Academic literature on the topic 'Folklore, europe'
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Journal articles on the topic "Folklore, europe"
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Cass, Eddie. "Northern Lights. Following Folklore in North-Western Europe." Folk Life 42, no. 1 (January 2003): 126–28. http://dx.doi.org/10.1179/flk.2003.42.1.126.
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Cass, Eddie. "Northern Lights. Following Folklore in North-Western Europe." Folk Life - Journal of Ethnological Studies 42, no. 1 (January 1, 2003): 126–28. http://dx.doi.org/10.1179/043087703798237372.
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Voigt, Vilmos. "Quo vadis, Folklore Studies?" Tautosakos darbai 50 (December 28, 2015): 15–24. http://dx.doi.org/10.51554/td.2015.28987.
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The article presents a problematic survey of journals in folklore, ethnology and anthropology. Starting from the very first publications, launched as early as the end of the 19th century, the author discusses their global panorama and general situation until nowadays, concentrating also on some essential theoretical and interdisciplinary issues in this field of humanities. Particular attention is paid to the journals published in the Eastern Europe (former “Soviet” countries), and especially – in the Baltic countries. Finally, the author concludes that in spite of radical social and cultural changes, many of the journals could survive until nowadays, and that they are necessary and useful. Still, he notes the lack of new “revolutionary” theories and methodologies, and calls for discussing the shape and direction that these periodicals should take.
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Soni, Rohan Kumar. "Folklore as Tradition, Heritage and Profession." SMART MOVES JOURNAL IJELLH 8, no. 1 (January 10, 2020): 8. http://dx.doi.org/10.24113/ijellh.v8i1.10334.
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Folklore as a field of study and academic discipline was first recognized following the works of Johann Gottfried Herder in 1770s. The works of Herder, his collection of 'folktales' from German speaking regions is considered the base for later folklore collections, such as those done by the Brothers Grimm and Charles Perrault. Although the discipline of folklore is now well established in various institutions across the Americas, Europe and Africa and Asia. This paper tries to understand folklore in relation with the concepts such as Tradition, Heritage and Profession. How folklore in this fast changing world represents the heritage, tradition, and profession of a community? Can folklore and its performance be appreciated for its inherent economic potential as a profession? The paper, through certain examples and observation, will try to understand the significance of these concepts and attempt to answer such questions.
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Hart, Carina. "Gothic Folklore and Fairy Tale: Negative Nostalgia." Gothic Studies 22, no. 1 (March 2020): 1–13. http://dx.doi.org/10.3366/gothic.2020.0034.
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This article introduces the special issue and outlines the field of Gothic folklore and fairy tale, demonstrating how the emergence of the Gothic in the late eighteenth century was closely imbricated with the surge of folklore and fairy tale collecting in Britain and Europe. The article then begins a theorisation of Gothic folklore and fairy tale through the concept of negative nostalgia, in which gothic and folk narratives borrow from each other, presenting archaic elements in a dark, violent, monstrous mode that abjects and disavows features that conflict with modern progressivism, but remain nostalgically desired.
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Cowdell, Paul. "Folklore and Nationalism in Europe during the Long Nineteenth Century." Social History 38, no. 4 (November 2013): 526–28. http://dx.doi.org/10.1080/03071022.2013.842767.
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Kisiel, Piotr. "Folklore and Nationalism in Europe During the Long Nineteenth Century." European Review of History: Revue europeenne d'histoire 20, no. 3 (June 2013): 512–14. http://dx.doi.org/10.1080/13507486.2013.792611.
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Klich, Lynda. "Flatness, Fabric, and Folklore." Latin American and Latinx Visual Culture 6, no. 1 (January 1, 2024): 83–87. http://dx.doi.org/10.1525/lavc.2024.6.1.83.
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During the first half of the twentieth century, representing the body was a pivotal means to reimagine national and regional identities at a moment when the legacies of colonial power structures were coming under increasing scrutiny. The body became a vehicle through which artists could envision new, expanded, and intersecting notions of race, gender, class, nation, and region. Through close readings of single images created in eight different countries—Guatemala, Bolivia, Brazil, Uruguay, Mexico, Venezuela, Colombia, and Cuba—this Dialogues contains essays by scholars from South America, Europe, and the United States that reveal the capaciousness for the body to encapsulate local racial, class, and gender dynamics, to illuminate regional and national politics, and to embody divides between socially progressive politics and entrenched conservative social systems and hierarchies. The authors pay careful attention to form, subject, and style to demonstrate the potency of modernist figuration, an international and vibrant visual language, to interrogate issues of race, ethnicity, indigeneity, and gender. Together, the essays point to the critical particularities of iconography, context, and style. In so doing, they reinforce the ability of representation to resonate in multivalent ways and assert the power of the image to stir debate, fix (or challenge) convictions, and raise questions about histories. The authors harness the power and visual variety of realisms and representation in Latin America, revealing the malleability of the modernist body and its efficacy as a carrier of meaning and locus for debates about power, progress, and identity.
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Wolff, Larry. "Commentary: The Operatic Tragedy of Central Europe." Journal of Interdisciplinary History 36, no. 4 (April 2006): 683–96. http://dx.doi.org/10.1162/jinh.2006.36.4.683.
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The operas of Leos Janacek-such as Jenufa and Katya Kabanova-illustrate the nature of operatic modernism in relation to history and folklore in the context of the Habsburg monarchy and postwar Central Europe. In the performance history of the operas, moving from Janacek's city of Brno, Moravia, to such cosmopolitan capitals as Prague, Vienna, Berlin, and even New York, the case of Janacek also suggests the complex relationship between provincial, national, and transnational elements in the operatic modernism of Central Europe.
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Orlova, Olga Iu. "FOLKLORE MOTIVES AND THEIR REINTERPRETATION IN THE WORK OF AMERICAN WRITER L.F. BAUM." Volga Region Pedagogical Search 34, no. 4 (2020): 30–35. http://dx.doi.org/10.33065/2307-1052-2020-4-34-30-35.
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. It is generally considered that the genre of the literary fairy tale in Europe expressed itself amply in the age of romanticism and used folklore imagery and motifs, as many other literary genres. But the folklore of Native Americans is also known to be ignored by authors in the USA. At the beginning the European folk tales served as the basis for the literary fairytale in the United States. Nonetheless, by the 20th century the authors had decided to create their own national fairy tale tradition. The article deals with the problem of folklore motifs reshaping in the collection entitled “American Fairy Tales” by L.F. Baum. There are some recurrent folklore motifs in the fairy tales: the motif of the forbidden door, the magical object, etc. At the same time, imagery of natural objects typical of North America (corn fields, huge cities with apartment houses) add some new traits to the national variant of the fairytale.
Dissertations / Theses on the topic "Folklore, europe"
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Albert-Llorca, Marlène. "L'ordre des choses : savoirs naturalistes et pensée symbolique dans les récits étiologiques européens." Paris, EHESS, 1989. http://www.theses.fr/1989EHES0035.
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A la fin du xixe siecle et au debut du xxe, les ethnographes europeens ont recueilli des milliers de recits etiologiques traitant, dans leur grande majorite, de l'origine des caracteristiques des animaux. Tenu pour un genre mineur, ce domaine de la litterature orale a ete peu etudie jusqu'ici : ce travail essaie de combler cette lacune. La premiere partie aborde deux questions : que disent les recits des etres naturels ? quelle est la nature des "savoirs" qu'ils mettent en oeuvre ? pour y repondre, l'ouvrage confronte les recits aux acquis des ethnosciences, tout en tracant les limites d'une telle approche : les savoirs contenus dans les etiologies sont mis au service d'une pensee operant une mise en ordre symbolique du monde naturel et social. La deuxieme partie precise cette idee en associant les recits aux pratiques qu'ils reflechissent. Elle etudie d'abord les modalites de la construction du sacre dans les legendes etiologiques chretiennes, puis met en evidence l'existence d'une cosmologie fondee sur l'idee que le monde est un tout ordonne, ou chacun a recu sa place et sa part. Enfin, elle montre comment les recits commentent et justifient les normes de l'ordre social. Cette recherche vise ainsi a manifester l'interet ethnologique des etiologies. . . .
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Bobbé, Sophie. "Du folklore à la science : analyse anthropologique des représentations de l'ours et du loup dans l'imaginaire européen." Paris, EHESS, 1998. http://www.theses.fr/1998EHESA019.
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Axer sur l'interaction entre histoire, economie rurale, folklore et logique structurale, cette these vise a reconstituer la "texture mythique" des representations de l'ours et du loup dans l'imaginaire occidental. L'examen sur la longue duree des litteratures orale et savante met a jour un ensemble de motifs recurrents placant ces deux animaux dans un rapport d'interrelation structurale. Ce lien reapparait, de facon toute aussi patente, dans la presse cynegetique contemporaine, mais aussi dans les temoignages de la population rurale. En fait, le discours des paysans de la cordillere cantabrique espagnole qui cohabitent depuis toujours avec ces deux predateurs temoigne egalement de cette tendance a l'appariement (le loup servant de faire-valoir a l'ours et reciproquement). Mais, ce qui est plus etonnant, ces representations stereotypees -et notamment l'opposition entre l'ours-amant et le loup devorateur- alimentent egalement le discours scientifique contemporain : c'est le cas des ecologues et des militants de la cause environnementaliste, pourtant soucieux de s'affranchir de toute connivence avec l'irrationnel. Pourquoi donc une telle permanence ? sorte de janus, ce couple paradigmatique revele finalement ses capacites a symboliser deux types univoques de rapport au monde tout en en facilitant la "dramatisation" d'une large serie de contenus pulsionnels. S'exprimant par deux modes de consommation, cannibalique et sexuelle, les figures de l'ours et du loup emblematisent deux orientations dans la destinee de leurs "partenaires" et deux postures sociales: regression, incorporation, rupture de filiation pour le loup versus evolution, echanges, reproduction pour l'ours. Supports projectifs particulierement efficaces, ours et loup permettent, dans le langage figure qui est le leur, d'assurer le lien entre le collectif et l'individuel et d'enoncer les normes sociales et leurs possibles transgressionsTo trace the "mythical texture" within acts and talks of differents social actors in an attempt to identify the interaction between history, rural economy, folklore and structural logic as related to the figures of the bear and the wolf is the subject of this thesis. An extended period of investigating oral and writing literatures reveals a group of items specific to these two animals and which place them in an heterogeneous structural relationship (opposition, substitution or homologous), and which shares the actual cinegetical publications. The sociocultural reality of spanish rural populations of the cantabric cordillera who cohabit with these two predators attests equally to this pairing (the wolf serving to set the bear off to advantage) which backs up spanish administrative strategies of protection and management. These stereotype representations, especially those of bear-lover and wolf-devourer, are equally support by ecologists and militants of environmental causes in current scientific discussions, although mythological sources are rarely alluded to. Like janus, this paradigmatical couple reveals their capacities to symbolize two types of relationships to the world made easier through "dramatization". Coming from two differents approaches, cannibalistic and sexual, they symbolize two directions in their partners' destiny and two social postures : regression, incorporation, rupture of filiation for the wolf versus evolution, exchange, reproduction for the bear. In their particular figurative language, the bear and the wolf, as privileged projective figures particularly, ensure the link between the collective and the individual, while evoking social norms and their possible transgressions
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Rodriguez, Aedo Javier. "Le folklore chilien en Europe : un outil de communication confronté aux enjeux politiques et aux débats artistiques internationaux (1954-1988)." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL028.
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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 politiqueThis 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
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Doe, Connor Bartlett. "Puppet Theater in the German-Speaking World." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/88.
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This work begins with a brief history of puppet theater in Germany. A look at important social aspects, pertinent philosophical discussions and the significance of puppet theater in the German literary tradition follow. The final chapter looks at Peter Schumann, a German puppeteer and artist who lives in America. In Germanistik, German puppet theater deserves a devoted place in the field of legitimate study in terms of its history, content and influence. Puppet theater's historical development in Germany represents the larger evolution of Germany. From ancient times up to the present day, this artistic form of representation has enjoyed an audience in the German-speaking regions. The evolution of puppet theater parallels Germany's quest for legitimacy as a nation and desire for cultural unification. A study of puppet theater thematizes the issue of popular cultural history. For most of its existence in Germany, puppet theater served as popular entertainment. The conception of folk art and folklore - which includes puppet theater - by the German Romantics led them to believe that folk artists possessed a mysterious authenticity inaccessible to Classicists and their narrowly-defined world of high art. Much German literature and thought from the 19th century onward shows a fondness for the Volk aspect of puppet theater. Puppet theater and its reception in German Romanticism helped to shape literary and philosophical themes that would lead to further recognition of puppetry as an art form and an integral aspect of German culture. In the 20th century, puppet theater took on bold new forms. Adapting to film, television, academia and the avant-garde, respected proponents of puppet theater brought the art form into the light of day. No longer did it merely consist of vulgar or mildly artistic street performances or as a vehicle for Romantic-era nostalgia. German puppet theater in the 20th century moved into the realm of mass culture with film and, more effectively, with television. It also gained footing in academia, eventually becoming a fully-recognized field of study as well as a performance medium with infinite possibilities. One can only hazard a guess as to where puppet theater will go in the future. The ability of the art form to uncannily reflect the human condition is well known. How the human condition will change and how the performers of puppet theater will respond remains to be seen.
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Vincenot, Quentin. "La Gueule et la Peau : le loup-garou médiéval en France et en Europe." Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20062/document.
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Vers l’an Mille, nous lisons les premières occurrences dans lesquelles le mot Werwolf cesse d’être un anthroponyme pour désigner un homme-loup. Peu de temps après « apparaît » le mot garou. Le Moyen Âge est donc une époque charnière pour l’histoire de ce monstre. S’il n’est, bien entendu, pas question d’affirmer que le loup-garou n’existait pas avant ces premières mentions, nous nous sommes posés la question de savoir si la généralisation d’une dénomination de la créature a contribué à fixer des constantes, au-delà de la diversité des manifestations particulières du monstre. La fixation d’un nom par l’écrit, qui existait sûrement déjà dans la tradition orale, a-t-elle mené à l’élaboration d’une dimension mythique du loup-garou ? En combinant le comparatisme, les études littéraires et les cultural studies, nous avons cherché, d’un côté, à déterminer les spécificités du corpus médiéval du loup-garou, dont les garous féminins semblent, a priori, absents. De l’autre, en adoptant une perspective diachronique, nous avons tenté de dégager une unité derrière la multiplicité que nous avons recensée des cas de loup-garou, de ce montre dévorant dont l’incarnation est problématique etinstableAround the year 1000 AD, the word Werwolf ceased to be used as an antroponym to describe a man-wolf. Shortly afterwards, the French word garou appeared. The Middle Ages, then, constituted a turning point in the history of this monster. While werewolves had obviously existed prior to these early references, they have prompted me to enquire as to whether the generalisation of textual naming had participated in the development of a common definition of the monster which transcended the diversity of its representations. Did the recording in pen and ink of a name which had surely existed previously in the oral tradition contribute to the elaboration of the werewolf myth ? Relying on comparatism, literature and cultural studies, this thesis first seeks to explore the specificities of mediaeval werewolf literature, in which the figure of the werewolf seems to be exclusively gendered as male. Second, while recognising the incarnations of the blood-thirsty monster as problematic and unstable, this work adopts a diachronic perspective in order to reveal the commonality which underlies the multiplicity of werewolf figures
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Bidou, Isabelle. "Le celtisme ouest européen entre polarisations et sédimentations sémantiques : du nationalisme irlandophile galicien au néo-archai͏̈sme postmoderne." Perpignan, 2002. http://www.theses.fr/2002PERP0460.
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Pour quelles raisons le celtisme fut-il mobilise dans le cadre de revendications culturelles puis identitaires a la fin du xixeme siecle et au debut du xxeme siecle dans les peripheries celtiques et dans celui de l'effervescence juvenile contemporaine ? y a t'il un rapport entre ces mobilisations ? en fait, il n'y a pas de lien entre le fait que des populations celtiques aient effectivement ou non peuple les regions concernees par ces mobilisations et contrairement a ce que l'on pourrait penser, la presence des celtes n'a pas toujours ete reconnue a travers l'histoire dans les regions concernees. L'objet de ce travail est en fait de comprendre comment le celtisme correspondait aux attentes et aspirations des acteurs sociaux qui l'ont mobilise et la reponse a cette interrogation passe par l'analyse de l'image du celte au fil de ses diverses reactualisations dans les episodes regionalistes ou nationalistes des peripheries celtiques et dans la societe contemporaine. L'image du celte, liee a l'alterite, s'est construite par contre-acculturation dans un processus de sedimentation et de polarisation semantique par opposition a l'image que le non-celte moderne voulait donner de lui ; de par sa formation, elle est donc devenue un modele de reference pour les acteurs sociaux aspirant a une esthetique alternative aux valeurs de la modernite rehabilitant tout ce qui n'etait pas productif, efficace utile et raisonnable, tout ce qui etait rejete par la "mythologie du progres" ; cette image fut le modele vers lequel se sont tournes les intellectuels parisiens celtomanes au xviiieme siecle, les erudits locaux et les micro-nationalistes des peripheries celtiques au xixeme et au debut du xxeme siecle et enfin la jeunesse au tournant du xxieme siecle. Il y a bien continuite dans les diverses re-appropriations de l'image du celte qui l'enrichissent tandis que son champ de reception s'elargit suivant le trajet d'une spirale expansiveWhy was celticism resorted to in the process of cultural and identity claims from the end of the xixth century and the beginning of the xxth century on, in the celtic peripheries and in today's celtic effervescence ? is there a link between both processes ? actually, these processes were not the consequence of any prehistorical celtic settlement in those places and unexpectedly enough, a celtic past has not always been claimed for through history in those parts. Actually the prospect of these research is to explain why celticism was the answer to the expectations of the social actors who resorted to it. An analisis of the celt's image through the history of regionalism and nationalism in the celtic peripheries and through contemporary society is the way to carry it on. The celt's image, related to otherness, has been constructed as a counter-acculturation in a sedimentation and polarization semantic processes, in an opposition to the image the modern non-celt wanted to show of himself. From its very construction it has, so far, become a model for social actors who longed for alternative aesthetics to the modern way, that would reestablish what was beyond efficiency usefullness and sensibility and all what had been rejected by the "mythology of progress". The celt's image became the model to which the xviiith century celtomanes of paris, local erudites and micro-nationalists in the celtic peripheries in the xixth century and the beginning of the xxth century and young people in western europe at the turn of the century turned to. There is indeed a continuity in the successive re-actualizations of the celt's image which enrich it while the understanding of its meaning is getting broader and broader following the path of an expansive spiral
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Seress, Hugues. "La musique « folklorique » pour piano (1907 – 1920) de Béla Bartók : emprunt symbolique, matériau combinatoire." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040101.
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L’emprunt au folklore constitue une des nombreuses manipulations effectuées par le créateur du début du XXe siècle, à partir d’un matériau préexistant à son œuvre. Ces manipulations sont sous-tendues par de multiples processus identitaires, qui souvent détournent le regard de l’analyste, de l’œuvre vers l’ensemble de ses connotations contextuelles et symboliques. S’interroger sur les conséquences, tant stylistiques que techniques, de ces phénomènes, ne semble pas aller de soi. En réexaminant la structure tonale d’œuvres, avec et sans emprunt, composées par Béla Bartók entre 1903 et 1920, via un modèle d’inspiration néo-riemannienne permettant une interprétation de leur parcours tonal sur la définition d’unités triadiques, cette étude propose de réévaluer, au-delà de leur tonalité, des répertoires encore trop souvent considérés comme séparés par une ligne de faille assez peu perméable : celle entre romantisme et modernitéBorrowing from folklore constitutes one of the numerous operations done by early 20th century creators from a material pre-existing to their works. Those operations are subtended by multiple identity-searching processes that often shift the eyes of the analyst away from the work to the whole of its symbolical and contextual connotations. Questioning oneself about the consequences, be they stylistic or technical, of those phenomena doesn’t seem to be taken for granted. By reexamining the tonal structure of works, with or without borrowings, composed by Béla Bartók between 1903 and 1920, through a pattern of Neo-Riemannian inspiration, enabling an interpretation of their tonal distances based on the definition of triadic unit. This study aims at reassessing, beyond their tonality, corpuses still to often considered as split apart by a rather impervious flaw line, that between romanticism and modernity
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Pooley, William George. "'Misery in the moorlands' : lived bodies in the Landes de Gascogne, 1870-1914." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:aacf3b35-fc90-4a75-a24b-5193bc8f6c5e.
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This thesis explores the embodied experiences of the rural population in nineteenth-century France. The prevailing historiography has treated rural bodily culture as a cultural survival swept away by ‘modernisation’ in the nineteenth century. By turning to the lives and words of rural labourers and artisans from the Landes de Gascogne, the thesis questions this account, instead showing ways that popular cultures of the body were flexible traditions, adapted by individuals to meet new needs. It does so through a close focus on the stories, songs, and other oral traditions collected by Félix Arnaudin (1844-1921) in the Grande-Lande between around 1870 and 1914. The thesis focuses on the lives of a few of Arnaudin’s 759 folklore informants, showing both how their bodily experiences were changing during this period, and how songs and stories were creative interventions, designed to shape bodily possibilities from below. The thesis draws attention to the surprising shape of rural experiences of the body, which focused on body parts such as the legs and skin for reasons specific to everyday life, while largely ignoring issues that historians might have assumed would be important, such as religion. It argues that the ordinary men and women who performed stories and sang songs were active agents in constructing their own bodies in response to material conditions of physical illness and disability, as well as a changing environment, changing class relations, or changing sexual norms in the Grande-Lande. The thesis presents an emotional and experiential view of rural bodies with a sensitivity to the different experiences of men and women, young and old, poorer and richer, but emphasizes that the body must be seen in the round, as a unifying concern that links together issues of social class, environmental change, sexual relations, work, disability, and religion.
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Rădan, Gorska Maria Miruna. "Pensiuni in Romania : rediscovering and reinventing the countryside through tourism." Thesis, University of Kent, 2016. https://kar.kent.ac.uk/54973/.
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Rural tourism is a long-established practice in the industrialised West, but it is a comparatively recent and on-going development in postsocialist contexts. This thesis examines the development of rural tourism in Romania and draws on fieldwork carried out in one of the oldest and most popular destinations of the country, as well as in a newer and less visited location. As homestays are central to rural tourism, my research has an extensive focus on what happens with guesthouses and their owners. Countryside tourism is a practice grounded in a discourse that praises images of unspoilt nature, close-knit communities, material and cultural heritage and natural healthy food. Discourses about rurality also suggest that for city dwellers, village stays in their own countries can provide a way of getting in touch with their national identity, building, at the same time a sense of belonging. In Romania, such discourses are promoted by NGOs, state institutions and tour operators that aim to develop rural tourism. In spite of their efforts, in the destinations that I studied, rural tourism has strayed away from the ideal model. Instead of bucolic cottages inspired by the vernacular architecture of the region, hosts welcome their guests into large, modern villas equipped with state-of-the art amenities. Tourists too show a strong concern with material aspects of their accommodation, they rarely venture in outdoor pursuits and have little interest in notions of ‘heritage’ or ‘traditions’. My findings show that the lived experiences of local entrepreneurs have shaped worldviews that in many respects are at odds with the ideal models and best tourism practices promoted by various institutions. I also show how hosts and guests share similar notions of achievement and success and how this has turned rural tourism into a house-centred event. In explaining why discourses have little grounding in reality, I pay close attention to the economics of tourism, trying to understand guesthouses as businesses interlinked both with the wider forces of the market and with the socio-economic history of rural Romania. I show how the development of pensiuni was influenced by specific material and social constraints, arguing that a long history of living under oppressive regimes actually endowed locals with qualities that made them ready to embark on entrepreneurial pursuits. I also examine how kinship can be both a catalyst for growth and a factor that contributes to the stagnation or decline of businesses. Most notably, however, it was the unstable and burdensome legislative environment that had perhaps the strongest impact over the evolution of guesthouses, determining over half of the owners to stay in the shadow economy. My findings raise questions about the effectiveness and utility of many of the norms currently imposed on tourist entrepreneurs and I conclude by discussing a few ways in which institutions could respond better to the needs of guesthouse owners.
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Kirjuchina, Ljuba. ""Die Stimme Europens, die Stimme der Welt!" : internationale Panegyrik auf Katharina II." Universität Potsdam, 2011. http://opus.kobv.de/ubp/volltexte/2011/5741/.
Full textBooks on the topic "Folklore, europe"
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Cariz, Mélina. L'art du folklore: Europe, Afrique, Amériques. Nancy: Presses universitaires de Nancy- Éditions universitaires de Lorraine, 2014.
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R, Ingpen Robert, and Hayes Barbara 1944-, eds. Folk tales & fables of Europe. New York: Chelsea House, 1994.
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R, Ingpen Robert, and Hayes Barbara 1944-, eds. Folk tales & fables of Europe. Philadelphia, Pa: Chelsea House Publishers, 1998.
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ill, Greenstein Susan, ed. A big quiet house: A Yiddish folktale from Eastern Europe. Little Rock, Ark: August House LittleFolk, 1996.
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Forest, Heather. Feathers: A Jewish tale from Eastern Europe. Little Rock, Ark: August House LittleFolk, 2005.
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László, Felföldi, and Sándor Ildikó I, eds. Multicultural Europe: Illusion or reality. Budapest: European Centre for Traditional Culture, 1999.
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ill, Bell Elisabeth, ed. The little red hen and the ear of wheat. Cambridge, MA: Barefoot Books, 2006.
Find full textBook chapters on the topic "Folklore, europe"
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Peterken, Tabitha. "Bloody Europe." In Folklore and Nation in Britain and Ireland, 219–31. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003007531-13.
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Hofman, Ivan. "”Folklore Diplomacy” — The Role of Musical Folklore in Yugoslavia’s Foreign Policy 1949–1971." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 203–27. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch13.
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Hofman, Ivan. "”Folklore Diplomacy” — The Role of Musical Folklore in Yugoslavia’s Foreign Policy 1949–1971." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 203–27. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch13.
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Voigt, Vilmos. "The Kalevala and the Epic Traditions of Europe." In Religion, Myth and Folklore in the World's Epics, 247–64. Berlin, New York: DE GRUYTER, 1990. http://dx.doi.org/10.1515/9783110874556.247.
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Bracha, Krzysztof. "Folklore der Schrift: Einige Zeugnisse des Spätmittelalters Mittelosteuropas." In The Development of Literate Mentalities in East Central Europe, 497–517. Turnhout: Brepols Publishers, 2004. http://dx.doi.org/10.1484/m.usml-eb.3.4368.
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Radulović, Nemanja. "Voices of the People in Letters. The Romantic Concept of Folklore as Cultural Transfer Europe-Serbia/Serbia-Europe." In Cultural Transfer Europe-Serbia, 145–70. Belgrade: Faculty of Political Sciences ; Dosije Studio, 2023. http://dx.doi.org/10.18485/fpn_ctes_mic.2023.ch7.
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Tuszewicki, Marek. "German Medicine, Folklore and Language in Popular Medical Practices of the Eastern European Jews (Nineteenth to Twentieth Century)." In Jewish Medicine and Healthcare in Central Eastern Europe, 63–78. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92480-9_5.
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Cherchi, Paolo. "“Errori popolari:” How a Medical Notion Became an Aesthetic One." In Errors, False Opinions and Defective Knowledge in Early Modern Europe, 41–65. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0266-4.05.
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The notion and the linguistic coinage of “errore popolare” is not as old as it is commonly believed, but comes from the history of medicine when in the late 16th Century, the Sorbonne’s professors labelled as “erreur populaire” the paracelsian therapies. The definition became common in Italy and England. Another area where the idea of “errore popolare” was widespread is that of religion, where the notion of “error” borders with that of heresy, superstition and magic. However, the “scientific revolution” did not identify the mistakes with a social class or discipline but in the way knowledge was acquired: only the criteria of proof and evidence dispelled erroneous notions. Thus the “scientific knowledge” discredited the beliefs of the ancients, considered to be their major source, and confined them the sphere of imagination which was to be highly appreciated in the Romantic age. Such a change in perception and evaluation was favored by the new vision of the popular culture, folklore, seen as an autonomous cultural system.
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Hanak, Miroslav J. "2. Folklore and Romantic Drama." In Comparative History of Literatures in European Languages, 115. Amsterdam: John Benjamins Publishing Company, 1993. http://dx.doi.org/10.1075/chlel.ix.09han.
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Valk, Ülo. "Levels of Institutionalization in Estonian Folklore." In Comparative History of Literatures in European Languages, 285. Amsterdam: John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/chlel.xxii.70val.
Full textConference papers on the topic "Folklore, europe"
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Moldabek, K., G. I. Akilbaeva, G. K. Temirbekova, and N. K. Koshekbay. "Folklore and folk traditions of the foundation basis of national education." In IX International symposium «Humanities and Social Sciences in Europe: Achievements and Perspectives». Viena: East West Association GmbH, 2016. http://dx.doi.org/10.20534/ix-symposium-9-121-124.
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.06.
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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.06.
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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Usmanov, Timur F., and Ol’ga S. Chesnokova. "RIDDLES ABOUT CELESTIAL OBJECTS AND NATURE PHENOMENA IN СOLOMBIAN LINGUOCULTURE." In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.21.
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The article presents a study of the seven most common images of nature phenomena in folklore (the sun, the moon, the stars, the day, the night, the wind, the rain) in Colombian riddles. The riddle is one of the oldest genres of oral folk art, a means of preserving cultural memory, educating ingenuity and creative thinking. The article reflects the stages of the development of Colombian riddles from the appearance of the enigmatic genre in Europe, the popularization of the riddle in Spanish, its export to the New World to the acquisition of national-specific Colombian features that accumulated the features of European, Indigenous and African cultures. The material of the article was about 300 Colombian riddles, most of which were taken from collections of traditional riddles of the departments of Colombia; riddles posted in Colombian Internet sources. The article also presents the results of a linguistic experiment conducted among Russian and Colombian youth to solve Colombian riddles in Spanish. The main research methods are semantic, interpretative, linguoculturological analysis, cultural commentary. The main objective of the article is to analyze the ethnolinguistic features of the figurative representation of nature in the Colombian linguoculture, as well as to find out how modern youth understands the metaphorical description of natural phenomena in riddles. The article finds that the Colombian riddles combine traditional Spanish cryptic texts and the realities of everyday life, cultural and religious associations peculiar to Colombia. Refs 8.
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Ghilas, Victor. "Folklore archives – space for preserving cultural memory." In Conferinţă ştiinţifică naţională "Salvgardarea şi conservarea digitală a patrimoniului etnografic din Republica Moldova". Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841856.03.
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The article presents the role of folklore archives in society. It proposes to begin by specifying the premises that preceded the appearance and institutionalization of these settlements in European and national culture. The interest in the knowledge and valorization, first editorially, of the oral tradition manifests itself late, precisely in the XVI century. The first, who turn their attention to the recording and conscious collection of folklore, are the philosophers and literati from the West and Northern European countries. The openings offered by the discovery of the value of popular creation (historical, scientific, artistic) amplifies the interest of researchers on the European continent, and not only, for the collection, research and promotion of folklore, strengthening the conviction that it can serve as a source of knowledge of the past, but also as inspiration that can find its valorization in cult creation. Being aware of the importance of the historical and identity dimension of culture based on oral tradition and of its fragility in the perspective of time, the folklore heritage collection becomes a practical necessity of the XX century, which determined the creation of folklore archives.
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Soenarto, Iswahyudi, and Joesana Tjahjani. "Representations of Mother in Indonesian and European Literary Folktales." In 1st International Conference on Folklore, Language, Education and Exhibition (ICOFLEX 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201230.015.
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Varvounis, Manolis. "New Methodological Orientations of Greek Folklore." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.10-2.
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In this paper, the theoretical and methodological changes that determine Greek folklore in the first two decades of the 21st century are examined. Also, I include the collaboration and the fruitful dialogue of folklore with the social anthropology in Greece, and its scientific results. The study of folk culture, as established by older folklorists, focused on cultural continuities, for reasons amply discussed in the relevant bibliography. However, the perception of cultural transformation in the area of folk culture also led to the study of a series of exemplary modern or postmodern phenomena from contemporary or modern folklore, where the correlation with the historical, social and cultural parameters now became mandatory. Therefore, the dominant concept of cultural differentiation was introduced to the fields of folklore and ethnography, too, especially in the form of the study of modernist (and, as a rule, urban) phenomena. The older forms of Greek folklore relate to the agro-livestock economy of the societies that gave birth to and ‘consumed’ them. This paper refers to Greek popular culture, both in the traditional and in modern and popular forms and expressions. In any case, ‘tradition’ constitutes the basis of folk culture events, with regards to the concepts of the symbolic functionality of ritual forms and the strategies for acquiring social prestige, where the latter is often the driving force of the various folklore events. Indeed, social prestige is often the connective link of each commune, a fact repeated up to the present, despite the changes in the traditional communes’ social base and status.
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Kouzas, Georgios. "Aspects of Urban Ethnography in Greece, 1960-2020. The View from Folklore." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.3-1.
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This paper aims to describe urban folklore studies in Greece during the 20th century, through an ethnography of the field. I focus particularly on the 1950s and 1960s, because these decades were crucial for the field of urban folklore. Hundreds of thousands of internal migrants from various areas of Greece, and from outside of the country, have swarmed towards Greece’s major urban centres, thus spurring the gradual development of peculiar and at times incomplete urbanization. In this framework, we examine the significance of holistic research in urban space from a perspective of folkloristics, the significance of the ethnographic method introduced by Dimitrios Loukatos that influenced the field of urban folklore in Greece, and the relations of cooperation between folkloristics and social and cultural anthropology with regards to urban space. In addition to discussing the history of the science of folklore, I focus on research methodology and a framework of examining a context locally. More specifically, regarding research methodology, modern folklorists introduced the ‘ethnographic method’ of social phenomena research, i.e., examination through field ethnographic research at a particular space and time, and in this case, the urban center. This contribution was slightly significant as it differentiates folk research from the previous method based on lemmata, which examined phenomena within time and not contemporarily, in the present. Finally, we analyze the ethnographic method, a methodological approach which today is the most common approach in Greek folklore studies. This research methodology is predicated on the following; field research (participant observation, semi-structured questions, life narrations, focus groups, etc.), archival research, and literary testimonies under certain conditions, mainly at times when we refer to the urban folklore of the past. Here, we also act to support the opinion that an approach that is exclusively based on archival or literary material and that does not take into account field research is unilateral and not complete.
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Nita-Cocieru, Mariana. "The Folkloristics from Bassarabia since the Establishment of the First Research Institutions." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.41.
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In the present approach, the author refers to the historical course of folklore research in Bessarabia. To be able to follow their evolution diachronically, the exposition starts from the precursors of Romanian folklore and continues with the stages of development of the investigations, conventionally focusing them around some personalities who contributed to a greater or lesser extent to this itinerary. Analyzing these stages of development, he notes that the greatest contribution in this regard made by folklorists who worked in the post-war period. Especially in the 1960s-1990s years, the most extensive field campaigns carried out, essential for the establishment of the general fund of information regarding the traditional culture of Romanians from Bessarabia and from Romanian localities in Ukraine and the Russian Federation. It also highlights the most important folklore studies and collections that appeared during this period.
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Rubakova, Inna I., and Antonio Carluccio. "Second Language Identity Formation through Russian Folklore Texts." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.2-1.
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In this article, we analyze the possibility of employing short Russian folklore examples of chastushka during the development of second language identities of philology students studying Russian as a foreign language. As observed, studying folklore texts in a foreign language environment contributes to the enhancing of the level of ethnolinguistic competence, which is important for understanding a different (Russian) mentality. An effective example of such texts may be the chastushka genre, as one of the few that actively develops through the deployment of various factors. Among its main characteristics, it includes a set of rules and norms of behavior, and a collective assessment of what is happening, and demonstrates the symbolic content of general cultural mores. This article draws on a model of linguistic identity presented by Yu. N. Karaulov. The model comprises three levels. The most interesting of these three levels, in the case of this study, is the psycholinguistic (linguo-cognitive) level, the units of which are perceptions, ideas, and concepts. We also discuss a model of secondary linguistic personality, firstly attributable to Khaleeva in the 1990s. This model is significant in its practicality for teaching foreign languages. This paper also presents the components of the term ‘folk concept,’ for which, we pay particular attention to the figurative and evaluative components, since the conceptual component is itself relatively stable. We also conduct a comparative analysis of the symbolic content of lexemes of linguistic and cultural significance. The semantic complexity of the folklore texts and their linguistic and methodological potential when working with foreign students must be and are considered when conducting such a study, along with the possibility of applying obtained results when working with literary texts, thus facilitating the attainment of a deeper understanding of literary images and symbols as additional learning material. The results of this work may be used in practical pedagogical contexts of the Russian language, as well as in courses in ethnolinguistics and folklore.
Reports on the topic "Folklore, europe"
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Chaitoo, Ramesh. The Entertainment Sector in CARICOM: Key challenges and Proposals for Action. Inter-American Development Bank, April 2013. http://dx.doi.org/10.18235/0009113.
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Although small in terms of population, the Caribbean is renowned for its creativity. Its cultural diversity is manifested in a variety of artistic expressions including folklore, crafts, performances, music festivals, and carnivals. Despite the Caribbean's great potential in the entertainment sector, important domestic challenges - emanating from both public and private sectors - have long impeded the successful growth of creative industries. The paper explains how the implementation of the Economic Partnership Agreement with the European Union should serve as an impetus for stakeholders in the region to address these barriers thereby creating favorable conditions for the production and export of Caribbean entertainment services. This Study presents an overview of policies in the creative sector in terms of the promotion of services exports in selected CARICOM states: Barbados, Jamaica, and Trinidad and Tobago. This Technical Note highlights bottlenecks to implementation of recommendations proposed in existing analyses and diagnostics and suggests specific ways in which these can be overcome. It formulates concrete recommendations for relevant actors, including donors and domestic governments, to promote the development of the creative industries.
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Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.
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The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.