Dissertations / Theses on the topic 'Folklore e historia'

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.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior
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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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
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.

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O presente trabalho de pesquisa busca refletir sobre as prÃticas populares de cura e a ciÃncia mÃdica no Cearà durante a segunda metade do sÃculo XIX. Tomamos o livro Medicina Caseira de Juvenal Galeno como fonte e objeto de anÃlise, uma vez que o livro se apresentou como uma produÃÃo inquietante, por se tratar de um livro de receitas caseiras, com prÃticas populares de cura, coletadas durante a segunda metade do sÃculo XIX e organizado em 1919, perÃodo em que a medicina cientÃfica no Cearà comeÃava a se estruturar enquanto ciÃncia legitimadora da doenÃa e da saÃde. Ao longo do processo de investigaÃÃo, localizamos pontos de aproximaÃÃes e distanciamentos entre as prÃticas de cura que envolvem o saber cientÃfico e popular. Tal percepÃÃo nos possibilitou refletir sobre como as prÃticas populares de cura permaneceram presentes e atÃ, em alguns casos, foram apropriadas pela medicina cientÃfica no seu processo de afirmaÃÃo enquanto prÃtica de intervenÃÃo no meio social e na sua busca de institucionalizaÃÃo.
The actual dissertation aims to reflect about the popular practices of healing and medical science in the state of CearÃ, Brazil, during the second half of the 19th century. The book âMedicina Caseiraâ (organized in 1919 by Juvenal Galeno) was taken as analysis source and object, because it showed itself as a disturbing production, since it deals with homemade recipes, popular practices of healing during that period, in a moment that medical science in Cearà was beginning to structure itself as a legitimating science of health and disease. Througt the process of investigation, some points of convergence and divergence were found out among the practices of healing that are related with scientific and popular knowledge. Such a perception allowed us to think about how these popular practices of healing are found at the present time and even, in some cases, were appropriated into the scientific medicine in its processo of affirmation while intervening practice in the social arena and in its search of institutionalization.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
The search for "Roots of Portugal. From Minho to São Paulo (1950-2000)" aims to understand and discuss the participation of Portuguese, their descendants and people of other nationalities, groups and associations considered by its members as representatives of the" folklore "Portuguese in Sao Paulo. It discusses the origin of its popular representation and his ways by other continents, focusing on the city of São Paulo and associations as aggregator. The study was conducted through oral history and other sources, who conversed with the tradition of studies, popular culture, memory, ruptures and continuities of a representation that is focused on reinventions of these traditions, seeking to revive the concept of crystallization that the word folklore emanates. Practice looking reinserting a local culture, representative of a country for the Portuguese immigrants who willingly or by political and economic pressures, reunited and/or were recognized as members of this community through associations
A pesquisa Raízes de Portugal. Do Minho a São Paulo (1950-2000) tem como objetivo entender e problematizar a participação de portugueses, seus descendentes e de pessoas de outras nacionalidades, em grupos e associações considerados por seus integrantes como representantes do “folclore” português em São Paulo. Aborda a origem de sua representação popular e seus caminhos por outros continentes, com foco na cidade de São Paulo e o associativismo como agregador. O estudo foi desenvolvido por meio da História Oral e outras fontes, que dialogaram com os estudos de tradição, cultura popular, memória, rupturas e permanências de uma representação que está centrada nas reinvenções dessas tradições, que buscam reanimar o conceito de cristalização que a palavra folclore emana. Prática que procura reinserir uma cultura local, representativa de um país para os imigrantes portugueses, que por vontade própria ou por pressões políticas e econômicas, reencontraram-se e/ou reconheceram-se como integrantes dessa comunidade por meio das associações

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior
Esta pesquisa diz respeito à mÃsica brasileira, pensada e instituÃda por musicÃlogos e folcloristas como MÃrio de Andrade, Renato Almeida e Luiz Heitor CorrÃa de Azevedo, dos anos de 1920 à âEra de Ouro do RÃdioâ. A anÃlise està detida, sobretudo, nessa literatura, atravÃs de laÃos e filiaÃÃes empenhadas com a nacionalizaÃÃo da mÃsica erudita. Compreende a quebra que separa e dimensiona o popular, realizada de modo pedagÃgico e doutrinÃrio, uma vez que os intelectuais buscam conformar um entendimento da HistÃria da MÃsica Brasileira e os paradigmas que deveriam orientar o registro da cultura do povo, bem como realizar uma mÃsica artÃstica nacional como fazer moderno. Por fim, a pesquisa se concentra nas crÃticas desferidas as atividades do maestro RadamÃs Gnattali, como forma de encarar o entendimento sobre a cultura brasileira por parte dos musicÃlogos, nÃo conseguindo estar atada aos conceitos de popular ou erudito, concentrando os dilemas sociais e culturais quanto à profissionalizaÃÃo e à musica nacional.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
This study analyses the memoirs construction in Gustavo Barroso works From 1912 (Terra de Sol) until 1941 (O Consulado da China) Gustavo Barroso wrote books marked with the autobiographical style It tries to comprehend how the memory is the central theme of Gustavo Barroso studies Gustavo Barroso mixed ethinographic research and memoir narratives in his folklore studies He analysed the relationship between national and popular culture This work still seeks to understand the National Memory and the Gustavo Barroso´s memory organized in National Historical Museum
O tema central da presente tese é a construção de memórias em Gustavo Barroso (1888-1959) A delimitação cronológica corresponde principalmente à publicação em 1912 de seu livro de estréia Terra de Sol à época de lançamento de sua trilogia de memórias Coração de Menino (1939) Liceu do Ceará (1940) e O Consulado da China (1941) A questão está em perceber que a composição de memórias é um mote primordial nas práticas desse intelectual cearense que residiu no Rio de Janeiro dos 22 anos de idade até o ano de sua morte Ele conjugou a pesquisa etnográfica a uma escrita memorialística Entre a saudade da cultura popular e culto às letras Gustavo Barroso aprimorou a vocação nacional Foi preocupação analisar a relação entre o popular e o nacional em seus estudos de folclore Na intenção de compreender o perfil da memória nacional desenhada no Museu Histórico Nacional (MHN) bem como o lugar reservado à memória de Gustavo Barroso seu diretor fundador foi analisada a experiência desse Museu

Les transcriptions des strophes des chants flamencos soulèvent des problèmes liés à leurs spécificités linguistiques et à leur portée symbolique. Cette thèse propose d’étudier les représentations phonologiques sous-jacentes aux graphies des premiers recueils consacrés à ce type de chants, publiés en Espagne entre la fin du XIXe et le début du XXe siècle. Ces graphies extra-normatives sont envisagées selon trois perspectives différentes et complémentaires : métalinguistique, historico-culturelle et historico-épistémologique.Les systèmes de transcription étudiés supposent des phonologies, donc des discours sur la langue, qui se rattachent aux diverses représentations culturelles sur le « peuple andalou » véhiculées dans ces mêmes ouvrages. Celles-ci sont analysées dans le contexte mouvementé de réorganisation politique et sociale – et de quête identitaire et symbolique – qui avait lieu en Espagne et dans ses régions à l’époque en question. On étudie donc le rôle qu’ont joué les folkloristes espagnols dans la recherche des particularités andalouses.L’élaboration de ces systèmes de transcription s’est faite dans un cadre scientifique caractérisé par l’institutionnalisation des études folkloriques, en Espagne comme ailleurs en Europe, et par l’émergence de nouveaux savoirs en linguistique. Linguistes européens et folkloristes espagnols échangeaient idées et matériaux, non sans engendrer des erreurs d’interprétation qui ont perduré pendant plusieurs décennies.De la sorte, les représentations linguistiques sous-jacentes acquièrent le statut de prototypies, participant à des constructions culturelles et légitimées par leur rattachement à un réseau scientifique international et interdisciplinaire
The transcription of flamenco songs raise various issues connected to their linguistic features and their symbolic value. This thesis addresses the phonological representations underlying the written forms found in the first collections, published in Spain between the end of the 19th and the beginning of the 20th century. We approach these non-orthographical spellings from three different and complementary perspectives: a metalinguistic one, a cultural-historical one, and an epistemological-historical one.They imply phonological descriptions of the language of flamenco songs that are linked to different cultural representations about the “Andalusian people” conveyed by the authors themselves. These cultural representations are studied in the tumultuous context of the social and political reorganization and the symbolic and identity-related search that took place in Spain both at a national and at regional or local level at that time. Thus, this work focuses on the role played by the Spanish folklorists in the search for Andalusian peculiarities.The establishment of these transcription systems emanated from a scientific framework featuring the institutionalization of folk-studies in Spain and Europe, and the rise of new knowledge areas in linguistics. European linguists and Spanish folklorists shared ideas and materials, a process that led to some misunderstandings that were perpetrated through the following decades.In this way, the underlying linguistic representations acquire the status of prototypes, that participate to cultural constructions and that are legitimated by their connection to an international and interdisciplinary scientific network
Las transcripciones de las letras de los cantes flamencos plantean problemas vinculados a sus particularidades lingüísticas y a su valor simbólico. Esta tesis se propone estudiar las representaciones fonológicas subyacentes a las grafías de las primeras colecciones de este tipo de cantos, publicadas en España entre finales del siglo XIX y principios del siglo XX. Se contemplan estas grafías extra-normativas bajo tres perspectivas diferentes y complementarias: la metalingüística, la histórico-cultural y la histórico-epistemológica.Estas transcripciones suponen fonologías, esto es, discursos sobre la lengua que están relacionados con las diferentes representaciones culturales sobre el “pueblo andaluz” concebidas en las mismas obras. Éstas son examinadas en el marco tumultuoso de la reorganización política y social y de la búsqueda identitaria y simbólica que se registra en España y sus regiones en la época mencionada. Por lo tanto, se estudia el papel que desempeñaron los folkloristas españoles en la búsqueda de las especificidades andaluzas.La elaboración de estos sistemas de transcripción se hizo en un marco científico caracterizado por la institucionalización de los estudios folklóricos, tanto en España como en el resto de Europa, y por la aparición de nuevas áreas de conocimiento en lingüística. Lingüistas europeos y folkloristas españoles se intercambiaban ideas y materiales, generando a veces errores de interpretación que persistieron durante varias décadas.De este modo, dichas representaciones lingüísticas adquieren la condición de prototipos que participan a las construcciones culturales y son legitimados por su vínculo a un marco científico internacional e interdisciplinar

Folklore et revolution nationale ont entretenu un rapport etroit pendant le gouvernement de vichy. Le folklore interessa l'instruction publique, le jeunesse, l'agriculture, l'equipement national, la propagande. . . , legitime en cela par la science folklorique. Son concept, etroitement imbrique a celui du regionalisme, en appelait au systeme de representation du peuple et incitait la societe a rechercher son identite culturelle dans un espace perceptible a des signes : langues, savoir-faire, habitat, fetes, arts populaires. . . La communaute ethnique qui est ici reconnue est le paysan et son corollaire l'artisan. L'affirmation d'une identite va de pair avec le programme de retour aux traditions, aux ancetres, a la communaute, via la purete de la race, et fait du folklore, par glissements successifs, du jeu a la science, de la science a la reconstruction du visage de la france un modele normatif qui fait partie integrante de l'ideologie vichyssoise. Le folklore comme forme et sens de la revolution nationale nous livre a travers ses apologies renouvelees du terroir, le racisme de l'ordre nouveau et la paix sociale, fondement de sa duree
Folklore and national revolution were closely bound during vichy government. Public education, agriculture, equipment, home offices were concerned by folklore, justified in this interest by folkloric knowledge. Its concept, closely acquainted with the idea of regionalism, appelaed to the system of appointed nation and incited community to look after its identity through some symptome : language, know-how, way of living, popular festivities and art. . . The ethnical community recognised hereunder is the peasant and as an evidence, the craftsman. The assertion of an identity is on a par with the look back upon the traditions, the ancestors, through the purity of the race, and changes folklore in a standard sample which is part and parcel of vichyssoise ideology by the way of successive passages from game to science, from science to reconstitution of france appearance. Folklore as a form and meaning of national revolution gives us, through its repeated justifications of the native soil, the foundation of new order and social peace, liable for its continuance

Cette thèse de doctorat présente le long processus socio-historico-politique (l’esclavage ; le colonialisme ; l’influence du christianisme; les phénomènes de migration ; la créolisation de la société jamaïcaine ; le dépeuplement des campagnes ; l’urbanisation des populations rurales ; l’américanisation de la société jamaïcaine ; la politique postcoloniale etc. ) et culturel (la religion rasta ; l’influence des musiques africaines, afro-caribéennes, afro-américaines et européennes ; les sound systems ; l’évolution de la technologie etc. ) qui a contribué de manière significative à l’essor et au développement des musiques populaires jamaïcaines au XXe siècle. Ainsi, cette étude retrace l’histoire du mento, du ska, du rocksteady, du reggae, du dub, du dub poetry, du toasting et du dancehall, principaux mouvements musicaux apparus à la Jamaïque au XXe siècle, tout en traitant de manière systématique et approfondie l’arrière-plan socio-historico-politico-culturel qui a agi sur les processus créatifs. Par ailleurs, ce travail de recherche analyse la manière dont ces styles musicaux ont influencé les sociétés du monde entier, notamment celles d’Europe, des États-Unis et d’Afrique
This Ph. D. Dissertation presents the long socio-historico-political (slave trade; colonialism; Christianity’s influence; migration phenomena; creolization of Jamaican society; rural depopulation; urbanization of rural populations; Americanization of Jamaican society; postcolonial politics etc. ) and cultural (Rasta religion; influence of African, Afro-Caribbean, Afro-American and European musical styles; sound systems; evolution of technology etc. ) process which has contributed to the birth and development of Jamaican popular musical genres in the 20th century. Thus, this study traces the history of mento, ska, rocksteady, reggae, dub, dub poetry, toasting and dancehall, the main popular musical genres which appeared in Jamaica in the 20th century, systematically and deeply analyzing the socio-historico-politico-cultural background which has acted on the creative processes. Furthermore, this research work examines the way these musical styles have impacted on worldwide societies, especially those of Europe, the USA and Africa

This essay is a reflection on various layers which inform my artistic practice, and particularly expands on the background and research for my short film The Spirit, The Lamp & The Permanent Inhabitant. It's an attempt to describe how certain parts of my Gotlandic background influence and inspire my artistic practice, and also to show how reading, writing and critical reflection are important parts of my process. The essay pays tribute to an oral storytelling tradition that can be found on the island Gotland, Sweden, but is also an examination into how tourism has affected human relationships, and speculatively, the relationship between humans and ancient spirits.

Un nombre important de folkloristes et de régionalistes ont participé à l'élaboration de la Révolution nationale sous le régime de Vichy. Cet engagement ne s'explique ni par leurs opinions politiques, ni par leur opportunisme, mais plutôt parce qu'ils partageaient une communauté d'idées avec les hommes politiques, hauts fonctionnaires ou écrivains qui naviguèrent dans la sphère vichyste. L'étude des réseaux et des trajectoires individuelles permet de cerner un groupe défendant des croyances communes, selon lesquelles la culture d'une région est déterminée, comme la race de ses habitants, par le paysage et le climat. Ainsi des folkloristes ont-ils inventé une "culture naturelle" qui se rapproche plus de l'anthropolgie raciale de l'Ecole d'anthropologe ou de l'Institut Carrel, que de l'ethnologie initiée par Marcel Mauss. Leurs travaux, teintés de xénophobie voire de racisme, gardent cependant un actualité, car ils tentaient de dépasser l'opposition entre nature et culture
Many folklorists and regionalists helped to shape the national revolution under the Vichy regime. This contribution was neither motivated by political views nor by opportunism, but rather by shared ideas, to which scientists and some politicians, higher officials and writers of the Vichy period appealed. In studying the formation of networks, analysing individual trajectories, this thesis establishes the existence of a group unified by similar beliefs, consistent with the idea that the culture of any region is determined, like the race of its inhabitants, by the landscape and the climate. These folklorists invented the theory of "natural culture", which draws them closer to the racial anthropologists of the Ecole d'Anthropologie or the Carrel's institute, than to the social anthropology introduced by Marcel Mauss. Their works, through impregnated with xenophobia or even racism, still have an influence because they were trying to surpass the opposition between nature and culture

Le sujet aborde le folklore mythico-religieux sur le plateau du Collao, région qui fait partie du haut-plateau de l'Amérique du sud et dont la population est essentiellement quechua et aymara. Il étudie le mythe des hommes des Andes : il nous raconte de façon universelle une histoire primordiale et sacrée qui échappe à la conception occidentale de la réalité et du temps amenée par les espagnols. Il a été réalisé à partir d'une étude bibliographique qui nous a permis de faire le parcours historique depuis les civilisations indigènes jusqu'à nos jours. Les mythes actuels sont lies aux cultes de la pachamama (mère-terre), apus mallcus (dieu des montagnes), amaru (dieu de l'irrigation), supay (dieu du mal, diable). Il faut souligner le rôle primordial de la mère-terre vénérée à travers ses "apachetas" (sanctuaires) ainsi que par l'intermédiaire de rites ou de cultes isoles ou collectifs purs ou mélanges au calendrier catholique dont le plus répandu est celui de la cha'lla, pagos, corpachada, rite du sacrifice. La croyance en ces dieux est liée a 1) la vision cosmogonique de la nature que les populations divisent en plusieurs étages écologiques, chacun jouant un rôle particulier, 2) a leurs caractères dualistes, communautaires et hiérarchises. Notons que la religion catholique prédomine actuellement dans cette région, sans compter la religion autochtone. Son audience est importante notamment dans les sanctuaires voues a la vierge (vierge de la candelaria) assimilée par certains à la mère-terre. Nous nous sommes appuyés pour démontrer l'existence des mythes et de leur culte sur la fête du carnaval d’Oruro (Bolivie), sur le terrain duquel nous avons réalisé une enquête.

La perspective cyberculturelle tend à véhiculer des modèles homogènes de l'Internet : obscurantistes ou transparents, ils sont souvent marqués par une idéologie des langages universels, et le prétexte au développement de normes et régulations appropriés par les nouvelles institutions des technologies. Nous interrogeons et critiquons ces conceptions véhiculaires à l'aide de la notion de vernaculaire. Celle-ci engage un problème de valeurs en conflit avec l'institutionnel (le vulgaire, le populaire, le trivial) et que nous reformulons en termes de médiations : quelles « traductions » (des transformations médiatiques) des modèles technologiques dominants le vernaculaire opère-t-il ? Les théories et pratiques folkloriques d'Internet fournissent matière à cette problématique. Notre investigation du folklore relève d'une média-archéologie « composite » plutôt que de la constitution d'un patrimoine : nous excavons les formes anomales et les traces instables de situations de conflits socio-techniques. Le concept de métalangage problématisé en contexte de médias informatisés guide notre investigation, en posant aux langages de l'Internet des questions de logique et de logistique. Il permet d'identifier des métatextes, artefacts du folklore Internet qui réfléchissent à leurs conditions « architextuelles » de production, à trois moments historiques de la culture de réseau : les groupes de nouvelles de Usenet, les pages personnelles du premier Web et les blogs collectifs du deuxième Web. Il est aussi un point de vue réflexif sur la culture des réseaux, une « machine de vision » empruntant le regard d'amateurs et d’artistes de l’Internet pour mieux commenter ses enjeux contemporains
Cybercultural prospects tend to promote homogeneous models for the Internet : either obscurantist or transparent, they often carry an ideology of universal language, and are a pretext for developing norms and rules that are then integrated in the new institutions of technology. We question and criticize those promotions as “vehicular” conceptions, by introducing the notion of “vernacular internet”. The vernacular posits problems of values conflicting with the institutional (the trivial, the popular and the trivial), and we reformulate these in terms of mediation : how do they “translate” (in terms of media transformations) dominant technological models? Folkloric theories and practices on the Internet bring about a composite material which we investigate in a Media Archeology perspective instead of trying to build it into anheritage. We excavate anomalous forms and instable traces of conflict found insocio-technical situations. The concept of metalanguage is leading our investigation, but redefined in the context of computerized media. Metalanguage helps us tackle the Internet meta-media in terms of logic and logistics. We use it to identify Internet folkloric artifacts as metatext, which are textual processes reflecting on the conditions of their “architextual” production. Three historical moments of network culture are highlighted : Usenet newsgroups, personal homepages on the “first” Web and collective blogs on the “second” Web. Metalangage is also a reflexive point of view on network culture, a “vision machine” that appropriates Internet hobbyists’ and artists’ outlook in order to comment on its contemporary stakes

Cette thèse consiste à présenter une série de chants recueillis et choisis comme représentatifs des principaux genres traditionnels du folklore musical libanais. Que représente cette musique ? D'où vient-elle ? De quels éléments a-t-elle été constituée ? Comment s'est-elle propagée et qu'en reste-t-il ? Son objectif est de cerner une musique libanaise spécifique, de montrer ses caractéristiques, de reconstituer son historique dans le cadre du possible et de la fixer sur des portées musicales. Cette présentation est à la fois chronologique, descriptive, analytique et comparative. Une partie de cette thèse est consacrée à l'étude du patrimoine musical bédouin vu son influence sur le folklore musical au Liban. L'ensemble des observations et des enregistrements est basé sur des enquêtes de terrain menées dans les différentes régions du Liban et de la Syrie entre 1994 et 2001. Le travail comporte deux volumes. Le premier est divisé en trois parties. La première partie offre un aperçu géographique, historique et social du sujet. La deuxième partie comporte une analyse de ces chants. La troisième partie propose une synthèse des analyses et des études faites durant le travail. Le second volume est formé de la bibliographie et d'annexes contenant les transcriptions musicales et des fiches informatives sur les chanteurs, musiciens et instruments. Les chants et les passages musicaux sont transcrits sur des portées selon le système occidental accompagnés des paroles en translittération de l'arabe et du dialecte libanais en caractères latins dessous
The subject of this thesis is to display a set of songs collected and chosen to represent the main traditional types of the Lebanese musical folklore. What does this music represent? Where is it derived from? What elements has it been made up of? How did it widespread and what remains of it? It aims at determining the typical Lebanese music, to display its characteristics, to give as much as possible its historical account and to adapt it to musical staves. This presentation is chronological, descriptive, analytical as well as comparative. A part of this thesis is specific to the study of the Bedouin musical heritage because of its impact on the musical folklore in Lebanon. The entire observations and recordings are based on field investigations conducted in several regions in Lebanon and Syria between 1994 and 2001. The work comprises two volumes. The first one is divided into three parts. The first part puts forward a geographical, historical and social survey of the subject matter. The second contains an analysis of these songs. The third part proposes a synthesis of analysis and studies conducted during the work. The second volume includes the bibliography and annexes containing the musical transcriptions and data records of singers, musicians and instruments. Songs and musical pieces are transcribed on staves according to the occidental system and accompanied by Arabic lyrics or lebanese dialect words transliterated into latin letters

En 1974 et 1981, deux musées nationaux d’un genre nouveau ont été fondés au Japon : successivement, le Musée national d’ethnologie dans le Kansai, et le Musée national d’histoire et de folklore dans le Kantô. Le premier expose l’ensemble des cultures étrangères ainsi que celle de l’archipel, à travers une approche ethnologique, quand le second se concentre sur l’histoire, le folklore et l’archéologie du Japon. Ce travail vise à analyser le processus de construction et la manière dont le Japon est (re)présenté à travers ces deux musées, en les inscrivant dans une histoire aussi bien muséale que disciplinaire. Leur création dans un Japon en plein essor économique et, par surcroît, qui venait de rejoindre les grandes puissances sur la scène internationale, les associe d’emblée à une volonté de positionner la culture et l’histoire nationale, afin de rendre compte de son particularisme, ou encore de son homogénéité ; théories alors largement répandues à cette période. Si ce contexte idéologique rejaillit en partie dans les choix muséographiques et programmatiques, ce n’est pas tant pour y adhérer que sous forme de tensions propres au caractère national de ces deux musées. La muséographie étant à la charge des chercheurs et non des conservateurs, ce sont d’abord des enjeux disciplinaires qui conditionnent l’exposition. La tension se situe aussi bien dans la peur de l’instrumentalisation que dans l’exigence de la rigueur scientifique pour se légitimer ; ce qui se traduira sous forme de négociations et d’ajustements entre l’autorité du discours scientifique et celui, plus politique, de l’État-nation
In 1974 and 1981, two national museums of a new kind were established in Japan : successively, the National Museum of Ethnology in the Kansai region, and the National Museum of History and Folklore in the Kantô region. The first exhibits foreign cultures, as well as cultures of the Japanese archipelago, using an ethnological approach, whereas the second focuses on the history, folklore and archeology of Japan. This work aims at analysing the process of construction and the way Japan is (re)presented in these two museums, while replacing them in both museum and disciplinary history. Their establishment, in the context of Japanese economic growth, in a country who had just joined the ranks of global powers is thus linked with a strong will to present national history and culture in order to show its particularism, or its homogeneity ; both such theories were widely prevalent in this period. If this ideological context is partly reflected in the museographic and programmatic choices, it’s not so much to adhere to them, but can be perceived in the form of tensions, pertaining to the national character of these two museums. Since the museography was left to researchers and not curators, it is first and foremost the disciplinary stakes which condition the exhibition. The tension arises from the clash of intrumentalisation, and the demand for scientific rigor to legitimate certain claims, materilazed by negociations and adjustments between the authority of the scientific discourse and that, more political, of the nation-state

The Cache Valley Shoshone are the survivors of the Bear River Massacre, where a battle between a group of US. volunteer troops from California and a Shoshone village degenerated into the worst Indian massacre in US. history, resulting in the deaths of over 200 Shoshones. The massacre occurred due to increasing tensions over land use between the Shoshones and the Mormon settlers. Following the massacre, the Shoshones attempted settling in several different locations in Box Elder County, eventually finding a home in Washakie, Utah. However, the LDS Church sold the land where the city of Washakie sat, forcing the Shoshones to adapt quickly. Much of our knowledge of the massacre stems from either white American sources or the oral histories that circulate among one Shoshone family group. This leaves the information incomplete. Adding the voices of more individuals expands our knowledge of the massacre itself and the adaptations the Shoshones continue to make in order to survive.

xi, 180 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Drawing upon theories from folkloristics, history, and audience studies, this thesis analyzes historical films, their reception, and the importance of history and film in everyday life. Using an interdisciplinary approach, I demonstrate how a folkloric perspective may contribute to and strengthen the study ofhistorical films by emphasizing the attributes of narrative and belief at the vernacular level of reception. With an ethnographic and qualitative focus on the informal, common, and everyday film viewing habits of specific individuals in relation to historical belief, this project provides empirical evidence that is necessary for a more accurate understanding of the function and reception of historical films. This study also re-examines the formal aspects of historical films in relation to historical re-construction, the definition and categorization of such films, their reception, their function beyond entertainment, and the need for an integration of new research in both audience studies and folklore studies.
Committee in Charge: Dr. Daniel Wojcik, Chair; Dr. Jeffrey Hanes; Dr. Bish Sen

According to the 1990 bulletin issued by the National Park Service, traditional cultural properties (TCPs) derive their significance from cultural practices or beliefs of living communities. This thesis centers on a case study of the nomination of Casita Rincón Criollo to the National Register of Historic Places as a TCP. The nomination is a collaborative project of Place Matters in New York City and Western Kentucky University, initiated by the American Folklore Society Working Group in Folklore and Historic Preservation Policy. Casita Rincón Criollo has several issues that make nomination to the National Register tricky. Casitas are small “houses,” typically accompanied by gardens, which serve as community gathering places for the Puerto Rican community in New York City. Often built illegally on empty lots, casitas tend to be impermanent structures. Casita Rincón Criollo in the South Bronx is less than 50 years old and has been moved and reconstructed. However, such is the nature of casitas. Building, maintaining, and rallying to save and move the casita makes the Casita Rincón Criollo significant. Further, Casita Rincon Criollo has served as a key influence on traditional forms of Puerto Rican music in the United States. For this reason, the Casita is recognized on City Lore’s grassroots register, Place Matters, and it was also incorporated into the GreenThumb garden movement in NYC. Folklorists are uniquely poised to recognize cultural groups and communities that might otherwise be overlooked by the National Register of Historic Places. In this thesis, I will discuss methods of research employed in the documentation of Casita Rincón Criollo and examine how folkloristic methods can address gaps in representation. I will contextualize the project within a broader history of heritage designation programs in the United States and world. From ethnographic fieldwork, oral histories, and more, I will conclude that folklorists offer alternative documentation strategies to supplement those most commonly employed in National Register nominations, as well as a more inclusive definition of cultural groups and tradition.

Using only one line of evidence for a study of historic sites can be problematic if it does not provide a complete picture of the material culture or lifeways of a people, group, or community. In order to understand the ideas and objects, of culture present at historic sites, it is necessary to use archaeological methodologies with vernacular architecture studies and folklore to create a more holistic image of the world and its inhabitants. To facilitate this, I conducted original research on a mineral spring resort, Massey Springs Resort (Massey Springs) in Warren County, Kentucky, a popular resort in the early 1900s. This project examines the site in terms of its archaeological resources, primary and secondary archival data, and vernacular architectural resources. Since there are no standing structures, Massey Springs is worthwhile example of the explicit need of using a multidisciplinary and integrated approach to investigate past lifeways.

RésuméCette thèse a pour objectif de se demander si une période spécifique, telle que celle de la Francocratie, constitue un sujet cognitif incomplet et marginalisé dans l’enseignement du cours d’histoire des écoles grecques.Ayant enseigné durant de nombreuses années le programme d'histoire aux élèves de l'école primaire en Grèce, j’ai constaté que les informations et les connaissances transmises aux élèves concernant la période de Francocratie en Grèce (XIIe-XIVe siècle après J.-C.) sont insuffisantes. Pourtant cette période a marqué l’histoire de la Grèce. Après avoir étudié les neuf manuels d’histoire de l’enseignement primaire et secondaire de 1974 à aujourd’hui, j’ai constaté que la référence à la période de la Francocratie était insuffisante. Bien que cette période ait apporté de nombreux changements dans le système préexistant de la structure sociale et du fonctionnement de la société et que, grâce à elle, la Grèce a été mise en contact avec le monde occidental, cette période n’est pas reconnue par le système éducatif grec ni étudiée au sein des établissements scolaires.La dernière partie de la thèse reprend la proposition suivante: Le contenu de la leçon d'histoire peut être enrichi avec des éléments du folklore trouvés dans les archives du centre du folklore du fondateur grec de la laographie, Nikolas Politis.Mots-clés : histoire, franc, manuels scolaires, éducation, archives de manuscrits, folklore
AbstractThis dessertation aims to investigate whether specific periods of time, such as the Franco-occupation in this case, constitute a subject of knowledge incomplete and marginalized.Having been in contact for many years as a teacher of history teaching and studying the curricula, i found that the information and knowledge transferred to the students for the period of Frankish rule in Greece(12th-14th century B.C) is insufficient for the essential knowledge of an important historical period for Greece.Although it has brought many changes to the pre-existing system of structure and functioning of society and it has also brought Greece into contact with the Western world, it did not receive substantial recognition and study from the Greek educational system. After studying the nine school manuals in history in primary and secondary education from 1974 to today, it was found that the reference to the period of Frankish domination is incomplete. The last part of the thesis includes the following proposition: The contents of the school history books may be enriched with the elements of folklore found in the archives at the Greek folklore center of the Greek founder of folklore,Nikolas Politis.Key words: History,Frankish period,historical manuals, folklore tradition,manuscript file

Cette recherche est batie autour d'une histoire en trois temps. Durant la seconde moitie du xviiie siecle, epoque moderne, les menages se construisent dans le cadre de la famille nucleaire. Au cours du xixe siecle, s'opere un renversement au cours duquel la famille elargie ou le groupe complexe deviennet le modele dominant des menages. Ce recours massif aux solidarites familiales s'accompagne d'un "etouffement" de l'individu qui participe a l'invention d'une tradition car subordonne au groupe. Cette tradition recente sert de reference durant le xxe siecle travaille par l'emergence de nouvelles formes d'individualisme. Cette histoire s'inscrit dans une transition politique dominee par la construction historique francaise. Les donnees reunies autour de cet exemple mediterraneen permettent de saisir l'originalite et la nature profonde de l'architecture francaise dans le devenir de l'europe. La casinca, ancien paese, devient un "pays de france" au cours du xixe siecle et se presente comme le miroir d'un projet esthetique ou le politique se definit dans l'organisation de la vie, des sociabilites servie par une economie de l'emotion : gouts, saveurs, qualite, paysages autant de marqueurs d'identite dans une production nationale reduisant les mediations territorialisees
This research is organized around three phases. During the second half of the eighteenth century, caracterized by its modernity, nuclear family is the dominant form of households. Along the nineteenth century, the dominant pattern is changing with the spreading of complex forms. The individual participates to the invention of a tradition because he is submitted to the family group. This recent tradition is a reference during the twentieth century but new forms of individualism appear. This mouvement enlightens a political transition dominated by the french historical construction. Several datas around this mediterranean case allow to understand the originality of the french architecture in the dynamics of europe. Casinca, old "paese", becomes a "pays de france" and is a mirror of an aesthetic project. This one involves a meaning of politics as organisation of life including a sociability stimulated by an economy for emotion : tastes, savours, quality, landscapes. .

Une approche historique et socioculturelle de la nahda une traduction du drame de harun er-rashid suivi par son analyse actantielle et par l'etude du systeme actoriel dans la dramaturgie de l'auteur
A social, cultural and historical approche of the nahda : a transletion of harun er-rashid drama by al-qabbani followed by its actantial analysis and an actorial study

L'auteure édite, traduit et étudie les charmes roumains manuscrits à but curatif ou protecteur datant des XVIIe-XIXe siècles, conservés notamment dans la collection de la Bibliothèque de l'Académie Roumaine de Bucarest, en analysant le savoir magico-médical traditionnel qu'ils transmettent et son évolution au cours de la tradition manuscrite, dans le cadre d'une recherche pluridisciplinaire alliant la philologie, l'histoire des textes et l'histoire des mentalités. L'analyse, structurée selon la finalité des charmes – contre le năjit, le mal de dents, la matrice, la fièvre, la brâncă, le mauvais œil, le diable des eaux, les fées et le maléfice – s'attache particulièrement aux formules et aux éléments lexicaux récurrents, étudiés du point de vue de leur origine et sémantisme et de leurs changements au cours de la transmission manuscrite. L'étude met également en évidence les différences entre les traditions manuscrite et orale des charmes roumains, dues essentiellement au caractère conservateur des charmes manuscrits et à leur dépendance de la tradition culturelle gréco-slave
The author edits, translates and studies Romanian curative and protective manuscript charms written in the 17th-19th centuries, which are preserved mainly in the Romanian Academy Library archives in Bucharest. She analyses the magical and medical lore they transmit and its evolution along the manuscript tradition through an interdisciplinary study, uniting philology, history of texts and history of mentalities. The analysis develops according to the purpose of the charms (against the năjit, toothache, uterus, fever, brâncă, evil eye, aquatic demons, fairies and evil spells), focuses on the recurrent formulae and lexical elements and studies them with respect to their origin and semantics and to their reshuffling along the manuscript transmission. The study also emphasises the differences between the manuscript and oral traditions of the Romanian charms. These differences are due to the conservative character of the manuscript charms and their dependence upon the Greco-Slavonic cultural tradition

Un premier état des lieux des divers aspects, sens et utilisations de la poupée est abordé ici, et ce dans des domaines différents : sorcellerie, peinture, médecine, folklore et jouet. Ces approches peuvent constituer une genèse possible de la poupée d'artiste. Si leurs démarches diffèrent autant que les aspects de leurs créations, ce sont des artistes créateurs de poupées qui sont rassemblés ici tels Hans Bellmer, Oskar Kokoschka, Kazuyo Oshima. Pour la construction de cette poupée, qui est aussi nommée ici objet intermédiaire, ce seront les motivations, buts et raisons possibles de cette création qui seront ensuite observés. Pour son créateur, celle-ci représente souvent bien plus qu'une sculpture ou un quelconque travail artistique. La particularité de ces poupées d'artistes tient dans leur anthropomorphisme qui les inscrit dans un jeu de la vie. Finalement ces artistes, sortes de "Pygmalion", entretiennent une relation intime avec ces objets et les mondes de la création et celui de l'artiste tendent parfois à se fondre
We will tackle here a first inventory of the various aspects, meanings and uses of the doll, and this in different fields : witchcraft, painting, medicine, folklore and toy. These approaches can constitute a possible genesis of the artist doll. If their processes differ as much as the aspects of their creations, here are gathered together dolls creators such as Hans Bellmer, Oskar Kokoschka, Kazuyo Oshima. For the making of this doll, which is also called here intermediary object, that will be at the same time motivations, goals and possible reasons of this creation often considered more than a sculpture or any artistic work. The particularity of these artist dolls lies in their anthropomorphism which inscribes them into a life game. Finally these artists, kinds of "Pygmalion", have close relations with these objects and the creation worlds and the artist's world sometimes tend to merge

During field experience as a storyteller constructing a performance based on the Battle of Kings Mountain on behalf of the Overmountain Victory Trail Association and the Overmountain Victory National Historic Trail, I encountered ethical and philosophical dilemmas. This challenge centered on ethical and spiritual convictions that put me in potential conflict with the task of creating a performance about war. This experience forms the basis of an autoethnographic approach to the art form, revealing the critical role played by personal ethics and a functioning engagement with historiography and narrative theory in producing effective performance stories. Historical performance storytelling has little developed theoretical discourse that takes into account contemporary theories of historiography and interpretation. My experience suggests that interdisciplinary thought on narrative, counternarrative, performance, and historiography should be incorporated by storytellers to aid in the production of ethical and effective historical storytelling performances.

Le "Dictionnaire des coutumes, des traditions et des expressions égyptiennes", publié en 1953 par l'homme de lettres Ahmad Amin (1886-1954), apparaît comme l'un des premiers textes qui procédèrent à l'enregistrement et à la description du folklore égyptien, qui se trouve ainsi défini comme un sujet digne de connaissance et de mémoire. Cet ouvrage, en langue arabe, contribue en effet à la formalisation du folklore en consignant des croyances, des pratiques et des savoir-faire relevant de traditions orales non codifiées. Souvent utilisé comme source ethnographique pour l'histoire de l'Egypte contemporaine, il n'avait jamais fait l'objet d'une présentation d'ensemble. A partir de l'indexation des articles par thèmes, l'analyse de ce dictionnaire montre dans quelles perspectives le domaine des traditions ou du folklore se constitue en un objet d'étude, comment s'y construit la notion de tradition et quel contenu lui est donné. Ahmad Amin voit tout d'abord dans les traditions l'expression de l'identité des Egyptiens. L'affirmation du caractère national des mœurs et des coutumes qu'il décrit, ainsi que le motif historique qu'il donne à leur collecte, justifient l'intérêt porté à celles-ci. En consignant de~ traditions sur le point de disparaître, son dictionnaire témoigne de la volonté de préserver le souvenir du mode de vie du passé, constitutif de la mémoire et de l'identité collectives, et de l'intégrer à l'histoire de l'Egypte. Les traditions sont enfin abordées d'un point de vue critique, dans une perspective de normalisation culturelle, ce qui participe également à la définition - ou à l'invention - du folklore égyptien
The "Dictionary of Egyptian Customs, Traditions and Phrases", published in 1953 by the scholar Ahmad Amin (1886-1954), is considered as one of the first texts recording and describing the Egyptian folklore, therefore defined as a subject worth being studied and recorded. This work, written in Arabic, contributes to formalizing this folklore, its beliefs, practices and know-how coming from oral, uncodified traditions. Often used as an ethnographical source for Egypt contemporary history, it has never been presented in its whole form. From an indexation of the articles by themes, the analysis of this dictionary shows us how traditions and folklore become a subject of study, how the notion of tradition can be constructed and what it consists of. According to Ahmad Amin, traditions first express the Egyptian identity. The interest focused on these traditions is then justified by the national dimension of the habits and customs he describes, as well as their historical interest. By recording traditions about to vanish, this dictionary keeps up the memory of ancient way of lives, part of collective memory and identity, and integrates them into Egyptian history. Traditions are also considered with a critical point of view, in terms of cultural normalisation, which as well participates in the definition - or the invention- of the Egyptian folklore

La présente recherche se donne pour objectif d'étudier les quatuors à cordes à partir de leur lieu de création, la Société Nationale de Musique. La première partie est consacrée à l'analyse de cette organisation de concert: elle commence par en déterminer le fonctionnement général, l'action de certains dirigeants, la façon dont les programmes étaient constitués et les oeuvres sélectionnées mais aussi les rapports qu'elle entretenait avec la presse et le public. Suivent l'évaluation de la place du quatuor à cordes au sein des programmes de la Société Nationale et de l'examen des raisons qui ont pu inciter les compositeurs à écrire un quatuor à cordes. Plusieurs pistes ont été explorées: rôle des interprêtes et de certains professeurs, d'une part, motivations plus personnelles liées à leur perception et à leur vision du quatuor, d'autre part. Le troisième chapitre définit les orientations esthétiques de la Société Nationale à partir des quatuors étrangers qui y sont joués: les derniers opus de Beethoven, les quatuors de Grieg et des Russes. La seconde partie de la recherche s'attache à l'analyse du corpus à partir des critères esthétiques mis en valeur auparavant: unité de la grande forme et étude de la forme cyclique, construction des mouvements et référence à des modèles plus ou moins transformés, rôle du folklore et harmonie puis écriture du quatuor à cordes. Pour chacun des ces points, une catégorisation a été établie s'appuyant sur les écrits de l'époque et prenant également en compte les travaux musicologiques contemporains: celle-ci permet d'aborder le plus précisément possible mais aussi dans leur globalité l'ensemble des vingt-deux quatuors à cordes.

Cette étude porte sur l’émergence de la notion de patrimoine au Québec entre 1882 et 1930. En premier lieu, elle démontre que, dès leurs premiers textes, des chercheurs, en quête de patrimoine, ébauchent un système de valeurs ancrées dans la culture, et à des fins patrimoniales. Ensuite, elle cerne les effets de l’instrumentalisation du patrimoine. La recherche est structurée selon trois orientations : définir la notion de patrimoine et sa mouvance, cerner les mécanismes de la patrimonialisation et comprendre la contribution des acteurs favorisant l’émergence du concept au Canada français. Les objets analysés se regroupent dans les catégories monuments bâtis et folklore telle qu’elles se définissent pendant la période. La recherche fait appel à des sources se partageant entre les manuscrits et les documents publiés. Elles sont utilisées dans deux aires d’études : celle des acteurs et celle du discours. L’étude, présentée dans une perspective diachronique et synchronique, inscrit les acteurs, et leur conception du patrimoine, dans leur époque, sous des angles variés tandis que l’analyse du discours, produit sur les objets, révèle les valeurs patrimoniales et idéologiques sous-jacentes. Les principaux acteurs identifiés sont William Douw Lighthall, Victor Morin et Édouard-Zotique Massicotte. La recherche comble un vide historiographique. De fait, il existe très peu d’études sur l’éveil de la conscience patrimoniale au Québec et aucune sur la contribution des acteurs et des discours révélant les premières identités patrimoniales au Canada français. La recherche se distingue aussi en incluant l’apport des acteurs anglophones et en situant leurs idées dans l’histoire du patrimoine. Pour ce qui est de la discipline de l ’ethnologie, cette étude retrace l’origine anglaise des idées sur le folklore, situe la contribution des chapitres montréalais de l'American Folklore Society et présente un nouvel éclairage sur l’apport appréciable d ’Édouard-Zotique Massicotte à l’histoire de la discipline et du patrimoine.

Dans cette thèse, nous tâchons de démontrer que l’histoire de la musique à Alger entre les années 1860 et l’indépendance ne peut se passer d’une approche en termes de rencontre et de transferts entre les expressions musicales européennes et indigènes. Spectacle vivant et lieu de rencontre, la pratique musicale a été saisie très tôt au cours du XXe siècle comme un moyen de travailler au rapprochement des communautés ; un des principes auquel ont œuvré de nombreux acteurs de la société civile, appuyés de manière croissante par les autorités publiques. Le frottement soutenu entre les différents genres musicaux a contribué à en former et à en consolider les contours, de sorte que la musique dite aujourd’hui « çan‘a » ou « andalouse » d’Alger est le produit d’un dialogue entre Européens et indigènes. Ainsi, entre 1862 et 1962, il est possible de parler de chemin « franco-musulman » parcouru par les musiques d’Algérie ; chemin qui contribue à modeler leur forme et qui révèle que la portée historique de l’indépendance dans le champ musical est aussi limitée que sa force mémorielle est démesurée, quand on considère les discours nationalistes dont les musiques d’Algérie sont aujourd’hui investies. Cependant, le cas musical algérois est peut-être plus significatif dans le champ d’une histoire culturelle de la France : il révèle – contre toute attente ? – qu’en France, le multiculturalisme n’est pas une fonction de l’impérialisme. Considérer un instant qu’Alger n’est pas foncièrement « coloniale » entre 1862 et 1962, reconnaître qu’elle a un temps partagé le destin de l’hexagone et constater qu’elle est un lieu d’application d’une politique culturelle de la diversité interroge le jacobinisme français, dont on répète pourtant à l’envie, qu’il est congénital
In this dissertation, we seek to demonstrate that the history of music in Algiers from the 1860s to independence must be apprehended in terms of meeting and transfers between European and indigenous musical expressions. Characterized by live performance and being a point of contact, musical practice has been understood, as early as the beginning of the 20th century, as a means to create and tighten ties between communities; a purpose to which many actors of civil society have worked, increasingly supported by public authorities. Rubbed together, the different musical genres were modelled and consolidated, so that the Algiers’s so-called “Andalusian” musical tradition was, in fact, shaped by the dialogue between Europeans and indigenes. Thus, from 1862 to 1962, one can speak of Algerian music’s “franco-muslim” path; a path which reveals that the historical significance of Algerian independence in the field of music is as limited as its memorial weight is overwhelming in contemporary nationalist narratives on Algerian music. However, the Algiers musical case might be more telling from a cultural history of modern France point of view: it shows – surprisingly? – that in France, multiculturalism is not tied to imperialism. If one considers for a moment that Algiers, from 1862 to 1962, is not fundamentally “colonial”, admits that it has for a time shared a common destiny with the hexagone, and yields to the fact that it hosted a genuine cultural policy aimed at the promotion of diversity, one is led to wonder if Jacobinism, as is often said, is consubstantial to France

Cette thèse étudie la circulation internationale du folklore chilien pendant la seconde moitié du XXe siècle. On aborde le parcours de chanteurs et ensembles folkloriques liés à la gauche chilienne, ainsi que leurs pratiques artistiques, les espaces de diffusion musicale et les manières dont la musique folklorique est accueillie par le public général, les critiques de musique, les organisations politiques et les médias, notamment sur la presse de gauche et les maisons discographiques. L’espace géographique de cette circulation est constitué par les pays de l’Europe occidentale. La période d’étude est circonscrite par deux moments significatifs pour la circulation internationale du folklore chilien : le premier voyage en Europe de la chanteuse Violeta Parra le 1954 et la fin de l’exil des musiciens chiliens en 1988. Ce sont plus de 30 ans pendant lesquels les musiciens interagissent largement avec les divers contextes artistiques et politiques d’Europe. La première partie de la thèse aborde les activités que les musiciens chiliens ont réalisées en Europe entre l’année 1954 et le gouvernement de Salvador Allende (1970-1973), dans le contexte d’un fort regard exotique vers les musiques de l’Amérique latine. La deuxième partie s’occupe des activités artistiques ayant lieu entre les années 1968 et 1982, quand les événements politiques du Chili situent les manifestations culturelles, y compris le folklore, dans un lieu privilégié des circuits artistiques de la gauche européenne. Finalement, la troisième partie aborde les expériences artistiques développées entre les années 1978 et 1988, et analyse les répercussions que la vie en exil provoque sur la pratique du folklore chilien en Europe, notamment la mise en question de rôle de la politique
This thesis studies the international circulation of Chilean folk music’s during the second half of the 20th century. We discuss the international trajectory of singers and folk ensemble related to the Chilean Left, also their artistic practices, the space of musical circulation and the ways in which this folk music is welcomed by the general public, music critics, political organizations and media, including the left-wing press and labels. The geographical space of this circulation is constituted by the countries of Western Europe. The study period is circumscribed by two significant moments for the international circulation of Chilean folklore: the first trip to Europe of folk singer Violeta Parra in 1954 and the end of the exile of Chilean musicians in 1988. For more than 30 years, the musicians have been interacting extensively with the diverse artistic and political contexts of Europe. The first part of the thesis studies the activities that Chilean musicians performed in Europe between 1954 and the government of Salvador Allende (1970–1973), in a context of a strong exotic look towards the music of America Latin. The second part examines the artistic activities taking place between 1968 and 1982, when the political events of Chile locate the cultural manifestations, including the folklore, in a privileged place of the artistic circuits of the European left. Finally, the third part examines the artistic experiences developed between 1978 and 1988, and analyzes the repercussions that life in exile has on the practice of Chilean folklore in Europe, notably the questioning of the role of politics

Une approche télescopique par une enquête de très longue durée et une analyse microscopique des cas localisés révèlent la dimension transculturelle -à la fois diachronique et synchronique- des réemplois populaires de l'image de la sirène. Les cas étudiés sont très éloignés dans le temps et dans l'espace: Mami Wata dans l'Afrique post-coloniale; un corpus d'amulettes européennes et une sirène nourrice au Moyen-Âge; des sirènes séductrices dans la Grèce ancienne. L'étude des intentionnalités activées par ce corpus d'images-objets suit les branchements historiques qui relient ces cas et souligne, dans un parcours régressif, l'étendue historique des dynamiques de métissage culturel. Chaque adaptation culturelle de l'image de la sirène, loin de se présenter comme la survivance d'une tradition se définit comme une invention novatrice s'appropriant d'une héritage sélectionné par une mémoire active et irrévérencieuse. Cette recomposition constante sauvegarde aunsi la vitalité du mythe
A comprehensive long-term approach and a microscopic analysis of circumscribed cases highlight the transcultural dimension -both diachronically and synchronically- of re-employment of the image of the siren and mermaid in folklore. Examples are drawn from different places at different points in history: Mami Wata in post-colonial Africa, a corpus of European charms; a nursing mermaid in the Middle Ages; seductive sirens in Ancient Greece. The study of the agency underpinning a corpus of image-objects from those contexts follows a description of the historical connections linking those cases and underlines, by following a regressive approach, the historical depth of the dynamics of cultural hybridization. In non way does each cultural embedding of the siren and mermaid myth present itself as the mere survival of a tradition. Rather it adds innovation to an active and playful memory, thus safeguarding the myth's vitality

O objetivo deste trabalho é mostrar como um país, colocado em um contexto histórico, está a evoluir e a sofrer mudanças sociopolíticas e culturais. Essa evolução é o exemplo perfeito de como o folclore pode ser a soma e o resultado de fatos históricos distantes e como uma nação se apresenta, do ponto de vista cultural, quando confrontada com fases de diferentes potências principais. Durante a história, especialmente dos tempos da antiga Dácia, a Moldávia foi confrontada com separações e dominações, dos seus vizinhos, e a cultura teve que sofrer de todos os pontos. Mudanças constantes de poderes principais conduziram à mudança da língua, do alfabeto, do território e do nome do país, e isso também favoreceu o desenvolvimento de uma nação mista, com raízes e cultura. Em tempos de cultura mista e nacionalidades, é muito importante, para uma nação, voltar aos seus primórdios, a fim de identificar, preservar e conservar sua identidade nacional e transmiti-la para as gerações vindouras. Na República da Moldávia, podemos ver a unidade entre a dança, a música e o traje, quando se trata de todos os tipos de danças folclóricas tradicionais da Moldávia. Estas práticas variam de uma região para outra, considerando o seu ritmo, propósito, estilo, nome, utilidade, etc., mas juntos formam a riqueza do folclore moldavo: as tradições, os costumes, as práticas nacionais. Tendo suas raízes na antiga Dácia, a música folclórica e as danças moldavas foram salvaguardadas e passaram por muitos períodos de transições políticas, sociais e econômicas, que não podiam deixar de deixar suas marcas e influências. Apesar de tudo, podemos ver que essas práticas foram salvas e transmitidas de uma geração para outra, mantendo o seu lugar honroso na vida cotidiana do camponês da Moldávia, embora uma grande parte deles tenha sido perdida durante a moldalização e a russificação da nação, e outra parte está atualmente em perigo. A herança da Moldávia é realmente ameaçada pelo esquecimento, a ignorância, especialmente provenientes das novas gerações, a imigração maciça do país e a crise econômica da Moldávia, que não permite que as pessoas desenvolvam as habilidades de uma política de transmissão e conservação; RÉSUMÉ GÉNÉRAL: Ce travail essayera de démontrer comment un pays, placé dans un contexte historique, évolue et subit des changements sociopolitiques et culturels. Cette évolution même est l’exemple parfait de la façon dont le folklore peut être la somme et le résultat des faits historiques lointains, et comment une nation se présente, du point de vue culturel, face aux phases des différentes puissances au pouvoir. Au cours de l’histoire, surtout des temps de l’ancienne Dacie, la Moldavie a été confrontée aux séparations et aux dominations de ses voisins, pendant lesquels la culture a souffert des changements majeurs. Les changements constants des pouvoirs ont conduit à la modification de la langue, de l’alphabet, du territoire et le nom du pays ; cela a aussi favorisé le développement d’une nation mixte, ayant des racines et une culture mélangée. Dans le temps où la culture et les nationalités sont composites et variées, il est très important, pour une nation, de descendre vers ses origines, afin d’identifier, préserver et conserver son identité nationale, et de le transmettre aux générations à venir. Dans la République de Moldova, on constate une unité entre la danse, la musique et le costume lorsqu’il s’agit de tous les types des danses traditionnelles populaires. Ces pratiques varient d’une région à une autre, compte tenu de leur rythme ; objectif ; style ; nom ; utilité etc., mais ensemble elles forment la richesse du folklore moldave ; les traditions ; les coutumes ; les usages nationaux. Ayant ses racines dans l’ancienne Dacie, les danses et la musique folklorique moldave, ont été sauvegardées et ont passés des nombreuses périodes de transition politiques, sociales et économiques, qui ont laissé leurs empreintes et influences. Malgré tout, nous pouvons constater que ces usages ont été conservés et transmis d’une génération à une autre, en gardant leur place honorable dans la vie quotidienne du paysan moldave. Bien qu’une grande partie de ces usages a été perdue lors de la moldavisation et russification du peuple, et une autre partie est actuellement en danger. Le patrimoine moldave est aujourd’hui menacé par l’oubli, l’ignorance, surtout de la part des jeunes générations ; l’immigration massive du pays ; la crise économique. Toutes ces circonstances ne permettent pas au peuple de développer une politique de transmission et de conservation du folklore; GENERAL ABSTRACT: This work’s aim is to show how a country, placed in an historical context, is evolving and suffers sociopolitical and cultural changes. This very evolution is the perfect example of how the folklore can be the sum and the result of distant historical facts, and how a nation presents itself, from the cultural point of view, when faced to phases of different lead powers. During the history, especially from the times of old Dacia, Moldova was faced to separations and dominations, from its neighbors, and the culture had to suffer from every point of it. Constant changes of leading powers have conducted to the change of the language, the alphabet, the territory and name of the country; this has also favorised the development of a mixt nation, with mixt roots and culture. In times of mixed culture and nationalities, it is very important, for a nation, to go back to its beginnings, in order to identify, preserve and conserve its national identity, and to transmit it for the generations to come. In the Republic of Moldova, we can see the unity between the dance, music and costume, when it comes to all the types of traditional Moldavian folk dances. These practices are varying from one region to another, considering their rhythm; purpose; style; name; utility etc., but together they form the richness of the Moldavian folklore: the traditions, customs, national practices. Having their roots in the ancient Dacia, the Moldavian folk music and dances have been safeguarded and passed through many periods of political, social and economic transitions, which could not help from leaving their marks and influences. Despite all, we can see that these practices have been saved and transmitted from one generation to another, keeping their honorable place in the quotidian life of the Moldavian peasant, although a big part of them have been lost during the moldavisation and russification of the nation, and another part is currently in danger. The Moldavian heritage is actually threatened by the oblivion, ignorance, especially coming from the young generations, the massive immigration from the country, and the economic crisis from Moldova, which is not allowing to the people to develop the skills of a transmission policy and conservation.

This paper aims to investigate a relatively unexplored area in archeology. The target area is funerals located outside of the cementery in coastal areas and the landscape Bohuslän. The paper has also looked at other areas of investigation such as etnological folklore and historic research. Purpouse for this has been to broaden the perspective.  The timeperiod studied is primaly historic and by that means the studdy starts in late middle age Scandinavian time and finnish in early 20th century . The essay shows this burial form where a wast burial culture which coexisted with strictly  church controlled burial traditions. The locals named the burial tradition for ”döingerös”. From the begining it supposed to be burials for peopel who worked as sailors but this investigation shows that other people could suffer the same threatment. Keywords: Burials, Historic time, carins, funeral outside cementery, folklore, costal enviroment.

Cette étude examine deux mouvements culturels qui ont joué un rôle central dans la configuration de la « musique populaire argentine» du dernier vingtième siècle; 1) le Nuevo Cancionero, mouvement qui à partir des années 1960 interroge et reformule le paradigme discursif du courant traditionaliste de la musique « folklorique» argentine; 2) la mouvance contre-culturelle du rock qui émerge à la même période sous le nom de mûsica progresiva et se consolide au début des années 1980 comme expression. Emblématique de la « culture nationale », En reconstituant et en articulant des trajectoires, performances et répertoires marquants, notamment ceux de la chanteuse Mercedes Sosa, ce travail rend compte des artefacts, espaces et modes de représentation et médiation constitutifs de ces cultures musicales. Ce faisant, on est amené à considérer les pratiques performancielles et discursives à travers lesquelles ces musiques « populaires» se sont constituées en tant que telles. Cette démarche nous permet de mieux saisir les trames idéologiques, identitaires et esthétiques qui traversent ces pratiques et, partant, les traditions culturelles et politiques dont elles sont tributaires. À la lumière de cette analyse, la musique populaire argentine émerge comme un champ culturel interstitiel et hétéroclite au sein duquel la mise en scène et en récit des identités dites subalternes - celle du « paysan opprimé» ou du « jeune subversif» - s'imbrique et se confond avec le dispositif discursif d'un imaginaire culturel dominant : celui de la « patrie».