should establish mechanisms that can be used to assess the elected leaders' performance to improve their creativity in enhancing community participation for development.

Literary blindness refers to the renderings of blind people in literature or the sustained critical engagement with which is sometimes termed literary blindness studies. Literary blindness studies is a formally emerging field in which a particular focus falls on the binaries of literary blindness. These binaries date back to antiquity but proliferated in Western modernity. Blind characters were usually drawn in extremes, negative and positive, which in modernism came to build and bolster the sociocultural metanarrative of blindness by which ocularnormativism and the supremacy of sight were implied if not stated. Academic interest in these representations ranged from early-20th-century work in the social sciences to late-20th-century cultural disability studies and 21st-century literary disability studies. The prototypical and foundational studies involved identifying recurrent literary motifs and evidence of pejorative or laudatory characterization, which often revealed remarkably lengthy lineage and resonance with social attitudes to blind people. These readings paved the way for more nuanced literary theory and criticism that explored nonnormative means of perception with a growing appreciation of experiential knowledge. This being so, the authors of both literary blindness and literary blindness studies have become recognized for their positionality: whether or not the creators and critics are themselves blind has become factored into the related discourse. Literary blindness studies, then, has emerged as an interdisciplinary field, explicitly informed by literary studies but implicitly underpinned by the epistemology and values of disability studies; it provides a space in which literary blindness can be explored with heightened awareness of the sociocultural implications for blind people.

Research objective: The authors set a goal to analyze the color symbolics in the folk costume of indigenous ethnic groups of North (Nenets, Khanty and Mansi) of the Tyumen region on the example of authentic sources, museum pieces and compare it with the main functions of the Luscher personality color analysis, to reveal the “collective subconscious”, nature of ethnic groups, their mentality. Sources: The basis of the article was the works of many researchers in various fields of science and culture (I. Newton, I.V. von Goethe, M. Lomonosov, N. Volkov, V. Kandinsky, I. Itten, M.O. Surina, R.G. Gadiyeva, O.Yu. Evseeva, O.A. Bakiyeva and others). In the course of the color analysis of the traditional folk costume and the identification of the color mentality of the ethnic group, color diagnostics according to M. Luscher was used. Content: The research of color was associated with the cultural activities of the peoples of the North of the Khanty (Ostyaks), Nenets (Samoyeds) and Mansi (Voguls). The color system was examined in traditional folk costume, it was developed over many centuries and carried information about the views of the people about the world around, their psychological characteristics (national character) and mentality. The novelty of the research is the relation of color preference, which the masters used in the manufacture of traditional clothing, and psyche features of these ethnic groups. Considering the color concept of Max Luscher and its relation with the psychological characteristics of a person and ethnic group, we developed criteria of color analysis of products of cooperative creative thought of ethnic groups (traditional costume): dominant (fundamental colors), subdominant (color in ornamental symbols), tonic (color emphasis in details), which would correspond to the main functions of color diagnostics in order to determine the color mentality of each nation individually. The article analyzes the color symbolism in the costume of the northern, eastern and southern Khanty, Nenets, Mansi on museum pieces in Tyumen, Tobolsk, Khanty-Mansiysk. The analysis obtained was compared with Luscher's color diagnostics and the results were verified according to the characteristics of textbooks on ethnopsychology. All this proves the certain intention in choice of the color scheme in a traditional costume, as well as provide the opportunity to highlight the features of the art of folk costume in different northern ethnic groups. Conclusions: In general, the color designation in the ornament of the indigenous small peoples of the Tyumen North (Khanty, Mansi and Nenets) disclose information about the way of life, folk traditions, rituals, the world outlook of the people who nomadized, was engaged in reindeer herding, hunting, fishing, and also the nature of the ethnic group, color mentality. The distinctive character traits of the small indigenous people can be identified by analyzing the color codes in the clothes: red-activity, blue - restraint, green - modesty, love of nature, for his family, etc. In general, the color mentality reveals cultural traditions with elements of the Ob-Ugric archaic, which is in harmony with nature, in balance.