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Diplomsko delo obravnava teme, ki se nanašajo na tradicionalne in moderne korejske poročne obrede s poudarkom na ritualu pyebaek. Poroke so že od dinastije Goryeo eden od najpomembnejših dogodkov v človekovem življenju. Ta pomembnost se izraža v velikem številu pravil in obredov, ki temeljijo na konfucijanstvu in jih izvajajo na tradicionalni korejski poroki. Danes najbolj razširjen slog poroke je moderni slog, ki se je tekom prejšnjega stoletja razširil in pridobil na popularnosti v korejski družbi. Čeprav so moderne korejske poroke prirejene predvsem po vzoru Zahodnih porok, lahko pri marsikateri opazimo tudi tradicionalne elemente. Najbolj ohranjen izmed tradicionalnih običajev je ritual pyebaek, ki se ga izvaja po glavnem poročnem obredu in je prvotno predstavljal vstop neveste v ženinovo družino. Danes pyebaek predstavlja dogodek, kjer se družina lahko zbere, mladoporočencema čestita za poroko in jima zaželi srečo, ženin in nevesta pa se zahvalita za njihovo podporo. V diplomskem delu so opredeljeni glavni elementi tradicionalnih in modernih poročnih obredov, tradicionalna in sodobna izvedba rituala pyebaek in njuna primerjava. Diplomsko delo predstavi kako je prišlo do sprememb pri poročnih obredih, kakšen je tradicionalen in sodoben pomen rituala pyebaek in razlogi za njegovo ohranitev pri modernih korejskih porokah vse do danes. This dissertation discusses the topics of traditional and modern Korean wedding ceremonies, with the emphasis on the pyebaek ritual. Ever since the Goryeo dynasty, weddings have been one of the most important events in a person's life. This importance is reflected in the large number of Confucian-based rules and rituals performed at a traditional Korean wedding. Today, however, the most widespread style of wedding is the modern style, which has spread and gained popularity in Korean society over the last century. Although mainly modelled on western Weddings, many modern weddings have also incorporated some traditional elements. The most well-preserved of the traditional rituals is pyebaek, which is performed after the main wedding ceremony. Its original meaning represents the bride becoming a part of the groom’s family. Today, though, pyebaek is an event where the family can gather and congratulate the couple on their marriage, as well as where the couple can thank the families for their support. The dissertation presents the main elements of traditional and modern wedding ceremonies. It also presents the traditional and modern versions of pyebaek and compares them. Lastly, it describes how the changes in the wedding ceremony came to be, what is the traditional and modernized meaning of the pyebaek ritual, and what are the reasons for its preservation in modern Korean weddings up to the present day.

Her ülkenin mutfak kültürü yaşanılan yerin coğrafi koşullarına, iklimine, toplumsal yapısını oluşturan kültürel geçmişine, toplumun dini inanışlarınave benzer diğer etkenlere bağlı olarak farklılık göstermektedir. Türkiye; Asya ve Avrupa kıtalarının birleştiği noktada yer alan, 7 coğrafi bölge ve 81 ilden oluşan üç tarafı denizlerle çevrilibir ülkedir. Her toplumda olduğu gibi Türkiye’de de doğum, düğün ve ölüm gibi hayatın geçiş dönemleri olarak kabul edilen olaylarda bunun etrafında oluşturulan birtakım törenlerle yaşanmaktadır. Düğünler,toplumun oluşmasını sağlayan ailenin başlangıç dönemini teşkil eden, toplumun hayat tarzını yansıtan ve tarihi eskilere dayanan önemli geleneklerden biridir.Düğünlerin törenselliği tüm kültürlerde ortak bir özellik ve amaç olarak evrensel olup, Türk kültürü ve Türkiye’de yaşayan toplumlar için önemli anlamlar içermekte ve farklı geleneksel özellikleri bulunmaktadır. Bununla birlikte toplu bir eğlence ritüeli şeklinde gerçekleştirilen düğünlerde ikramlık olarak hazırlanan yemekler bereket getireceği inancını taşımaktadır. Bu çalışmanın amacı Türkiye’nin farklı coğrafi bölgelerinde yaşanan düğün ritüelleri ve yemekleri ile ortaya çıkan ortak özellikleri ve farklılıkları belirlemektir. Bu kapsamda İl Valiliklerine bağlı Kültür ve Turizm Müdürlükleri tarafından hazırlanan kitaplar ile 1985-2020 yılları arasında yayınlanan çalışmalar (araştırma makaleleri, derlemeler, lisansüstü tezler, kongre bildirileri, kitaplar) taranmış ve elde edilen veriler başlıklar halinde bir derleme çalışması haline getirilmiştir. Araştırma sonucunda şehirden köylere doğru gidildikçe geleneksel düğün davet ve yemeklerinin hâlâ değerini koruduğu görülmektedir. Bununla birlikte hemen hemen tüm coğrafi bölgelerimizde düğün gününe gelene kadar yapılan aşamalar farklı gün ve şekilde yapılıp farklı adlandırılsa da temelinde yemeklerin yattığı gözlenmektedir. The culinary culture of each country differs depending on the geographical conditions of the place of residence, climate, cultural background, their religious beliefs and other similar factors that that constitutes the social structure.Turkey; located at the junction of the Asian and European continents, it is a country consisting of 7 geographical regions and 81 provinces, surrounded by seas on three sides.As in every society in Turkey, birth, wedding and events in the transition period is considered to be life or death created around it are experienced with certain ceremonies.Weddings are one of the important traditions that constitute the beginning of the family that created the society, reflectingthe lifestyle of the society and history go backold times.Wedding ritual is a universal feature common in all cultures and objectives in Turkish culture and contains important meanings for different communities living in Turkey and has traditional features. In addition to this, the believes that the meals prepared as a treat in weddings that are held as a collective entertainment ritual will bring abundance.The aim of this study was to determine experienced wedding rituals and dishes associated with common features and differences in the different geographical regions of Turkey.In this context, the books prepared by the Culture and Tourism Directorates affiliated to the Provincial Governorships and the studies (research articles, reviews, graduate theses, congress papers, books) published between 1985 and 2020 were scanned and the data obtained were compiled under titles.As a result of the study, it is seen that traditional wedding ceremoniesand dishesstill maintain their value when going from the city to the villages. However, in almost all regions, although the stages until the wedding day are occured on different days and in different forms, it is observed that the dishesare the basis.

The wedding ritual cycle can be considered as one of the most investigated in the Ukrainian ethnomusicology. However, historically it turned out that the territories of late-settlement of south-eastern Ukraine remain insufficiently explored. Therefore, scientific research of this region is now arousing the interest of the musicologists. Numerous materials of expeditions in the Kharkiv region of the 70s-2000’s made up funds of phono archives, folklore collections, audio publications. This significant empirical material became a groundwork for the further scientific findings. Having basic information about the genres of local folklore and their typical features, we can detect unknown artifacts from the huge amount of data. Our attention was attracted by the distinctive archaic style of the wedding song tradition of Rozsoshi village, Velykopysarivskyi region of Sumshchyna that borders on the modern Kharkiv region. In our opinion, it is a manifestation of a narrowly local tradition, which in many ways does not coincide with the musical stylistics of the rest of Slobozh nshchyna. Thus, the aim of the scientific research is to display authentic material from the neighboring villages of Rozsoshi (Sumskyi region) and Korbyni Ivany (Kharkiv region) and to compare its morphological parameters in order to mark its place in the stylistic system of the Slobіdshchyna region.Analysis of formula tunes of Rozsoshi village gives grounds for the conclusions that here arises such form of interrelation of elements of the local song style, at which the most stable and dominant is the level of melody and tonality (minor third scale with subquarte within burdo diaphonia), which are indirectly coordinated with a certain rhythm. It is the melodictextured type itself that has become the system sign of the narrowly local tradition of Rozsoshi village.Analysis of three formula tunes of Korbyni Ivany village showed that their basis is the scale of the fifth ambitus, yet with different types of basic tones, which are coordinated with various rhythmic patterns. Such a so-called “Podilski” wedding and its musical and style components are dominant not only in the Bohodukhivskyi region, but also in other areas of Slobіdshchyna: Kupianskyi, Zolochivskyi, Krasnokutskyi, Lozivskyi etc.As a result of that, the study of wedding rituals and structural-performing features of the wedding songs of Slobozh nshchyna has revealed an interesting fact of their coexistence in the form of an oppositional-hierarchical pair of “regional–narrowly local”. The described features are not accidental. Apparently, they are a manifestation and result of a peculiar historical process of these lands settling for three centuries. This process, as we know, was far from equable and ethnically heterogeneous. So, the material and conclusions presented in the article allow us to argue the existence of sustained archetypical “codes” that each tradition has been maintaining for centuries up to the present day., Свадебный обрядовый цикл можно считать одним из самых исследованных в украинском етномузиковедении. Но исторически сложилось так, что мало изученными остаются территории позднего заселения юго-восточной Украины, поэтому научные исследования в этой области сейчас особенно актуальны. Многочисленные материалы экспедиций по Харьковщине 1970-х – 2000-х годов стали основой фоноархивов, фольклорных сборников, аудиоизданий. Этот, значительный по объему эмпирический материал стал важным фундаментом для дальнейших научных обобщений. Обладая базовой информацией о жанрах местного фольклора и их типичных особенностях, можно обнаружить в этом огромном массиве неожиданные артефакты. Наше внимание привлек особый архаичный стиль свадебной песенной традиции села Россоши Великописаревского района Сумщины, граничащего с современной Харьковской областью, который, на наш взгляд, является проявлением узколокальной традиции и по многим параметрам не совпадает с музыкальной стилистикой других слободских територий. Таким образом, целью нашего исследования стало представление аутентичных материалов смежных сел Россоши (Сумщина) и Корбины Иваны (Харьковская область), сравнение их морфологических параметров и определение места каждого из них в стилевой системе Слобожанщины.Анализ формульных напевов с. Россоши дает основания для выводов о том, что здесь возникает такая форма взаимосвязи элементов системы местного песенного стиля, при которой наиболее устойчивым и доминирующим является уровень мелодики и строя (малотерцовий звукоряд с субквартой в пределах фактуры – бурдонной диафонии), которые опосредованно координируются с определенным слогоритмическим рисунком. Именно мелодико-фактурный тип и становится системным знаком узколокальной традиции села Россоши, наиболее близкой, на наш взгляд, песенной стилистике полесских территорий Украины.Анализ трех формульных напевов с. Корбины Иваны показал, что их основой являются звукоряды квинтового амбитуса, но с разными типами опорных тонов, которые в свою очередь координируются с различными ритмомоделями. Это так называемый тип «подольский» свадьбы. Его музыкально-стилевые составляющие являются доминирующими не только в Богодуховском районе, но также в Купянском, Золочевском, Краснокутском, Лозовском и большинстве других районах Слобожанщины.Представленное исследование свадебной обрядности, музыкально-структурных и исполнительских особенностей свадебных песен Слобожанщины выявило их сосуществование в виде оппозиционно-иерархической пары «региональное – узколокальное». Описанные особенности не случайны. Судя по всему, они являются проявлением и следствием своеобразного исторического процесса заселения этих земель в течение трех веков. Этот процесс, как известно, был далеко неравномерным и этнически разнородным. А представленные в статье материалы и изложенные выводы позволяют говорить о существовании на Слобожанщине в каждой локальной традиции особых архетипических «кодов», которые постепенно сложились и сохранились на этой территории почти до нашего времени., Стаття присвячена дослідженню стильових рис формульних наспівів весільного чину двох сусідніх сіл Слобідщини – Розсоші та Корбини Івани, які належать відповідно до Великописарівського району Сумської та Богодухівського району Харківської області. Втім результати аналізу морфологічних та агогічних параметрів, дали підстави віднести їх до двох дещо відмінних локально-етнічних типів. За значенням, характером та ступенем розповсюдження один з них доцільно визначити як загальнорегіональний, домінуючий на цій території (с. Корбини Івани). Традиція с. Розсоші, навпаки, є вузьколокальною, а її аналоги розташовані на Слобідській Україні у вигляді розпорошених «крапель», що є результатом так званого «уламкового» заселення цих земель протягом останніх трьох століть.

The article headlines a number of facts about the life and work of unfairly forgotten the Ukrainian ethnographer, scholar of folk life, customs and ceremonies of Siversk region Pelageya Yakivna Litvinova-Bartosh. It reflects the complex process of identity formation as a researcher-ethnographer. The main stages of the life and work of a female scientist experiencing difficulties that arose on her hard life journey. An analysis of her contribution to the development of Ukrainian historical regional movement in the pre-Soviet period is carried out. The article defines the main areas of historical regional studies of P. Litvinova-Bartosh. The article presents her progressive views on gender equality, issues of statistical and economic development of individual Ukrainian villages, etc. It has been identified and analyzed the scientific heritage of the outstanding researcher of the local antiquities.

The article headlines a number of facts about the life and work of unfairly forgotten the Ukrainian ethnographer, scholar of folk life, customs and ceremonies of Siversk region Pelageya Yakivna Litvinova-Bartosh.It reflects the complex process of identity formation as a researcher-ethnographer.The main stages of the life and work of a female scientist experiencing difficulties that arose on her hard life journey.An analysis of her contribution to the development of Ukrainian historical regional movement in the pre-Soviet period is carried out.The article defines the main areas of historical regional studies of P. Litvinova-Bartosh.The article presents her progressive views on gender equality, issues of statistical and economic development of individual Ukrainian villages, etc.It has been identified and analyzed the scientific heritage of the outstanding researcher of the local antiquities.

Resumo Neste artigo, argumento que as mesas de doces presentes nos rituais matrimoniais ocupam lugar central nos festejos que se seguem à cerimônia de casamento e são atravessadas por dimensões econômicas, morais, materiais, estéticas e afetivas, funcionando como um condensador do ritual. Defendo ainda que, quando observadas atentamente, as mesas de doces são reveladoras da existência de uma hierarquia presente em todo o ritual, bem como de uma temporalidade que é própria dele. Nos últimos anos, venho me dedicando a estudar este ritual de passagem com o intuito de compreender alguns dos significados, códigos e valores nele investidos. O exame do percurso da mesa de doces, desde sua montagem até sua desmontagem, focalizando em especial suas funções sociais e simbólicas, é realizado a partir de material etnográfico construído entre os anos 2011 e 2014. Abstract Sweets play an important role in Brazilian weddings. I argue in this paper that confectionery items occupy a central place in wedding festivities. Sweets, traditionally displayed on fixed items of furniture, are generally known as “mesas de doces” and encapsulate economic, moral, material, aesthetic and emotional dimensions. Moreover, I suggest that close observation of confectionary in weddings points to the existence of a specific hierarchy as well a particular sense of time. Since in recent years I have attempted to understand some of the meanings, codes and values invested in Brazilian weddings, this paper rests on ethnographic material collected between 2011 and 2014. Resumen En este artículo sostengo que las “mesas de dulces” presentes en rituales de fiestas de matrimonio ocupan un lugar central en banquetes de bodas y están atravesados por dimensiones económicas, morales, estéticas y afectivas, funcionando como un condensador del ritual. También señalo que, cuando son observados atentamente, los dulces son capaces de revelar una jerarquía del ritual, así como una temporalidad que le es propia. En los últimos años vengo estudiando este rito de pasaje con la intención de comprender algunos de sus sentidos, códigos y valores. El análisis del circuito de la “mesa de dulces”, desde su montaje y desmontaje, enfocando especialmente sus funciones sociales y simbólicas, es realizado a partir del material etnográfico construido entre 2011 y 2014.

This paper discusses the changing symbolic potential of items in the Bulgarian contemporary urban wedding. Based on my fieldwork material regarding the wedding cake and other items, I investigate cultural change in modern Bulgarian society not only as a result of the one-way process of transference, adaptation and incorporation of mass produced commodities into Bulgarian culture but also as a process of cultural change and variation. In that sense, I investigate the alternation between global and local perspectives of the forms of material culture in which certain levels of meaning, inherent to objects, play a crucial role, as for example the social communication factor, kinship ties, cross-generational continuity, local ritual and symbolic systems, local food culture, and even the personal fate and private life of an object’s owner. In this article I focus mainly on the wedding cake as a specific ritual item, functioning in the contemporary urban Bulgarian wedding, transmitted during the last decades from West European culture into the Bulgarian wedding tradition, and analyse the specific dialogue between ‘global’ items and local culture. Furthermore, taking as my example the wedding cake and other ritual objects (the wedding chicken, the wedding bread, and the sponsor’s stick) I question the concept of the globalisation, homogenisation and unification of forms of material culture in contemporary society.

The object of this paper is to examine the contemporary wedding meal in Latvia, focusing on one particular social group of well situated young couples who choose fine dining restaurants or rented venues for their wedding celebrations because they considered restaurant weddings more elaborate and modern. The desire to embrace a modern lifestyle is the way in which to obtain a new identity in a rapidly changing post-socialist world. The aim of present research is to reveal how different traditions intertwine in the wedding meal - new or borrowed, with ancient and national or Soviet traditions. While followers of a modern lifestyle are emphasising a challenge to traditions, it is nevertheless the wedding meal and symbolic practices connected with it that indicates a more or less intentional respect for tradition. I argue that the wedding ceremony reveals the shift from rites of passage to social distinction. This argument is developed by analysing how social and family relationships, value systems and the ethos as a whole have changed recently in Latvia. The use of the symbolic capacity of wedding food, denoting fertility and prosperity, provides the stability of the structure of the wedding feast, which also affects the structure of the marriage ceremony as a whole.&nbsp

This article first provides basic information on kinship structure, livestock ownership, the process of arranging marriages, and amounts of bridewealth transferred among the Turkana of northwestern Kenya. It then describes an actual case of bridewealth negotiations that took place on September 6–7, 1998, and details how people behaved during face-to-face negotiations and how they obtained mutual agreements on numbers of bridewealth animals. Among the Turkana, the amount of bridewealth is not fixed, but is rather determined after long negotiations between the families of the groom and bride. A large number of livestock is transferred, sometimes amounting to two-thirds of the property of the groom's family. Although people talk about the number of bridewealth animals in advance, final figures are settled at public meetings in which harsh words are often exchanged in heated negotiations. However, those involved in bridewealth debates also try to appear generous. The groom's side tries to give out enough animals to satisfy their future in-laws. The bride's side also withdraws their demands gracefully when necessary. Before they start bridewealth negotiations, both parties are usually firmly confident that they will reach an agreement, although their serious negotiation is a "game" played in earnest.

© 2014, Ecozone, OAIMDD. All rights reserved. The article is devoted to the question of culture and literature interaction. Relevance of research is established by the need of learning the basics of the language world-image in general and the role of individual cultural concepts such as ‘wedding ceremonies’ in the formation of world-images in the language. National-cultural identity of the people of linguistic culture is vividly reflected not only in their customs, traditions and way of life, but also in the texts of literary works. In the novel ‘Lithuanian claviers’ Johannes Bobrovsky echoes the Lithuanian past – the poem of K. Donelaitis ‘Seasons’, his poetry rich in folk art - music, folklore, language, traditions and customs.

Bakalaurinio darbo tema – Tautinio kostiumo gamybos būdų sintezė šiuolaikiniame vestuviniame ansamblyje. Šio darbo problematika - tautiškumo ugdymas. Tikslas – formuoti ir sukurti jaunimo teigiamą požiūrį į tautiškumą šeimoje, pradedant vestuvių ceremonija, per tautinio kostiumo sintezę šiuolaikiniame vestuviniame ansamblyje. Šiame darbe atskleidžiamas lietuviškosios tekstilės vaidmuo bei reikšmė vestuvinėse apeigose, jos paskirtis, detaliai analizuojama ornamentika tautiniame kostiume, apžvelgiami dizainerių kurti drabužiai, panaudojant įvairių šalių tautinius ornamentus, bei dizainerių kurti vestuviniai drabužiai. Čia nagrinėjama, kaip aprangoje atsiskleidžia tradicijos ir mados kryptys tiek lietuviškoje, tiek europietiškoje madoje. Atskleidžiama kūrybinio darbo idėja, pristatomi jo atlikimo etapai. Taikoma tautinio kostiumo gamybos būdų ir ornamentikos sintezė vestuviniame ansamblyje. Atskleidžiamos lietuvių liaudies taikomojo meno, kaip tautiškumo ugdymo priemonės, panaudojimo galimybės technologijų pamokose. Šiame bakalauro darbe parodoma, kad nacionalinis kostiumas gali būti interpretuojamas šiuolaikiškai, kad tradicinė kultūra gali gyvuoti ir toliau vystytis bei pritapti šiuolaikinėje erdvėje ir visuomenėje. Darbo tekstą papildo spalvotos ir nespalvotos fotografijos ir iliustracijos, schemos, eskizai, projektai, brėžiniai, technologiniai brėžiniai. Darbo pabaigoje pateikiamos išvados, literatūros sąrašas ir priedai. The topic of this bachelor thesis is synthesis of national costume producing techniques in contemporary wedding costume. The core of the problem is rising of the nationality. The main objective – to form and create positive view of young people to nationality in family, starting with wedding ceremony, trough the synthesis of national costume and contemporary wedding costume. This work reveals the role and meaning of the Lithuanian textile in wedding rituals, its purposes. Also ornamentation of national costume is analysed in detail and an overview of clothes, created by designers using ornamentation of traditional national costumes of various countries, and wedding costumes created by designers is presented. It analyses how traditions and trends of fashion are revealed in clothing of both Lithuanian and European vogue. It presents the idea of creative work and the steps of its implementation. Synthesis of national costume producing techniques and ornamentation in wedding costume is applied. It reveals possibilities of using Lithuanian folk art as a measure of forming national identity in technology classes. This thesis proves that national costume can be interpreted in a contemporary way and traditional culture can survive, develop and adapt to modern environment and society. Colourful and black and white photographs, illustrations, diagrams, sketches, drawings and technological drawings complement this work. In the end of the work conclusion, list of sources and... [to full text]

Under the seal of relentless globalization, gypsy societies moult and mutate, resist assimilation by a two-way acculturation process. In this essay, it is logical to discuss two faced. On the one hand, the ideological apparatuses and national mass media sous le sceau implacable de la globalisation project value judgments about institutions and family rituals. Arguing modernity, miserabilist reproducing patterns and negative images, they contribute to assign the new generations to conduct gypsy ghetto, according to the ultra-liberal rhetoric pockets of poverty and community decline. But other journalists show a more sensitive listening. And far from these imagological buildings or these "images catching", that can provide a sense of loss of human, in other hand, by the reserve and dignity, Gypsy women deconstruct their statutes and weave paths atypical, reversing the dominant stereotypes, continuing their education and delaying age at marriage. At the same time, they reinvest "traditions" and practices differential like such as premarital ritual deflowering of the bride, often missed by exogenous attention. In groups minoritized, gender relations and marriage strategies are recomposed in the development of new relationships in the world : "Openness to the future, a better lifestyle and a new challenge to force its own paradigms" (V. Turner, 1974, 14); Sous le sceau implacable de la globalisation, les sociétés gitanes muent et mutent, résistent à l'assimilation (a two-way acculturation). Dans cet essai, il s'agit d'évoquer deux logiques affrontées. D'une part, les appareils idéologiques et les mass média nationaux projettent des jugements de valeur sur les institutions rituelles et familiales (Télérama, TF1, presse locale). Arguant de modernité, reproduisant des schèmes misérabilistes et des représentations négatives, ils contribuent ainsi à assigner les nouvelles générations gitanes à des conduites de ghetto, selon la rhétorique ultralibérale des poches de pauvreté et du repli communautaire. Mais d'autres journalistes témoignent d'une écoute plus sensible. Et loin de ces constructions imagologiques ou de ces " captures par l'image ", qui peuvent procurer le sentiment d'une " perte de l'humain ", d'autre part, dans la réserve et la dignité, des femmes gitanes déconstruisent leurs statuts et trament des parcours atypiques, renversant les stéréotypes dominants, poursuivant leurs études et retardant l'âge au mariage. Dans le même temps, elles réinvestissent des " traditions " et des pratiques différentielles tel le rituel de défloration préconjugale de la mariée, souvent mal perçu par les regards exogènes. Dans les groupes minorisés, les rapports de genre et les stratégies de nuptialité se recomposent dans la mise au monde de relations inédites : " une ouverture vers le futur, un meilleur mode de vie et une nouvelle force de contestation de ses propres paradigmes " (V. Turner, 1974, 14).

Internete nesunkiai randami vestuvių apeigų scenarijai, jų interpretacijos, komentarai. Šiame darbe siekiama pažvelgti į šį informacijos šaltinį ir išsiaiškinti, kaip lietuviškas vestuvių tradicijas ir naujoves įvardija bei taiko forumų dalyvės(-ai). Internetinių forumų tekstai atskleidžia, kaip kuriamos reikšmės ir kaip jomis mainomasi, t. y. kaip konstruojamos kultūros sistemos, kaip išlaikomas ir modifikuojamas tapatumas. Vis dažniau forumo dalyviai tradicijas vertina pagal jų reikšmes, perima tas, kurios mano esančios reikšmingos jų gyvenime, realiai atitinka jų nuostatas. „Tradicinėmis“ vestuvėmis žmonės paprastai vadina apeigas, perimtas iš tėvų, nors, kaip rodo internetinių forumų tekstai, vis dažniau „tradicija“ laikoma vestuvių puota su apeigomis. Todėl ir naujas praktikas jaunimas įvardija kaip „tradicines“ apeigas. Į šią kategoriją papuola dar XX a. antrojoje pusėje taikytos praktikos: važiavimas ir nuotakos nešimas per tiltus, židinio uždegimas, jaunųjų išbandymai, taip pat naujesnės praktikos: nuotakos puokštės ar keliaraiščio metimas, torto pjaustymas ir tėvo funkcija atvedant nuotaką prie altoriaus. Naujove vadinamas balandžių, fejerverkų ar balionų paleidimas, kaip ir barstymas žiedlapiais. Nors forumo dalyviai supranta, jog didesnė dalis naujovių yra amerikietiškos ar kitų šalių papročiai, tačiau jiems tai neturi didesnės reikšmės. Palyginti nedaug forumo dalyvių pabrėžė lietuviškos apeigų kilmės svarbą. Toks sinkretinis apeigų pasirinkimas rodo naujai konstruojamą tapatumą. People create various discourses, in the internet’s virtual space and share their experiences, thus forming a new perception that is adjusted in reality. In the internet people provide wedding scenarios, their interpretations, as well as comments on how the participants of the forums practice Lithuanian wedding traditions and innovations, i.e. how the rituals are understood and implemented today. The article attempts to analyze the attitudes expressed in the internet, creating a new understanding reflecting real events. The article pays more attention to the attitudes of ordinary people and not of the researchers of traditions or of their conservative adherents. People usually call traditions wedding rituals adopted from parents, "as they did in old days". However, the new practices of the youth are also considered to be traditions. They include the practices which were considered as new at the end of the 20th century: carrying the bride over a bridge, lighting the fireplace, tests for the newlyweds. Also it includes new actions such as the bride throwing her bouquet or garter, the slicing of the cake, and only the father accompanying his daughter to the altar. The release of pigeons, fireworks, balloons, scattering of blossoms are other new practices. People know but are not concerned that the majority of the new customs are from America or other countries. Only a few women emphasized the importance of the Lithuanian origin of the rituals. Even though people receive information from various sources and hear different attitudes, they evaluate the information received in the internet according to their own perception and take such symbolic actions which are acceptable in the situation depending on family relations.