Folk literature

Joan Barceló-Cullerés is one of the modernizers of Catalan children's and adolescent literature in the 1970-80s. The purpose of this paper is to ascertain if his genre specific novels fit the conventions of the ecocriticism field by analysing nature in six of them and the way in which they interact with the fantastic and the use of folklore, two of the elements that characterize the writer's poetics. The conclusions will aim to demonstrate how nature is an undeniable structural component in these works, denoting integration of the theme, with coherence in both the literary and ideological discourse of the author. Thereafter, reading Barceló-Cullerés’ children’s and adolescent books from an ecoliterary perspective, seems suffictly justified. This will present both an innovative approach and a contribution towards opening a new research path, within the before mentioned works, in order to reintroduce them and bring them closer to the young readers of the 21st century through the use of current environmental issues that can be contextualised, which are now more ever-present than ever.
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Joan Barceló i Cullerés es uno de los renovadores de la literatura infantil y juvenil catalana en 1970-80. El objetivo de este estudio es determinar la posible pertenencia de sus novelas LIJ al ámbito discursivo de la ecocrítica mediante el análisis de la naturaleza en seis de ellas y cómo esta interactúa con lo fantástico y el uso del folklore, dos de los elementos constitutivos de la poética del escritor. Las conclusiones evidenciarán que la naturaleza es un componente estructural en las obras estudiadas y que se integra con coherencia en el discurso literario e ideológico del autor, por lo que su lectura desde el campo de la ecoliteratura es más que acertada. Se trata de un estudio innovador, que permite reintroducir y aproximar estas novelas al público juvenil del siglo XXI a través de los conflictos ecológicos que tematizan, hoy más acuciantes que ayer.

PROLEGOMENA IN THE FANTASTIC ROMANIAN MYTHOLOGICAL BESTIARY. (I)
THE BEAR


This study was inspired by the mythical dimension of the bear established in the cultural history of Europe, with some traces and echoes in the Romanian cultural-traditional areal. The mythcal Romanian ethos presents numerous fictional situations in which this animal plays an important role (conciliatory, magical, terapeutical, initiatory). Because the analysis in the Romanian literature shows an unequivocal approach and I try to present which are, at the level of Romanian fantasytic tale, the mitem`s in which the bear is the main actor. I found the most interesting situations with a narrative discourse often applied on old myths. Even diluted, unnecessary or modified by the new plan of representation and interpretation, all the situations presented in this study express only the symbolic thinking of the former times. This symbolic thinking has creates or assimilated an eidetic perspective on everyday situations in order to anchor or to connect to a (different) symbolizing the universe...

"Megaleh Temirin (Revealer of Secrets), ed. Jonatan Meir, Three volumes, Mosad Bialik, Jerusalem

Megaleh Temirin (Revealer of Secrets), first published in Vienna in 1819, is one of the sharpest and wittiest pieces of Jewish literature written in the first half of the nineteenth century, and is perhaps the most important piece of Hebrew prose composed before the stories of Mendele Mocher Seforim. A sly and complex story deriding Hasidism and Hasidim, it is told through the correspondence between the beadles of Hasidic courts and contemporary rabbis, and it presents a dark picture of  avaricious frauds and swindlers whose main concern was control over territory and the souls of believers, a goal achieved by beguiling the authorities and attacking all opponents. Perl lends his book a ‘Hasidic’ feel both in its physical design and in its language, presenting a Maskilic version of In Praise of the Ba’al Shem Tov that lays Hasidism bare so that no reader will ever be able to look at that, or any other Hasidic book, in the same way again. In addition to the book’s satiric sting, which would have been enough to bring its readers a dual pleasure, Perl’s hints at contemporary people and places, hidden within anagrams and numerological tricks. With the unraveling of these clues, which also include the use of actual Hasidic sources, the book is a valuable, contemporary view of historical reality. A meticulous reading of the book may therefore open a window on the hidden worlds of Hasidism and the Haskalah at the start of the nineteenth century.


The first volume (Imagined Hasidism) serves as an introduction to the complex satirical writings of Josef Perl of Tarnopol (1773-1839). At the center of the book stands an analysis of the satires, Megaleh Temirin (1819) and Bochen Tzadik (1838), including a systematic treatment of the ‘characters’ in the central works and a discussion of the dozens of manuscripts to be found in the Perl Archive in Jerusalem. Perl’s writings are analyzed here in the fuller context of Hebrew and Yiddish literature in general and Maskilic and Hasidic literature in particular, as well as other polemical writings and governmental records critical of Hasidism. The study thus presents a complex and nuanced picture of the relationship between literature and history, between the anti-Hasidic reports and the more complicated historical reality, and lays the groundwork for further research into the genre of nineteenth-century Maskilic satire.

The second and third volumes (Megaleh Temirin) present for the first time an annotated edition of Megaleh Temirin. It is based on the first edition and the scattered manuscripts and it includes a comparison to its Yiddish translation. The book is accompanied by appendices on its origins and contents, including fundamental treatments of several passages: an explication of the encoded names, the Hasidic sources used by the author, and the variants found in the manuscripts and in the only edition of the book in Yiddish.

The editor of the book, Professor Jonatan Meir, teaches in the Goldstein-Goren Department of Jewish Thought at Ben-Gurion University. He has published several articles on the Haskalah of Eastern Europe, Hasidism, and a number of varied topics in twentieth-century Kabbalah.


Contents

Volume 1  - Critical Edition

Concerning this edition
Key personalities
Sefer Megale Temirin – Critical Edition


Volume 2 - Appendixes:
1. Glossary, Abbreviations, Acronyms
2. Explanation of the Speaking Names
3. Perl’s Hasidic Sources
4. Manuscripts of Sefer Megale Temirin
5. Yiddish Introduction to Sefer Megale Temirin
Bibliographic Abbreviations

-------------------------------
Reviews:
(1) Dan Meron, 2013, ‘Megaleh Temirin’, Kivunim Hadashim 29, 55 pages (Hebrew)
(2) David Assaf, 2014, ‘Hasidim will not Read it but Tear it’, Haaretz, Tarbut ve-Sifrut, p .6 (Hebrew) http://onegshabbat.blogspot.co.il/2014/04/blog-post_18.html
(3) Eliezer Brodt, 2014, 'New book Announcement- Megale Temirin', The Seforim Blog http://seforim.blogspot.co.il/2014/01/new-book-announcement-megale-temirin.html
(4) Matan Hermoni, 2014,  הסבתא המופקרת של הספרות העבריתHaaretz, Sfarim (Hebrew) http://www.haaretz.co.il/.premium-1.2382365
(5) Shinichi Yamamoto, 2015, 山本　伸一, "ヨナタン・メイール編著『想像のハシディズム』", ユダヤ・イスラエル研究　第28号  http://www.waseda.jp/assoc-jsjs/jistudies.html
(6) David Biale and David Assaf,, 2015, 'Revealer Revealed', Jewish Review of Books, pp. 17-21  http://jewishreviewofbooks.com/articles/1454/revealer-revealed/
(7) Hillel Halkin, 2015, "Sex, Magic, Bigotry, Corruption- and the First Hebrew Novel', Mosaic Magazine,  http://mosaicmagazine.com/observation/2015/05/sex-magic-bigotry-corruption-and-the-first-hebrew-novel/
(8) Tomer Persico, 2015, "Interview", Lula'at haEl Blog, http://tomerpersico.com/2015/08/10/meir_perl/

The market today offers a plethora of job profiles that require blend of skills and talents. Strong interpersonal communication, problem-solving and high order thinking skills are crucial to turning an average employee into a skilled professional. Employers demand the workforce to be ethical, team-spirited and work-oriented. Beyond the occupation-specific knowledge and skills (hard Skills), is required effective communication skills, delegation, motivation and problem-solving attitude that could mark the demeanor of a leader. The effective ways to develop soft skills are leadership workshops; sessions on personality development (PDP classes), team building plots, guidelines on personality traits, etc. are provided by organizations and institutions. Researchers claim that Neuro-linguistics programming (NLP) is one of the most effective methods for the identification of personalities, ability to trace the thought process of others, etc. NLP is being used by corporate houses and Multinational Companies to train their recruits for desired performances. This paper provides an overview of all facets to an elevator for success-oriented work life. It focuses the effective measures and strategies to scale soft skills through NLP. It also underlines the concepts answering the lead (why's, how's and what's) to NLP in the development of soft skills for achieving professional heights.

The Bull, whether savage or domesticated, generates, in time and
space, an ample and complex mytho-religious ensemble. Mentioned
very early (paleolithic) in the heroic and / or fertile context, the Bull
represents one of the most important animals of the mythological
bestiary of many ancient peoples, being present also, how else?!, at
the level of romanian imaginary fantastic fairy tale.
The present study, which continues the series of studies dedicated
to the mythological bestiary of fantastic Romanian fairy tale (some
of this studies - about Bear, Snake, Wolf already appeared, others -
about Deer, being under printing), tries to discover, systematize and
mythanalyze the role and symbolic significance of this animal at the
level of the traditional mytho-ritual scenarios. As such, maintaining
the organization form of the other studies, we started from the mythological dossier of this animal and mentioning the most
significant or known mythical episodes about the bull/ox. Afterwards,
it has been reviewed the main mytho-folkloric traditional
manifestations that inspired the collective imaginary and in which are
mentioned his symbolism and attributes (themes, motives, feasts).
The last part of this present study is dedicated to the hypostasis taken
by this animal at the level of the Romanian fantastic fairy tale. In the
end, as well as a conclusion, We tried to capture, from a hermeneutical perspective and with a permanent reference to symbolic architectonics, both the primary forms (mythological) revealed in the fantastic epic of the fairy tale, as well as the innovations, transformations, disolutions that occurred in time.

Throughout the nineteenth century, Maskilic journals increased their publication of anti-Hasidic satires. From the eighteen-sixties onward, this literature came primarily as a response to the revival in the publishing of Hasidic hagiography and to the spread of Hasidism into new territory. To this point, no complete review or even general survey has been performed on this extensive polemical literature, despite the fact that it has much to teach us about Hasidism and the Haskalah in those years. We are not speaking of an insignificant bibliographical lacuna, but of a disregard for an entire field of research which would shed light not only on a forgotten chapter of modern Hebrew and Yiddish literature but also on an important chapter in the relationships between Maskilim and Hasidim in that period and the genesis and development of the different streams of Hasidism. This Maskilic literature intended to do more than eradicate Hasidism; it aimed to strengthen the self-consciousness of the individual Maskilim who found themselves alone in Hasidic territory. Paradoxically, the literature documented the very movement it intended to eradicate from the world. The distorted reflection displayed in the anti-Hasidic literature does more than present a caricature of its subject -- it conceals hitherto unknown elements about the nature and development of the Hasidic movement. The present article deals with one such case, a satire on Bratslav Hasidism from 1863, which has at its core a Maskilic satirical text written by Yehiel Meller on pilgrimage to the grave of R. Nahman of Bratslav in Uman.





כתבי עת של משכילים לאורך המאה התשע עשרה הרבו לפרסם סאטירות בגנותה של החסידות. משנות הששים ואילך באה ספרות זו בעיקר כתגובה להתעוררות הדפסת ספרות השבחים החסידית ולהתפשטות החסידות במרחבים חדשים. לא קיימת עד עתה סקירה שלימה, ואף לא מיפוי כללי, של אותה ספרות פולמוסית ענפה, על אף שיש בה ללמד הרבה על דרכי החסידות וההשכלה באותן שנים.  לא מדובר רק בחסרון ביבליוגרפי שאין לו משמעות, אלא בהתעלמות משדה מחקר רב עניין שעשוי להאיר לא רק על פרק נשכח בספרות עברית ויידיש החדשה אלא גם על פרק חשוב ביחסים בין משכילים לחסידים באותה תקופה, ועל דרכי צמיחתם, פיצולם והתפתחותם של זרמים שונים בחסידות. הייתה זו ספרות שיותר מאשר נועדה לבער את החסידות נועדה לחזק את תודעתם העצמית של המשכילים הבודדים במרחבים החסידיים; ספרות שבאופן פרדוקסלי תיעדה תנועה אותה חפצו לבער מן העולם. הבבואה המעוותת בה התהדרה הסאטירה האנטי חסידית לא רק הציגה דימוי – אלא טומנת בחובה הצבעה על אלמנטים חדשים ועל התפתחויות בחסידות. במקרה אחד ממין זה הנוגע לחסידות ברסלב בשנות השישים של המאה התשע עשרה עוסק המאמר. שלפנינו - שעיקרו מהדורה של טקסט משכילי שכתב יחיאל מלר - בשנת 1863 - על העלייה לקבר ר' נחמן מברסלב באומן
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In these desperate times of pop-fiction where one finds a wave of bestsellers with nothing new to offer, a publishing house like Niyogi rolls up its sleeves to provide the best of literature and research on literatures from different sphere.

ÖZET: Kazan Tatarlarının, İslam’ın 18 ve 19. yüzyıllarda Kazak bozkırlarında yaşayan Kazaklar arasında iyiden iyiye kök salmasında önemli bir rolü vardır. Bunda Tatar tüccarların ticari faaliyetleri, Tatar mollalar tarafından açılıp da Tatarca eğitim veren medreselerle Kazan merkezli yazma ve basma dini kitaplar etkili olmuştur. Kazak bozkırlarından başlayıp da Türkistan içlerine kadar devam eden işgal sürecinden hemen sonra Kazalar arasında İslam’ın hamisi rolünü üstlenen ve Türkistanlı din adamlarıyla tüccarların bölgedeki etkisini kırmayı amaçlayan Çarlık yönetiminin bu dönemde Tatar nüfuzunu kullanmakta bir sakınca görmemesi ve Türkistan Türklerine Tatar din adamları ve tüccarlar vasıtasıyla ulaşmaya çalışması, bölgede Tatar nüfuzunun artmasında belirleyici olmuştur. Çarlık Rusya’sı, Tatarların bölgeye nüfuzu, Türk-Tatar dilinin eğitim ve din hizmetlerinde ortak dil olarak kullanılması anlamına gelmiş ve bölgedeki Tatarca kullanımı, Tatar nüfuzunun giderek artmasına neden olmuştur. Ruslar tarafından henüz gerçek anlamda Müslümanlaşmamış olarak kabul edilen Kazak göçebelerin Tatar din adamlarının, özellikle de onlar tarafından yayılan dini kitapların etkisinde kalmaları, bölgeye Tatar din adamları ve tüccarlar üzerinden ulaşmaya çalışan Rus yönetimi açısından zamanla bir sorun haline gelmeye başlamıştır. Kazan Tatarları, Kazak bozkırlarına, medreseler ve matbaalar vasıtasıyla Kazan’da basılan “Kesik Baş”, “Yusuf Kitabı”, “Risale-i Aziz”, “Bakırgan” gibi dini eserlerin yanı sıra, İstanbul Sahaflar Çarşısı malı olan “Falnâme”, “Tabirnâme”, “Seyit Battal Gazi”, “Ebu Ali İbn Sina”, “Kırık Vezir”, “Mevlit” ve “Muhammediye” gibi dini kitapları da yaymışlardır. Bu çalışmada Tatarların, Çarlık Rusya’sı dönemi Kazak bozkırlarındaki nüfuzu hakkında din, dil ve kültür bağlamında bilgi verildikten sonra büyük oranda Kazan Tatarları üzerinden öğrenilen Kazak dini anlatılarından “hikayat”lar ile “dini dastan”lar içerikleri, biçim özellikleri ve işlevleri açısından ele alınmıştır.
Anahtar Kelimeler: Tatar nüfuzu, Kazak Türkleri, dini anlatılar, destan, hikayat

ABSTRACT: Kazan Tatars played an important role in the taking root of Islam among Kazakhs who lived in the Kazakh steppes in the 18th and 19th centuries. The commercial activities of Tatar merchants, madrasahs opened by Tatar mullahs and teaching Tatar language, and Kazan-based religious books written and lithographed were effective in this. The Russian administration saw no harm in using Tatar influence. The administration tried to reach Turkistan Turks through Tatar clergy and merchants. This attitude of the Russian administration increased Tatar influence in the region. The penetration of Tatars in the region has meant the use of the Turkish-Tatar language as a common language in education and religious services. The use of Tatar language in the region has caused the Tatar influence to gradually increase. The fact that Kazakh nomads, who were regarded by the Russians as not yet Islamized, were under the influence of the Tatar clergy, especially the religious books disseminated by them, gradually became a problem for the Russian administration trying to reach the region through Tatar clergy and merchants. Kazan Tatars, through madrasahs and printing houses, spread religious works such as “Kesik Baş”, “Yusuf Kitabı”, “Risale-i Aziz”, “Bakırgan” to the Kazakh steppes. Kazan Tatars also published religious books such as “Falnâme”, “Tabirnâme”, “Seyit Battal Gazi”, “Ebu Ali İbn Sina”, “Kırk Vezir”, “Mevlit” and “Muhammediye”, which are the property of Istanbul Sahaflar Bazaar. In this study, after giving information about the influence of Tatars in the Kazakh steppes of the Tsarist Russia period in terms of religion, language and culture, the “hikayat”s (stories) and “dini dastan”s (religious epics) from Kazakh religious narratives, which are mostly learned through Kazan Tatars, are discussed in terms of their content, form features and functions.
Keywords: Influence of Tatar, Kazakh Turks, religius narratives, epic, story

Malgré des milliers de contes collectés
et publiés à travers le monde, il se niche dans cette grande constellation un objet fabuleux non identifié : le conte étiologique ou explicatif. Celui qui pose des questions parfois loufoques sur l’univers et l’humanité,
comme par exemple pourquoi le mariage du soleil fut-il annulé, et apporte des réponses inattendues. Il est là pour faire le lien entre le passé mythique et le présent prosaïque, pour donner à celui-ci du sens et de la poésie. Le livre est consacré en grande partie à l’exploration de
ces contes séculaires, car les contes sont aussi les traces de migrations très anciennes, à commencer par celles qui ont amené nos ancêtres en Europe et en Asie il y a des dizaines de milliers d’années avant J.-C. L’ouvrage se penche également sur les motifs qui traversent toute l’Europe : comment s’expriment les plantes dans les contes ? pourquoi l’homme
vit une « vie de chien » ? comment chaque peuple obtint-il son destin ? Une attention particulière est portée à l’est de l’Europe, où les contes font encore partie de la tradition orale. L’aventure dans le domaine russe rend presque inévitable la rencontre avec Baba Yaga, la sorcière mondialement connue. On partira à la recherche de ses origines, ce qui nous fera traverser le conte, l’imagerie populaire et les débuts de la littérature russe. On la croisera encore lorsqu’on s’intéressera aux mutations du conte russe au XXe siècle, aux périodes de disgrâce et de réhabilitation.

HERMENEUTICS OF THE MAGICAL OBJECTS IN THE ROMANIAN FANTASTIC TALE

The present study brings to the fore the use and the symbolism of the
magical objects in the Romanian fantastic tale. These are items without which the hero would fail in his proposed desire, whatever that may be. Therefore, I analyzed the different situations found in the Romanian traditional epic, with the juxtaposition of the classical mythological sources, just to emphasize and/or highlight the route taken by these mythological motives.

Keywords: hermeneutics, magical objects, Romanian fantastic tale,
mythanalyse, traditional imaginary.

All the land needs is a couple of heavy downpours. That'll revive the earth. Not too much to ask of god, is it? Nittilai's father said so, and was their home gathered with people from all over the village in order to receive the gruel that he distributes. Years had it been without even a drop of rain and had the waters in nearby lakes and ponds had been dried up, which made the sight of water to be seen anywhere. In the capital of the kingdom, there was a Yajana so religiously done for seven years was almost under the ways of completion headed by many priests and who were all headed under Paravasu, who was commissioned by the King whom also took his role in the service of prayer in disguise. They were approached by a They were approached by a They were approached by an Actor-Manager to amuse the audience with a play, while the troupe was to end with the service of prayer held almost in a pious manner for about seven years. Raibhya father of Paravasu, was the real person to lead with the service of prayer, but as the prayer was to for seven years the king decided not to use him for the purpose. Anger was filled on the eyes of Raibhya on his own son, which made him to show anger to his daughter in law, Vishakha and to abuse her with his words never to be told in the years when her husband was not the village. Andhaka was a blind man, and he had a son named Yavakri. Andhaka used to boast about the spiritual knowledge that was gained by his son from the forests directly from the Gods about the knowledge of the Vedas directly. Arvasu was Raibhya's other son and he was not considered much by his father or by his elder brother. Arvasu was to be too different from the others in the family and even did Vishakha have a little liking for his good natured heart. Arvasu was in deep most love with a girl of the tribes named Nittilai. Part 2 Nittilai and Arvasu were having their own times of fun. The tradition of the tribes had custom, that if oe was to marry they had to tell it aloud in the crowd gathering that were going to marry such and such. it was a subject that Arvasu never had seen in his caste, and it was truly so new, yet Nittilai who is seen to be as an past generation of today's modern women to give his man courage and confidence to face the elder of her tribal village. They after wards go on to meet Andhaka and Arvasu tries to do certain a mock in a way that the blind man would not find. Andhaka finds out all the activities that Arvasu does near him, and then he boasts about his son Yavakri. He was sent by his father for he never received the desired respect or recognitions that he wanted to gain. So did Yavakri, had went into an expedition into to the forests. He went to did prayers so that he could obtain knowledge of the Vedas directly from the Gods. Indra, the lord of Gods appeared to him, and he said that there was no route too short for knowledge, and it had to be obtained by studying under a Guru.

This paper essentially gives us a glimpse of cultural heritage and living traditions of folk dances of the Santals, offering a window to peep into the world of the Santal people, their lives, customs, traditions, philosophy, the growth of the Santali the language, literature and culture in respect of Santali culture and Santali dance-songs. The paper shows how the Santals of India have, as per the growth of the civilization, developed various dimensions of socio-cultural life namely, Music, dance, folklore and songs, which have become an integral part of their culture; and each Tribe has maintained its own uniqueness about these aesthetic aspects of life. However, the growth of civilization-in the form of modernization and urbanization-has corrupted the happiness of the tribal by adversely affecting their nature-bonded life; and it is, indeed, very disheartening to note that these Tribal music, folk dances , folklores, etc., are gradually vanishing in front of our post-modernist spectacled eyes and still we are left helpless.

The imaginal reality of the presence and especially the role of such weapons and the magic into the life and heroic epic path of the hero, led me to approach such a little tangible subjects (as theoxenia or the sexuality of the Romanian fairytale heroes). The symbolic dimension and the holistic perspective of the anonymous creator of fairytale fantastic in which understood and / or chose to frame magical weapons category, requires a closeness towards ,,transcendent to consciousness" topics. The way how ontological reality of the presence, use and usefulness of such magic weapons, the suggestions and/or the manner in which such weapons with magical virtues are used by the hero, are conditionated, embezzle or it crowns his destiny or his wish, is one of the trans-human beyond limits and human perishability. As proof are the extremely numerous mentions of the heroes who receive that magic weapons from higher beings, connoted mythfolkloric or canonical (which will facilitate human transcendence, performing a heroic destiny above common existence). And such situations are, undoubtedly, a form of intimacy between the profane and the sacred.

In fondo al secondo tomo si legge una bibliografia esauriente su Croce, Gentile e Del Noce tra 1993 (data alla quale si ferma l’ultima importante bibliografia sui due maggiori amici/nemici della storia letteraria e culturale italiana) e 2010. Il volume ripercorre il dibattito giovanile tra Croce e Gentile sul rapporto arte /storia, snidando l’elemento della discordia, più potente rispetto a quello della concordia, e collegando questo dibattito all’altro su storia e romanzo storico, attentamente e sinuosamente ricostruito, con attenzione a ogni epoca, limitatamente al periodo dal 1890 ai nostri giorni. In Italia Croce è stato al centro di esso fino all’avvento del sociologismo, ha poi guadagnato un posto d’onore negli USA (da Hayden White a Carlo Ginzburg), è rientrato dalla finestra in Italia nell’ambito del post-moderno. Tra 1903 e 1910 Croce si incorpora l’eredità della critica storico-filologica, e, pur combattendo la temperie decadentistica, tacciata di irrazionalismo e falsità morale (in antagonismo alla vecchia ideologia marxista), fa conoscere il pensiero di Nietzsche, ritenuto filosofo e teorico dell’arte encomiabile, ed esalta il neo-paganesimo carducciano. Dal 1910, mentre civetta con il frammentismo vociano, Croce polemizza contro il modernismo aggressivo dei futuristi, che usa in modo spregiudicato concetti suoi come intuizione, lirismo, immagine. Tuttavia proprio Croce distoglie Marinetti dalle poetiche contenutistiche e lo conduce alla centralità della forma. Riccobono schiera i giudizi romantico–positivistici circa il rapporto tra “popolo”, poesia popolare e sviluppo storico della letteratura italiana (Rubieri, Capponi, D’Ancona, Carducci e soprattutto Rajna e De Sanctis), che Croce si incorpora quando esamina (1933) le relazioni tra poesia popolare e poesia colta. La sottomissione crociana della prima alla seconda si iscrive anche nel quadro della lotta contro il frammentismo in letteratura, e contro l’interpretazione gentiliana del rapporto tra Rinascimento e Risorgimento. Per Croce, il processo di unificazione culturale italiana dall’alto, svoltosi grazie alla letteratura aulica e alle élites culturali, genera da ultimo i letterati liberali e romantici, promotori del concetto di indipendenza nazionale da cui sorge l’Italia unita, che creano una lingua e una letteratura italiana adeguate a un ceto medio da costruire e a un popolo-plebe da affrancare. La più importante conquista estetico-critica del giovane Croce (1900-1902) è la definizione della poesia come valore espressivo puro e autonomo; la più importante conquista del Croce maturo è la distinzione tra poesia e vita, tra personalità poetica e personalità empirico-biografica ― della quale vi sono importanti precorri menti tra 1904 e 1907 ―, distinzione intimamente legata al carattere di verità (di cosmicità) dell’arte (1917-1929). Di entrambi questi princìpi si appropria Thomas Mann, il quale li ricontestualizza nel tessuto figurativo di alcune tra le sue opere maggiori. Nel capitolo centrale del volume sono ricostruiti i momenti di snodo cruciali della influenza, finora mai sospettata, di Croce su Mann: essa prende avvio dalla lettura della Estetica, che lascia tracce cospicue nel Tonio Kröger; prosegue mediante lo studio di varia filosofia crociana e dei saggi su Dante e Shakespeare; culmina nell’assunzione di Benedetto Croce a modello del deuteragonista della Montagna magica, Lodovico Settembrini, il luminoso antagonista del gesuita diabolico Leone Naphta, notoriamente modellato su György Lukács.

Bu çalışmada, sözlü edebiyat ürünlerinden olan ‘Yazıcıoğlu ile Senem’ türkülü hikâyesinin [halk hikâyesi] varyantları karşılaştırılarak incelenecektir. İncelenecek halk hikâyesinin nazım ve nesir kısımlarının birlikte yer aldığı varyantları olduğu gibi, sadece şiirlerden oluşan varyantları da bulunmaktadır. Kanaatimizce ismi unutulan/bilinmeyen bir türkülü hikâye musannifi tarafından, iki farklı Türkmen aşiretine mensup olan Yazıcıoğlu ile Senem arasında yaşanan olaylar hikâyeleştirilmiştir. Bu hikâye, kısa türkülü hikâyelerin [bozlak] ‘üçlü sistem’den oluşan yapısına göre değerlendirilecek; hikâyedeki sembolik anlamlar ile nesne dünyası açıklanacaktır.
The minstrel [short folk] tale of ‘Yazıcıoğlu ile Senem’ is one of the Turkish oral literature product. In this study the varients of this tale has been compared and studied on them. There are both prose and poem varients only poemvarients of this tale. I’m of the opinion that the events between Yazıcıoğlu and Senem, who are from the two different Turkoman tribes, has been narrated by an unknown minstrel. This tale will be studied with the ‘triple system’ which is the form of short stories [bozlak]. In addition the symbolic meaning and ‘world of objects’ which has taken part in this story, will also be studied.

Human behavior in society has always been governed, to a greater or lesser extent, by rules that were required to be respected, compliance with such rules depending on the daily or, in exceptional cases, the proper conduct of activities in within that community. It is obvious and obvious that an individual, socially present in any community, is not allowed anything. On the contrary, society in general, the community of which it is a particular part, constrains it, conditions it, limits it, determines it to adopt a certain attitude, to do (only certain) actions that conform to generally accepted norms. As such, interdictions are ubiquitous in the life of every individual since childhood, ending only once with the great passage (itself conditioned by the observance of specific rules!).
Restrictions / prohibitions / prohibitions / taboos, many and complex, are given and/or imposed according to the sex of the person, his social status, civic status, religious affiliation, and more recently sexual orientation. It is simply simple or meaningful, prohibitive prohibitions from a broad, determinant, vital ban, such prohibitions are present at all levels in the lives of each of us. And if they are still present here and now, in this globalized postmodernism, it is obvious that they were more present, more deeply rooted in the life and mind of the archaic communities, where nothing happened at random.
And the prohibition of looking back must come from mythical times in which the observance of such a norm,individual or collective, ensures the success or the goodunfolding, still and in communion with the earth, with the divine, why not?!, the Cosmos of that community. On a profane plan, the observance of this prohibition of looking back assures the success (with the sacred contribution) of a situation that would normally not have the prospect of success. Failure to observe this prohibition implies (see the Orpheus case, the biblical legend of Lot and his wife), precisely the annulment of the divine compromise in favor of the divine. But this ban is only part of a cumulation of restrictions/prohibitions/taboos, being in some cases vital for the success of the hero's actions, just as all the actions, taken by the character, have a obviously mythico-initiatory background.
That is why the declared intentionality of my work was to capture precisely the complete mythico-initiatic course of the hero from the fantastic Romanian fairy tale, determined, dynamic or conditioned tragedy and by the presence of this interdiction. Necessary from the perspective of the mythical, social, and anthropological background, which I suppose or contains, with reminiscences or echoes, my analytical approach covers discursive spheres from diverse disciplines (hermeneutics, imagology, mythology, sociology, cultural anthropology, ethnology, folklore). Starting from the ontological, gnoseological, psychological, even literary weight that such interdiction involves in the traditional fantastic epic, I believe that only by such an interdisciplinary approach, both difficult and risky by the subjective isolation of a cultural element from a much larger cultural complex, we could track and analyze the genesis, structure and dynamics of this interdiction.
Given the novelty of the research theme (such research, focused on the prohibition of looking back into the Romanianfairytale in the past, has not yet been achieved), all the re-construction of this proposed topic ultimately targets the morphological and functional aspects of this symbolic element in the rich Romanian traditional cultural complex. Therefore, it must not been surprising that my exegesis takes into account the synthetic status of the Romanian fairy tale, which gives a special emphasis on the function, the “loading with / reality” of abstractions, otherwise without functionality immediately.Operating in accordance with the imaginary's own laws, the anonymous creator of fairy tales and the real world are brought and exhibited abstract facts and elements conceived supernatural in order to introduce the auditor into a reality other than the one experienced and experienced everyday. And the fantastic Romanian fairytale, through the fundamental epic elements contained and conveyed, true products of phantasy, ,,seems called" to allow the appearance, explanation and, why not, the experimentation of this other reality. To convert, accept and/or understand the existence of another dimension that circumscribes or merely complements the ontology (already) known, lived, experienced in the physical, real, palpable world.
As such, I start with a chapter dedicated to structural problems (lexical, object, methodology, complementarity), then I address the question of the situation of the action, hence the interdiction and the hero, in the fantastic Romanian fantasy world. Emphasis being placed on the ● physical and psychological obstacles, and physical and temporal limits the hero has to face (hence the stringency of redefining his / her attitude towards the final success), ● the spiritual dimensions (the grounds of the efforts made, the overthrow of the records, the restoration order) that his hero and actions have “consubstantialized” to the ultimate final success. In thefollowing chapters (Metensomatosis; Somatology of the prohibition to look back in the fantastic Romanian fairytale), beyond the establishment of a phenomenological “infrastructure” of this interdiction, I tried to discuss from a hermeneutical perspective, the means of expression and the operative functions that this the interdict already has them or takes them to the level of the traditional Romanian imaginary.
For generations and/or consumers and fantastic fairy tales, this traditional imaginary postulates and drives determinations specific to each epic species in which this interdict meets (fairy tales, magic, erotic, ludic, oracular or therapeutic practices); my analytical focus being on the inheritances, innovations and transformations that this interdiction has suffered over time (myth versus fairy tale), reaching its presence or absence in the contemporary world.

PROLEGOMENA IN THE FANTASTIC ROMANIAN MYTHOLOGICAL BESTIARY. (III) THE SERPENT

With presence in the most important areas of the imaginary (myths, art, literature, the latest in cinema etc.), the snake is in one of the defining symbols of human civilization. Without being archetypal-frozen into immutable patterns, without being resentful of the new conceptual-ideational openings, the folk ethos of the Romanian tale placed the serpent between the complexity of everyday real-life and its symbolic values, moreover, hard to miss. Given the structure, functions and dynamics envisaged by this animal, my critical approach tries to capture the phenomenology of this important animal's bestiary, from the context and the substrate mythical generally occurs, through the beliefs and  superstitions of the Romanian mythfolklor and ending with the references and manifestations of the fantastic end to the epic tale. All this are constituting grounds for interpretive conclusions.

Keywords: Romanian fairytale, mythological bestiary, imaginary, hermeneutics, the serpent.

ЖУРНАЛ ТАРТАРИЯ МАГНА

Концепт Tartaria Magna, никогда не имевший эквивалентов в восточной географии, использовался в европейской науке с эпохи Ренессанса для обозначения обширных, малонаселенных, малоизученных и потому казавшихся враждебными территорий, границы которых были весьма условными. На карте Ортелия второй половины XVI века Великая Тартария простирается от низовий Волги и Прикаспия до океана, позднее получившего имя Тихого, ограничиваясь с севера Oceanus Scythicus или Mare Glaciale, а с юга горами Кавказскими и Китаем. В дальнейшем эти границы расширились и получили некоторую детализацию, включив в себя Московское царство, Среднюю Азию, Тибет и Монголию. Позднее иезуиты посчитали правильным присовокупить к Тартарии и земли маньчжуров. В глазах европейских хронистов и картографов Tartaria Magna никогда не была единым целым, хотя в разное время с ней связывались и империя монголов, и Золотая Орда, и Цинская империя и обширное царство Романовых. И все же Grand Tartarie всегда оставалась понятием собирательным. Мы также не склонны видеть в Великой Тартарии четко очерченный географический регион или, вслед за новыми хронологами, конкретное историко-политическое целое. Tartaria Magna в имени нашего журнала это скорее исследовательское поле, одновременно дающее представление о нестрогих географических границах изыскательского интереса, совпадающих с формулировкой, появившейся в Британской энциклопедии в 1771 году, и подчеркивающее идею об этом евразийском хартленде как о все еще неизвестном и непонятом регионе мира. По мысли создателей, журнал объединит на своих страницах историков, культурологов и антропологов самых разных научных школ и направлений. Журнал выходит на русском языке, и одна из его основных миссий представить русскоязычному читателю результаты изысканий международных исследователей в русских переводах.
Добро пожаловать в Tartaria Magna!

From the start it must be said that the wolf has, at the imaginary level, a prestigious mythological file. The certain mythical dimension that he has gained in time and due to various reasons, the wolf has led to the birth of some of the most diverse cultural products. The imaginative contents (starting from such realities), infinitely more complex than the nuances, discovered and mythanalized in this study, developed in time a number of ideas, beliefs, and myths about this animal in time. In the present study, continuer of the mythological bestiary studies already published about Romanian fairy tale (bear; stag; snake), we tried to surprise and encompass all the imagery generated and reserved for the wolf. Thus, starting from the situations and the mentions from classical mythology, passing through the area of the mythfolkloric dossier dedicated to the wolf, we arrived with the analysis in the fantastic epic fantasy area, the desideratum being to discover not only the iconic-symbolic dimension but also the real-ethnological dimension of this animal. And the scenarios, myths and the subjective-objective forms in which we found the wolf in the fantastic Romanian fairytale (pandant of traditional beliefs, animal-totem, the presence of magic lycanthropic rituals, etc.), illustrates once again the important symbolic and cultural role played by this animal, with echoes up to the postmodern times of our day.

The incest or „the consensual sexual relationship between relatives
or between brothers and sisters” is in most countries / cultures
forbidden by the law and has been over time the subject of many
prohibitions, speculation or cultural products having like leitmotif,
such inappropriate sexual relations. The existence of increasing
incidents / cases of incest, which, in the past, were not only blamed
by the community but also convicted by prison, determined, on the
part of those involved in such relations, extensive movements and
legal actions recently being favored (in favor of them!) at the
International Court of Justice, the case of a German brothers who
became a couple. Starting from the mytho-historical example,
reviewing the main cultural products which has like subject the
motive of incest (literature, cinema), with this study who is an integral
part of a expected History of a Wonder of the Fantastic Romanian
Fantasy (who is in progress), I tried to capture, classify and analyze
the cases of incest mentioned by fantastic Romanian fairy tales. The
accent is placed on the psychopathological dimension of such sexual
relations between very close relatives, but also on the symbolic
dimension that the anonymous creator of fantastic fairytale imprinted
on such products of the traditional epic.

Özet: Türk Halk Sanatı örneklerinden olan oyalar, içerdikleri renk ve motiflerle göz doldurmakta ve kadınların ellerinde değişik tekniklerle icra edilmektedir. Tüm edebi ürünlerde olduğu gibi, ister maddi ister manevi olsun folklorik ürünler de ortaya çıktığı anın sonrasında farklı anlam yükleme ve değerlendirmelere açıktır. Fakat yine de edebi ürünlerde yazarın düşüncelerinin sorulması gibi bir durum söz konusu iken; folklorik malzemelerde bu durum hayli zor olmakta, kaynak kişilere ulaşılabildiği ölçüde ya da sözlü gelenek sayesinde öğrenilebilmektedir.
Bu bağlamda makalede, Mersin, Aydın, İzmir, Konya illeri örneklerinden hareketle el sanatı örneklerinden biri olan oyalar ve oyalara ad verilmesi ile ilgili hususlar folklor, sosyo-kültürel durum ve anlambilim perspektifinde değerlendirilmeye çalışılmıştır.
Anahtar Kelimeler: Folklor, halk sanatı, oya, maddi kültür, ad verme, anlam bilim.
Abstract: The lace, one of the examples of Turkish Folk Arts is performed by different techniques and also they are impressed with their colors and motifs. Like· all other literary works,folkloric works are open to different interpretations and meanings after their appearing times,
too whether they are being material or non-material . When it comes to literary products it can asked to writer's opinion about his/ her creation. But in folkloric works that situation is very hard. We can reach the story of folkloric works by oral tradition or resource persons. ln this context this paper investigates laces from Mersin, Aydın,  Konya and Izmir provinces. The laces and their names are trying to comment with socio-cultural situation and semantics.
Key Words: Folklore, folk art, lace, material culture , naming, semantic.

YOUTH INSTITUTION IN THE ROMANIAN FAIRYTALE

A Romanian cultural reality of the fairy tale is the Youth institution. Deeply traditional epic logical level, this cultural reality is both structural and conceptual, significantly enriching the Romanian folk ethos. Bringing to the fore values, principles, instruments of traditional spiritual substance,Youth institution comes to speak through examples cited in this study, recurrence habits aimed feelings about participating in epic characters. Thus, I could detect a certain scheme of representation and signification expectations they have sentimental heroes of these tales. In this Youth institution
scheme (be it physical body, aesthetic or utopian dimension), It has an essential place, pivoting around its entire approach epic. I tried to find, in the rich material was available, qualities and limits, the focal point or equilibrium between Youth institution
imaginary object or topic. Especially of a corporality seen exclusively through the filter of traditional mentality! To what extent we succeeded, remains to be seen

Adevărată " instanţă " a alegerii, criteriul tinereţii este omniprezent la nivelul basmului românesc, putându-se afirma, pe baza bogăţiei de exemple, că tot epicul acestor basme se desfăşoară şi se consumă în acest scop 1. Expresie a unui anumit (dez)echilibru social, nevoia interioară a eroului de basm românesc care îşi doreşte erotico-marital o fiinţă feminină deosebită, vizează, de cele mai multe ori, o fiinţă feminină desăvârşită. Fără a fi un lucru comun (ne-o dovedeşte faptul că abia aflând de ea, din auzite sau la prima vedere, aceasta va duce la manifestarea, din partea eroului, a unui caracter instantaneu al alegerii, urmat de o uluitoare risipă de energie pe care el este dispus să o facă pentru a-şi apropia o astfel de fiinţă feminină!), aceasta vizează ceea ce noi am numit instituţia tinereţii 2. Or, reprezentarea carnalităţii desăvârşite (printr-un trup fără cusur, cum este cel " vânat " de eroul basmelor fantastice româneşti) are, ca fundament fenomenologic, însăşi esenţa vitalităţii. Dar, cum puritatea feminină nu este niciodată la îndemână nici măcar la nivelul imagologic al basmului fantastic românesc, eroul acestora trebuie să o caute, să o " vâneze " şi, după multe peripeţii, să şi-o apropie erotico-marital. Prin urmare, bun " conductor " metafizic, acest trup desăvârşit, dorit de eroul basmelor româneşti, va trasa şi condiţiona biopsihologia traiectului iniţiatic parcurs de erou pentru a-şi putea apropia erotico-marital un astfel de trup. Este ceea ce vom încerca să descoperim în rândurile de faţă. Dar, cum această " instituţie a tinereţii " presupune un cumul. 2 Din suprapunerea şi analiza basmelor în care este prezent acest motiv, instituţia tinereţii reprezintă un cumul de elemente şi principii, persoane şi/sau locuri, cu atribute speciale şi cu certă semnificaţie valorică (erotico-maritală şi catartică), care, " accesate " de către eroul de basm, îi determină, condiţionează sau deturnează acestuia destinul final, împingându-l sau ancorându-l, temporar sau definitiv, într-o altă dimensiune ontologică decât cea comun-cotidiană.

India is believed as “the birth cradle” of Puppetry; from here she crawled, walked and travelled all over the world. Puppetry, one of the ancient folk art form emerged as a traditional entertainment. From time immemorial, the art of traditional performing arts has gone unconstrained way of presentation, which is also true with the traditional puppetry of India. Various themes, sub themes and enactment plots from mythological stories have been main source of puppet presentation among rural folks. However, one could notice popular legend stories of the region enacted in Puppetry as well as other folk theatre performances. These inanimate creatures be it leather or shadow puppets or operated by pulling strings come to alive by the manipulator manipulate back stage or screen.
This art form predominantly claimed as Men’s art with women’s role going unheard and unnoticed. It was the male members of the traditional performing families are visible connected with the profession-be it in Shadow Puppet plays or Chekkabommalata or Koyya bommalata. It is the hardcore belief system prevailing wherein, women have nothing to do with the art from or they should not touch the puppet figures or carved dolls-as women are considered “Unclean” and puppets as “Sacred figures”.
Advent of research works, intervention of government trainings, cultural departments, and the boon of technological development has now opened up the doors for women to be part and parcel of the art form. Thus, this art form once considered and revered as temple art form has undergone paradigm shift by opening up new opportunities to women of both traditional and innovative women in India. Mulbalgal women’s group coming forward to get trained in the traditional string puppetry of Karnataka on the one hand, traditional puppeteers families making way for women to be part of the art form is in fact adding breaths to the art from which will seldom be called around as dying art form.

Año 4 N°10 Enero-Abril 2015

Sistemas de perspectiva prehispánica
Jorge Angulo Villaseñor P. 9

Con la muerte en la mirada
América Malbrán Porto P. 36           

El carácter venusino en el Tonalpohualli
de los códices Borgia, Vaticano B
y Cospi
Ofelia Márquez Huitzil P. 62

The Interdiction to Look Back in Romanian Folktales:Imageries of an Interdiction


Cultural fictions about the topic of  imagery are numerous and diversein meaning. One such aspect of imagery can be found in Romanianfairytales whose figurative structures develop around specific traditionalmentalities. That is why, due to the presence of a prohibition in certainRomanian fairytales (not to look back)
, in the present study we restrictedthe scope of this traditional imagery to a particular aspect. We have triedthus to discover, from the perspective of phenomenology andhermeneutics, not only the function but also the meaning  of the traditionalimagery, the manifestation and symbolic representation of interdictionin Romanian fairytales. To what extent we have succeeded, it remainsto be seen.

Starting from the diachronic impact of salt on humanity's numerous activities and spiritual reflexes, the author calls for establishing a new humanist discipline: the anthropology of salt. This first exertion lists the themes developed around salt and the sciences/disciplines involved primarily or sectorially in researching this mineral. The anthropology of salt is a discipline of the future, which will gradually become autonomous as the inter-and trans-disciplinary approaches to common salt will prevail over the mono-or multidisciplinary ones.