Academic literature on the topic 'Folklore e historia'

El doctor Pedro Rodríguez Mira, ingeniero de minas, anticipa hoy para nuestro boletín un capítulo de su obra inédita, que en nuestro concepto es una de las obras documentadas que, en su género, se han escrito en nuestro pais y que esperamos que muy pronto pueda publicarse para el enriquesimiento de nuestra bibliografía colombiana. El doctor Rodríguez es miembro de Número de la Academia Antioqueña de Historia y miembro de la Sociedad Antropológica de Antioquia; desde su juventud, al lado de sus actividades profesionales, ha dedicado gran parte de su vida al cultivo de la historia y de las letras; honra las páginas de nuestra publicación con el asomo de uno de sus mas densos estudios

El volumen Cultura y patrimonio nacional. Los estudios de Folklore en la Universidad de Buenos Aires (2020) es el resultado del proyecto UBACyT “El área de estudios de folklore. Su institucionalización en la Universidad de Buenos Aires” (2014-2017) y es parte de la colección editorial “Historia y Memoria de la Universidad de Buenos Aires”. A lo largo de los siete capítulos que lo componen, se historiza el área de estudios de Folklore en la Universidad de Buenos Aires (y en otros institutos ligados a la misma) dando cuenta de cómo la disciplina articuló intereses y preocupaciones sobre el patrimonio cultural de la nación con proyecciones y transformaciones en el sentido social de las ciencias antropológicas.

Drácula, de Bram Stoker, emplea ciertos motivos folcklóricos para expresar varios temas agrupados bajo el título de angustia hegemónica En la historia de imperialismo invertido de Stoker, el vampiro intruso, en una especie de inversión carnavalesca, interpreta el rol del Cortés histórico o el cautivo del Quijote. Las principales víctimas de Drácula, Lucy y Mina, nos recuerdan a La Malinche, la Zoraida de Cervantes, y otros ejemplos antiguos y medievales de princesas nativas secuestradas.

El folklore literario dominicano hace ver su imagen cultural. Este ensayo examina como unidad de análisis la poesía popular de Juan Antonio Alix. Nuestro propósito es hacer una lectura antropológica de la historia que representa su décima, que reformula la interacción de lo ideológico y lo social como argumento etnohistórico del pueblo. El folklore sirve al estudio etnográfico de la cultura en el esfuerzo por elaborar la noción de pueblo. Su uso y representación discursiva en la obra literaria podría ayudar como documentación en la observación cultural, lo mismo que sería una fuente múltiple en el estudio de la mentalidad.

Este artículo trata de las relaciones entre folklore y antropología a lo largo de la historia. Y plantea el posible o recomendable entronque, para la -en su momento- emergente antropología española, de los estudios de folklore dentro de las disciplinas antropológicas en un marco académico y científico internacional. Para ello, hace un repaso conceptual, que va de su definición al surgir como romántico “descubrimiento del pueblo” a las redefiniciones actuales. Y reivindica el sentido que tiene su inclusión en una visión integral de la antropología como la subdisciplina o especialización que se ocuparía de los aspectos estéticos y creativos de las culturas en su conjunto.

Pedro Piñero y José Manuel Pedrosa nos ofrecen en este libro un exhaustivo análisis del Romance de la muerte del Maestre de Santiago a través de un recorrido por la literatura, la historia, el folklore y la antropología que se extiende desde el siglo XIV hasta el presente y nos entrevera en narrativas múltiples y diversas.

México es un país rico en historia, cultura y tradiciones: citemos por caso su arte popular, fiestas patronales, danzas, medicina tradicional, música popular y el folklore literario entre otras manifestaciones que forman parte del mosaico cultural mexicano. Guanajuato, como otros estados de la República Mexicana, también posee una gran riqueza en historia, cultura y tradiciones, muestra de ello son sus leyendas que juegan un destacado papel en el ámbito cultural y social del estado... rescatar y preservar las tradiciones es una tarea necesaria para resguardar el patrimonio tangible e intangible guanajuatense. El artículo que presento, amable lector, forma parte de una investigación mayor que pretende lograr un estudio integral que muestre, analice e interprete los elementos que aportan las leyendas a la configuración cultural a partir de un corpus de leyendas que da cuenta de la identidad, cultura, historia, anhelos y creencias de los guanajuatenses.

El papel del folklore médico y las relaciones de hegemonía y subalternidad son elementos fundamentales para comprender el surgimiento de la medicina popular como objeto de estudio. El artículo reconstruye la historia del concepto de medicina popular, centrándose en particular en el contexto italiano y español. Asimismo, el texto pone el foco en lo que significa hablar de medicina popular hoy en día, en el papel las medicinas alternativas y complementarias y en los mecanismos socio-culturales que han permitido el pasaje de la medicina popular en sentido clásico a la medicina popular glo-local. Mediante esta nueva denominación se pretende dar nueva vida al concepto, encuadrándolo dentro de un contexto mucho más amplio, híbrido y plural.

This essay is dealing with the difficulties of cataloging and classifying anonymi and other kinds of literature without the components which have set the norm for bibliographic cataloging, i.e. a defined author, a standardized title etc. A typical example of this kind of literature is folklore and folktales, which are dealt with thoroughly here. The character of and the society's historical view upon the folk literature, as literature considered, are being described, as is the evolution of rules for cataloging in general. The folk literature is mostly systematized after a different pattern from other literature, since bibliographical facts are often missing. Therefore, this essay looks upon the ”ethnological” classification of tales and folklore, which means the thematic sorting of motifs in the plots of different tales, which is the most common method of organizing folk literature. The main purpose of this ethnological classification becomes in other words more or less the same as the purpose of bibliographical cataloging nowadays, namely a purpose of facilitating the retrieval of a certain literary unit and a certain common motif of several tales respectively. As the most successful attempt in the area of classification of folk literature (mainly ethnological) is mentioned the work by the Finnish researcher Antti Aarne, ”The Types of the Folktale : a Classification and Bibliography” from 1910, revised and enlarged by Stith Thompson in 1961.
Uppsatsnivå: D

La Semana Santa de Murcia ha sufrido a lo largo de su historia una serie de transformaciones formales que la han ido configurando. De estos procesos destacan por su singularidad los acaecidos en la época romántica por la profunda huella que imprimieron a los cortejos; comprendiendo desde el tercio final del XIX hasta la conclusión de la “Restauración borbónica” en 1931. En cuanto a la denominación de romántica no resulta cronológicamente coetánea al movimiento cultural europeo conocido como “Romanticismo”; sin embargo, sus componentes ideológicos y formales se encuentran estrechamente ligados a él. La estética, analizada de forma pormenorizada, revela las concomitancias con las inquietudes culturales europeas suponiendo, en definitiva, una buena muestra de una forma de expresión cultural de primera magnitud. El Romanticismo supuso una invitación intelectual a la lectura del pasado de las naciones llevando pareja la resurrección de los estilos artísticos de centurias anteriores. Así, se rescataron mitos y costumbres ancestrales que evocaran el carácter diferenciador de una determinada cultura regional. En el caso de Murcia, la Semana Santa constituyó un acontecimiento propicio para la evocación del pasado, llevando a la exaltación de sus signos más representativos; el ejemplo más significativo sería la rememoración del Barroco de tanta raigambre aquí. Además, las procesiones van a constituir un innegable escenario para la evocación de la estructura social de la época; particularmente significativo es el papel de la burguesía liberal bajo cuyo auspicio se introducen buena parte de las innovaciones. Se conformó, de este modo, un cortejo exaltador de la idiosincrasia local cuyas virtudes estaban especialmente encarnadas en la figura de Salzillo y la magnitud del Barroco como forma de expresión de los cortejos. Más allá de realizar una rememoración de las procesiones del pasado lo que se consiguió fue afianzar un nuevo espectáculo callejero basado en la repetición del tópico y en la perpetuación de los valores barrocos. Fruto de ello, y lejos de una imitación mimética que a buen seguro hubiera resultado menos grandilocuente, se tendió a la exageración y hasta lo superfluo, enriqueciendo las superficies sin medida, como si el Barroco no hubiera sido más que una acumulación de figuras ornamentales. La procesión de los años finales del XIX resultó, así, altamente comprometida con la Historia y los símbolos de la tierra dejando atrás las objetivas y sinceras motivaciones de centurias precedentes. Buena prueba de ello constituye la evolución del paso procesional que lejos de la sencillez del XVIII se transforma en una tramoya itinerante de evidente lenguaje ornamental. No en vano, la Semana Santa en cada uno de los lugares de España comenzó a recoger sus señas de identidad constituyendo espectáculos únicos ajenos a generalidades. Además, entró en juego la creencia de que las procesiones eran, por encima de las de otras poblaciones, un admirable espectáculo artístico. Los medios se pusieron al servicio de una celebración plenamente estética que debía entrar por los sentidos teniendo como cenit argumental la imaginería sagrada y, particularmente, la obra salzillesca. Con este centro gravitatorio los esfuerzos de las cofradías se encaminaron a enriquecer las tallas, incorporándoles ricos vestuarios, esbeltas peanas y acompañándolas de “marchas procesionales”. Resultó un panorama complejo en el que dejaron huella los principales campos formales de las artes plásticas. Así, encontró un espacio propicio para el ejercicio de una renovada imaginería, secundada con otros aspectos como la talla dorada de los “tronos”, el bordado, la orfebrería e, incluso, aspectos escénicos como la música, el efímero o la presencia de figurantes historicistas. Todo ello es objeto de este trabajo en el que se incluye, además, una observación concienzuda del cambiante contexto histórico-social.
Throughout the History of the Murcian Easter, there have been a whole series of formal renovations and transformations, some more significant than others, which have given Easter its shape. The change produced in the 18th century when the character of Salzillo stamped his style on the penitential celebrations and the Romantic period, is especially significant. As well as other relevant changes such us "la burla" and the incorporation of the Baroque attire to butlers. This change in the Romantic period is especially relevant due to the deep trace left in the cortège from the 19th century to the ending of the "Restauración Borbónica". The term "romantic", as it will be proved, is not contemporary to the European cultural movement known as "Romanticism", however its ideological and formal components are closely bound to it. The aesthetics, when analysed, reveal the coexistence with the European cultural interests, which show a good sample of an expressive cultural way of great importance. Romanticism meant an intellectual invitation to read the History and the past of the nations, together with the resurrection of artistic styles from the past. Thus, some ancestral myths and customs were rescued together with all those things which reminded the differential character of a specific regional culture. In the case of Murcia, Easter favoured the evocation of its memorable past, leading to the exaltation of its more representative signs. The most significant example would be the rememoration of the Baroque style, which had a great interest in the capital of Segura. Also, the parade would constitute an irrefutable scene for the evocation of the social structure of the period. The role of the local liberal bourgeoisie is especially significant, and supported the introduction of the majority of the innovations. Thus, a cortège was formed, and this cortège exalted the local idiosyncrasy, whose virtues were especially represented in the figure of Salzillo, and the magnitude of Baroque as the way of expression for the artistic manifestation. However, one of the achievements, apart from recalling the parades from the past, was the settlement of a new spectacle in the streets, which was based on the repetition of the topic and on the perpetuation of the Baroque values. As a consequence, and far from being a mimetic imitation which would have been less grandiloquent, the trend adopted went towards the exaggeration and the superfluous, by enrichening the surfaces as if Baroque was just an accumulation of ornamental figures. Thus, the new parades from the latter years of the 19th century became highly connected with the local History and with the typical symbols, which left the objective and sincere motivations of the previous century behind. Strong evidence of this is the evolution of the processional paso itself, which, far away from the simplicity of the 18th century, evolves to an itinerant piece of machinery with a clear ornamental language. Not in vain, the Easter celebration started to acquire its own identity symbols in each of the different Spanish territories, leading to a unique and unrepeatable spectacle which had no intention of totalitarian unity. Besides, there was the belief that Murcian parades were admirable artistic spectacles above other towns. As a consequence, the media came under the service of this totally aesthetic celebration, which should be appreciated through the senses, and which had the sacred imagery as the zenith of the line of argument. As this was a complex panorama, it is convenient to make a classification in order to present the main formal aspects in which everything was developed: imagery, tronos, costumes, working with precious metals, musical accompaniment, figureheads and the ephemeral.

Objetivos Entre los objetivos que nos marcamos en este trabajo están, sobre todo, los que pretenden explicar la naturaleza musical del flamenco y sus orígenes, a saber: 1. Determinar cuál es la naturaleza estético-musical que define al género flamenco, para poder calificar qué es flamenco y qué no lo es. 2. Delimitar históricamente hasta dónde se remontan estos antecedentes estético-musicales para poder referirnos a ellos como flamenco o preflamenco. 3. Analizar y explicar las características musicales de todos los estilos flamencos, realizando una clasificación de los mismos atendiendo a estas características. 4. Establecer un criterio de transcripción musical coherente con la práctica interpretativa flamenca y con sus antecedentes musicales. 5. Estudiar la música coetánea al nacimiento del género flamenco que pueda relacionarse con él, para así compararla y poder descubrir posibles influencias. 6. Establecer un criterio a la hora de considerar una mayor o menor antigüedad en los estilos conservados por tradición oral o en grabaciones históricas. 7. Estudiar las características estilísticas de las letras flamencas, sus orígenes, transmisión y transformación, así como su posible papel en la transmisión de melodías de cantos populares asociadas a las mismas. 8. Determinar las figuras artísticas más importantes en el nacimiento y desarrollo del género flamenco, estudiando a fondo sus aportaciones. Metodología La labor de investigación ha consistido en el análisis de los diferentes estilos musicales del flamenco y su estudio temporal, usando todas las fuentes documentales posibles. El primer punto de partida ha sido el estudio de la naturaleza musical de los cantes flamencos que surgen hacia mediados del siglo XIX. Para ello nos hemos servido de la herramienta de la transcripción musical. Con ella hemos llevado al papel los cantes flamencos conservados en grabaciones desde aproximadamente 1895, época en la que se graban los primeros cilindros de flamenco en España. De forma paralela hemos estudiado las partituras de la misma época que reflejan cantes flamencos, también piezas instrumentales y de baile, tanto de corte flamenco como de escuela bolera. Igualmente se han estudiado las recopilaciones de cantos populares del siglo XIX. Se han rastreado los posibles antecedentes guitarrísticos en las publicaciones de guitarra barroca y música renacentista. Lo mismo hemos hecho con el repertorio de música para canto con acompañamiento. El resto de documentación estudiada y la de carácter bibliográfico es en su mayoría documentos y textos coetáneos a la época de estudio. Se han consultado periódicos del siglo XIX, revistas, libros de viaje, libros sobre musicología, diccionarios bibliográficos, libretos teatrales, etc. y diversos blogs de gran calidad en Internet. Conclusiones El cante flamenco se forma musicalmente a partir de la amplia nómina de cantos tradicionales y populares que existen en la Península. La naturaleza musical de los cantes flamencos y su forma de acompañamiento coincide con cantos tradicionales fuertemente arraigados en la cultura popular española, como son: fandangos, jotas, seguidillas, romances y cantos de trabajo. Estas modalidades nutrirán el repertorio de los artistas del género primero llamado andaluz y luego flamenco, transformándose posteriormente en los estilos flamencos que estarán por surgir a lo largo del siglo XIX, como fueron: cañas, polos, livianas, serranas, peteneras, seguiriyas, jaleos, cantiñas, soleares, cantes sin guitarra y, muy a finales del siglo XIX, tangos y bulerías. Los antecedentes musicales más remotos del flamenco los encontramos en la música del siglo XVI, en algunos pasacalles, romanescas y folías; y luego en la del XVII en algunas jácaras y canarios. La música para guitarra del siglo XVIII y su lenguaje idiomático, con la técnica del rasgueo, será el antecedente más importante y la base fundamental del llamado “toque flamenco” de acompañamiento que se irá definiendo a lo largo del siglo XIX. Se ha detectado una importante relación entre la música flamenca y músicas venidas de América, proceso que se remonta hasta el siglo XVI. La cercanía al continente africano y la trata de esclavos desde el siglo XIV es un factor a tener en cuenta en cuanto al trasvase de ritmos, bailes y músicas desde África a España, algo que vino ocurriendo tiempo antes de su viaje hacia América. Una vez afincadas estas músicas en las colonias de ultramar sufrieron una transformación con el paso del tiempo y un posterior trasvase hacia la Península por los principales puertos de embarque con el Nuevo Mundo, como fueron Cádiz y Sevilla. Es a mediados del siglo XIX cuando de forma evidente encontramos descripciones de música, cantos y bailes relacionados con el flamenco que conocemos, con su expresividad y estética. Los antecedentes directos pueden remontarse al último cuarto del siglo XVIII, cuando afloran los primeros datos de ciertas fiestas y bailes de candil en los que se canta y baila con un carácter muy relacionado con el flamenco, apareciendo los primeros nombres de cantes y bailes que formarán parte del repertorio posterior. También aparecen los nombres de los primeros artistas y dinastías familiares de cantaores y cantaoras importantes. El papel de Silverio Franconetti como uno de los primeros empresarios en sacarle partido al flamenco y como codificador y creador de estilos de cante parece decisivo en el desarrollo del flamenco. Su personalidad artística dejó una impronta de gran relevancia en casi todas las modalidades en boga en su tiempo: cañas, polos, serranas, seguiriyas y soleares, transmitiéndose sus formas de cante en sus discípulos y cantaores posteriores. Al igual que Silverio, otros importantes artistas antes que él y otros posteriores se han encargado de ampliar la nómina de variantes en los estilos flamencos, apareciendo sus nombres dentro de las diversas modalidades flamencas. Otras creaciones han pasado de forma anónima, sin atribución ninguna.
Musical training of «Cante Flamenco». Around the figure of Silverio Franconetti (1830-1889) Guillermo Castro Buendía Objectives The specific objectives that we set ourselves in this work are, above all, those who purport to explain the musical nature of flamenco and its origins: 1. Determine what is the musical nature that defines Flamenco genre, to qualify what flamenco is and what it is not. 2. Define historically to where these musical nature that date to be able to refer to them as Flamenco or Pre-flamenco depending on the presence of these defining elements. 3. Analyze and explain the musical characteristics of all Flamenco styles, performing a classification thereof according to these characteristics. 4. Establish a coherent musical transcription on Flamenco music. 5. Study the coetaneous music to the birth of the flamenco genre that can interact with it, to compare it and to discover possible influences. 6. Establish a guideline when considering the antiquity of styles preserved by oral tradition or historical recordings. 7. Study of the stylistic features of the flamenco lyrics, origins, transmission and transformation, as well as their possible role in the transmission of folk songs melodies associated with them. 8. Determine the most important artistic figures in the birth and development of the flamenco genre, studying their contributions. Methodology The research work has consisted of the analysis of the different musical styles of flamenco and its study temporarily, using all possible documentary sources. The first point of departure has been the study of the musical nature of the flamenco songs that arise around the middle of the 19th century. For this purpose we have transcribed Flamenco songs preserved in recordings since about 1895, time in which are recorded the first cylinder of flamenco in Spain. We have studied the scores from the same period reflecting flamenco songs. At the same time we have studied parts instrumental and dance. We have also studied the collections of folk songs performed by folklorists who approached them in the 19th century and guitar Baroque and Renaissance music publications. Same thing we’ve done with the Repertoire of music for voice with accompaniment. The rest of studied documentation is mostly contemporary to the time of study. We had viewed newspapers of 19th-century, magazines, travel books, books of musicology, bibliographic dictionaries, theatrical scripts, etc. and various flamenco blogs of high quality on the Internet. Conclusions Flamenco music is formed from traditional songs that exist on Spain. The musical nature of the flamenco songs and their accompaniment coincides with traditional songs strongly rooted in the Spanish popular culture, such as: fandangos, jotas, seguidillas, romances and worksongs. These modalities will be subsequently becoming Flamenco styles throughout the 19th century, as they were: Cañas, Polos, Livianas, Serranas, Peteneras, Seguiriyas, Jaleos, Cantiñas, Soleares, songs without guitar and very end of the 19th century, Tangos and Bulerías. We find the most remote musical elements of flamenco in the music of the 16th century, in some Passacagliaz, Romanesques and Folias; and then in the 17TH in some Jacaras and Canaries. Guitar music of the 18th century and his idiomatic language, with the technique of strumming, will be the most important antecedent and the fundamental basis of the flamenco playing, that it will be defined during the 19th century. We have detected an important relationship between flamenco and music from America, process that dates back to the 16th century. The proximity of Africa and the slave trade from the 14th century is a factor to keep in mind regarding the transfer of rhythms, dances and music from Africa to Spain, something that came to happening time before their journey to America. These music in the colonies overseas suffered a transformation with the past of time and arrived again to the Peninsula by the main ports with the new world, such as Cádiz and Seville. It is in the mid-19th century when, clearly, we find descriptions of music, singing and dancing flamenco we know. The direct antecedents can be traced back to the last quarter of the 18th century, when are related the first data of parties and dances of candle with songs and dances with flamenco character, appearing the first names of songs and dances that will be part of a later repertoire. There are also the names of the first artists and family dynasties of singers and dancers. The role of Silverio Franconetti as one of the first businessmen in flamenco and encoder and creator of song styles seem decisive in the development of flamenco. His artistic personality left a mark of great importance in almost all modalities in his time: Cañas, Polos, Serranas, Seguiriyas and Soleares, transmitting his way of singing in his disciples and later singers.

This study examines stories from the 1800s about the Swedish folklore creature Näcken with the purpose to define what kind of view on gender they are presenting. The geographical area in focus is the Swedish south province Småland. The ambition is to see how the stories describe the thinking, acting and meaning about gender and authority. This will also be studied in relation to the norms and ideals of gender that dominated in the 1800s. Former studies has shown that the view of folklore and gender interacted and carried each other in the 1600s and the 1700s. There are also research that indicate that the creature Näcken maintained gender patterns in the 1800s. This research determines more general patterns concerning gender and has not done a more firmly analysis in relation to the change in the view on gender which took place between the 1700s and the 1800s, which this study intend to do by using Yvonne Hirdman’s gender system as a theoretical framework. The result has shown that the understandings of Näcken had a role to play in the context of social control, seeing as the understandings affected the behavior of people. The most clear message the stories expresses is that men had more capacity to act than women, which is in line with the 1800s ideals about gender that derived from a polarization norm. This can also be seen in the context in which the meeting with Näcken took place, namely the in the context of work and other activities, but not in connection to physical places in line with the polarization norm, in which the women should have met the creature closer to the farm and the men’s meeting should have more distance from the farm. The stories also expresses a valuing of characteristics which were highly valued as norms in the 1800s. The characteristics also have a moral dimension. Men with highly valued characteristics were more likely to succeed with their attempts and had bigger chances of escaping Näcken. Within the moral spectrum one can find a Christian motive as well, since warnings about neglecting the religion takes place. For women though, the stories’ moral dimension spoke about precepts and the negative consequences which could follow if the women did not practice restraint and carefulness. From the 1600s and 1700s to the 1800s Småland, there is also a continuity regarding sexual relationships between women and Näcken to be found. Those kinds of relationships are rare to find in the sources.

Tesis por compendio de publicaciones
A) OBJETIVOS 1. Ofrecer una visión global crítica y científica de la devoción del Rosario y sus cofradías en España durante la Modernidad a partir de una selección de fuentes documentales inéditas o poco conocidas y una amplia bibliografía especializada. 2. Hacer una lectura crítica sobre el estado actual de los conocimientos sobre la génesis y evolución de la devoción del Rosario y sus primeras cofradías en Europa. 3. Aportar conclusiones novedosas respecto a los hitos fundamentales que configuran el Rosario y sus cofradías en España, contextualizándolas en sus coordenadas históricas y teológicas. 4. Aunar los contenidos históricos con las aportaciones de la Teología y Antropología. 5. Poner en valor el fenómeno rosariano como referencia fundamental no sólo para el estudio de la religiosidad moderna española, sino para cualquier investigación integral histórica o teológica respecto a esta época. 6. Animar y ayudar al estudio científico del fenómeno rosariano en España, ofreciendo una referencia documental y bibliográfica y un estado de la cuestión actualizada que permita una base firme para monografías regionales o locales. B) METODOLOGÍA 1. Establecimiento de un estado de la cuestión, revisando de manera exhaustiva la bibliografía existente sobre el tema, tanto general como específica. 2. Consulta de un importante elenco de fuentes documentales procedentes de archivos, mediante cata significativa especialmente referido al tema de cofradías, fundadas en casi todas las parroquias, primándose los archivos de la Orden de Predicadores y diocesanos. 3. División del tema en tres grandes partes o etapas fundamentales a fin de delimitar por un lado, pero al mismo tiempo integrar, las principales características en el ámbito de la Modernidad española definiendo su génesis, primer desarrollo universal y la eclosión popular. 4. Esta división ha decidido la presentación de la tesis como compendio de publicaciones. 5. Primacía de lo documental en evitación de apriorismos observados en bibliografía. 6. Formulación de hipótesis de trabajo y concreción de conclusiones ajustadas y novedosas. C) CONCLUSIONES 1. Esta Tesis supone una revisión bibliográfica y una aportación documental significativa para el estudio del fenómeno rosariano y sus cofradías en España durante la Edad Moderna. Es la primera vez que se realiza un trabajo de investigación sobre este tema en el ámbito nacional. 2. Las tres grandes épocas en que puede dividirse el tema posibilitan su comprensión integral y unitaria. 2.1. La génesis del Rosario coincide con la prerreforma católica y se sitúa primeramente en la órbita benedictina y cartuja (siglos XIII al XV) para conformarse definitivamente en el seno de la Observancia de la Orden de Predicadores con la fundación de la Cofradía del Rosario (Alano de la Roca y Jacobo Sprenger, 1475). En España se constatan ya cofradías en el último tercio del siglo XV. 2.2. Tras Trento, el Rosario adquiere una primera universalización en torno al acontecimiento de Lepanto (1571) , todo un hito reivindicativo de la Iglesia que en España alcanza una significación muy especial. Se imbrica en una pastoral que desde el patrocinio asumido de los Dominicos, lo supera y se fomenta por los ordinarios diocesanos en todas las parroquias españolas con la fundación de cofradías laicales y también clericales, convirtiéndose la oración en práctica devocional en las Misiones Populares. 2.3. Esta universalización será el detonante de la auténtica “explosión rosariana” que supone el fenómeno de los Rosarios públicos, práctica singular y paradigmática de la religiosidad barroca hispana, que, surgido a fines del siglo XVII en Sevilla, será el paradigma del Rosario por excelencia hasta nuestros días en toda la geografía peninsular e insular.
A) OBJECTIVES 1. To offer a global critical and scientific vision of the devotion of the Rosary and its confraternities in Spain during the Modernity from a selection of documentary unpublished or little known sources and a wide specialized bibliography. 2. To do a critical reading on the current condition of the knowledge on the genesis and evolution of the devotion of the Rosary and its first confraternities in Europe. 3. To provide new conclusions with regard to the fundamental milestones that form the Rosary and its confraternities in Spain, contextualing them in its historical and theological coordinates. 4. To link the historical contents with the contributions of the Theology and Anthropology. 5. To value the phenomenon of the rosary as fundamental reference not only for the study of the modern Spanish religiosity, but for any integral historical or theological investigation with regard to this period. 6. To encourage and to help the scientific study of the phenomenon of the rosary in Spain, offering a documentary and bibliographical reference and a condition of the updated question that allows a firm base for regional or local monographs. B) METHODOLOGY 1. Establishment of a condition of the question, checking in an exhaustive way the existing bibliography on the topic, both general and specific. 2. Consultation of an important glossary of documentary sources proceeding from files, by means of significant search esencially referee to the topic of confraternities, founded on almost all the parishes, priosstise the files of the Order of Preachers and diocesans. 3. Division of the topic in three big parts or fundamental stages in order to delimit on the one hand, but at the same time to integrate, the principal characteristics in the area of the Spanish Modernity defining its genesis, the first universal development and the popular appearance. 4. This division has decided the presentation of the thesis as a compendium of publications. 5. Primacy of the documentary thing in avoidance of apriorisms observed in bibliography. 6. Formulation of hypotheses of work and concretion of exact and new conclusions. C) CONCLUSIONS 1. This Thesis supposes a bibliographical review and a documentary significant contribution for the study of the phenomenon of the rosary and its confraternities in Spain during the Modern Age. It is the first time that a work of investigation is focused on this topic in the national area. 2. The major periods in which the topic can be divided make its integral and unitary comprehension. 2.1. The genesis of the Rosary coincides with the Catholic “Prerreforma” and places first in the Benedictine and Carthusian orbit (from XIIIth to XVth century) to conform definitively in the bosom of the Observance of the Preachers' Order to the foundation of the Confraternity of the Rosario (Alano de la Roca and Jacobo Sprenger, 1475). In Spain confraternities are stated already in the last third of the 15th century. 2.2. After Trent, the Rosary acquires the first universalization concerning the event of Lepanto (1571), a whole vindicative milestone of the Church that in Spain reaches a very special significance. It is interwoven in the pastoral one that from the sponsorship assumed of the Dominicans, overcomes it and is promoted by the ordinary diocesans in all the Spanish parishes by the foundation of lay confraternities and also clerical, turning the prayer into practice of the devotion into the Popular Missions. 2.3. This universalization will be the trigger of authentic " explosion rosariana " that supposes the phenomenon of the public Rosaries, singular and paradigmatic practice of the religiosity, which, arisen at the end of the 17th century in Seville, will be the paradigm of the Rosario par excellence to the present day in the whole peninsular and insular geography.

Tesis para optar al grado de Magíster en Estudios Latinoamericanos
La dimensión social de la música en América Latina ya es un área de estudios que las disciplinas artísticas, científico sociales y humanísticas se han dedicado a indagar y legitimar desde hace por lo menos treinta años. Estos intereses han conformado una extensa producción académica, investigativa y ensayística que considera lo musical no sólo como un reflejo o una consecuencia de la estructura y devenir de nuestras sociedades, sino que constituyen ámbitos de significación y producción simbólica donde las mismas dinámicas sociales se ven construidas y transformadas constantemente por los fenómenos ligados a las prácticas y recepciones de la música. Es todo mi interés afrontar la puesta en escrito de una inquietud investigativa que cumple con las obligaciones impuestas por el Programa de Magíster en Estudios Latinoamericanos del Centro de Estudios Culturales Latinoamericanos de la Universidad de Chile, concluyendo tres años de estudio y trabajo en torno de distintos aspectos de la dimensión cultural de América Latina. Y asimismo, responde a un interés personalísimo, por el cual intento a todas luces otorgarle un estatus académico a la profunda fascinación que en mí la música ha concitado desde la infancia. Entonces, la tesis que el lector en adelante tendrá ocasión de leer es fruto de mi proceso personal de producción cognoscitiva, cuyas fuentes son tanto la pasión particular como la reflexión y la investigación académicas. Hacia el primer semestre del año 2010 decidí enfocar mi trabajo en dos figuras latinoamericanas cruciales para la cultura del siglo XX, a saber, la chilena Violeta Parra Sandoval y el argentino Atahualpa Yupanqui.

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In the first decades of the twentieth century, Brazilian intellectuals discussed relations between the Brazilian hinterlands and coastal cities. One was Leonardo Mota (1891- 1948) that examined these relationships by calling attention to the "divorce between the Interior and the Sea" (MOTA, 1925, p.5). However, this "divorce" and difficult relationship between the hinterland and the Brazilian coast were not new, brought the unfolding of a series of constructs images and ideas produced historically. This paper makes an analysis about the construction of the national culture project created by Leonardo Mota in the years 1920-1930 and the historicity of the constructions of these images and ideas that influenced the consolidation of the distance between the hinterland and the coast, and also contributed in formation of national identities.
Nas primeiras dÃcadas do sÃculo XX, intelectuais brasileiros discutiram as relaÃÃes entre os sertÃes e as cidades litorÃneas brasileiras. Um deles foi Leonardo Mota (1891-1948) que analisou essas relaÃÃes chamando a atenÃÃo para o âdivÃrcio entre o SertÃo e o Marâ(MOTA, 1925, p.5). Entretanto, esse âdivÃrcioâ e difÃcil relaÃÃo entre os sertÃes e o litoral brasileiros nÃo eram novos, traziam os desdobramentos de uma sÃrie de construÃÃes de imagens e ideias produzidas historicamente. Esta dissertaÃÃo faz uma anÃlise sobre a construÃÃo do projeto de cultura nacional criado por Leonardo Mota nos anos de 1920-1930 e sobre a historicidade das construÃÃes dessas imagens e ideias que influenciaram a consolidaÃÃo do distanciamento entre os sertÃes e o litoral e, ainda, contribuÃram na formaÃÃo de identidades nacionais.

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This research, which is entitled Art and politics in Willy Zumblick work , has as objective to analyze the relations between the production of the artist called Willy Alfredo Zumblick and the State cultural policies in the 1940s to 1970s. The writing of this work, which it was developed based on a research about articles in newspapers, magazines, newsletters, invitations to exhibitions, images of paintings and photographs, contemplates the incentives that local folklorists received from State political powers, enabling the research and the production of narratives for appreciation of local folklore, which is one of the main elements turned into a symbol of ethnic and cultural identity of Santa Catarina. The spread of these speeches developed by intellectuals people of the State, through events and several publications, it was added with the action of some artists, who were from the capital of the state and from the inner cities, and they were interested in the subject, and created, in their paintings, representations of colonial material heritage and the traditional demonstrations of the coast of Santa Catarina and at the villages of this state. It is in this context of official incentives for research, and narratives about the state folkloric diversity and the influence of this performance about the activity of artists in Santa Catarina, that Willy Zumblick, keeping in touch with many of these scholars, and interested in their research, produced his art gallery using a folkloric theme. His exhibitions have received praises which were published in the media within and outside the State, and because of his consecration, his works have been presented in newspapers and magazines in the surroundings of Santa Catarina as a symbol of ethnic and cultural identity of Santa Catarina, what serves the political interests which aimed at the maintenance and the permanence of hierarchy and social order.
Este trabalho, intitulado A arte e a política na obra de Willy Zumblick, analisa as relações entre a produção do artista plástico catarinense Willy Alfredo Zumblick e as políticas culturais do Estado durante as décadas de 1940 a 1970. A escrita desse trabalho, desenvolvida com base em uma pesquisa debruçada sobre artigos de jornais, revistas, boletins, convites para exposições, imagens de pinturas e fotografias, contempla os incentivos que os folcloristas catarinenses receberam dos poderes políticos estaduais, possibilitando a pesquisa e a produção de narrativas de valorização do folclore local, sendo este um dos principais elementos transformados em símbolo da identidade étnica e cultural catarinense. A propagação desses discursos criados pelos intelectuais do Estado, por meio de eventos e publicações diversas, somou-se à ação de alguns artistas plásticos, da capital e do interior, que manifestaram interesse pelo tema, e criaram em suas pinturas representações do patrimônio material colonial e das manifestações populares tradicionais do litoral e das vilas catarinenses. É nesse contexto de incentivos oficiais à pesquisa, de narrativas sobre a diversidade folclórica estadual e de influência dessas falas sobre a atividade dos artistas plásticos de Santa Catarina que o tubaronense Willy Zumblick, mantendo contato com muitos desses eruditos, e interessado em suas pesquisas, produziu sua pinacoteca de temática folclórica. Suas exposições conquistaram críticas elogiosas publicadas nas mídias dentro e fora do Estado, e devido à sua consagração, seus trabalhos foram apresentados em jornais e revistas catarinenses como símbolos da identidade étnica e cultural catarinense, atendendo aos interesses políticos que visavam à manutenção e à permanência da hierarquia e da ordem social.

The essay describes how Living History, an activity of concrete evocation of past events in the present, linked to the daily actions of the historical period described, is intertwined with the approach of "material civilization" developed by Fernand Braudel and with micro-history described by Lucien Febvre and March Bloch in connection with the Annales methodology. The re-enactment, if it is built according to correct theoretical and methodological references, linked to historical documents, devoid of folklore, can represent a useful tool for building popular participation and knowledge about events and characters from the past.

As one of the important representative works of Chinese Modern Literature, Bian Cheng (Border Town, in English) consists of folklore of different categories which reflect the life of Chinese people seeming to live in Shangri-la. Image is ‘words to present ideas’ of an author. The images of folklore in Bian Cheng are its author’s idea on life of Chinese people. Food belongs to material folklore. It is important to present the images of food for better understanding Chinese people’s life. This descriptive study focuses on the presentation of the images related to food in Bian Cheng. The image is identified by figures of speech and tied images. The findings show that the images of food mirror Chinese life in terms of priorities on food, marriage, individual propensity for food, history and customs.

The author demonstrates in this approach that folklore, unlike cult literature, values the essential richness of the imaginary, being closer to the world, which Eminescu said he „ thought in fairy tales and spoke in poetry”. Folklore was must also conceived as literary art, the interference between it and cult literature was the aesthetic program of the German romantics, of the Romanian classics Eminescu, Alecsandri and Anton Pann, of the contemporary authors Brecht and Auden. Folklore works have the same principles of elaboration as cult literature, they being social and documentary documents, which capture essential moments of human relations with society and history. The author refers to the folklorist Sergiu Moraru, who studied especially the poetic system of the sung lyrical song, subjecting it to a structural and typological analysis.

In the present approach, the author refers to the historical course of folklore research in Bessarabia. To be able to follow their evolution diachronically, the exposition starts from the precursors of Romanian folklore and continues with the stages of development of the investigations, conventionally focusing them around some personalities who contributed to a greater or lesser extent to this itinerary. Analyzing these stages of development, he notes that the greatest contribution in this regard made by folklorists who worked in the post-war period. Especially in the 1960s-1990s years, the most extensive field campaigns carried out, essential for the establishment of the general fund of information regarding the traditional culture of Romanians from Bessarabia and from Romanian localities in Ukraine and the Russian Federation. It also highlights the most important folklore studies and collections that appeared during this period.

This article is focused on analysis of the hypothesis of the local song folklore origins of the famous poetic phenomenon chuci (elegies/songs of Chu) that represents the literary heritage of the southern (Yangtze Basin) region of the Ancient China (the Zhou epoch, 11th–3rd centuries B. C.) and is associated with the emergence of the Chinese poetry. Although today the thesis about the folklore origins of chuci, or rather of the poetic pieces presented by the Chuci (Verses/Elegies of Chu, Songs of the South) collection, is generally accepted, the author argues that, first, during the 1st–7th centuries A. D. the chuci poetry was stable considered within the Chinese book knowledge to be created by exclusively the literary genius of Qu Yuan (4th–3rd centuries B. C.), the great poet of the Chu Kingdom (11th–3rd centuries B. C.). Secondly, the views on chuci as an autochthonous (“southern”) poetic tradition dating back to the local folk art emerged in the 12th–13th centuries and finally established itself in the Chinese literature studies of the first third of the 20th century, all these under the influence of the ideological processes, caused by synchronic historical and political events. Thirdly, although the existence of developed song-poetic folklore in Chu Kingdom seems quite permissible, it for some reason remained out of fixation by that day written sources, including transmitted texts and archaeological materials (epigraphic inscription and excavated manuscripts). Therefore, almost nothing is known as a matter of fact of the hypothetic Chu song folklore what makes it impossible to recognize its true influence on origins and further on evolution of the chuci tradition.

The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.