UDK 398.8:913(497.4)
Jerneja Vrabič
Glasbenonarodopisni inštitut ZRC SAZU, Ljubljana
KRAJI ZAPISOV IN MESTA V IZBRANIH SLOVENSKIH LJUDSKIH PESMIH
Članek govori o fizičnem prostoru, kakor ga zasledimo ob branju dela zbirke Slovenske narodne pesmi (1895-1923). Analiziranih je bilo 148 šaljivih in zabavljivih pesmi. Na zemljevid so umeščeni kraji zapisov pesmi in njihovih variant ter kraji, ki se v pesmih omenjajo. Uporabljeni so bili Excel, spletni zemljevid in GIS aplikacije.
Ključne besede: ljudska pesem, prostor, geografski informacijski sistem (GIS), karta
1 O zbirki, svetovih, prehajanjih in metodi dela
Karel Štrekelj je leta 1887 v Ljubljanskem zvonu objavil prošnjo za »narodno blago« - po svojih močeh je želel urediti in objaviti vse narodno blago, ki je že bilo kje objavljeno, in tisto, ki je bilo v rokopisnih zbirkah. Pri tem je skušal zaobjeti vse takratne dežele in kraje, kjer so živeli »ljudje našega jezika« (Štrekelj 1887: 628; prim. Maticetov 1969: 198). Urejanje skupine šaljivih pesmi je padlo na pleča Jože Glonarja, ki je po smrti Karla Štreklja nadaljeval z delom in ga tudi dokončal z zbirko Slovenskih narodnih pesmi} Pesmi in variante za skupino šaljivih in zabavljivih pesmi je Glonar izbral iz zapisov 78 različnih zapisovalcev, pri 52 zapisih pa zapisovalec v zbirki ni znan. Glonarju se imena zapisovalcev in informatorjev niso zdela pomembna - veliko pomembnejša se mu je zdela kronologija (SNPIV: *51 in *66).2
Pesmi so se večinoma zbirale konec 19. in na začetku 20. stoletja. Zapisovalci niso vedno beležili kraja in časa zapisa, tudi ne imen informatorjev ali značilnosti konteksta (npr. ali se je pesem pela le ob posebnih priložnostih, v določenem času). Zapisi so s s stališča folkloristike pomanjkljivi tudi zaradi tega, ker so v zbirki večinoma predstavljena le besedila; v skupini šaljivih in zabavljivih pesmi je melodija skicirana pod črto le ob eni pesmi. V spremni besedi k izbrani skupini je zapisano, da so: »[p]esmi tega značaja [...] prvotno namenjene konkretnim osebam in krajem in so vsled tega neumljive po drugih krajih« (SNP IV: 683). V tej izjavi je viden preplet dveh svetov - »realni« oz. družbenogeografski prostor, v katerem pesem deluje, in imaginarni svet, ki je predstavljen v pesmi. Kljub temu, da sta svetova ontološko ločena, sta se skozi zgodovino nenehno prepletala (prim. Searle 1995: 144; 153-154) in medsebojno vplivala drug na drugega (prim. Kozin 2002: 71).
1	Del zbirke Slovenske narodne pesmi, ki obsega šaljive in zabavljive pesmi, je dostopen tudi na Wi-kiviru.
2	Število neznanih zapisovalcev je nekoliko vprašljivo, saj npr. v sklopu otroških pesmi zasledimo v spremni besedi opombo, da je kot zadnja pesem predstavljena pesem »narodnega pesnika Kančnika«, medtem ko je v opombi pod zadnjo pesmijo v omenjeni skupini zapisano: »Zapisal neznanec. Iz VO. XVII. 8, 3. Pesem je umetna« (SNP IV: 480).
Poznani sta Ecova izjava o tem, da pripovedni svetovi3 »izkoriščajo« realne (Eco 1999: 82), ali pa Iserjeva ideja o premikajočem gledišču, ki nastopi z branjem in omogoča, da »dobimo iluzijo globine in širine prostora, od tod pa izhaja vtis, da se ob branju dejansko nahajamo v nekem resničnem svetu« (Iser 2001: 184). Učinek navzočnosti prostora, ki je v resnici navzoč le v naši glavi, je dosežen samo prek bralčevega prevzemanja diskurznih perspektiv, prek besedilno zasnovanih fokaliza-cij, tj. prek niza zoženih pogledov (s stališča pripovedovalca, literarnih likov itn.) oz. medsebojne igre posebnih oblik »dostopnosti do intendiranega stanja stvari« (Iser 2001: 181). Transgresija med njima je omogočena s semiozo, kar pomeni, da so zaznave dejanskih prostorov:
interpretirane in opomenjene (procesirane) s posredovanjem memoriziranih ali imaginarnih prostorskih shem, po drugi strani pa se imaginarni prostori, ideacijsko konstruirani v bralčevi zavesti, s pomočjo združevanja pomenov jezikovnih enot, lahko razvijejo v predstavne podobe samo s priklicevanjem spominov na zaznave dejanskih prostorov« (Juvan 2006: 188; prim. Škulj 2005: 351).
Nakazati želim, da je prostor ključna razsežnost resničnosti - druga delujoča dejavnika sta še družba in čas.
Spremna besedila delno vsebujejo tudi podatke, ki povedo, od kod so nekateri zapisovalci, vendar karta, ki bi lahko služila kot predloga v stilu literarnih poti, še čaka na obdelavo (prim. Sites of (re)Collection; projekt Ein literarischer Atlas Europas).4 Zaenkrat lahko kot vestnega zapisovalca »ljudskega blaga« izpostavimo Franca Kramarja (1890-1959). Izhajal je iz Matene pri Igu, v želji po zapisovanju ljudske pesmi pa je peš, s kolesom in vlakom prekrižaril dobršni del današnjega slovenskega ozemlja in tako med letoma 1908 in 1914 v okviru avstrijske državne akcije Das Volkslied in Österreich (Narodna pesem v Avstriji) zapisal skoraj 5000 pesmi (z melodijo). V Štrekljevi zbirki najdemo 69 njegovih zapisov. Glonar je zbral za skupino šaljivih in zabavljivih največ pesmi (10 pesmi in 6 variant) prav iz njegovih zapisov. Skupino šaljivih in zabavljivih pesmi je doletela močna cenzura. Pesmi, ki so bile označene za šaljive, kosmate oz. okrogle, so zmotile takratno cerkveno sfero (prim. Bahtin 2008: 10), ki je pesmi označila za nemoralne.
V nadaljevanju bodo predstavljeni trije zemljevidi, ki so bili uporabljeni na predstavitvi referata Landscape and Community in Humorous Slovenian Folksongs na mednarodni konferenci SIEF aprila 2011 v Lizboni. Pri analizi pesmi sem si pomagala z Excelom.5 Delala sem na več listih, na enega sem vpisovala v vzporedne stolpce zapisovalce in številke pesmi, na drugega številke pesmi in kraje zapisov ter variant, na tretjega številke pesmi in verzov, verze in potem posamezne prvine (npr. kraje, materialno kulturo, moške, ženske, živali ipd.).
3	Pripovedne svetove lahko nadomestimo z imaginarnimi.
4	Kar nekaj povezav do projektov, ki v svoje raziskovanje vpletajo GIS, dobimo na Wikiverzi pod naslovom Literatura in prostor.
5	Takrat še nisem vedela za programe, kot je na primer Poliqarp ali Greenstone Digital Library, ki sta brezplačna in odprtokodna programa, ki delujeta pod okriljem GNU General Public Licence (žal sta še oba nekompatibilna s slovenščino).
2 Izbrane pesmi na zemljevidu
Na kartah bodo prikazani kraji zapisov pesmi in njihovih variant. Za določitev koordinat je bil uporabljen interaktivni spletni atlas Geopedia. Koordinate pa so bile vnesene v program ArcGIS. Geopedia zaenkrat interaktivno predstavlja le Slovenijo, zato so bili kraji izven Slovenije dodani s pomočjo ArcGIS programa. Glasbenona-rodopisni inštitut ZRC SAZU se za izdelavo kart oz. za zahtevnejše aplikacije in prikaze povezuje z Geografskim inštitutom Antona Melika in/ali z Inštitutom za antropološke prostorske študije,6 saj imajo slednji licenčni program ArcGIS. Enakovreden programu bi naj bil prostodostopni QuantumGIS, ki v začetku zahteva malo več študija. Geografski informacijski sistemi (GIS) lahko vsebujejo tako prostorke kot neprostorke podatke; v sistem je treba vnesti posamezne sloje, ki jih poljubno kombiniramo.
Na kartah je predstavljena današnja državna meja.7 Prva karta kaže, kje so bile objavljene pesmi zabeležene, druga karta prikazuje kraje, ki so omenjeni ob variantah posameznih pesmi. Tako kakor se spreminjajo meje etičnega, se spreminjajo tudi državne meje ali pa imena krajev, vendar so pri določanju krajev na kartah seveda upoštevana današnja imena krajev (npr. ime Guštanj, ki ga srečamo v zbirki, sem nadomestila z imenom Ravne na Koroškem ali zapis Marprug z Maribor).
Slika 1: Prikaz 89 % krajev, kjer so bile zapisane pesmi.
6	Franci Petek je izdelal zemljevide za Slovenske ljudske pesmi V, Peter Pehani pa interaktivno karto Pritrkavanje in tukaj uporabljene karte.
7	Statistični urad pozna 12 statističnih regij in 7 neformalnih pokrajin. Čeprav so imena pokrajin danes ustaljena, je meja med njimi težje določljiva, saj se ne ujemajo z upravno in geografsko razdelitvijo.
Slika 2: Prikaz 95 % vseh krajev, kjer so bile zabeležene variante.
Večina izbranih pesmi je bila zabeleženih na območju Gorenjske in Štajerske. Kot zanimivost bi izpostavila to, da so pesmi in variante s Koroške vzete le iz Schei-niggovih zapisov.8 Z beleženjem variant postaja karta Slovenije vedno bolj pokrita.
3 Kraji v pesmih
Ker literarna besedila učinkujejo tako, da njihov svet povezujemo z »realnim« svetom oz. svetom, v katerem živimo (mimogrede, tudi imaginarni prostori so realni prostori; prim. Searle 1995: 153-154; Eco 1999: 95-105), sem se lotila tudi priprave karte, na kateri so označeni kraji, ki so omenjeni v pesmih. Če karto primerjamo s prejšnjima dvema, opazimo, da se prostorska slika razširi. Zanimivo bi bilo še prikazati izvore posameznih pesmi in nato npr. s puščicami nakazati kraje, ki se v izbrani pesmi omenjajo.
Od krajev, ki so danes zunaj meja Slovenije, se največkrat pojavi Gradec. Drugi kraji so Dunaj, Linz, Trst, Rim, Zagreb itd. Večinoma so iz pesmi Rokodelci brez orodja; ljudje so konec 19. in v začetku 20. stoletja hodili delat v oddaljenejše kraje (prim. Tuma 1997: 12; Pockar 2005: 352). Gradec in Dunaj se pojavita tudi v pesmih z naslovom Kamnik, Zagreb pa samo v eni pesmi iz skupine z naslovom Krajevne slike.
Že sama (pod)skupina Kamnik bi lahko kazala na to, da je Kamnik največkrat omenjeno slovensko mesto. Analiza verzov je pokazala, da se od mest res največkrat pojavi Kamnik (17krat), vendar le v 8 pesmih, medtem ko Ljubljana, ki se pojavi
8 Njegova zbirka Narodne pesni koroških Slovencev (1889) je dostopna na spletišču Archive.org.
11-krat, nastopa v desetih pesmih. Kamnik se pojavi v pesmih z naslovom Kamnik, nanj pa naletimo tudi v eni od pesmi iz skupine Dekleta. Ljubljana se pojavi v treh skupinah, in sicer v pesmih z naslovi Rokodelci brez orodja, Rezija in Kamnik.
Slika 3: 33 % krajev, ki se omenjajo v pesmih, ni bilo mogoče umestiti na karto.
O Ljubljani (in tudi o drugih krajih) v šaljivih pesmih ne izvemo veliko. Nekateri krojači, čevljarji, zidarji, tesarji in drugi so v mesto prihajali občasno ali pa so v mestu živeli le krajši čas. To sklepam po tem, ker se v pesmih z naslovom Rokodelci brez orodja omenja, da so delavci v Ljubljani pozabili katero od orodji. Med pozabljenimi orodji so v pesemskem besedilu omenjeni kroji, škarje, šila, predpasnik, zidarska žlica in žaga. Dvakrat je Ljubljana primerjana tudi z Gradcem, glavnim mestom avstrijske Štajerske (čeprav lahko Gradec pomeni tudi »malo mesto«). V skupini pesmi o Reziji pa nastopa ljubljanski beli grad, ki je primerjan z vratom Rezijanke.
4 Pokrajine
Edini omenjeni pokrajini sta Dolenjska in Štajerska, po enkrat pa se pojavita Re-čiška dolina in Rezija. Slednja se omeni še štirikrat kot vas (v vsaki od štirih pesmi enkrat).
Franc Kramar je zapisal pesem o šuštarjih (Š 8645) oz. čevljarjih, kjer je omenjena Dolenjska. Pesem je iz skupine Rokodelci brez orodja. Zapeto je bilo, da je tam šuštar že predlani zapil kopita (8. kitica). V pesmi se pojavijo še Dunaj (tam ima krojač škatlo), Planina (tam je z vinom zapil šila), Reka (kjer ima na smreki smolo) in pa
Gorica (kjer ima knefter oz. jermen). To je tudi ena izmed pesmi, ki je ni bilo mogoče umestiti na prvo karto, saj je ob njej zabeleženo, da je pesem kranjska.
Štajerska se pojavi v dveh pesmih, ki sta uvrščeni v (pod)skupino Kamnik. Pesmi sta zapisala Franc Kramar (Š 8561) v Vinjah na Gorenjskem in France Francetov (Š 8562) v Torovem pri Vodicah. Pesmi nimata variant. V obeh primerih nemško govoreče ljudi pošiljajo na Štajersko.9 Rečiška dolina oz. Rečica je, če sklepamo na podlagi pesmi, ki jo je zapisal Ivan Lavrič v Podlipovici pri Izlakah (Š 8595), in pesmi, ki jo je zapisal Makso Šnuderl v Rimskih Toplicah (Š 8596), slovela po srečnih deklinah, ki pa so tako krofasta oz. golšasta, da je moškega groza. Obe pesmi sta iz skupine Dekleta.
O Reziji je pesem, ki jo je zabeležil neznani zapisovalec. Izvemo, da ima Rezija 109 hiš, deklet pa le 5 (Š 8555). Pesem je bila objavljena v Goriškem letniku leta 1864 (214-215). V pesmi je zapisano, da so najbogatejše Rezijankice brez kiklje, kot njihova dota pa se tudi v drugih pesmi o Reziji omejata ovca in koza (Š 8553, 8554 - pri tej je omenjena še krava -, 8557). Bolj podrobno sta opisani podoba okolice pred hišo in dogajanje v njej: pred hišo raste majeron, bukovje in brestovje, v hiši pa so babe kot kaštron oz. skopljeni ovni, babe se tudi cukajo in treskajo oz. pretepajo. Pesmi, ki omenjajo vas Rezijo, pravijo, da je treba s seboj vzeti metlo, saj je toliko smeti. Vse pesmi, ki omenjajo Rezijo, so, podobno kot Kamnik, zbrane pod skupnim naslovom Rezija.
5 Težave pri kartiranju
Zaradi nezadostnih informacij oz. zapisov je bilo nekatere kraje nemogoče določiti na karti. Izvor štirih pesmi (Š 8608, 8610, 8612 in 8622) je zavit v arhivsko temo, saj ob njih ni zabeleženo ne mesto zapisa ne njihov zapisovalec. Neznanih krajev v pesemskih besedilih je veliko (33 %). Vzroka za to sta predvsem dva: prvič, pesem-ska besedila niso (strogo) vezana na realnost, in drugič, v Sloveniji in tudi drugod je več krajev/vasi z istimi imeni. Karel Štrekelj je sicer v uvodnem besedilu opozoril na dejstvo, da predstavljene pesmi niso zapisane ne v takratni knjižni slovenščini ne v dialektu (SNP I: VIII-IX), po čemer bi lažje določili dejanski kraj.
Pesem št. 8669, ob kateri je zapisano, da je Vrhovska, bi po besedilu sodila na območje hrvaškega Zagorja (SNP IV: 735). Ob pesmi št. 8621 pa se znajdemo pred zagato, če sklepamo zgolj na podlagi zapisovalca Matije Rodeta in njegovih poti, saj ne vemo, ali bi Javorje umestili v občino Gorenja vas-Poljane ali v občino Šmartno pri Litiji, v Javorje pri Blagovici ali Javorje pri Gabrovki (SNP IV: 712).
V opombi pod črto je ob eni izmed pesmi o Kamniku (Š 8558), ki je bila zapisana v Domžalah, podatek, da je v bolj ali manj okrnjeni obliki zbadljivko okrog Lember-ga na Štajerskem zapisal Anton Kovačič (SNP IV: 691). Ne vemo, ali gre za Lemberg pri Novi Cerkvi ali za Lemberg pri Šmarju; oba ležita na Štajerskem.
Ena od variant pesmi o dekletih (Š 8578) je bila zabeležena tudi v Juršičih pri Št. Petru. Postavimo jih lahko na ozemlje današnje Avstrije, saj je v opombi pripisano, da ta varianta, ki jo je zapisal H. Sevar, govori o celovških dekletih (SNP IV: 698).
9 V pesmih se Kamnik ponaša tudi s tem, da je to mesto, kjer se lahko naučijo nemško.
Pri varianti pesmi št. 8625 (SNP IV: 713), ki jo je zapisal France Stele (18861972), je odločilo dejstvo, da je zapisovalec dodobra poznal Kamnik in njegovo okolico. Omenjeni zapis je bil torej po vsej verjetnosti zabeležen v Podgorju v občini Kamnik.
Včasih nismo gotovi, ali so imena zapisovali tako, kot so jih slišali, ali so jih spreminjali že tudi pevci, ali gre za napake v zapisu in izgovorjavi (npr. Vuptuj, mesto Bečanjsko, Hernabjci ipd.). Zaradi negotovosti na kartah nisem zabeležila npr. naslednjih krajev: Krapina (na današnji slovenski ali hrvaški strani?), Križovci (Križovci v bližini Petišovcev ali so bili mišljeni Križevci pri Ljutomeru ali celo Križevci na Hrvašem?), Vildon (je mišljen morda Wildon?). Prav tako na karto niso bile uvrščene omembe pokrajin ali regij (omembe Dolenjske, Štajerske, Rečiške doline in Rezije).
Vprašljivi so tudi nekateri vneseni zapisi. Varianto pesmi št. 8673, ki je bila zabeležena v Framu, je (menda) zapisala Tereza Pošepl. Zapisano je, da je varianta iz Središča, vendar v zbirki Tereze Pošepl, ki je kot del Glonarjeve zapuščine shranjena v arhivu Glasbenonarodopisega inštituta (GZ, Mapa 44), ob nobeni od pesmi ni pri-beleženo, kje je bila zapisana in kdo je informator.
Glasbenonarodopisni inštitut je že nekaj časa vpet v digitalizacijo arhivskega gradiva (npr. z EtnoMuzo). Ob tem se soočamo s problemom, kako predstaviti gradivo tako, da bo uporabniku prijazno in da bo mogoče dobiti nove predstave o odnosih med zapisovalci, zbiratelji, besedili itn. GlS-tehnologija predstavlja učinkovito orodje tudi za vrednotenje oz. upravljanje kulturne dediščine. Ključnega pomena pa je kakovostna podatkovna zbirka, ki jo je treba pripraviti, dopolnjevati in vzdrževati. Priprava takšne baze je časovno precej obsežna oz. zahteva kar nekaj vpisovalcev/ urejevalcev.
6 Povzetek
Vizualizacija podatkov s pomočjo zemljevida oz. GlS-aplikacij nam kaže zanimivo novo sliko starih zapisov. Imena mest, vasi ter pokrajin (in far) se pojavljajo v 232 verzih. Največkrat se omenjata Kamnik, ki je primerjan z Dunajem, in Ljubljana, ki je podobna Gradcu. Kraji zunaj meja današnje Slovenije se omenjajo večinoma v pesmih Rokodelci brez orodja. O tem, kako so se ljudje različnih poklicev v 19. stoletju, iz katerega pesmi tudi izhajajo, morali seliti iz kraja v kraj, se je podrobneje razpisal Henrik Tuma, čigar oče je bil čevljar. Kraji v tej skupini pesmi so Trst, Gradec, Dunaj, Celovec, Rim in Linz. Pesmi večinoma omenjajo kraje, ki so blizu kraju zapisa. Slednje lahko služi kot dokaz, da se šalimo večkrat na račun drugih kot na svoj račun.
Viri in Literatura
Umberto Eco, 1999: Šest sprehodov skozi pripovedne gozdove. Prev. Vera Troha.
Ljubljana: LUD Literatura.
Ein literarischer Atlas Europas. 2012. Tudi na spletu.
Miran Hladnik, 2012: Gorenjska v književnosti. 48. SSJLK. Ur. Aleksander Bjelče-vič. Ljubljana: FF. 45-54. Tudi na Wikiviru.
Interaktivna karta Slovenije z zbirkami ZRC SAZU. Tudi na spletu.
Wolfgang I ser, 2001: Bralno dejanje: teorija estetskega učinka. Prev. Alfred Lesko-vec. Ljubljana: Studia humanitatis.
Marko Juvan, 2006: Literarna veda v rekonstrukciji: Uvod v sodobni študij literature. Ljubljana: LUD Literatura. Tudi na spletu.
Mojca KovAcič, 2009: Pritrkavanje - etnomuzikološka fenomenologija pojava in njegova vključenost v slovenski in evropski prostor: Disertacija. Nova Gorica: Mojca Kovačič.
Tina Kozin, 2002: Fikcijskost kot posebna oblika modalnosti: Interdisciplinarni pristopi: (Semantika možnih svetov in novejše teorije fikcije v anglofonski literarni teoriji): Diplomsko delo B. Ljubljana: [Tina Kozin].
Literatura in prostor. Wikiverza.
Milko Matičetov, 1969: Tri ljudske iz Rezije za pokušnjo: Pred Matičino zbirko slovenskih ljudskih pesmi. Sodobnost 17/2. 197-206.
Ivanka Počkar, 2005: Dve gasi, dva policaja, sto obrtnikov: Življenje mestnih obrtnikov od sredine 19. stoletja do druge svetovne vojne na primeru Brežic. Brežice; Krško; Ljubljana: Društvo za oživitev mesta Brežice; Valvasorjev raziskovalni center; ZRC SAZU, Založba ZRC SAZU.
Terezija Pošepl: GZ, Mapa 44. Arhiv Glasbenonarodopisnnega inštututa ZRC SAZU.
Janez Scheinigg, 1889: Narodne pesni koroških Slovencev. Ljubljana: Kleinmayr & Bamberg.
John R. Searle, 1995: Logični status fikcijskega diskurza. Prev. Marjan Šimenc. Sodobna literarna teorija: Zbornik. Ur. Aleš Pogačnik. Ljubjana: Krtina. 143-55.
Sites of (re)Collection: A Digital Approach to Five Storytellers in the Folklore Collection of Evald Tang Kristensen. 2007. Tudi na spletu.
Slovenske ljudske pesmi V, 2007. Ur. Marjetka Golež Kaučič idr. Ljubljana: Založba ZRC, ZRC SAZU, SM.
Slovenske narodne pesmi I, 1895. Ur. Karel Štrekelj. Ljubljana: SM.
Slovenske narodne pesmi IV, 1908-1923. Ur. Karel Štrekelj in Joža Glonar. Ljubljana: SM.
Stanko Premrl, 1971: Franc Kramar. Slovenski biografski leksikon. Ljubljana: Zadružna gospodarska banka. Tudi na spletu.
Jola Škulj, 2005: Literatura in prostor: O semiozi in semiosferi. Slavistična revija 53/3. 347-61.
Karel Štrekelj, 1887: Prošnja za narodno blago. Ljubljanski zvon 7/11. 628-32.
Robert T. Tally, ml., 2011: Geocritical Explorations: Space, Place, and Mapping in Literary and Cultural Studies. New York: Palgrave Macmillan.
Henrik Tuma, 1997: Iz mojega življenja: Spomini, misli in izpovedi. Ljubljana: Tuma.
UDK 398.8:913(497.4)
Jerneja Vrabič
ZRC SAZU Institute of Ethnomusicology, Ljubljana
RECORDING SITES AND PLACES NAMED IN SELECT SLOVENE
FOLKSONGS
This article explores the physical space encountered while reading works in the collection Slovenske narodne pesmi [Slovene Folk Songs, 1895-1923]. The analysis includes 148 humorous and mocking songs. The maps show recording sites and their variants, as well as the places mentioned in songs. The tools used were Excel, online maps and GIS applications.
Key words: folksong, space, Geographic information system (GIS), map
1 On the Collection, Worlds, Transitions and Method of Work
In 1887, Karel Štrekelj published a call in the Ljubljanski zvon newspaper for people to submit materials of national value. He wished to edit and publish to the best of his ability all of the »national treasure« that had ever been published, as well as what existed in manuscript collections. He was thus trying to encompass all the lands and places where, at the time, »people of our language« lived (Štrekelj 1887: 628; Matičetov 1969: 198). The task of editing the body of humorous songs fell to Jože Glonar, who, following Štrekelj's death, continued and eventually completed the collection Slovenske narodne pesmi} Glonar gathered songs and their variants for the collection of humorous and mocking songs by seventy-eight different recorders; fifty-two records in the collection are by anonymous recorders.2 Glonar considered chronology much more important than to the names of recorders and informers (SNP IV: *51 and *66).
For the most part, the songs were collected in late nineteenth and early twentieth centuries. Recorders did not always note the place and time, and the names of informants; neither did they make peripheral notes on the context (e.g., whether the song was being sung at special occasions, at certain times, and the like). Furthermore, the records are wanting from the folklorist's perspective since the collection mostly comprises the lyrics only—in the section of humorous and mocking songs, the melody is outlined as a footnote to only one song. The commentary to this section states that »[s]ongs of such nature [...] are primarily intended for actual persons and places and are therefore incomprehensible in other places« (SNP IV: 683). This claim shows how two worlds are intertwined—the »real« or socio-geographical space in
1	Part of the collection comprising humorous and mocking songs, is also available online at Wikiso-
2	The number of unknown recorders is somewhat questionable. For example, there is a footnote in the afterword to the section of children's songs claiming that the final song is one by the »national poet Kancnik«, whereas a footnote to the final song in the section reads: »Written down by an unknown person. - From VO. XVII. 8, 3. The song is of literary origin« (SNP IV: 480).
which the song operates, and the imaginary world presented in the song. Although the two worlds are separated ontologically, they have been intertwined constantly throughout history (Searle 1995: 144; 153-154), mutually influencing one another (Kozin 2002: 71).
Umberto Eco famously said that fictional worlds3 are parasites of the real world (Eco 1994: 83), and Iser's idea of the wandering viewpoint that appears in the reading process and »gives us the illusion of depth and breadth, so that we have the impression that we are actually present in a real world« (Iser 1978: 116). The effect of the presence of space, which is in fact only in our minds, is achieved solely by the reader adopting the discursive perspectives, by textual focusing—that is, through a series of narrowed gazes (e.g., from the viewpoints of the narrator and literary characters) or the mutual interaction of specific modes of »access to the object intenden« (Iser 1978: 113). The transgression between the real and imaginary world is enabled through semiosis, meaning that the perception of actual spaces is:
interpreted and provided with meaning (processed) by delivering memorized or imagined spatial schemes, whereas imagined spaces that are constructed in the reader's consciousness on the level of ideas by combining the meanings of linguistic units, can only develop into perceptive images by recalling the memories of perceiving actual spaces (Juvan 2006: 188; Skulj 2005: 351).
Space is a key dimension of reality, the other active factors being society and time. The commentaries at times include information about where some of the recorders are from, but the points of literary interest map that could be used as a template has yet to be made (Sites of (re)Collection; the project Ein literarischer Atlas Europas).4 One meticulous recorder of »folk treasure« was Franc Kramar (1890-1959). From Matena pri Igu, he criss-crossed a great deal of the current Slovene territory in search of folk songs, be it on foot, by bike, or by train. Between 1908 and 1914 he recorded almost 5,000 songs (together with their melodies) as part of the Austrian state project Das Volkslied in Österreich. Strekelj's collection contains sixty-nine recordings by Franc Kramar. It was from his recordings that Glonar took the most songs (ten songs and six variants) for the section of humorous and mocking songs. The humorous and mocking songs section was heavily censored. The songs that were labeled humorous, obscene, or raucous disturbed Catholic circles of the time (Bakhtin 1984: 9), which dubbed them immoral.
Presented again will be three maps that were used in the presentation Landscape and Community in Humorous Slovene Folksongs at the SIEF international conference in April 2011 in Lisbon. Excel was used to catalog the songs.5 I entered the recorders and song numbers song numbers and recording sites and their variant names, the third one to enter song and verse numbers, then verses and separate elements (e.g., places, material culture, men, women, animals, and the like).
3	Fictional worlds can be replaced by imaginary worlds.
4	Several links to projects, the research within which integrates GIS, can be found on Wikiversity under the heading Literatura in prostor/Literature and Space.
5	At the time I was unaware of software like Poliqarp or Greenstone Digital Library—two examples of free / open-code software working under the GNU General Public Licence (unfortunately both incompatible with Slovene as of now).
2 Chosen Songs on a Map
I started working on maps to show the places where songs and their variants were recorded. The Geopedia interactive online atlas was used to determine the coordinates, which were then entered into ArcGIS software. Currently, Geopedia interactively covers only Slovenia; therefore places outside Slovenia were added using ArcGIS software. For mapping and complex applications and requests, the Institute of Ethnomusicology cooperates with the Anton Melik Geographical Institute and/or the Institute of Anthropological and Spatial Studies,6 which has licensed the ArcGIS software. The freely available QuantumGIS is supposed to be equivalent to this software, yet it requires some more preliminary study. Geographic information systems (GIS) may comprise both spatial and non-spatial data—separate layers need to be incorporated in the system, which can later be combined freely.
The maps show the current state border.7 The first map shows where the songs published were recorded, and the second map the places mentioned in variants of certain songs. Since in the course of history place names tend to change, I used the current names to specify places on maps (e.g., I replaced the name Guštanj, which is used in the collection, with the name Ravne na Koroškem, and the name Marprug with Maribor).
Figure 1: The map shows 89 % of places where songs were recorded.
6	For example, Franci Petek created maps for Slovenske ljudske pesmi V (Slovene Folk Songs V), and Peter Pehani an interactive map Pritrkavanje (Bell chiming ...) and the maps used here.
7	The Statistical office recognises twelve statistical regions and seven informal regions; although the names of regions are now settled, the borders between them are difficult to define, as they don't match the administrative and geographical division.
Figure 2: The map shows 95 % of places where variants were recorded.
The majority of the songs selected were recorded in Upper Carniola and Styria. It is interesting that songs and their variants from Carinthia were taken only from Scheinigg's (1889) records.8 As variants are being mapped, the map of Slovenia is becoming increasingly covered.
3 Places in Songs
Since literary texts make us relate their worlds automatically to the »real« world—i.e., the world we live in (incidentally, imagined spaces are real spaces as well; Searle 1995: 153-154; Eco 1994: 97-108), I also began mapping the places mentioned in songs. If we compare map 3 with maps 1 and 2, we see that the spatial image is widened noticeably. It would be interesting to show the origins of individual songs and then indicate the places mentioned in them.
The most frequently mentioned place outside of today's Slovenia is Graz; some other places are Linz, Rome, Trieste, Vienna, and Zagreb. For the most part they are in the series of songs »Rokodelci brez orodja« [Craftsmen Without Tools], relating to people in late nineteenth and early twentieth centuries that went working in distant places (Tuma 1997: 12; Pockar 2005: 352). Graz and Vienna also appear in a series of songs entitled Kamnik; Zagreb is only featured in one song, from the series Krajevne slike [Local Pictures].
8 His collection Narodne pesni koroških Slovencev (Folk Songs of Slovenes from Carinthia, 1889) is available online at Archive.org.
Figure 3: As many as 33% of places mentioned in songs I was unable to position on the map.
The very name of the (sub)series Kamnik could serve as an indication of the fact that Kamnik was the most mentioned Slovene town. Verse analysis has shown that Kamnik is indeed the most featured town (seventeen mentions), but only in eight songs, whereas Ljubljana which appears only eleven times, but in ten songs. Kamnik is featured in songs bearing the eponymous title, and also in a song from the series »Dekleta« [Girls]. Ljubljana, however, appears in three series: »Rokodelci brez orodja«, »Rezija« [Resia], and Kamnik.
The humorous songs do not tell much about Ljubljana as such (nor of other places). Some tailors, shoemakers, masons, carpenters, and others only visited the town from time to time, or spent a short period of time there. This can be assumed based on the songs from the series »Rokodelci brez orodja«, which mention workers who forgot some of their tools in Ljubljana, among them patterns, scissors, awls, an apron, a trowel, and a saw. Twice Ljubljana is compared to Graz (Slov. Gradec), the principal city of Austrian Styria (although Gradec could also mean a small town). The group of songs on Resia also features the white castle of Ljubljana, which is compared to the neck of a Resia girl.
4 Regions
The only regions mentioned are Lower Carniola and Styria. The Rečica Valley and Resia receive one mention each. The latter is also mentioned four times as a village (once in each of four songs).
Franc Kramar wrote down a song about cobblers (Š 8645) or shoemakers that mentions Lower Carniola and belongs to the series »Rokodelci brez orodja«. It sings of a cobbler who drank away his shoetrees there the year before last (stanza 8). The song also mentions Vienna (where the shoemaker keeps his box), Planina (where he wasted awls on wine), Rijeka (where he gets resin from a spruce tree), and Gorica (where he keeps his knefter or strap). This is one of the songs that could not be positioned on the first map since a note said it was recorded in Carniola.
Styria appears in two songs that belong to the Kamnik (sub)series. The songs were written down by Franc Kramar (Š 8561) in Vinje, Upper Carniola, and France Francetov (Š 8562) in Torovo pri Vodicah. None of the songs have any variants. In both, German-speaking persons are sent to Styria.9 To judge by the song Ivan Lavrič recorded in Podlipovica pri Izlakah (Š 8595), and the song Makso Šnuderl recorded in Rimske Toplice (Š 8596), the Rečica Valley or Rečica was famed for its happy maidens, who, nevertheless, were such saucy strumpets that they terrified men. Both songs belong to the series »Dekleta«.
A song about Resia that was written down by an anonymous recorder claims that there were 109 houses in Resia, and only five girls (Š 8555). The song was published in the compendium Goriški letnik in 1864 (214-215). It claims that the wealthiest girls from Resia do not have a skirt to wear, and other songs mention for that their dowries are nothing but a sheep and a goat (Š 8553, 8554—this one also mentions a cow— and 8557). The surroundings in front of the house, however, are described in more detail: marjoram, beeches and elms growing in front of the house, in the house women acting like wether (i.e., castrated rams), also pushing and shoving and fighting. The songs that mention Resia claim that one needs to bring a broom to be able to sweep before oneself in order not to step into rubbish. As with Kamnik, all the songs that mention Resia are collected under the title »Rezija«.
5 Diffilcuties in Mapping
Due to a lack of information and records, some places were impossible to identify on a map. The origin of four songs (Š 8608, 8610, 8612, and 8622) remains shrouded in archival darkness; they have neither recording site nor the name of the recorder. Many unknown places appear in song lyrics (33 %), which is mostly due to two reasons. First, song lyrics are not (strictly) related to reality, and second, many places and villages in Slovenia and elsewhere bear the same name. Indeed, in the introductory text Karel Štrekelj emphasized the fact that the songs presented were written neither in the standard Slovene language of the time nor in a dialect (SNP I: VIII-IX), which would make it easier to specify the actual place.
Song 8669 is labeled Vrhovska but by its text places it in the region of Zagorje, Croatia. (SNP IV: 735). We encounter a problem with song 8621 if we are to make conclusions based solely on the recorder Matija Rode and his travels, as we cannot tell whether to position Javorje in the municipality Gorenja vas-Poljane or the municipality Šmartno pri Litiji, in Javorje pri Blagovici or in Javorje pri Gabrovki (SNP IV: 712).
9 In the songs, Kamnik boasts to be the place where they could learn German.
In the case of a song about Kamnik (Š 8558), which was recorded in Domžale, a footnote claims that the quip was written down in a more or less concise form by Anton Kovačič near Lemberg in Styria (SNPIV: 691). It is not known whether this refers to Lemberg pri Novi Cerkvi or Lemberg pri Šmarju, both of which are located in Styria.
A variant on the song about girls (Š 8578) was also recorded in Juršiči pri Št. Petru. It can be set in the territory of today's Austria as a footnote claims that the variant written down by H. Sevar refers to Klagenfurt girls (SNP IV: 698).
The variant of song 8625 (SNP IV: 713), written down by France Stele (18861972), was defined based on the recorder's thorough knowledge of Kamnik and its surroundings. The record mentioned was therefore most likely written down in Podgorje in the municipality of Kamnik.
Sometimes we cannot be certain whether names were written down as heard or the singers changed them—that is, whether there were »mistakes« in the record or maybe also in pronunciation (e.g., Vuptuj, mesto Bečanjsko, Hernabjci, etc.). The following places are not marked on the maps because of uncertainties: Krapina (in today's Slovenia or Croatia?), Križovci (Križovci near Petišovci or perhaps Križevci pri Ljutomeru or even Križevci in Croatia?), Vildon (should it perhaps be Wildon?). Regions and areas, such as Lower Carniola, Styria, the Rečica Valley, and Resia, are also not noted on the maps.
Some of the notes in the records inserted are also questionable. The variant of song 8673 that was recorded in Fram was (supposedly) written down by Tereza Pošepl. The record claims that the variant originated in Središče, yet in the collection of Tereza Pošepl, which is held in the archive of Institute of Ethnomusicology as part of Glonar's archive (GZ, folder 44), there are no notes for any of the songs on their recording site and the informer.
Institute of Ethnomusicology has been participating in the digitalization of archival materials for quite a while (e.g., Etno Muza). In the process, we have been challenged by the problem of how to present the materials in a user-friendly way so as to generate new perceptions of the relations between informants, collectors, and the texts. GIS technology is an efficient tool for evaluating and processing materials of significance to the cultural heritage. Of key importance, however, is a qualitative database, which must be developed, updated, and maintained. Developing such a database takes time and requires many people to enter and process data.
6 Summary
The visualization of data by mapping or GIS-applications provides us with an interesting new image of old records. The names of towns, villages, and regions (and parishes) appear in 232 verses. The most mentions relate to Kamnik, as compared to Vienna, and Ljubljana, which is similar to Graz. Places outside the current Slovene borders are mostly mentioned in songs of the series »Rokodelci brez orodja«. The issue of people of various trades having to move from place to place in the nineteenth century, when the songs originate, was covered in detail by Henrik Tuma, whose
father was a shoemaker. The places mentioned in this series are Trieste, Graz, Vienna, Klagenfurt, Rome, and Linz. Songs mostly mention places situated nearby the recording site. This can be used to prove that we more often make fun of others than of ourselves.
Works Cited
Mikhail M. Bakhtin, 1984: Rabelais and his world. Bloomington: Indiana University Press. Trans. Hélène Iswolsky.
Umberto Eco, 1994: Six Walks in the Fictional Woods. Cambridge, Massachusetts; London: Harvard University Press.
Ein literarischer Atlas Europas. 2012. Web.
Miran Hladnik , 2012: Gorenjska v književnosti [Upper Carniola in literature]. 48th Seminar on Slovene language, literature, and culture. Ed. Aleksander Bjelčevič. Ljubljana: FF. 45-54. Wikisource.
Interaktivna karta Slovenije z zbirkami ZRC SAZU [Interactive map of Slovenia with databases of ZRC SAZU]. Web.
Wolfgang Iser, 1978: The act of reading: A theory of aesthetic response. London, Henley: Routledge & Kegan Paul.
Marko Juvan, 2006: Literarna veda v rekonstrukciji: Uvod v sodobni študij literature [Literary studies in the reconstruction: An introduction to the contemporary study of literature]. Ljubljana: LUD Literatura. Web.
Mojca Kovačič, 2009: Pritrkavanje - etnomuzikološka fenomenologijapojava in njegova vključenost v slovenski in evropski prostor: Disertacija [Bell chiming: The ethnomusicological phenomenology of the practice and its inclusion in Slovenia and Europe: Diss.]. Nova Gorica: Mojca Kovačič.
Tina Kozin, 2002: Fikcijskost kot posebna oblika modalnosti: Interdisciplinarni pristopi: (Semantika možnih svetov in novejše teorije fikcije v anglofonski literarni teoriji): Diplomsko delo B. [Fiction as a special form of modality: Interdisciplinary approaches: (The semantics ofpossible worlds and recent theories of fiction in Anglophone literary theory): Thesis]. Ljubljana: Tina Kozin.
Literatura in prostor [Literature and space]. Wikiversity.
Milko Matičetov, 1969: Tri ljudske iz Rezije za pokušnjo: Pred Matičino zbirko slovenskih ljudskih pesmi [A sampler of three folksongs from Resia: Before Matica's collection of Slovene folksongs]. Sodobnost 17/2. 197-206.
Ivanka Počkar, 2005: Dve gasi, dva policaja, sto obrtnikov: Življenje mestnih obrtnikov od sredine 19. stoletja do druge svetovne vojne na primeru Brežic [Two streets, two policeman, a hundred craftsmen: The life of local craftsmen from the mid-nineteenth century until WW II. The case of Brežice]. Brežice; Krško; Ljubljana: Društvo za oživitev mesta Brežice; Valvasorjev raziskovalni center; ZRC SAZU, Založba ZRC SAZU.
Terezija Pošepl : GZ, Map 44. Arhiv Glasbenonarodopisnnega inštututa ZRC SAZU.
Janez Scheinigg, 1889: Narodne pesni koroških Slovencev [The folksongs of Ca-rinthian Slovenes]. Ljubljana: Kleinmayr & Bamberg.
John R. Searle , 1995: Logični status fikcijskega diskurza [The logical status of fictional discourse]. Trans. Marjan Šimenc. Sodobna literarna teorija. Ed. Aleš Pogačnik. Ljubjana: Krtina. 143-55.
Sites of (re)Collection: A digital approach to five storytellers in the folklore collection of Evald Tang Kristensen, 2007. Web.
Slovenske ljudske pesmi V, 2007 [Slovene folksongs V, 2007]. Ed. Marjetka Golež Kaučič et. al. Ljubljana: Založba ZRC, ZRC SAZU and SM.
Slovenske narodne pesmi I, 1895 [Slovene folksongs I, 1895]. Ed. Karel Štrekelj. Ljubljana: SM.
Slovenske narodne pesmi IV, 1908-1923 [Slovene folksongs IV, 1908-1923]. Ed. Karel Štrekelj and Joža Glonar. Ljubljana: SM.
Stanko Premrl, 1971: Franc Kramar. Slovenski biografski leksikon. Ljubljana: Zadružna gospodarska banka. Web.
Jola Škulj , 2005: Literatura in prostor: O semiozi in semiosferi [Literature and space: On the semiotics and semiosphere]. Slavistična revija 53/3. 347-61.
Karel Štrekelj, 1887: Prošnja za narodno blago [A request for the nation's benefit].
Ljubljanski zvon 7/11. 628-32.
Robert T. Tally, jr., 2011: Geocritical explorations: Space, place, and mapping in literary and cultural studies. New York: Palgrave Macmillan.
Henrik Tuma, 1997: Iz mojega življenja: Spomini, misli in izpovedi [From my life: Rememberances, thoughts, and confessions]. Ljubljana: Tuma.