Dissertations / Theses: '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 transgressions
To 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 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

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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 etinstable
Around 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 expansive
Why 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 modernité
Borrowing 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/.

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Rost, Henrike [Verfasser]. "Musik-Stammbücher : Erinnerung, Unterhaltung und Kommunikation im Europa des 19. Jahrhunderts / Henrike Rost." Göttingen : Böhlau Verlag Köln, 2020. http://www.v-r.de/.

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Raver, Debra Marie. "Song weaving| The multivocal performance patterns of Lithuanian Sutartine singers." Thesis, Indiana University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1558015.

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This thesis explores the distinct two-part polyphonic patterning in Lithuanian Sutartines to reveal how singers shape and/or experience their songs as musical weaves. The findings are based on original fieldwork as well as old ethnographic sources, which are (re)examined and interpreted through the lens of metaphor as a methodology.

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Karl-Brandt, Deborah [Verfasser]. "Haartracht und Haarsymbolik bei den Germanen / Deborah Karl-Brandt." Göttingen : Böhlau Verlag Wien, 2020. http://www.v-r.de/.

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Karl-Brandt, Deborah Barbara [Verfasser]. "Haartracht und Haarsymbolik bei den Germanen / Deborah Karl-Brandt." Göttingen : Böhlau Verlag Wien, 2020. http://nbn-resolving.de/urn:nbn:de:101:1-2020051023312000758714.

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Kümmel, Verena [Verfasser]. "Vergangenheit begraben? : Die gestohlenen Leichen Mussolinis und Pétains und der Kampf um die Erinnerung / Verena Kümmel." Göttingen : Böhlau Verlag Köln, 2018. http://www.v-r.de/.

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Filho, Paulo César Ribeiro. "As narrativas do bom diabo na cultura popular portuguesa da Idade Moderna à etnografia romântica." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-23072018-155616/.

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O presente estudo analisa a figura do diabo benfazejo na literatura tradicional portuguesa. O corpus selecionado é composto pela novela exemplar de autoria anônima Obras do Diabinho da Mão Furada, que remete ao século XVII, e por uma seleção de contos populares recolhidos sobretudo durante o século XIX. Partindo das considerações teóricas contemporâneas referentes ao pensamento mitológico, às poéticas da oralidade e a sua preservação pela cultura escrita por meio de variantes textuais, faz-se uma crítica à romantização de tradições populares e aos pressupostos nacionalistas que marcaram o raiar da folclorística europeia para então analisar a contraposição das diferentes representações de tal figura a oficial, de origem bíblica, e outra popular, de natureza mítica e pagã. Nesse sentido explora-se a associação deste bom diabo a bruxas, fadas, pesadelos e à construção de pontes como forma de demonstrar a pertinência do pressuposto que justifica e norteia este estudo: o de que o bom diabo das narrativas populares portuguesas alude às personagens míticas do folclore pagão, diabolizadas com o advento do Cristianismo. A correspondência entre os traços arquetípicos (Levi-Strauss) dos bons diabos ao dos duendes, gnomos, trasgos e outros pequenos seres da mitologia pagã é demonstrada com as análises dos textos de natureza oral que compõem o corpus elencado. As gravuras e outras representações pictóricas concernentes aos eixos temáticos desta investigação corroboram as perspectivas teóricas multidisciplinares em que o presente trabalho se baseia, fronteiriças à etnografia: os estudos culturais e religiosos, a literatura morigerante e a história do livro em seus aspectos filológicos, tipográficos e pictóricos.
The present study analyzes the figure of the beneficent devil in the traditional Portuguese literature. The selected corpus is composed by the exemplary novel of anonymous authorship Obras do Diabinho da Furada, which refers to the seventeenth century, and a selection of folktales collected mainly during the nineteenth century. Starting from the contemporary theoretical considerations referring to mythological thought, poetics of orality and its preservation by written culture through textual variants, that is, from its critique to the romanticizing of popular traditions and the nationalist assumptions that marked the dawn of European folkloristics, it is told about the contrast of the different representations of such a figure an official of biblical origin and a popular one of a mythical and pagan nature. In this sense we explore the association of this good devil with witches, fairies, nightmares and the construction of bridges as a way of demonstrating the pertinence of the presupposition that justifies and guides this study: that the good devil of Portuguese popular narratives alludes to the mythical characters of pagan folklore, diabolized with the advent of Christianity. The correspondence between the archetypal traits (Levi-Strauss) of the good devils to the goblins, gnomes and other little people of pagan mythology is demonstrated by the analysis of the oral texts that make up the listed corpus. The engravings and other pictorial representations concerning the thematic axes of this investigation corroborate the multidisciplinary theoretical perspectives on which the present work is based, bordering on ethnography: cultural and religious studies, moralizing literature and the history of the book in its philological, typographic and pictorial aspects.

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Ysàs, Trias Eloi. "Els balls de l'ós als Pirineus, estudi teatral d'un ritu europeu d'hivern." Doctoral thesis, Universitat Rovira i Virgili, 2016. http://hdl.handle.net/10803/386434.

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En aquesta tesi s’exposa l’evolució de com ha estat vist l’ós al llarg de la història al continent europeu i s’analitzen les representacions festives tradicionals entorn la seva figura folklòrica més emblemàtiques dels Pirineus Orientals, Centrals i Occidentals: les Festes de l’Ós d’Arles de Tec, de Prats de Molló i de Sant Llorenç de Cerdans (Catalunya Nord), el Ball de l’Óssa d’Encamp (Andorra), el Carnaval de Bielsa (Aragó) i els Carnavals d’Ituren i Zubieta (País Basc). “Els balls de l’ós” són representacions de teatre popular de carrer que pertanyen als anomenats “balls parlats” profans, lúdics i burlescs ubicats al cicle festiu de les “mascarades hivernals”. Són unes manifestacions festives típiques als Pirineus, als Alps, als Carpats i a altres poblacions de l’Europa rural. Els testimonis més representatius se celebren per Cap d’Any, la Candelera o la fi del Carnaval. Generalment es desenvolupen al llarg d’un passacarrer que acostuma a iniciar-se als afores de la població i clou a la plaça de la vila. Essencialment escenifiquen una lluita entre l’home i l’ós –imatge elaborada a partir del domador d’óssos zíngar– recolzada en arguments de temàtica heroica que narren la cacera de l’ós, i que sovint alimenten el mite del salvatge que ha de ser civilitzat. L’espectacularitat d’aquests balls és generada per diversos grups de mascarats que fan soroll i empaiten a l’audiència, principalment les noies. Resulten ser unes representacions del despertar i la mort de l’ós carregades de sentits rituals que els balls més
En esta tesis se expone la evolución de como ha sido visto el oso a lo largo de la història en el continente europeo y se analizan las representaciones festivas tradicionales torno a su figura folclórica más emblemáticas de los Pirineos Orientales, Centrales y Occidentales: las Fiestas del Oso de Arles de Tec, de Prats de Molló y de San LLorenç de Cerdans (Cataluña Norte), el Baile de la Osa de Encamp (Andorra), el Carnaval de Bielsa (Aragón) y los Carnavales de Ituren y Zubieta (País Vasco). "Los bailes del oso" son representaciones de teatro popular de calle que pertenecen a los llamados "bailes hablados" profanos, lúdicos y burlescos ubicados en el ciclo festivo de las "mascaradas invernales". Son unas manifestaciones festivas típicas en los Pirineos, los Alpes, los Cárpatos y en otras poblaciones de la Europa rural. Los testimonios más representativos se celebran en Nochevieja, la Candelaria o el fin del Carnaval. Generalmente se desarrollan a lo largo de un pasacalle que suele iniciarse en las afueras de la población y cierra en la plaza de la villa. Esencialmente escenifican una lucha entre el hombre y el oso -imagen elaborada a partir del domador de osos zíngar- apoyada en argumentos de temática heroica que narran la caza del oso, y que a menudo alimentan el mito del salvaje que debe ser civilizado. La espectacularidad de estos bailes es generada por varios grupos de enmascarados que hacen ruido y persiguen a la audiencia, principalmente las chicas. Resultan ser unas representaciones del despertar y la muerte del oso cargadas de sentidos rituales que los bailes más hablados utilizan para hacer sátira de costumbres y un repaso
The current thesis explores the evolution on the views about the bear along Europe’s history and analyzes the most significant traditional festive representations around it in the Pyrenees: Festes de l’Ós in Arles de Tec, de Prats de Molló i de Sant Llorenç de Cerdans (Northern Catalonia), Ball de l’Óssa in Encamp (Andorra), Carnival in Bielsa (Aragon), Ituren and Zubieta (Basque Country). Bear dances are folkloric theater plays belonging to the so-called “spoken dances”, that is, versified. They are profane, fun and burlesque, placed in the festive cycle of the “winter masquerades”, typical to the Pyrenees, the Alps, the Carpathians and other rural areas in Europe. Their most significant representations take part around New Years’ Eve, Candlemas or the end of Carnival. They generally take the form of a passacaglia starting in the town’s outskirts and ending up at its main square. They essentially portray a fight between man and bear – an elaborated representation from the Gipsy bear tamer – supported by heroic narratives of a bear hunt, contributing to the myth of the wild and its need for civilization. Dances are spectacular for there are different masked groups making noise and chasing the audience, basically female. They end up being representations of the bear’s own awakening and death, full of ritual meanings, used as a means of satire and cutting review of last year’s highlights.

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Ludwig, Ulrike [Verfasser]. "Das Duell im Alten Reich. : Transformation und Variationen frühneuzeitlicher Ehrkonflikte. / Ulrike Ludwig." Berlin : Duncker & Humblot, 2016. http://d-nb.info/1238436595/34.

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Rebolj, Anja [Verfasser], and Josephus D. M. [Akademischer Betreuer] Platenkamp. "Transformation of Communal Identity in Slovenia: The Dolenjska Region from the 6th till the 21st Century / Anja Rebolj ; Betreuer: Josephus D. M. Platenkamp." Münster : Universitäts- und Landesbibliothek Münster, 2019. http://d-nb.info/1188706527/34.

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McClurkin, Kathryn M. ""While Ireland holds these graves”: The Survival and Revival of Catholic Identity in Northern Ireland, 1925-1968." Youngstown State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1431081463.

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Pooley, William. "Can the "Peasant" Speak? Forging Dialogues in a Nineteenth-Century Legend Collection." DigitalCommons@USU, 2010. https://digitalcommons.usu.edu/etd/768.

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The folklore collections amassed by Jean-François Bladé in nineteenth-century southwestern France are problematic for modern readers. Bladé's legacy includes a confusing combination of poorly received historical works and unimportant short stories as well as the large collections of proverbs, songs, and narratives that he collected in his native Gascony. No writer has ever attempted to study any of Bladé's informants in detail, not even his most famous narrator, the illiterate and "defiant" Guillaume Cazaux. Rather than dismissing Bladé as a poor ethnographer whose transcripts do not reflect what his informant Cazaux said, I propose taking Bladé's own confusion about authenticity seriously. This confusion suggests that Bladé was trapped between three competing models that depicted the authenticity of folklore as residing in either the audience or folklorist, or the tradition, or the performer. The texts of Cazaux's legends that Bladé published were not just invented by Bladé, but forged in a dynamic interaction between the folklorist, Cazaux, and the force of tradition. When Cazaux described his beliefs in witchcraft to Bladé, he did not just reveal his own worldview; he also relied on the power of anonymous forces and silence to threaten and coerce the folklorist. The legend texts that Bladé published are not simply monovocal re-writings of some things Cazaux said; they enact a conversation between the two men about place and time. This conversation is a very limited example of an important question that has occupied historians: the "modernization" of the rural population by national forces. Although Bladé and Cazaux had very different backgrounds and education and only knew each other for ten years, their memories are intertwined for posterity.

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Jones, Malcolm Haydn. "The misericords of Beverley Minster : a corpus of folkloric imagery and its cultural milieu, with special reference to the influence of Northern European iconography on Late Medieval and Early Modern English woodwork." Thesis, University of Plymouth, 1991. http://hdl.handle.net/10026.1/2540.

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The set of 68 misericords in Beverley Minster, Yorkshire, carved in 1520, are considered here both as a corpus of 'folkloric' imagery in their own right, and in a eider cultural context. A detailed iconographic examination of the individual misericords under such headings as 'The Fool and Follies', 'Satires', 'The bestiary' 'Exempla', etc., leads to the isolation of a small number of motifs which are seen not to belong to the native tradition. These non-English motifs are traced to two main sources, the border woodcuts in early Parisian printed Horae and Flemish & German prints. The identification of these sources for the Beverley designs leads to further identifications else here, and especially in the stalls of St. George's Chapel, llindsor, c. 1430. In the case of Beverley it is suggested that the means of transmission of such Continental imagery is via the port of Hull (the Customs Accounts for the port being examined in this light), and the printers and book-sellers of York. The local cultural milieu in which the Beverley stalls were created is examined and Henry Percy, the 'Magnificent' Fifth Earl of Northumberland, shown to be an influential patron of the arts; but other local influences considered include the late medieval dramatic cycles played in Beverley, the town 's patron saint John (portrayed as a 'hairy anchorite') and a York & London printer known to have printed in Beverley, Hugo Goes (whose unique woodblock-printed wallpaper is also discussed). Goes's Flemish origin leads to a consideration of the presence of other alien artists and craftsmen (e. q. ! Maynard Weywick who provided the patterns for Torrigiano's Westminster tombs) at work in late medieval and early Tudor England -- much of it assembled here for the first time.

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Adegborioye, Abiodun. "In vitro evaluation of antimicrobial and antioxidant activities of olea europaea subsp. africana and euryops brevipapposus used by Cala community folkloric medicine for the management of infections associated with chronic non-communicable diseases." Thesis, University of Fort Hare, 2016. http://hdl.handle.net/10353/4869.

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Chronic non-communicable diseses are a global public health challenge that continuously threatens the development and health of humans. Risk factors such as unbalanced diet-the high consumption of processed food or food from animal origin are responsible for NCDs. NCDs result in weakened immune system, making the host susceptible to opportunistic infections. Thus, the NCDs burden is most times chronic and multiple with the illness and suffering of the affected person numerous. The lack of cure for NCDs, the high cost of drugs, their high side-effects, and the emergence of multiple drug resistance has given rise to the investigation of other sources for therapeutic cure such as medicinal plants. The ethanol, n-hexane and ethyl acetate extracts of Olea europaea were analysed for their antioxidant and antimicrobial activities. The essential oil was also analysed for their chemical constituents. The n-hexane extracts of O. europaea exhibited no inhibition against all of the microorganisms tested, while the ethyl acetate and ethanol extracts exhibited inhibition, with minimum inhibitory concentration values between 0.625 mg/ml to 1.25 mg/ml. The ethanol leaf and ethyl acetate stem extracts exhibited significant activity in the inhibition of 2, 2-azinobis-(3-ethylbenzothiazolin - 6-sulfonic acid diammonium salt (ABTS) free radical, the n-hexane leaf extract had the overall significant lipid peroxidation inhibition activity, while in the inhibition of 2, 2- diphenyl-1-picrylhydrazyl radical (DPPH), the ethanol and ethyl acetate leaf extracts had strong activity. Nonanal, phytol, α-Pinene, α-Phellandrene, spatulenol and farnesol were some of chemical components identified after the GC-MS analysis of O. europaea oil. In the final part of the dissertation, Euryops brevipapposus essential oil was assessed for the antioxidant activities using free radical scavenging assays. In addition to this, the antimicrobial activities were assessed and the chemical composition was analysed using GC-MS. The essential oil demonstrated significant antioxidant activity against 2, 2-diphenyl-2-picryl-hydrazyl free radical (DPPH), 2, 2′-azino-bis (3-ethylbenzthiazoline-6-sulfonic acid) (ABTS) and lipid peroxides with IC50 value of 0.0000000671 mg/ml, 1.05 mg/ml, and 1.170 mg/ml respectively. The essential oil also showed significant activity against all microorganisms tested with minimum inhibitory concentration (MIC) values between 0.055 mg/ml to 0.5 mg/ml. α-pinene, α- Phellandrene, germacrene D, β-pinene, trans- β.-Ocimene, bicyclogermacrene and β -Phellandrene were some of the chemical compounds identified in E. brevipapposus oil. The study has shown that E. brevipapposus and O. europaea are abundant in phytochemical compounds which were thought to be the root cause for the activities demonstrated. Therefore, these therapeutic properties observed validate and elucidate the traditional usage of the both plants in the treatment /management of diseases.

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Dorsten, Sara E. "Priest of Wisdom: A Historical Novel Studying Ancient Greek Culture through Creative Writing." Ohio Dominican University Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1430788202.

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Lawson, Michael David. "Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3538.

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Using the lives of impaired individuals catalogued in the Íslendingasögur as a narrative framework, this study examines medieval Scandinavian social views regarding impairment from the ninth to the thirteenth century. Beginning with the myths and legends of the eddic poetry and prose of Iceland, it investigates impairment in Norse pre-Christian belief; demonstrating how myth and memory informed medieval conceptualizations of the body. This thesis counters scholarly assumptions that the impaired were universally marginalized across medieval Europe. It argues that bodily difference, in the Norse world, was only viewed as a limitation when it prevented an individual from fulfilling roles that contributed to their community. As Christianity’s influence spread and northern European powers became more focused on state-building aims, Scandinavian societies also slowly began to transform. Less importance was placed on the community in favor of the individual and policies regarding bodily difference likewise changed; becoming less inclusive toward the impaired.

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Jones, Jared. "Winging It: Human Flight in the Long Eighteenth Century." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1565963832584991.

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Cobb, Morgan B. "Sex, Chastity, and Political Power in Medieval and Early Renaissance Representations of the Ermine." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1458578117.

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Rhodes, Mark A. II. "The Memory Work of Welsh Heritage: Multidimensional landscapes of a multinational Wales." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1555693473757734.

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Hill, Christopher Austin. "“We've All To Grow Old”: Representations of Agingas Reflections of Cultural Change on the Celtic Tiger Irish Stage." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365780726.

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Christiansen, Bethany Joanne. "Women's Medicine in England, c. 850-1100 CE: Evidence of Medical Manuscripts with a Focus on the Herbarium Tradition." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1576865418758596.

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Prater, Angela Denise. "The Fattening House: A Narrative Analysis of the Big, Black and Beautiful Body Subjectivity Constituted On Large African American Women." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1223829051.

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Gorelick, Adam D. "The Enchanter's Spell: J.R.R. Tolkien's Mythopoetic Response to Modernism." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/1022.

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J.R.R. Tolkien was not only an author of fantasy but also a philologist who theorized about myth. Theorists have employed various methods of analyzing myth, and this thesis integrates several analyses, including Tolkien’s. I address the roles of doctrine, ritual, cross-cultural patterns, mythic expressions in literature, the literary effect of myth, evolution of language and consciousness, and individual invention over inheritance and diffusion. Beyond Tolkien’s English and Catholic background, I argue for eclectic influence on Tolkien, including resonance with Buddhism. Tolkien views mythopoeia, literary mythmaking, in terms of sub-creation, human invention in the image of God as creator. Key mythopoetic tools include eucatastrophe, the happy ending’s sudden turn to poignant joy, and enchantment, the realization of imagined wonder, which is epitomized by the character of Tom Bombadil and contrasted with modernist techno-magic seeking to alter and dominate the world. I conclude by interpreting Tolkien’s mythmaking as a form of mysticism.

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Hurst, Laurel Myers. "Drive vs. Vamp: Theorizing Concepts that Organize “Improvisation” in Gospel Communities." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1292012236.

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Kadric, Sanja. "Ottoman Bosnia and Hercegovina: Islamization, Ottomanization, and Origin Myths." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523972390663303.

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Quesada-Embid, Mercedes Chamberlain. "Dwelling, Walking, Serving: Organic Preservation Along the Camino de Santiago Pilgrimage Landscape." [Yellow Springs, Ohio] : Antioch University, 2008. http://etd.ohiolink.edu/view.cgi?acc_num=antioch1229963115.

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Thesis (Ph.D.)--Antioch University New England, 2008.
Title from PDF t.p. (viewed March 26, 2010). "A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Environmental Studies at Antioch University New England (2008)."--from the title page. Advisor: Alesia Maltz, Ph.D. Includes bibliographical references (p. 289-308).

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Gibson, Alanna Marie. "Salome: Reviving the Dark Lady." University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1398693802.

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Richey-Abbey, Laurel Rhea. "Bush Medicine in the Family Islands: The Medical Ethnobotany of Cat Island and Long Island, Bahamas." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1335445242.

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North, Naomi. "Fall Like a Man." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1460115929.

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Barnes, Rex Delno. "Haunting Matters: Demonic Infestation in Northern Europe, 1400-1600." Thesis, 2019. https://doi.org/10.7916/d8-1dkg-6x66.

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A profound concern with demonic spirits was central to a large body of literature from the Latin Middle Ages and early modern period. This dissertation shows the ways in which learned writings about demons reveal insights into the cultural and intellectual history of fifteenth- and sixteenth-century western Europe. In particular, an interest in how and in what (visible or invisible) form demonic beings afflicted humanity emerged as larger issues of theological debate from approximately 1400-1600 CE. As I demonstrate, orthodox theologians maintained that demons existed solely as fallen angels, and that they were the primary culprits of myriad haunting phenomena (e.g., visible apparitions, unsettling movements, and wayward sounds and feelings). In rebellion against the Christian divinity, these wicked spirits were consistently associated with sinful behavior, temptation, and illusory tricks. At the same time, vernacular and folk storytelling suggest that fallen angels were but one of many possible spiritual creatures inhabiting the cosmos. Rather than a strict binary between good and evil spirits, many instantiations of spiritual creatures resisted and survived alongside ecclesiastical teachings on the subject. Informed by multiple overlapping traditions, the premodern Christian imaginary perceived a world filled with invisible agents of both benevolent and malevolent intentions, as well as other ethereal forces with moral ambiguities.

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"The "Moors and Christians" of valor: Folklore and conflict in the Alpujarra (Andalusia)." Tulane University, 1995.

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This research focuses on the 'feasts of Moors and Christians' (fiestas de moros y cristianos) of Valor, a mountain community of the Alpujarra region, in the former Moorish kingdom of Granada. The tradition of 'Moors and Christians' performances is a stock item of the Spanish expressive culture and a model for local identity, which is so deeply rooted that it fully reflects the social, economic and even political life of the community. Each year in Valor, the 'Moors and Christians' reenact the Reconquest of Spain and the 'Morisco revolution' of 1568. The performance functions as a local myth of origin, a product of a literate bricolage, built with the odds and ends of effective history. It commemorates various events, widely distant in time, but all related to times of conflict. Following the local point of view and my own experience as a Christian performer in Valor, I look at the 'Moors and Christians' as the foremost manifestation of local culture. Focusing on the interplay between the way conflict is being represented in the performance and its real developments in the community and its region, I analyse the relation between history and its representation in folklore for the two key periods of societal crisis: the Spanish Civil War (1936) and the Morisco revolt (1568)
acase@tulane.edu

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Frost, Johan. "Swedish piano music by Stenhammar in the shadow of Grieg." Thesis, 2001. http://hdl.handle.net/1911/17965.

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As a music-producing part of Europe between 1843--1957 Scandinavia is well known through composers such as Jean Sibelius (1865--1957), Carl Nielsen (1865--1931) and especially Edward Grieg (1843--1907). Grieg is still a national hero in his home country and was immensely popular during his lifetime in Europe as his piano music found its way into the homes of the average music lover. Sweden, the biggest Scandinavian country, has as rich a cultural heritage as Norway, a tremendous treasure of folk music, and a highly important political and historical influence over Scandinavia. Why didn't it have a composer during this time to put Sweden on the international landscape? In this dissertation, I will attempt to answer this question. I will compare Grieg with Wilhelm Stenhammar (1871--1927) who was a remarkable Swedish composer and pianist and the major composer of piano music in Sweden during this time. I will start by giving a brief history of Grieg's and Stenhammar's lives and careers as well as examples of how they expressed themselves through the piano. In chapter three and four, I will discuss facts and circumstances that have been to Sweden's disadvantage in developing a musical atmosphere that could have been seen in other countries as something typically Swedish.

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Rojas, Rochelle E. "Bad Christians and Hanging Toads: Witch Trials in Early Modern Spain, 1525-1675." Diss., 2016. http://hdl.handle.net/10161/13429.

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This dissertation challenges depictions of witchcraft as a sensational or disruptive phenomenon, presenting witch beliefs instead as organically woven into everyday community life, religious beliefs, and village culture. It argues that witch beliefs were adaptive, normal, and rational in regions that never suffered convulsive witch persecutions. Furthermore, this dissertation, the first to work systematically through Spanish secular court witch trials, upends scholars’ views about the dominance of the Spanish Inquisition in witchcraft prosecutions. Through a serial study of secular court records, this dissertation reveals that the local court of Navarra poached dozens of witch trials from the Spanish Inquisition, and independently prosecuted over one hundred accused witches over one hundred-and-fifty years. These overlooked local sources document witch beliefs in far greater detail than Inquisition records and allow the first reconstruction of village-level witch beliefs in Spain. Drawing from historical, anthropological, and literary methods, this dissertation employs a transdisciplinary approach to examine the reports from villagers, parish priests, and jurists, produced under the specific local and older accusatorial judicial procedure. Free of the Inquisitorial filter that has dominated previous studies of Spanish witchcraft, these sources reveal the way villagers—not Inquisitors—conceived of, created, feared, and survived in a world with witches and sorceresses.

Using these local sources, this dissertation illuminates the complex social webs of witchcraft accusations, the pathways of village gossip, and the inner logic of witch beliefs. It reveals the central role of Catholic performativity and the grave consequences of being marked as a mala cristiana, the importance of fama and kin ties, and reveals the rationality of the curious and pervasive presence of the common toad (Bufo bufo) in Navarra’s witch trials. By moving away from the prevalent focus given to the more spectacular witch panics and trials, this work demonstrates the value of local trial records. This dissertation argues that far from irrational or absurd, witchcraft beliefs in early modern Navarra were internally coherent and intellectually informed by an amalgamation of religious, social, and legal forces.

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Rebok, Sandra [Verfasser]. "Alexander von Humboldt und Spanien im 19. Jahrhundert : Analyse eines reziproken Wahrnehmungsprozesses / vorgelegt von: Sandra Rebok." 2006. http://d-nb.info/978959086/34.

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"Drink of Me, and You Shall Have Eternal Life: An Analysis of Lord Byron's "The Giaour" and the Greek Folkloric Vampire." Master's thesis, 2010. http://hdl.handle.net/2286/R.I.8764.

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abstract: This paper contains an examination of the impact of the Vampire Hysteria in Europe during the 1700’s on Lord Byron's “The Giaour.” Byron traveled to the continent in 1809 and wrote the poems that came to be known as his Oriental Romances after overhearing what would become “The Giaour ” in “ one of the many coffee-houses that abound in the Levant.” The main character, the Giaour, has characteristics typical of the Greek vampire, called vrykolakas. The vamping of characters, the cyclic imagery, and the juxtaposition of life and death as it is expressed within the poem are analyzed in comparison to vampiric folklore, especially that of Greece.
Dissertation/Thesis
M.A. English 2010

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Dissertations / Theses on the topic 'Folklore, europe'

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