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Academic literature on the topic 'Folk definition'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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Books on the topic "Folk definition"

1

Shadows and light: Joni Mitchell : the definitive biography. Virgin, 2002.

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2

Shadows and light: Joni Mitchell : the definitive biography. Virgin, 2001.

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3

Theodorescu, Răzvan. South East Europe -- the ambiguous definitions of a space =: L'Europe du Sud-Est -- les définitions ambiguës d'un espace. UNESCO CEPES, 2002.

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University of New England. School of English, Communication and Theatre. Australian folklore and Australian folk speech: A course in part focussed on the text of The hidden culture: Folklore in Australian society by Graham Seal (text of 1989, 1993), and on Hughes, Joan (ed.) The concise Australian national dictionary (1992) : course handbook (with various definitions, schema, and bibliographical and reference materials). Printed at the University of New England, 1998.

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5

Wodziński, Marcin. A Definition. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190631260.003.0001.

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What did it mean for an ordinary Jew to be a Hasid? Although there are dozens of definitions of Hasidism, all of them are built on doctrinal categories. The chapter demonstrates these kinds of ideological definitions are inadequate, given that they turn Hasidism into an abstract doctrine, disconnected from its believers and their daily practices. Instead, this chapter offers a behavioral, or performative, definition of Hasidism as practiced in everyday life, a definition based on low-profile, often folk testimony, i.e. it shows what rank-and-file followers understood being a Hasid meant and how they defined their own distinctive features. It demonstrates that, contrary to a predominant assumption, the self-definition of a Hasidic group was closer to a confraternity than to a sect, which provides entirely new analytical categories and allows for a new view of the history of Hasidism, inter-group boundaries, and more.

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Atkin, Albert. Race, Definition, and Science. Edited by Naomi Zack. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190236953.013.5.

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Philosophical concerns about the reality of race often depend on the examination of our ordinary race concepts, and whether the biological sciences might support the existence of those concepts. We can approach these philosophical concerns by looking at how we might define a race concept from both ordinary discourse (the folk definition), and from the viewpoint of the biological sciences (as a subspecies or population cluster). After noting the difficulties with giving a satisfactory definition of race in both domains, we can see more clearly why our race concepts cannot claim any obvious support from the biological sciences.

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Gough, Peter, and Peggy Seeger. “The Folk of the Nation”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039041.003.0008.

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This chapter provides a definition of folk music. Precise definition of the term folk music has long confounded scholars and been the source of endless debate and controversy; general agreements, either popular or academic are rare, and misunderstandings abound. Folk music in the United States reflects the complex history and diverse ethnic composition of American society. Indeed, academic recognition of these native musical forms preceded the development of the Federal Music Project (FMP); in 1882, Theodore Baker published a scholarly study of American folk music, and in 1910, Theodore Roosevelt wrote a preface for John Lomax's groundbreaking Cowboy Songs and Other Frontier Ballads publication. Meanwhile, some scholars argue that if a song has a known author, it cannot be classified as folksong “because the original meaning of folk music was something ancient and anonymous.”

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8

Mendelovici, Angela. Fixing Reference on Intentionality. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190863807.003.0001.

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This chapter fixes reference on our target, intentionality. "Intentionality" is sometimes defined as the "aboutness" or "directedness" of mental states. While such definitions succeed at gesturing towards the phenomenon of interest, they are too fuzzy and metaphorical to fix firmly upon it. This chapter recommends an alternative ostensive way of defining "intentionality" as the feature of mental states that we at least sometimes notice introspectively in ourselves and are tempted to describe using representational terms like "of" or "about". This chapter argues that this definition does a better job than alternative definitions—such as those in terms of folk psychology, the mind-brain sciences, and truth and reference—at capturing the phenomenon that talk of "aboutness" and "directedness" is gesturing at.

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9

Rosen, Tova, and Eli Yassif. The Study of Hebrew Literature of the Middle Ages: Major Trends and Goals. Edited by Martin Goodman. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199280322.013.0011.

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This article aims at a critical examination of modern research on medieval Hebrew literature. Here, the definition of ‘medieval Hebrew literature’ excludes writing in Jewish languages other than Hebrew, and singles out literature from other types of non-literary Hebrew writing. The variety of literary types included in this survey ranges from liturgical and secular poetry to artistic storytelling and folk literature. Both early liturgical poetry (piyyut) and the medieval Hebrew story are rooted in the soil of the Talmudic period. The beginnings of medieval Hebrew storytelling were even more deeply connected to the narrative traditions of the Talmud. However, the constitutive moment of the birth of piyyut and narrative as distinct medieval genres had to do with their separation from the encyclopedic, all-embracing nature of the Talmud.

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10

Cohen, Ronald D., and Rachel Clare Donaldson, eds. Background in the United States and Great Britain to 1950. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038518.003.0002.

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Throughout the twentieth century, folk music has had many definitions and incarnations in the United States and Great Britain. The public has been most aware of its commercial substance and appeal, with the focus on recording artists and their repertoires, but there has been so much more, including a political agenda, folklore theories, grassroots styles, regional promoters, and discussions on what musical forms—blues, hillbilly, gospel, Anglo-Saxon, pop, singer-songwriters, instrumental and/or vocal, international—should be included. These contrasting and conflicting interpretations were particularly evident during the 1950s. This chapter begins by focusing on Alan Lomax (1915–2002), one of the most active folk music collectors, radio promoters, and organizers during the 1940s. Lomax had a major influence on folk music in both the United States and Great Britain, tying together what had come before and what would follow. The chapter then discusses folk festivals and performers; British folk music, musicians, and trans-Atlantic musical connections; and Carl Sandburg's publication of the The American Songbag in 1927.

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