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1
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.
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Kockel, Ullrich, Susana Narotzky, and Deborah Reed-Danahay. "AJEC @ 21." Anthropological Journal of European Cultures 21, no. 2 (September 1, 2012): 5–8. http://dx.doi.org/10.3167/ajec.2012.210202.
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AJEC @ 21: A Perspective from the Société Internationale d’Ethnologie et de Folklore (SIEF)AJEC @ 21: A Perspective from the European Association of Social Anthropologists (EASA)AJEC @ 21: A Perspective from the Society for the Anthropology of Europe (SAE)
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Ilyina, Larisa Evgenievna, and Lidiya Vladimirovna Romasenko. "Anthropology and Ethnology as Scientific Bases for Studying Folk Art: as Illustrated by French Researchers." Philology & Human, no. 4 (December 9, 2023): 153–68. http://dx.doi.org/10.14258/filichel(2023)4-09.
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The development of anthropology and ethnology in Europe of the late 18th century was facilitated by accumulation of practical material which provided grounds to study the human and human communities at various angles. Studies of folk art (folklore) remain relevant at present; globalization, the development of technology, mass media and communications have become factors to promote modern folklore. The works of folk art and modern folklore reflect the mentality, culture and traditions of the people, the development of language and literature, changes in social structures and values of society. The scientific basis for the study of folk art is anthropology and ethnology. The purpose of this article is to draw attention of researchers to the works of French scientists and show the range of anthropological studies concerning socio-cultural context of emergence and existence of folklore. The article presents the stages anthropology development with examples from the works of French scientists, many of which are little known in Russia. Finally, it is concluded that anthropological and ethnological approaches make it possible to study folklore and its role in the dynamics of culture and history.
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Churakov, Vladimir Sergeevich. "ON THE QUESTION OF THE HISTORICAL BASIS OF SOME UDMURT LEGENDS AND STORIES." Historical and cultural heritage 14, no. 1 (2024): 27–35. http://dx.doi.org/10.62669/30342139.2024.1.2.
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Due to the insufficient amount of written evidence covering a particular chronological period, researchers are forced to resort, among others, to the help of folklore sources. In this article the author tried to identify the real historical basis of the plots of a number of Udmurt folklore works, which are often used to illustrate the history of interaction between the Udmurts and the peoples and states of the Middle Volga region in the period of the X–XVI centuries. As the research has shown, the considered historical stories and legends actually reflect historical events dating back to the period of the XVII–XIX centuries. In a number of cases, significant authorial interference in the plot of folklore works was revealed. Thus, the analyzed historical stories and legends cannot be used to highlight events dating back to the existence of the Volga-Kama Bulgaria, the Mongol conquests of Eastern Europe, as well as to the Golden Horde and Kazan periods of the history of the Middle Volga region.
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Baron, Robert, Mary Hufford, and Amy Shuman. "Salons 4: Sustainabilities." Journal of American Folklore 137, no. 543 (January 1, 2024): 120–27. http://dx.doi.org/10.5406/15351882.137.543.11.
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Abstract The “Sustainabilities” salons, organized by the Fellows of the American Folklore Society, drew together folklorists from the United States, Europe, and Asia, who were interested in frameworks for the study and stewardship of culture at the nexus of economy, ecology, nature, and the multi-species ethnographic and ontological turn. Conversations highlighted the continuing friction between public environmental policies grounded in Western instrumental, anthropocentric attitudes toward nature, and deeply relational values espoused by Indigenous and environmental justice communities, and by the growing numbers of climate refugees and host communities—urban and rural—with whom folklorists and heritage scholars are increasingly engaged. Exploring what is most needed from folklorists in a time of global environmental instability, participants identified ways to build on solid foundations developed over decades of public folklore's place-based community engagement.
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Tokar, Nataliia. "The folklore motives of Ivan Korsak's historical novels." IVAN OHIIENKO AND CONTEMPORARY SCIENCE AND EDUCATION 20 (December 25, 2023): 220–26. http://dx.doi.org/10.32626/2309-7086.2023-20.220-226.
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The article examines the folklore elements from creative work of the modern Ukrainian writer Ivan Korsak, namely the historical novels «The Conqueror of Europe», «The Crown of Yurij II», «The Finger-ring of Hanna Barvinok». The tradi-tional meaning of folklore symbols and their interpretation in I. Korsak’s novels are compared. The functions of excerpts of folklore texts are included in the novel «The Finger-ring of Hanna Barvinok» have been clarifi ed.Folklore, folk beliefs, and traditions have been the basis of fi ction since their inception. In modern Ukrainian literature, folklore expresses ancient national identity.The creativity of the Ukrainian writer Ivan Korsak represents the implementation of folklore elements in a fi ction with the aim of expressing the national and mental component. Ivan Korsak’s novels are used for traditional folk ideas about the animal and plant world. Ornithological images have a symbolic meaning. In Ivan Korsak’s historical novels, the bird performs the function of a mediator, that is, an intermedi-ary between heaven and earth. Defi cation of nature, spiritualization and endowment with extraordinary, sometimes mystical properties is a characteristic of the Ukrainian mentality. It is usually embodied in dreams, delusions, visions.Folk creativity is the basis of the depiction of national identity in the literary style of I. Korsak. This is important for the novel «The Finger-ring of Hanna Barvinok». This is related to the literary and folklore activity of Oleksandra Bilozerska, because it has known that her work belongs to the ethnographic and domestic school. The de-tailed depiction of Hanna Barvinok’s folkloristic activities in the novel is also testifi es to its importance for the general idea of the work.The article proves that folklore expresses national identity in Ivan Korsak’s nov-els. Author uses traditional folk symbols and beliefs, as well as world religious my-thology in creative works. Excerpts from Ukrainian folk songs and legends recorded in the novel «The Finger-ring of Hanna Barvinok» show the great importance of Oleksandra Bilozerska’s folklore activity
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Būgienė, Lina. "Folklore and Politics: Inherent Connections and Entrenched Stigmas." Tautosakos darbai 61 (June 1, 2021): 156–72. http://dx.doi.org/10.51554/td.21.61.07.
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The author of the article tackles the long-neglected issue of relationship between folklore and politics. This problem is so heavily underresearched in Lithuanian folkloristics that one can draw only on the works by foreign colleagues or on interdisciplinary studies. This poses the main question to deal with in the current article: why is political nature of folklore and its research ignored or even stigmatized in the Lithuanian folklore studies?“Everyone has known since the Grimms that folklore is politics”, Linda Dégh stated over two decades ago (1999: 527). True, folklore as a notion and as a discipline appeared along with the concept of nationalism, both serving the independence of oppressed nations. The development of folklore collection, publication, archiving, and promotion, along with related institutions, was initially meant to serve formation of the national states and fostering of their identity. Therefore, these processes have been quite similar in different countries, especially those of the Central and Eastern Europe, characterized by similar history and economic development. Indeed, popular traditions and historic folklore may be conceived as product of agrarian-pastoral culture; creative forms an expressions elaborated by peasants have been for decades considered the only and true folklore. However, only educated people, descendants of the enriched peasant class, were able to shape the traditions of their ancestors into a coherent whole to serve the national ideology and use it as means of gaining power.Power relations have come into play especially from the middle of the 20th century, when folklore was selectively used by authoritarian regimes (including Nazis, Soviets, and others) to serve their needs, primarily – to legitimize their existence and policies by demonstrating that these regimes were “natural climax of a historical process” (Mugniani 2016: 25). Numerous abuses and distortions of folklore by authoritarian regimes in many ways tarnished it in the eyes of the contemporaries and descendants; e.g., even the term “folk” has acquired negative significance in many post-Soviet countries. According to the author, the current negative attitude towards any associations of folklore with politics (or ideology) in Lithuania may partly be the result of the previous abuse of folklore by the Soviet authorities.Another reason for this stigmatization of politics in the context of folklore research may be a misconstrued striving for scholarly objectivity: folklore researchers are supposed to display maximum impartiality in collecting and analyzing their data. However, this imperative is practically impossible to implement; as shown by the author, folklore is part of the current media and social discourse in many ways. Its nature is dialogical, discursive, so it can be used or adapted to argue for or against various relevant issues, to educate society, to shape its attitudes and opinions, or simply to liven up communication. Folklore has always been means of cultural communication, and its ambivalent functioning can be properly appreciated only by taking into account the multiple power relations in a given society.
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Kalmre, Eda. "Buried Alive: The Phenomenon of Apparent Death in Estonian Tradition." Folklore: Electronic Journal of Folklore 81 (April 2021): 101–20. http://dx.doi.org/10.7592/fejf2021.81.kalmre.
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Hardly any other folklore subject or motif can offer a more colourful bouquet in genre than apparent death, ranging from fairy tales and romantic legends to rumours, ballads, and jokes. The historical origin of stories of apparent death extends back to antiquity, probably also relying on some true events; however, the formation and spread of folktales on this subject falls into the Enlightenment period in Europe. The emergence and development of this topic relate to medical and religious practices, journalism and literature. The article focuses on the traditional context of apparent death in eighteenth-nineteenth-century Europe, including Estonia.
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Ispas, Sabina. "Folclor și identitate." Teologie și educație la "Dunărea de Jos" 17 (June 12, 2019): 183–99. http://dx.doi.org/10.35219/teologie.2019.06.
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The folklore phenomenon (the deep, oral, popular, traditional culture) is represented by all the creations of a community that is based on tradition, are expressed by a group of individuals and recognized as reflections of its expectations to the extent that it represents its social and cultural identity. This is, in fact, a sum of local, village and city identities in which “individual identities” are incorporated. Through it, the fusion between territory, language and people is obtained, which is legitimized “through a genealogy and a space conceptualized as such”. We belong to a world in which access to information is open to all. In this context, in order to find yourself, you must define and assume your own identity. Such a complicated and responsible process cannot be undertaken without reference to the traditional system of norms, expressed in that large segment of the culture that is folklore. A Europe of nations cannot be achieved without knowing and understanding the system of values to which they have appealed throughout the entire period of their definition. Folklore is a fundamental landmark for the man of the post-industrial society who is in search of the self. Along with the scholarly culture, to which it is complementary, folklore contributes to the realization of the universal, European, national heritage. Forms of expression of folklore, musical, literary or choreic texts, ritual practices, beliefs, the dominant religion of the group, etc. cooperates for the purpose of forming this identity. The standards and values are transmitted orally, by imitation or other means. Folklore includes, inter alia, phenomena of language, literature, music, dance, games, mythology, rituals, customs, crafts, architecture and other arts. The present study highlights, synthetically and systematically, the main traditions created and developed over time by the Romanian people, traditions that define it and give it a specific identity.
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Lubis, Fauziah Khairani, and Syamsul Bahri. "Enhancing Students’ Literacy Competence Through Writing Bilingual Folklore Book by IT: Process Approach." Randwick International of Education and Linguistics Science Journal 2, no. 1 (March 31, 2021): 105–15. http://dx.doi.org/10.47175/rielsj.v2i1.205.
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Writing bilingual storybooks based on local wisdom is a product of the Prose Appreciation course. The results of the evaluation so far indicate that students' low literacy skills in developing literary works such as short stories, novels, and bilingual folklore books with IT-based ISBN in 8 ethnic groups in North Sumatra. There is also a phenomenon of the influence of globalization from the use of the internet which removes boundaries between countries resulting in the spread of globalization itself which has led to increasing interest among teenagers or students towards modern literary works originating from outside Indonesia such as America, Europe, and from Asian countries. For this reason, this study will be developed to improve st udent literacy competencies through 6 types of Tasks KKNI in making IT-based ISBN-based folklore books for 8 ethnic groups in North Sumatra. Indirectly, this research explores the elements of the existing culture and is also a measure to preserve local culture. This study uses the Classroom Action Research Method (PTK). This activity is carried out through several stages of the process are a. Training in writing folklore literary works based on local wisdom in Taman Budaya. b. Review process by internal reviewers (students (peer review), and lecturers). c.Validation by internal and external expert teams. d. Publishes ISBN books of bilingual folk tales. e. Create a blog about bilingual folklore books.
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von Below, Susanne, Mathias Bös, and Lance W. Roberts. "Can the North American Model of Ethnicity Be Applied to Europe ? The German Example." Tocqueville Review 25, no. 1 (January 2004): 41–76. http://dx.doi.org/10.3138/ttr.25.1.41.
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In the last decade of the 20th century, the self-perception of many continental European nations has shifted dramatically. Terms like diversity, multiculturalism and, last but not least, ethnicity are increasingly used to describe group structures and inequalities in these countries. This is especially surprising in the case of Germany. In sociological folklore, Germany epitomizes a nation which sees itself as an ethnically homogeneous people (among many see Brubaker 1992).
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Lukin, Michael. "The Ballad in Eastern European Jewish Folklore: Origins, Poetics, Music." Judaic-Slavic Journal, no. 1 (3) (2020): 191–228. http://dx.doi.org/10.31168/2658-3364.2020.1.10.
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Analysis of the poetics and music of Yiddish folk ballads reveals that the Ashkenazi Jews of Eastern Europe did not preserve German songs,widely popular among them up to the beginning of their gradual migration to the east, but instead developed a ballad repertoire of their own.The group of songs, designated as “medieval” by Sophia Magid, the author of a monumental study on the Yiddish ballad, includes both old ballads and those borrowed from the Germans towards the end of the 18th century and later. While the borrowed songs carried a similarity to the German originals as shown in their melodic contours, vocabulary, and plots, the old Yiddish ballads, though generally echoing both Slavic and Western European balladry, differed significantly. The article attempts to identify and characterize this older layer. It apparently first came into being in Central and Eastern Europe in the 15th 16th centuries and continued to develop until the new“urban” ballad emerged in the mid 1800s.The poetics and music of the Yiddish ballad reflect the genre’s hallmark – ballad-singing as a form of communication – which distinguished it from the Yiddish lyric song, performed “for oneself”. The ballad melodies lack melismatic embellishments and dramatic shifts; their tempo is usually moderate; some of them frequently feature the “Ionic minor” rhythmic pattern; many others resemble Klezmer dance music. These features reflect Yiddish ballad aesthetics: music is an ostensibly neutral frame for revealing a narrative that evokes emotions without referring to them directly.Two features of the international ballad canon – readiness to draw material from diverse sources, and a focus on the collective emotional response to key moments of everyday life–stimulated the formation of the indigenous Yiddish tradition. Its character also reflected the remoteness of Eastern Ashkenazi folk culture from rural Slavic folklore, and the lack of a permanent social function of balladsinging in the Ashkenazi tradition.
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Davidson, Jane P., and Kathryn A. Edwards. "Werewolves, Witches, and Wandering Spirits: Traditional Belief and Folklore in Early Modern Europe." Sixteenth Century Journal 35, no. 1 (April 1, 2004): 289. http://dx.doi.org/10.2307/20476914.
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Berezkin, Yuri E. "THE MOTIF AS AN IDEAL TYPE, OR TRICKSTER EPISODES IN EURASIAN FOLKLORE." Folklore: structure, typology, semiotics 5, no. 1 (2022): 10–29. http://dx.doi.org/10.28995/2658-5294-2022-5-1-10-29.
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Folklore motif is an analytical tool created for the particular kind of research. Our purpose is to reveal routes of the interregional exchange of ideas in different periods of the past. The dissemination of ideas can be followed when we study material (archaeological sites) and nonmaterial (traditional narratives) objects created because of particular ideas adopted by people. Ideas are copied and disseminated unconsciously. The folklore motif is any unit of replication (most often an episode or an image) registered in two or more traditions. The tradition is a totality of narratives recorded for a particular ethnic group or across a particular territory. Motifs can be classified according to thematic groups that approximately correspond to genres of those narratives from which they are selected. The author analyses the results of computing trickster motifs with animal and anthropomorphic actors. The area configuration of the selected interaction spheres suggests that the spread of the motifs with anthropomorphic actors took place mostly from the late Antique period to the early New Time, and the spread of the animal tales – during the Middle Age and earlier. The influence of the Great Steppe on East Europe is noticeable for the Middle Age with the emergence of the borderline between Christian Europe, and the Asian-Africa interaction sphere is a characteristic trait of the early New Time. China is outside of this opposition.
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Слюжинскас, Р. "RUSSIAN FOLKLORE IN KLAIPEDA (THROUGH THE EXAMPLE OF THE ARTISTIC ACTIVITIES OF THE RUSSIAN FOLKLORE ASSOOATION “VECHIORA” AND THE FOLKLORE PROJECT GROUP “VERETIONCE”)." Music Journal of Northern Europe, no. 2(14) (July 2, 2018): 46–62. http://dx.doi.org/10.61908/2413-0486.2018.14.2.46-62.
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К окончанию Второй мировой войны в Клайпеде произошли социальные изменения, повлекшие уменьшение числа местных двуязычных (литовских и немецких) жителей - почти все оставшиеся в живых переехали в Германию. В настоящее время около 165 тысяч жителей Клайпеды составляют литовцы (около 75-80%), живущие бок о бок с представителями других этнических и национальных групп (около 20-25%), приглашённых и нанятых советской администрацией в период с 1950 по 1970 год для восстановления морского порта Клайпеды, а также судостроительной и других городских отраслей. Основная их часть - более 20 тысяч человек - русскоязычные граждане Клайпеды. Ещё один сегмент населения составляют этнические группы, которые поселились в Клайпеде в течение последних 20 лет, после того, как государственные границы независимой Литвы были открыты для остальной части Западной Европы. Российские, белорусские, немецкие, еврейские, украинские, польские, латышские, татарские, армянские, азербайджанские и другие национальные меньшинства стали неотъемлемой частью социальной и культурной жизни в современной Клайпеде. В 2012 году в муниципалитете Клайпеды был открыт Центр национальных меньшинств. В свете данных исторических фактов цель статьи - рассмотреть возможности российского национального сообщества в поддержании и продвижении своих этнических корней и традиций в городе в настоящее время. Пример русских фольклорных групп «Веретёнце» и «Вечёра» (руководитель - Мария Серебрякова) был взят для иллюстрации и отражения данного процесса. By the end of the Second World War social changes took place in the city of Klaipeda which resulted in the decrease of the population of local bilingual (Lithuanian and German) residents - almost all of the survivors had moved to Germany. At the present time approximately 165.000 citizens of Klaipeda consist of Lithuanians (about 75-80%) living side-by-side with representatives of other ethnic and national groups (about 20-25%) invited and employed by the Soviet administration in the period from 1950 till 1970 for rebuilding the seaport of Klaipeda along with the shipbuilding and other urban industries. The main part of them (over 20.000 persons) consists of Russian-speaking Klaipeda citizens. Another segment of the population is constituted by the ethnic groups that have settled in Klaipeda in the last 20 years, after the state borders of independent Lithuania were opened to the rest of Western Europe. The Russian, Belorussian, German, Jewish, Ukrainian, Polish, Latvian, Tartar, Armenian, Azerbaijani, and other national minorities have become an integral part of the social and cultural life in contemporary Klaipeda. The Centre for National Minorities opened at Municipality of Klaipeda in 2012. In the light of these historical facts, the goal of the article is to discuss the possibilities of the Russian national society to maintain and promote their ethnic roots and traditions in the city at the present time. The example of Russian folklore groups “Veretionce” and “Vechiora” (head Marija Serebriakova) was taken to illustrate and to reflect this process.
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Ivanova, Teodora, Valentina Ganeva-Raicheva, Yulia Bosseva, and Dessislava Dimitrova. "Singing the nature - еthnobotanical knowledge in Bulgarian folk songs." Botanical Sciences 99, no. 2 (February 14, 2021): 321–41. http://dx.doi.org/10.17129/botsci.2672.
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Background: Bulgarian poetic folklore reflects an agrarian culture deeply connected with land and nature. However, traditional ecological knowledge (TEK) transmitted through Bulgarian folklore is scarcely assessed.
Questions: What are the dimensions of the TEK related to plant diversity (native and introduced) that appear in Bulgarian folk songs and what is their potential as transmitters of ТЕК?
Data description: The lyrics of 10,113 Bulgarian folk songs were excerpted from major academic collections and a set of unpublished songs.
Study site and dates: Current study covers songs that have been documented since mid-19th century onwards in the present and former Bulgarian territories and in areas that have been inhabited by ethnic Bulgarians abroad.
Methods: Common plant names and descriptions of plants and landscapes were used to detect botanical affiliations of the denoted plants. We focused on frequencies of plant representations and their functions associated with cultural, agricultural and food-processing practices.
Results: A total of 146 plant taxa from 109 genera were mentioned in 47.3 % of the studied songs. Over 60 % of the most frequently mentioned taxa were archaeophytes while neophytes were represented by seven taxa, denoting everyday and spiritual importance of nature.
Conclusions: Bulgarian folk songs presented wide range of nature-related information typically reported for ethnic groups outside Europe. Quantification of TEK preserved in documented poetic folklore and further assessment of performance of nature-rich folklore would allow development additional tools for evaluation of cultural significance of species, landscapes and ecosystems as well as for development of educational and inspirational materials.
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Anastasova, Ekaterina, and Nina Vlaskina. "Introduction." Yearbook of Balkan and Baltic Studies 5 (December 2022): 9–11. http://dx.doi.org/10.7592/ybbs5.00.
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The articles of the volume discuss various issues: what is happening with the traditional, religious and secular landscape in the Balkan and Baltic countries, Europe, and the world? What are the new aspects of the development of modern spirituality? What happens to memory, historical interpretations, and visions of the future in modern contexts? Are traditional beliefs, folklore, and rituals still relevant in the modern world? How is cultural heritage being preserved during migration and in new surroundings?
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Juzala, Gustaw. "Musical folklore in the modern education system in Eastern Europe and the Baltic States." Problems of music ethnology 13 (October 26, 2018): 58–81. http://dx.doi.org/10.31318/2522-4212.2018.13.145672.
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Carter, Karen E. "Werewolves, Witches, and Wandering Spirits: Traditional Belief and Folklore in Early Modern Europe (review)." Catholic Historical Review 91, no. 3 (2005): 523–25. http://dx.doi.org/10.1353/cat.2005.0189.
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Scholz Williams, Gerhild. "Werewolves,Witches, and Wandering Spirits: Traditional Belief and Folklore in Early Modern Europe (review)." Catholic Historical Review 92, no. 4 (2006): 660–61. http://dx.doi.org/10.1353/cat.2007.0055.
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Haltrin-Khalturina, Elena V. "A NEW COMPLEX STUDY “RUSSIAN ESTATE AND EUROPE: DIACHRONY, NOSTALGIA, UNIVERSALISM”." Vestnik of Kostroma State University, no. 3 (2020): 221–23. http://dx.doi.org/10.34216/1998-0817-2020-26-3-221-223.
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This is a review of a scholarly edition focusing on the Russian manor-house topos and published by IMLI RAS as part of the book series «Russian estate in the world context». The review discusses the structure of the collective monograph, comments on the wide scope of the covered material, as well as on the cutting-edge research strategies employed here, which might command interest of the wide readership, since they are prompted by the Russian and comparative studies, literary and cultural studies, folklore studies and intellectual history. The reviewer highlights some uncommon and keen observations made by the contributors to the monograph and offers a short list of country houses and stately homes worthy of further consideration in the same scholarly light.
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Mykhailova, Nataliia. "Elk-boat Depictions in the Ethnoarchaeological Context." Archaeologia Lituana 23 (December 30, 2022): 135–47. http://dx.doi.org/10.15388/archlit.2022.23.8.
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Numerous depictions of elk-shaped ships are discovered in rock art of the Northern Europe and Siberia, dating from the Mesolithic time to the Bronze age. Usually they are interpreted as Boats of the Deads, connecting the Worlds. The water is the symbol of a border between Worlds in traditional societies. Northern Europe archaeological findings prove that images of the Cervid as a mediator between Worlds and the Boat of the Deads became connected in the Stone Age. Red deer (Cervus Elaphus) remnants were found in burials from the Mesolithic period to the Iron Age. Cemeteries of humans in boats with deer antlers or elk-headed stuffs were discovered at the Mesolithic sites of Denmark (Vedbaeck, Mollegabet) and in Northern Russia (Bolshoy Oleniy Ostrov). Being of a great significance in the mytho-ritual complex of the Stone Age population in Europe, Elk-Boat as the transport between Worlds is preserved in folklore of South-East European people. Mythological motif of the Cervid, sailing on the Sea or the River, with the sleeping maiden on his antlers, is widespread in South and Eastern Europe.
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Liugaitė-Černiauskienė, Modesta. "International Meeting of the Ballad Researchers in Vilnius." Tautosakos darbai 57 (June 1, 2019): 264–75. http://dx.doi.org/10.51554/td.2019.28438.
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Having accepted the suggestion from the International Ballad Commission / Commission internationale pour l’étude de la chanson populaire / Kommission für Volksdichtung, the Institute of Lithuanian Literature and Folklore organized the research conference “Human Relationships in and through Songs: Meanings and Contexts”, which took place in Vilnius on May 20–24, 2019. This scholarly event was the 49th conference of this organization by the folksong tradition researchers from all over the world and the first of its kind in Lithuania. Forty-four researchers representing over 20 countries in Europe, America and Asia made presentations on various historical and modern forms of folksong, followed by inspiring discussions. The collection of the conference abstracts can be obtained in the libraries or online: http://www.llti.lt/failai/Human%20Relationships+%20(1).pdf. Articles based on the conference presentations will be included into the special issue of the journal Tautosakos darbai / Folklore Studies published in the first half of the 2020.
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Harvilahti, Lauri. "MOTIF INDEXES IN THE AGE OF THE INTERNET." Folklore: structure, typology, semiotics 5, no. 4 (2022): 80–90. http://dx.doi.org/10.28995/2658-5294-2022-5-4-80-90.
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In the early twentieth-century Europe, international indexing systems and typologies were developed for folklore archives and research. Later, these indexes formed international standards. As an illustrative example of such international systems, mention may be made of such as the Thompson motif index of folk literature, and the Aarne-ThompsonUther folktale type index. The problem presented in my article is to ponder, how to combine the traditional indexes of narrative folklore with the methodology of computer-based research. The problem with using the traditional motif indexes is that only very rare cases e.g. of Thompson’s index represent Caucasian, Siberian, Central Asian or East Asian traditions, and in general only a few non-European traditions are well represented. Luckily there exists the index developed recently by Yu.E. Berezkin and E.N. Duvakin, entitled “Thematic classification and distribution of folklore and mythological motives by area. Analytical catalog”2 . This index encompasses massive corpuses of myths and other materials of folklore from all parts of the world. An important direction of future research will involve advances from traditional typologies to cross-cultural digital typologies. In the era of digital humanities’, it is possible to enrich the motif indexes to include more traditions, so far not well represented in the previous indexes. Large datasets of “Big Data” offer great potential for developing new computational models. One way to combine modern computing network technology with traditional methods is to use web-ontologies as linked data. The advantage of the digital motif index is its universality: the digital code is language-independent. Digital, annotated corpuses combined with Internet-based type indexes can create a completely new tool for research of oral traditions
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Spracklen, Karl. "From The Wicker Man (1973) to Atlantean Kodex: Extreme music, alternative identities and the invention of paganism." Metal Music Studies 6, no. 1 (March 1, 2020): 71–86. http://dx.doi.org/10.1386/mms_00005_1.
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The German epic heavy/doom metal band Atlantean Kodex has written two concept albums based on the folklore and paganism of old Europe and the West: The Golden Bough and The White Goddess. The two albums owe their titles to two books that have influenced the rise of modern paganism, though they remain deeply problematical. In this article, I explore possibly the most important influence on Atlantean Kodex, which is also one of the most important influences on modern paganism: the 1973 horror film The Wicker Man. I discuss the ways in which the film uses the speculative folklore of Frazer and Graves to construct a set of invented traditions about paganism and its alternative, counter-Christian nature, which have made paganism appealing to extreme metal musicians and fans. In this discussion, I use examples from other metal bands and fans who have name-checked the themes and the traditions of the film. In discussing the folklore of the Wicker Man, I also explore the folk music used in the soundtrack, which has also contributed to the invention of modern paganism and extreme folk music. I conclude by suggesting that, although many pagans have adopted this extreme music and myth into their world-views, the myth of the Wicker Man is also used as a playful rejection of Christianity and its authority by those of a secular or humanist persuasion.
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Nordqvist, K., V. P. Herva, and S. Sandell. "Water and Cosmology in the Stone Age of Northeastern Europe." Archaeology, Ethnology & Anthropology of Eurasia 47, no. 1 (March 28, 2019): 23–32. http://dx.doi.org/10.17746/1563-0110.2019.47.1.023-032.
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This paper explores water and watery places as sacred elements among the cultures of the northern boreal zone during the Stone Age, and especially the Neolithic period, through materials deriving from Northwestern Russia and Fennoscandia. The peculiarity and importance of water and certain watery environments, like rivers, lakes, bogs, waterfalls, and rapids, are discussed through depositional practices of material culture, mainly lithic artifacts. Rock-art provides further tools for approaching the topic, not only through its locations in the landscape but also through its motifs, which allow parallels to be drawn to later ethnographical sources and folklore, too. Finally, the paper briefl y touches upon the rationality behind making a strict separation between “sacred” and “mundane” when interpreting prehistoric cultural phenomena. Water was integral to human life in many different ways, but bodies of water and watery places could also be threatening and unpredictable. Therefore water would have been an ambivalent element, probably invested with signifi cant cultural meanings in the Stone Age world.
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Неклюдов, С. Ю. "“Bublichki” Between Folklore and Pop Music." ТРАДИЦИОННАЯ КУЛЬТУРА 25, no. 1 (March 29, 2024): 61–80. http://dx.doi.org/10.26158/tk.2024.25.1.004.
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Среди музыкальных текстов «эпохи НЭПа» особенно широкой известностью пользовалась песенка «Бублички» («Купите бублики…»), наиболее вероятный автор которой — одесский поэт Яков Ядов (1926), а мелодия, по-видимому, восходит к еврейской народной песенке «Уголь». Песня сразу широко расходится по традициям городского фольклора и связанным с ним эстрадным подмосткам, включая русское зарубежье. С 1927 по 1945 г. в Европе и Америке напечатано более полусотни записей, инструментальных (бóльшей частью) и вокально-инструментальных (не только по-русски); в СССР была лишь одна «пробная» грамзапись Леонида Утесова. Наибольшее количество пластинок приходится на период 1927–1930 гг., по 1929 г. идет стремительный рост этого показателя, затем его резкое снижение, до одной пластинки в год. Интерес к песне возрождается после выступления сестер Берри с версией «Бубликов» на идише (в СССР — 1959 г.), но особенно с 1960-х гг., в русле ретро-увлечения русским романсом и городской песней. Сейчас мы располагаем 13 полными грамзаписями «Бубличек», включая иноязычные переработки (польскую, французскую, еврейскую). Кроме того, текст песни цитируется современниками и мемуаристами, а также размещается на нотных листках и в песенниках — печатных (1929–1930) и рукописных (1940-е). Всего в нашем распоряжении не меньше двух десятков записей, которые были зафиксированы вскоре после появления первотекста и могут рассматриваться как репрезентирующие «начальную» фазу развития данной песенной традиции. Их сопоставительный анализ позволяет описать вероятный содержательный состав этого первотекста и процесс последующего образования двух основных версий песни и их различных редакций. Among the musical texts of the New Economic Policy (NEP) era, the song “Bublichki” (“Kupite bublichki ...”) [Little Hot Buns or Bagels (Buy Little Hot Buns)], most likely authored by the Odessa poet Yakov Yadov (1926), was especially widely known. Its melody, apparently, goes back to the Jewish folk song “Coal.” The song quickly spread and became part of urban folklore. It was also performed on the pop stage, both in Russia and in the Russian diaspora. From 1927 to 1945, more than fifty recordings appeared in Europe and America, most of them instrumental, and some both vocal and instrumental (and it was not only sung in Russian); in the USSR there was only one “test” recording by Leonid Utesov. The largest number of records dates from the period 1927–1930; in 1929 there was a rapid jump of this indicator, which then sharply declined to one record per year. Interest in the song revived after the Berry Sisters performed a Yiddish version of “Bublichki” in the USSR in 1959, and grew from the 1960s onwards in the wake of the retro fascination with Russian romance and urban folk songs. The author has traced thirteen complete gramophone recordings of “Bublichki,” including versions in Polish, French, and Yiddish. In addition, the text of the song was quoted by contemporaries and memoirists, and also made its way into sheet music and into songbooks, both printed (in 1929–1930) and manuscript (in the 1940s). In total, the author counts at least two dozen records which were recorded soon after the appearance of the first, presupposed “primary” text, and that can be regarded as representative of the initial phase of the development of this song tradition. Their comparative analysis allows us to reconstruct the probable content of this primary text and the subsequent formation of two main versions of the song and their various modifications.
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Street, Renée A., Jasmeen Sidana, and Gerhard Prinsloo. "Cichorium intybus: Traditional Uses, Phytochemistry, Pharmacology, and Toxicology." Evidence-Based Complementary and Alternative Medicine 2013 (2013): 1–13. http://dx.doi.org/10.1155/2013/579319.
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The genusCichorium(Asteraceae) is made up of six species with major geographical presence in Europe and Asia.Cichorium intybus, commonly known as chicory, is well known as a coffee substitute but is also widely used medicinally to treat various ailments ranging from wounds to diabetes. Although this plant has a rich history of use in folklore, many of its constituents have not been explored for their pharmacological potential. Toxicological data onC. intybusis currently limited. This review focuses on the economic and culturally important medicinal uses ofC. intybus. Traditional uses, scientific validation, and phytochemical composition are discussed in detail.
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Bell, Karl. "Timothy Baycroft and David Hopkin, eds, Folklore and Nationalism in Europe During the Long Nineteenth Century." European History Quarterly 44, no. 1 (January 2014): 122–23. http://dx.doi.org/10.1177/0265691413515408e.
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Hutchinson, J. "Folklore and Nationalism in Europe during the Long Nineteenth Century, ed. Timothy Baycroft and David Hopkin." English Historical Review 129, no. 540 (September 26, 2014): 1224–26. http://dx.doi.org/10.1093/ehr/ceu254.
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Ruethers, Monica. "Jewish spacesandGypsy spacesin the cultural topographies of a New Europe: heritage re-enactment as political folklore." European Review of History: Revue europeenne d'histoire 20, no. 4 (August 2013): 671–95. http://dx.doi.org/10.1080/13507486.2013.809567.
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Buve, Raymond. "Peasantry and the State in Colonial Mexico: A Tentative Comparison with Western Europe." Itinerario 15, no. 2 (July 1991): 97–114. http://dx.doi.org/10.1017/s0165115300006409.
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Peasants is a blanket term for all those who, one way or another are involved in agrarian activities, be it as a labourer, a herdsman, a sharecropper, a tenant, an independent cultivator or in a combination of two or more of these activities. Besides this, one will have to account for part-time income from migratory labour or economic activities as home industries, petty trade, transport or mining. Many peasant societies are internally stratified into richer peasants, sometimes village élites, middle peasants and their poor brethren. In Western Europe and in Mexico most peasants belonged to the latter category. For them Darnton's conclusion, ‘to eat or not to eat, that was die question peasants confronted in their folklore as well as in their daily lives’ was certainly valid, and, out of necessity, these peasants were often looking for additional land or income. They were, for that matter, mobile.
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Savoniakaitė, Vida. "Įvadas. Tautos tyrimų ištakos ir antropologija." Lietuvos etnologija / Lithuanian ethnology 19 (28) 2019 (December 19, 2019): 17–29. http://dx.doi.org/10.33918/25386522-1928002.
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To mark Lithuania’s centenary, this issue is dedicated to the genesis of anthropology, ethnology, ethnography and folklore. This interdisciplinary issue covers the history of ideas, or the science of ideas in the 19th and early 20th centuries and beyond. Lithuanian scientists who graduated from universities in the Russian Empire and Europe developed theoretical concepts of Enlightenment in the humanities and the social sciences. The emerging study of Lithuania integrated and interpreted the concepts of ethnic research that prevailed in Europe and Imperial Russia at that time. Using a comparative approach, the thematic articles reveal the links between the genesis of Lithuanian ethnology and anthropology, and the research into ethnic groups in the Russian Empire, the Other, the study of people and nations in the West, and the ideas of Völkerkunde. The focus is on the following issues: the reception of ethnography and Lithuanian studies, the comparative study of people and nations, and ideas of nationalism. Key words: сultural nationalism, Lithuania, nation-building, nation, science societies.
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Petrošienė, Lina. "Singing Tradition of the Inhabitants of Lithuania Minor from the Second Half of the 20th Century to the Beginning of the 21st Century." Tautosakos darbai 61 (June 1, 2021): 97–121. http://dx.doi.org/10.51554/td.21.61.04.
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The article analyses how the folk singing tradition of the Lithuania Minor developed in the late 20th and in the early 21st centuries. It examines the activities of the folklore groups in the Klaipėda Region during the period of 1971–2020, focusing on those that assert fostering of the lietuvininkai singing tradition as their mission or one of their goals. The study employs the previously unused materials, which allow revising the former research results regarding the revival of the Lithuanian ethnic music and show the folklore ensembles working in the Klaipėda Region as a significant part of the Lithuanian folklore movement and the revival of the ethnic music, emerging from the 1960s. Special emphasis is placed on the early phase in adoption of the lietuvininkai singing tradition related to the activities of the folklore ensemble “Vorusnėˮ established in 1971 at the Klaipėda faculties of the State Conservatory of the former LSSR, and the role it had in prompting the creation of other folklore groups in Klaipėda, as well as its impact on the broader cultural and educational processes taking place in the Klaipėda Region.In the 20th century, the prevailing narrative regarding the Lithuanian inhabitants of the Lithuania Minor maintained that books, hymns, schools, church, social and cultural organizations, and choral or theatre activities were the most significant factors influencing the cultural expression of lietuvininkai, while the Lithuanian folklore was hardly practiced anymore or even considered an inappropriate thing. Judging from the folklore recordings, the folk singing tradition supported by the lietuvininkai themselves disappeared along with the singers born in the late 19th century. However, after the WWII, it was adopted and continued by the folklore groups appearing the Klaipėda Region. These groups included people from the other regions of Lithuania who had settled there. This is essentially the process of reviving the ethnic music, which began in Europe during the Enlightenment period and continues in many parts of the world.“Vorusnėˮ was founded in 1971 as the first institutional student folklore ensemble in Klaipėda Region. For 27 years, its leader was a young and talented professor of the Baltic languages Audronė Jakulienė (later Kaukienė). She became the founder of the linguistic school at the Klaipėda University (KU). In the intense and multifaceted activities of the “Vorusnėˮ ensemble, two different stages may be discerned, embracing the periods of 1971–1988 and 1989–2000.In 1971–1988, the ensemble mobilized and educated students in the consciously chosen direction of fostering the Lithuanian ethnic culture, sought contacts with the native lietuvininkai, collected and studied ethnographic and dialectal data, prepared concert programs based on the scholarly, written, and ethnographic sources, gave concerts in Lithuania and abroad, and cooperated with folklore groups from other institutions of higher education.In 1989–2000, the “Vorusnėˮ ensemble engaged in numerous other areas of activity. The children‘s folklore ensemble “Vorusnėlėˮ was established in 1989; both “Vorusnėˮ and “Vorusnėlėˮ became involved in the activities of the community of the Lithuania Minor founded in 1989. The leader of the ensemble and its members contributed to the establishment of the Klaipėda University, which became an important research center of the Prussian history and culture. The leader of the ensemble and her supporters created a new study program of the Lithuanian philology and ethnology at the KU, which during its heyday (2011–2014) had developed three levels of higher education, including bachelor’s, master’s and doctoral studies. The Folklore Laboratory and Archive was established at the Department of the Baltic Linguistics and Ethnology, headed by Kaukienė, and young researchers in philology, ethnology, and ethnomusicology were encouraged to carry out their research there. In the course of over two decades, Kaukienė initiated organizing numerous research conferences dealing with lietuvininkai language and culture.Until 1980, “Vorusnėˮ was the only folklore ensemble in the Klaipėda Region, but in 1985, there were already ten folklore ensembles. These ensembles developed different creative styles that perhaps most notably depended on the personal structure of these ensembles and their leaders’ ideas and professional musical skills. Generally, at the beginning of their activity, all these ensembles sang, played and danced the folklore repertoire comprising all the regions of Lithuania. The activities of “Vorusnėˮ and other folklore ensembles in Klaipėda until 1990 showed that revival of folklore there essentially followed the lines established in other cities and regions of Lithuania.During the first decade after the restoration of independence of Lithuania in 1990, folklore was in high demand. In Klaipėda, the existing ensembles were actively working, and the new ones kept appearing based on the previous ones. The folklore ensembles of the Klaipėda Region clearly declared their priorities, embracing all the contemporary contexts. Some of them associated their repertoire with the folklore of lietuvininkai, others with Samogitian folklore.The lietuvininkai singing tradition was adopted and developed in two main directions.The first one focused on authentic reconstruction, attempting recreation with maximumaccuracy of the song‘s dialect, melody, and manner of singing, as well as its relationship tocustoms, historical events or living environment. The second direction engaged in creativedevelopment, including free interpretations of the songs, combining them with other stylesand genres of music and literature, and using them for individual compositions. These twoways could be combined as well. Lietuvininkai are not directly involved in these activities, butthey tolerate them and participate in these processes in their own historically and culturallydetermined ways.The contemporary artistic expression of the promoters of the lietuvininkai singing tradition is no longer constrained by the religious and ideological dogmas that were previously maintained in the Lithuania Minor and in a way regulated performance of these songs. It is determined nowadays by consciousness, creativity, resourcefulness, and knowledge of its promoters. The dogmas of the Soviet era and modernity have created a certain publicly displayed (show type) folklore. The ensembles took part of the institutionalized amateur art, subsequently becoming subject to justified and unjustified criticism, which is usually levelled on them by the outsiders studying documents and analyzing processes. However, favorable appreciation and external evaluation by the participants of the activities and the local communities highlight the meaning of this activity.
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Jackson, Peter. "Medieval Christendom's encounter with the alien." Historical Research 74, no. 186 (November 1, 2001): 347–69. http://dx.doi.org/10.1111/1468-2281.00132.
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Abstract To explain the devastation of eastern Europe in 1241–2 by a hitherto unknown people, the Mongols, Latin Christians resorted to Scripture and to apocalyptic prophecy, notably the seventh-century Revelations of Pseudo-Methodius. They may have been encouraged to do so by information gleaned from contemporary Rus' and the Islamic world and by the Mongols' own notions about their origins. For all the accuracy of their reports, the Friars who visited the Mongol empire in the period 1245–55 were still apparently influenced by this perspective; they also transmitted to the West fresh material derived from the folklore they encountered in Asia.
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Ivanitskiy, A. "The сoncept of the national culture in German romanticism: Sourсes and historical background." Philology and Culture, no. 2 (June 24, 2024): 128–33. http://dx.doi.org/10.26907/2782-4756-2024-76-2-128-133.
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In Novalis’s works, the reaction of German Romanticism to the Enlightenment was civilizational: By the German world, both the French monarchy and Republic were viewed in a negative light. Thus, the Novalis’s philosophy developed the concept of national culture, which the movement “Storm and Onslaught”, led by J. G. Herder, opposed to French classicism of the 17th–18th centuries. According to Herder, the folk’s culture is formed through the psychological exploration of nature in myths and folklore, fixed in language. The “organic nature” of culture links folklore with the Middle Age and Modern poetry as the new forms of the dialogue with nature. This idea was consolidated by the figure of Faust, chosen by the Sturmers and Goethe as the hero of the “masterpiece” summarizing the national poetic path. Novalis elevated Catholicism to the cult of the earth, and the collective mind was connected with it by magic. He saw the institution of this union as an “ideal” Prussia where self-knowledge unites citizens, and the monarch unites the people and nature as an esoteric master. The French monarchy divided the people by cultivating selfishness. The prerequisites of this opinion were indicated by J. Le Goff and L. Karsavin who stated the existence of two types of cultures, which emerged as a result of the Roman conquest of Europe. For the national ones, who retained their languages and with them the connection with pre–Roman mythology and folklore, the introduced ancient norm and Christianity became forms of self-development. For the newly emerged unities west of the Rhine, they became the foundation of the cultural convention.
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Pluskowski, Aleks. "The Tyranny of the Gingerbread House: Contextualising the Fear of Wolves in Medieval Northern Europe through Material Culture, Ecology and Folklore." Current Swedish Archaeology 13, no. 1 (June 10, 2021): 141–60. http://dx.doi.org/10.37718/csa.2005.08.
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In this paper, I propose to contextualise the popular perception ofthe "fairy tale wolf" as a window into a normative past, by focusing on responses to this animal in Britain and southern Scandinavia from the 8th to the 14th centuries, drawing on archaeological, artistic and written sources. These responses are subsequently juxtaposed with the socio-ecological context of the concept of the "fairy tale wolf" in early modern France. At a time when folklore is being increasingly incorporated into archaeological interpretation, I suggest that alternative understandings ofhuman relations with animals must be rooted in specific ecological and social contexts.
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Hann, Chris. "Creative Friction, Folklore, or Foreign Body? Religious Minorities in Civilizational Encounters in Central Europe and Central Asia." International Journal of Social Imaginaries 2, no. 1 (June 2023): 121–36. http://dx.doi.org/10.1163/27727866-bja00021.
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Hann, Chris. "Creative Friction, Folklore, or Foreign Body? Religious Minorities in Civilizational Encounters in Central Europe and Central Asia." International Journal of Social Imaginaries 2, no. 1 (June 2023): 121–36. http://dx.doi.org/10.1163/27727858-8817917.
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Jiafu, Danbuer, and Tsagan B. Seleeva. "О рукописных списках ойратско-калмыцкого «Гесера», хранящихся в архивных собраниях России и Европы, а также их собирании, описании и публикации." Бюллетень Калмыцкого научного центра Российской академии наук 16, no. 4 (November 27, 2020): 176–99. http://dx.doi.org/10.22162/2587-6503-2020-4-16-176-199.
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The epos “Geser” in the form of oral and written vaults is known over a vast territory — from Tibet and Mongolia to southern Siberia and the Lower Volga. According to the researchers, the Mongolian Geseriad was established among the ancient Mongol-speaking tribes of Kukunor on the basis of the oral Tibetan version of the monument. Geser is not only the hero of the epos, his image is also associated with the mythological, religious, folklore and literary traditions. This article is devoted to the history of publication and storage of the handwritten texts of “Geser” in “clear script” in Russia and Europe, as well as the history of recording and publication of oral versions of the legend.
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Saunders, Richard. "Editor's Note." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 21, no. 2 (2020): 59. http://dx.doi.org/10.5860/rbm.21.2.59.
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In my college years I took a folklore class from Barre Toelken, one of the modern giants of folk studies. Along the way I gained a personal appreciation for aphorisms and idioms—short sayings commenting on a situation by comparing it to something else, usually unfavorably. Dictionaries boil down an aphorism to “a pithy observation that contains a general truth.” An idiom is an aphorism with cleverness thrown in for good measure. Anyone who has sworn “when hell freezes over” has used an idiom. The seafaring people of northern Europe occasionally invoke a folkish comment describing a futile effort. “That Jan,” someone might say, “he’s sweeping back the tide with a broom.”