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V magistrski nalogi sta predstavljena kratek zgodovinski pregled manufakturne izdelave papirja in analiza procesa izdelave papirja različnih mojstrov, ki so in še izdelujejo papir na Slovenskem. Predstavljena sta delo in tehnologija obrti štirih izdelovalcev: Janeza Kvaternika - Kamniškega, Janeza Rozmana, Marka Drpića in mojstrske delavnice PAPLAB. Predstavljene so tehnologije sodobne manufakturne izdelave papirja in primerjalna analiza postopka, orodja in surovin sodobnih izdelovalcev. Raziskano je tako pojmovanje tradicionalnosti in avtentičnosti kot sama tradicionalnost in avtentičnost izdelave papirja, ali izdelovalci svoje delo smatrajo za dediščino, kako razumejo in vrednotijo obrt in svoje delo s stališča tradicije in avtentičnosti, katera merila uporabljajo za dokazovanje le-te ter kaj vpis tehnologije izdelave v Register nesnovne kulturne dediščine pomeni za samo obrt, nosilce in druge izdelovalce. Predstavljen je Center za konservacijo in restavracijo arhivskega gradiva v Arhivu Republike Slovenije z namenom predstavitve tehnologije in postopkov, ki so uporabljeni pri restavraciji in konservaciji manufakturno izdelanega papirja, ter statusa ustanove, ki hrani na Slovenskem manufakturno izdelan papir. The master's thesis presents a brief historical overview of the manufacturing of paper and an analysis of the process of making paper by various masters who have and still are making paper in Slovenia. The work and technology of crafts of four manufacturers are presented: Janez Kvaternik - Kamniški, Janez Rozman, Marko Drpić and the master workshop PAPLAB. Technologies of modern manufacturing of paper and comparative analysis of the process, tools and raw materials of modern manufacturers are presented. The notion of traditionality and authenticity as well as the traditionality and authenticity of paper production itself are explored, whether manufacturers consider their work as heritage, how they understand and value crafts and their work from the point of view of tradition and authenticity, what criteria they use to prove it and what the entry of craft into The Register of Intangible Cultural Heritage means for craft itself, its holders and other producers. The Center for Conservation and Restoration of Archival Material in the Archive of the Republic of Slovenia is presented in order to present the technology and procedures used in the restoration and conservation of manufactured paper and the status of the institution that stores manufactured paper in Slovenia.

Avtorica v prispevku oriše različna razumevanja pojma ljudsko gledališče in njemu sorodne termine (kot je na primer gledališče zgodovine) v okviru etnologije na Slovenskem od druge polovice 20. stol. do danes. Pri tem se opre na opredelitve vidnejših raziskovalcev: Nika Kureta, Jurija Fikfaka in Janeza Bogataja. In this paper the author outlines different understandings of the concept of "folk theatre" and cognate terms (such as a "theatre of history") in Slovene ethnology from the second half of the 20th century until today. The article is based on definitions by the prominent researchers Niko Kuret, Jurij Fikfak, Janez Bogataj.

Diplomsko delo se posveča raziskovanju tradicionalnosti Festivala ovčje volne Bicka v Solčavi. V začetku diplomskega dela avtorica predstavi občino Solčava, njen turizem in jezersko-solčavsko ovco in njeno volno. Ta kulturnozgodovinski okvir je pomemben za raziskavo in razumevanje samega festivala. Pri preučevanju Festivala ovčje volne Bicka avtorica v ospredje postavlja vprašanje, kako tradicionalnost razumejo organizatorji festivala in kako je ta vpletena v samo dogajanje. Festival je sodoben dogodek z vsebinami s kontinuiteto s preteklostjo in brez nje. Organizatorji festivala ne oglašujejo kot tradicionalnega, vendar pa ga vseeno razumejo kot del pomembne tradicije in identitete Solčavskega. Dogodek slavi solčavsko tradicijo oz. dediščino polstenja in ovčereje. This paper studies the traditional nature of the Bicka Sheep Wool Festival in the Solčava region. In the introduction, the author presents the municipality of Solčava and its tourism as well as the Jezersko-Solčava sheep breed and its wool. This cultural and historical background has an important role in studying and understanding the festival itself. While examining the Bicka Sheep Wool Festival, the author raises a question about how festival organisers understand the traditional nature of the festival and how this nature is integrated in the event itself. The festival is a modern event, with some of its topics, not all, related to the past. The organisers do not promote the festival as a traditional event, yet they understand it as an important part of the tradition and identity of the Solčava region. The event praises the tradition of the Solčava region as well as the heritage of felting and sheep farming.

Diplomsko delo skuša sprva predstaviti začetke hmeljarstva – zanima me, kako je hmelj prišel v Savinjsko dolino, kdo ga je prinesel ter kako in zakaj se je začel njegov razmah, da je postal tako vsesplošen, da so ga gojili praktično vsi. Predstavljeni bodo vplivi hmeljarstva na lokalne prebivalce, in sicer tako z gospodarskega vidika, kot kulturnega. Predvsem, kako jim je izboljšal kvaliteto življenja, a je vseeno zahteval količinsko ter fizično veliko dela, saj je morala sodelovati celotna družina. Predstavljeno življenje skozi pripovedovanje hmeljarjev pred in po prihodu mehanizacije. Zanima me, kako je potekalo zamudno in težko ročno delo in kaj so prinesli novi stroji. Navsezadnje kako je delo hmeljarja sploh potekalo.Najbolj etnološko oz. antropološko usmerjen del je razširjen fenomen 'obirovcov' oz. sezonskega dela. Zanimale me bodo življenjske zgodbe sezonskih delavcev in obirovk, ki so prihajali iz različnih območij obirati hmelj, da bi si z zaslužkom izboljšali življenje. Razlogi zakaj so ostali v Savinjski dolini in kakšna je bila njihova pot. Živo in z vsakdanjim življenjem povezano pa je tudi kulturno življenje hmeljarstva, ki je etnološko zanimivo predvsem iz šeg in navad, ki se izvajajo. Skozi besede sogovornikov opisan izbor hmeljarske starešine in princese na dnevu hmeljarjev, hmeljarski likof ter podeljevanje priznanj hmeljarjem. The diploma paper tries to present the beginning of hoping at first – i am interested in how hop came to the Savinja Valley, who brought it, how and why its growth began, to become so generalized that they were cultivated by practically everyone. The effect of hop on local residents will be presented, both from the economic and cultural point of v iew. It is also a positive and negative score of hop. In particular, how they improved the quality of life, but nevertheless demanded a quantative and physical workload, as the whole family had to work together. Stories will be presented about time before and after the arrival of mechanization. I am wondering how time consuming and difficult manual work took place and what new machines brought. Afterall, how was the work of hoppers organized. The most entnological or anthropological oriented part is an expanded phenomenon of seasonal work. I would be interested in the lifestories of seasonal workers and the occasions that came from different areas to harvest hop in order to earn a living. I want to know the reasons why they stayed in the Savinja Valley and what was their route. Living everyday life is also connected with culture of hop, which is etnologically interesting primarily from custums that are performed. From the words of the interviewers it is presented the selection of hop elders and princess of hopers's day, and the awarding awards to hoppers is described.

Zaključna seminarska naloga se ukvarja z zbirko diapozitivov, ki jo je Izidor Cankar, prvi profesor umetnostne zgodovine na Filozofski fakulteti v Ljubljani, uporabljal pri svojih predavanjih. Ko so diapozitivi s tehnološkega vidika postali zastareli, so profesorji umetnostne zgodovine začeli uporabljati novejše diapozitive, danes pa uporabljajo digitalne fotografije. Kljub temu da se diapozitivi niso več uporabljali, jih je Oddelek za umetnostno zgodovino hranil in tudi danes še danes hrani eno škatlo s Cankarjevimi diapozitivi, druge škatle Cankarjevih diapozitivov pa je zaradi prostorske stiske Oddelek predal v hranjenje Moderni galeriji. Izidor Cankar (1886–1958) je kot docent začel predavati leta 1920 (leta 1923 je postal izredni profesor, leta 1928 pa redni), šestnajst let kasneje, leta 1936, pa je zapustil fakulteto in nastopil diplomatsko službo. V študijskem letu 1919/1920 se je odpravil na Dunaj, kjer je tudi ob nasvetih nekdanjega profesorja Maxa Dvořaka, ki je delo svojih nekdanjih učencev skrbno spremljal pripravljal program študija in poskrbel za nakup knjig. Poleg tega je na Dunaju kupil tudi 2000 diapozitivov in skioptikon za njihovo predvajanje. Cankarjeva zbirka je pred letom 1926 štela 2492 enot. Časovni okvir umetnin, ki jim je Cankar dal prednost, sega od antike do 19. stoletja, geografsko pa se umetnine navezujejo na Evropo. Cankar je svojo zbirko vseskozi dopolnjeval. Kako se je zbirka večala v njegovem šestnajstletnem delu na Oddelku za umetnostno zgodovino, lahko zaradi vrzeli v evidenci v inventarni knjigi le ugibamo. Cankarjevi diapozitivi so prepotovali pot od uporabnega predmeta do predmeta dediščine, ki ga ohranjamo, raziskujemo in varujemo zaradi njegovega posebnega pomena, ker so njegovi diapozitivi predmeti iz preteklosti in imajo zato zgodovinsko vrednost. Govorijo o preteklosti, pripovedujejo zgodbo o začetkih poučevanja umetnostne zgodovine na Slovenskem, poleg tega pa so tudi pričevalci tega, kako so nekatere zgradbe in druga umetniška dela izgledali nekoč. The subject of this final paper is the collection of the diapositives that Izidor Cankar, the first professor of art history at the Faculty of Arts in Ljubljana, used for his lectures. When these diapositives become obsolete from the technological point of view, art history professors started using newer diapositives, while digital photos are used today. Although Cankar's diapositives were no longer in use, the Department of Art History saved them. It still keeps one box of his diapositives, while other boxes with his diapositives were put into storage in the Museum of Modern Art in Ljubljana due to lack of space. Izidor Cankar (1886–1958) started giving lectures as an assistant professor in 1920 he became an associate professor in 1923 and a full professor in 1928. Sixteen years later, in 1936, he left the Faculty to pursue a career in diplomacy. In the academic year 1919/1920, he went to Vienna and, in getting advice from his former professor Max Dvořak, who closely followed the work of his former students, he prepared the study programme and took care of the purchase of books. He also bought two thousand diapositives and – in order to be able to show them - a sciopticon. By 1926, Cankar's collection consisted of 2492 items. Cankar gave priority to the artworks that range from the antiquity to the 19th century and have their focus in Europe. His collection was constantly enriched. However, due to a gap in the records of the inventory, it can only be speculated how it expanded in his 16-year-long tenure at the Department of Art History. Cankar's diapositives travelled the path from useful objects to objects of heritage that are kept, researched and saved for their special meaning. His diapositives are objects from the past and as such hold a historical value. They speak of the past, narrate the story about the beginnings of art history teaching in the area of today's Slovenia and bear witness to what certain buildings and artworks looked like in the past.