Folkore

UFOs, ESP, Bigfoot, often the subjects of folk science, are rarely investigated by normal science. Additionally, the methods of and rationale for folk science are neglected by folklorists perhaps because, as David Hufford writes in "Traditions of Disbelief," academics have presumed at the onset that the beliefs held by its proponents are in error.  Whether or not the beliefs held by folk science are in error is less relevant to the study of folklore than an understanding of the import of those beliefs, the relationship between folk science and belief legend, and the conflict between folk science and normal science.

This article demonstrates how Slender Man represents what might be thought of as reverse ostension, in that it is an iconic figure produced through a collective effort and deliberately modeled after an existing and familiar folklore genre. If ostension involves the privileging of experience over representation (e.g., acting out the content of a legend text, rather than simply listening to the recitation of a traditional story), Slender Man’s creators are effectively reversing this process by weaving together diverse strands of “experience” (in the form of personal encounters with the creature, documentary and photographic evidence, etc.) into a more or less coherent body of narratives. Simultaneously, these narratives are consciously modeled on existing, established, “real” ones (specifically, again, the legend genre). Reverse ostension is therefore, in fact, two processes in one: it involves the creation of new objects, new disconnected examples of experience; and it involves the combination of these elements into a corpus of “traditional” narratives, modeled on existing folklore (but not wholly indebted to any specific tradition).

Öz: Anonim Türk edebiyatının en geniş sahası olarak telakki edebileceğimiz türküler, geçmişten bugüne Türk kültür tarihinin maddi-manevi mirasını birçok yönüyle günümüze taşıyan verimlerdir. Bu çalışmada türkülerden hareketle Türk kadınının süslenme teknik ve unsurlarını değerlendirilmiştir. Bu yolla edebi metinlerden hareketle toplumun bir cephesine ait sosyolojik yapı değerlendirilmeye çalışılmıştır. İncelenen 1500'ün üzerinde türkü metninden hareketle Türk kadınının oldukça zengin ve çeşitli bir süslenme anlayış ve aracına sahip olduğu anlaşılmıştır. Türk kadınının gelişmiş kılık kıyafet anlayışını bir makalede tamamıyla ele almak mümkün olmadığından sadece Türk kadınının giyim-kuşamının bir parçası olan makyaj ve ziynet eşyaları üzerinde durulmuştur. İncelenecek daha birçok türkü metninden hareketle bu çalışmada yer verilen süs unsur ve makyaj tekniklerine yenilerinin de ekleneceğine kuşku yoktur. Her bir süs malzemesinin kendine özgü kullanım yeri ve şeklinin olduğu da ifade edilmelidir. Türküler üzerinde yapılacak bu nevi çalışmalar Anadolu'ya ve yakın geçmişe kadar üzerinde hüküm sürdüğümüz topraklara nakşettiğimiz sosyolojik ve kültürel değerlerin tespiti ve kayıt altına alınması bakımından önem arz etmektedir. Anahtar Kelimeler: Türkü, ziynet eşyası, süslenme, makyaj Women's Ornament and Jewellery in Turkish Folk Songs Abstract: Folk songs are considered as the widest area of Anonymous Turkish literature; and they are the products carrying the material and non-material heritage of Turkish cultural history with many aspects. This study evaluates the techniques and aspects of Turkish women's ornamentation by looking at folk songs. By doing this, sociological structure about a certain front of society is evaluated through literature texts. Over 1500 folk song texts were examined and it has been understood that Turkish women have a rich and manifold ornamentation style and tool. As it is not possible to approach the developed clothing understanding of Turkish women from a single article, the focus was on make-up and jewellery only, which is an important part of Turkish women's clothing style. It is obvious that new ornamentations and make-up techniques will be added to these after the examination of new folk songs' texts. It should also be noted that each ornament has a unique place to use and a unique form. Similar studies to be made on folk songs are important in terms of determining and recording the sociological and cultural values Turks have engraved on Anatolia and other territories on which we had ruled until recently.

Alicudi è una delle più piccole e selvagge isole dell'arcipelago vulcanico delle Eolie insieme a Filicudi, la sua gemella. Nel folklore eoliano il nome di Alicudi è associato da sempre a storie fantastiche e misteriose: mahare (streghe) che in volo raggiungono Palermo o addirittura l'Africa, esseri umani che si trasformano in animali, pescatori che conoscono formule magiche per 'tagliare' le trombe marine, indovini, oracoli e altre misteriose presenze. Folklore, radici sciamaniche e ipotesi misteriche.

The goal of the thesis is to provide new approaches for the interpretation of the elaborate Finnish and Karelian bear ceremonial’s songs, which were intensively collected in the 19th Century and in the early 20th Century. The study aims to furnish a better understanding of the meanings of the ceremonial taking in consideration the context of folk beliefs at the time. The chapters will cover all the ritual phases, adapting the classic Hallowell’s typology to the Finno-Karelian case. However, each chapter aims to provide some answers to the main research questions. Why did the bear hunt require such a complex ritualized reciprocity? How were the passages of borders between the village and the forest ritualized? How and why were the forest, its spirits and the bruin personalized? Why do many Bear Songs contain references to wedding songs? How did the Christian faith and the rich cattle holders’ beliefs communicate with the hunter’s rituals, forming a historically stratified tradition? The study reveals that the vernacular definitions of the bear’s personhood changed often in the ritual phases: it was the offspring of the forest spirits or a hunter’s relative; a bride or a groom; a boy or a respected elder. On a general level, the bear had a shifting double identity: it was strictly bounded to the family of the forest spirits, but at the same time the hunter emphasized its human features to make the ritual communication easier and to transform the bruin into the guest of honor of the village feast, in which the bear meat was consumed. The hunter’s self could also change in the ritual: in the songs, he presented himself as a mighty man protected by mythic iron belts and shirts; as a handsome and mimetic seducer of female forest spirits, or as a humble orphan who needed their guidance. During the feast, the roles of the women toward the bear also varied: the mistress warmly welcomed the bruin as a guest or groom, but the women were also guided to protect the cattle. The landscapes acquired mythic features and they could be presented as welcoming or dangerous. These apparently kaleidoscopic changes followed a precise ritual logic: they were elaborate rhetorical devices to make the 'guests' – the bruin and the forest spirits – behave or react in certain ways in different ritual phases and to influence their perception of the hunters’ actions.

У статті розкрито роль англійського фольклору як дидактичного матеріалу для уроків іноземної мови; визначено можливі шляхи впровадження англійського фольклору та інтерактивних технологій у навчання іноземної мови молодших школярів з метою формування соціокультурної компетенції; визначено основні засади використання фольклору та інтерактивних технологій, що сприяють підвищенню мотивації учнів до вивчення іноземної мови.

El temperamento de los mexicanos ha sido frecuentemente definido como ritualista y festivo, lo cual no quiere decir que éstos sean dos rasgos independientes, sino antes bien que se expresan constantemente unidos. la religiosidad católica, al ser mayoritaria y constituirse como patrimonio cultural de México, es el escenario de un sinfín de rituales-fiestas en las cuales se celebra a los santos patronos y a las vírgenes protectoras.

Ndzavisiso lowu wu thyiwile Nxopaxopo wa Nkoka wa Tinsimu ta Thomas Hasani Chauke eka ku Tlakusa na ku Hluvukisa Xitsonga na Ndhavuko wa Vatsonga (An Analysis of the Role of Thomas Hasani Chauke’s Songs in the Development and Promotion of Xitsonga and
Vatsonga Culture). Xikongomelonkulu xa ndzavisiso lowu i ku xopaxopa vuyimbeleri bya Thomas Hasani Chauke byi wu tirheke hakona ku ku tlakusa na ku hluvukisa Xitsonga na ndhavuko wa Vatsonga hakona. Hi lembe ra 1996 Vumbiwa bya tiko lebyi byi hlohlotelaka leswaku tindzimi hinkwato ta khumen’we ta ximfumo ti fanele ku khomiwa ku ringana byi
pasisiwile. Kambe loko hi xiya hi kuma leswaku tindzimi ta Vantima ta ha ri eka xiyimo xa le hansi swinene. Huvo ya Pan South African Language Board (PanSALB) leyi simekiweke ku ringeta ku tlakusa na ku vona leswaku tindzimi hinkwato ta ximfumo ta hluvuka yi kuma swisolo eka vanhu lava pumbaka leswaku ntirho wa vona wu famba hi rivilo ra rimpfana. Leswi swi endle leswaku van’watindzimi va sungula njhekanjhekisano wo lava tindlela to vona leswaku tindzimi ta Vantima ta hluvukisiwa. Eka Xitsonga, muyimbeleri wo fana na Thomas Hasani Chauke u le ku tlangeni ka xiave xikulu eka ku hluvukisa na ku tirhisa
itsonga na ku
tlakusa ndhavuko wa Vatsonga hi vuyimbeleri byakwe. Ndzavisiso ku ya hi nkoka hi wona wu nga ta tirhisiwa eka xitsalwana lexi. Tinsimu to hambanahambana leti eka nandzelelo wa yena wa Shimatsatsa leti kandziyisiweke ku suka hi 1980 ku fika hi 2014 ti ta xopaxopiwa hi ku
tirhisa thiyori yo xopaxopa. Ndzavisiso lowu wu kumile leswaku Thomas Hasani Chauke u tlanga xiave xikulu swinene eka ku tlakusa na ku hluvukisa Xitsonga na ndhavuko wa Vatsonga. Matirhiselo ya yena ya ririmi na mikongomelo leyi a yimbelelaka hi yona hi swona swi nga ta kombisa mhaka leyi.

"Com tota festa, Corpus compta amb participants actius i passius i tots plegats sumen – sumem- per a una tradició que ha lluitat per reformar-se, reinventar-se i afermar-se garantint un futur que no desmenteix ni es desentén del seu passat.
Aquesta és la lliçó, o una de les lliçons, de l’obra d’Eduard Tomàs. És un compendi d’història global– religiosa, política, festiva, veïnal on el Corpus de Sitges queda perfectament enquadrat en els avatars litúrgics i sociopolítics des de 1360 fins avui mateix. Tomàs aborda capítol per capítol tota la casuística que envolta la Festa en les seves diverses circumstàncies. És un llibre que constitueix un referent indispensable per conèixer i saber de Sitges per i des de dintre.
No vull deixar d’agrair, la gran exigència que palesa l’abast de l’obra i l’enorme rigor que l’acompanya des de la primera fins la darrera pàgina. A tall d’exemple, les quatre-centes cinquanta-nou anotacions a peu de pàgina, una bibliografia àmplia, exhaustiva i actualitzada, i la documentació de cadascuna de les fotografies, denoten fins a quin punt Eduard Tomàs aconsegueix l’excel·lència en aquest estudi del nostre imaginari popular i col·lectiu."  -  Part de l'article "Corpus: la festa, i el llibre" publicat per Vinyet Panyella a l'Eco de Sitges del 23 de juny de 2017.

Am spus-o de nenumeroase ori, așa că a reveni asupra acestui fapt ni se pare superfluu: există o mare disponibilitate a bihorenilor pentru cântecul popular, precum și un apetit al tinerilor pentru acest gen de muzică. De asemenea, am remarcat și marele număr de soliști vocali și instrumentiști întâlniți aici, unii de mare valoare artistică. Continuăm în acest spirit, a vă prezenta alți tineri aspiranți și alte ansambluri folclorice ale tinerilor, majoritatea cu realizări mai mult decât notabile în peisajul folcloric actual.

The regional literary fairytale, contrary to popular opinion, does not merely reflect general fairytales from Poland - a fact which is demonstrated by the fairytales of Warmia and Mazury Lakelands. The appearance of regional elements - a hero deriving from the local community, a three-dimensionał and transitory concretization of events, directed to a specific region of Poland, the presence of characters deriving from ancient beliefs and superstitions of a given ethnic group (e.g. kłobuk, the fisher king, melancholia), and also, a slang style of expression and quotes from folk songs confirm that the fairytale
forms its own characteristic, based above all in the traditional regional culture of the world vision, which does not allow it to be part of the wider world of general Polish ·fairytales. The regional ingredients of the presented world very often determine the course of events, and from this the "local" fairytale draws from the wider Polish repertoire those elements which are the easiest to relate to the local area. The richness of the regional fairytale is in accordance with its species syncretism which results from the overlapping in compositions of different forms of expression (fairytales, legends, jokes, and songs).

Z a r y s  t r e ś c i: Literacka baśń regionalna w kontekście regionalizmu i literatury regionalnej. Regionalna baśń literacka Warmii i Mazu r-charakterystyka materiału. Baśń regionalna wobec kultury ludowej. Regionalizacja czasu i przestrzeni w bajce. Wzorce gatunkowe w regionalnej baśni literackiej. Artyzm baśni regionalnej. Podsumowanie -regionalna baśń literacka jako od-miana baśni literackiej.

In this article I present an analysis of how place-lore has and can be used as a tool to identify archaeological sites. The focus was upon three types of sites: prehistoric strongholds; burial sites on dry land; wetland sites with potential human remains. In the first part, the prehistoric strongholds in historical Võrumaa County are discussed, followed in the second part by the burial sites in Karula Parish. The aim was to answer the questions " How many of these sites had been identified using folklore (including place names)? " , " How did this place-lore form and what kind of information does it pass on? " and " How did identifications in folklore or on the basis of folklore relate to the archaeological evidence at these places? " In third part my own fieldwork, undertaken at wetlands selected on the basis of folklore that referred to human remains, is presented. Analysis of the prehistoric strongholds showed that in general they were identified on the basis of folklore. However, other potential stronghold sites that occur in place-lore remain unconfirmed by archaeological evidence. In the case of some of these sites, a lack of confirmation may be owing to inadequate archaeological investigation. Almost all burial places in Karula Parish have been identified using place-lore, usually describing unearthed human remains. Unlike in the case of strongholds, the place-lore concerning burial sites is less likely to refer to the original use of sites, which indicates that many of them were " forgotten " by locals after the end of use. The fieldwork in the wetlands did not uncover any new archaeological finds. The main reason could be the difficulties of doing wetland archaeology. The place-lore may also be misleading with regard to all three types of archaeological sites, but it is also not possible to state categorically that in the past people did not interact with these sites. The results of this study show how important place-lore has and can be in determining archaeological sites. However, one has to keep in mind how place-lore emerges and the character of the information it tends to pass on.

Original article in English (2014) published in the bilingual anthology Kalevala: Epica, Magia, Arte e Musica / Kalevala: Epic, Magic, Art and Music (ed. by Piludu and Frog, 2014, VociFuoriscena-Viterbo). Proceeding of the bilingual scientific seminar "Kalevala: Epica, Magia, Arte e Musica / Kalevala: Epic, Magic, Art and Music" (2012, Bottenicco di Moimacco & Cividale del Friuli, Udine) organized by Kalevalaseura (Kalevala Society), Associazione Sergio Gaggia and many other Finnish and Italian institution to celebrate the centenary of Kalevalaseura.

Ethnic-national discourse in traditional music and dance practice and theory in Central Transylvania is pervasive and persistent. Scholarship in the field has been deeply implicated in the elaboration and imposition of national ideologies by cultural elites and, while ethnicity is a naturalized category, the local practice of music and dance in social life need not be primarily so marked. The identification of traditional music and dance in this region as Romanian, Hungarian or Romani as established by 20th century scholarship and as institutionalized in practice is examined and critiqued. A theoretical perspective that moves away from the re-iteration of these categoies is suggested and the possibility of escaping from them in practice is considered.

In Italia gli studi sul folklore stanno attraversando, già da alcuni decenni, momenti di crisi. L'articolo, riprendendo il lavoro “Rievocare il passato: memoria culturale e identità territoriali” curato da Fabio Dei e Caterina di Pasquale, analizza l’attuale stato dell’arte della demologia nel nostro paese e propone nuovi spunti interpretativi per andare oltre la stagnazione della tradizione di studi del folklore italiano.

The human species, which was completely dependent on nature in its early periods, experienced both physiological and intellectual changes in various periods. Human thought systems and styles have also undergone many significant changes over time. We can examine the development of thought systems, which are extremely important in the emergence of modern society and culture, in a sociological context in a particular order. In this study, the relationship between mythology and religion is discussed in the context of mythological thinking and religious thinking forms. The subject of belief has key features in thought systems and changes. These processes of change in people can be seen in the form of various elements in their narratives, philosophies, beliefs, and traditions. Myths, which are an important part of human culture, can reflect the change of thought of people from an only source in terms of their common handling of narratives, philosophies, beliefs, and traditions. The subject of religion and belief in myths and mythologies is also particularly important and comprehensive. One of the reasons for this is the relationship between mythological and religious thinking forms. In this study, first, the thought systems of human society and the change in these systems are discussed. In this section, mythological thinking and religious thinking styles are tried to be explained in social and cultural contexts. Then, various information about the myth genre is given and explanations are made about the relationship between mythology and religion in the context of mythological thinking and religious thinking forms. After the information given and the explanations made, it is tried to conclude. In this context, it is seen that the relations of "belief, imagination, fiction, and ritual" are common in religions and myths in the transition from religious thought to mythological thought.

Relato biográfico de Ramón Andreu Ricart, a partir de conversaciones con la maestra, -investigadora, académica e interprete-  Margot Loyola Palacios, en conmemoración del Centenario de su natalicio. Revista El Arado, publicación oficial de la Asociación Nacional del Folklore de Chile, adhiere en su edición N°50.

abstract: The aim of this article is to compare Estonian burial-related runosongs (regilaul) to archaeological information. I introduce the runosong as a potential source of information about burials to archaeologists and give folklorists a new perspective by addressing the age and practises behind the motifs of runosongs. One runosong may contain elements from different time periods, and for this reason I have concentrated on dating the elements of storylines. However, I have also tried to match the idea of a whole song-type with one or another time period.

L’arrivée de la civilisation occidentale et de la modernité en Afrique, a occasionné une certaine rupture dans la tradition africaine surtout, dans la tradition orale. Jadis, les Africains se réunissaient au cours des événements traditionnels qui leur permettaient de communier ensemble.  Parmi ces événements ressortent des traditions orales dont nous pouvons compter les contes, et des réunions nocturnes autour d’un feu au centre du village ou au milieu d’une cellule familiale. Il y a aussi des rites mensuels ou annuels qui nécessitent la participation des adeptes des sectes d’une communauté africaine particulière. Ceux-ci se réunissent pour observer des cultes traditionnellement religieux où on remarque souvent une représentation des grands faits du passé, des légendes et des mythes. L’évolution de la société africaine a laissé tomber cette tradition qui sert souvent d’un unificateur de la société africaine traditionnelle.  Cette communication vise alors à donner une prise de conscience sur l’importance et l’urgence de revaloriser certaines traditions et cultures africaines ignorées par le monde africain moderne.
Abstract
The arrival of Western civilization and modernity in Africa has caused a certain break in the African tradition especially in the oral tradition. In the past, Africans met during traditional events that allowed them to commune together. These events include oral traditions of which we can count folktales, and nocturnal meetings around a fire at the center of the village or in the middle of a family compound. There are also monthly or annual rites that require the participation of followers of the sects of a particular African community. These ones gather to observe traditional religious cults where one often sees a representation of the great facts of the past, legends and myths. The evolution of African society has abandoned this tradition, which often serves as a unifying force for traditional African society. The purpose of this paper is to raise an awareness of the importance and urgency of upgrading certain African traditions and cultures ignored by the modern African world. With the study of a folktale developed into a play by Tunde Ajiboye Olurounbi ou le prix du pari, we hope to reaffirm the importance of the African culture in the modern African society.
Key words : Revalorisation, tradition africaine, folklore

De to appendiksene er gjengitt bak i Ernst Håkon Jahrs biografi om "Nybrottsmannen Andreas Faye", Novus Forlag, Oslo 2021, s. 823-1009.
Appendiks 1: Den utvidete og annoterte bibliografien er ordnet kronologisk fra 1831–2021 med fortløpende innførsler av Fayes bøker og særtrykk (Nivå 1 vist med dobbel strek i venstre marg), artikler og småtrykk (Nivå 2 vist med enkel strek) og nedslag i litteraturen (Nivå 3 uten markering). Bibliografien fremstår tilnærmet komplett for utgivelser i Fayes levetid frem til 1869, men påberoper ikke å være det post mortem, da stofftilfanget, bruken av Fayes tekster og nedslag i litteraturen er svært omfattende.
Appendiks 2: Ikonografien beskriver og gjengir alle kjente portretter av Andreas Faye.