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Journal articles on the topic 'Islands – Folklore'
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Wattimena, Lucas. "TATA RUANG PEMUKIMAN DI PULAU SELU TANIMBAR BARAT [Settlement Layout in Selu Island West Tanimbar]." Jurnal Penelitian Arkeologi Papua dan Papua Barat 9, no. 2 (May 30, 2018): 183–91. http://dx.doi.org/10.24832/papua.v9i2.213.
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Selu Island is one of the small islands within the Tanimbar Archipelago. Geographically the location of Selu Island is strategic enough to connect between the great mainland of Yamdena Island and the surrounding islands. This paper provides an overview of how the characteristics of ancient settlement layout based on the folklore of the local community. The objectives o f the study may be to provide 1) information about ancient settlement forms based on the folklore community. 2) as an information material for archaeological research in Moluccas especially and Indonesia generally. Why Selu Island is so interesting to be studied, because folklore spatial local community settlement is closely related to megalithic tradition. Research method using ethnoarchaeology approach. Technique of collecting data using survey, literature study and interview. The results showed that the characteristics of ancient settlement layout forms on Selu Island, West Tanimbar based on the level of public knowledge. This can be seen in the distribution layout of settlements based on folklore and archaeological evidence oriented to religious elements and ancient burial systems. ABSTRAKPulau Selu adalah salah satu pulau kecil dalam gugusan Kepulauan Tanimbar. Secara geografis letak Pulau Selu cukup strategis menghubungkan antara daratan besar Pulau Yamdena dan pulaupulau sekitarnya. Tulisan ini memberikan gambaran tentang bagaimana karakteristik tata ruang pemukiman kuno berdasarkan folklore masyarakat setempat. Tujuan penelitian kiranya dapat memberikan 1) informasi tentang bentuk-bentuk pemukiman kuno berdasarkan folklore masyarakat. 2) sebagai bahan informasi bagi penelitian arkeologi di Maluku khususnya dan Indonesia umumnya. Kenapa Pulau Selu begitu menarik untuk diteliti, karena folklore tata ruang pemukiman masyarakat setempat berkaitan erat dengan tradisi megalitik. Metode penelitian menggunakan pendekatan etnoarkeologi. Teknik pengumpulan data menggunakan survei, studi pustaka dan wawancara. Hasil penelitian menunjukan bahwa karakteristik bentuk-bentuk tataruang pemukiman kuno di Pulau Selu, Tanimbar Barat berdasarkan tingkat pengetahuan masyarakat. Hal tersebut dapat dilihat dalam pembagian tataruang pemukiman berdasarkan folklore dan bukti arkeologi yang berorientasi pada unsur religi dan sistem penguburan kuno.
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Prasad, P. Rama Chandra, C. Sudhakar Reddy, S. H. Raza, and C. B. S. Dutt. "Folklore medicinal plants of North Andaman Islands, India." Fitoterapia 79, no. 6 (September 2008): 458–64. http://dx.doi.org/10.1016/j.fitote.2008.03.007.
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Hidayati, Niswatin Nurul. "WOMEN PORTRAYAL IN INDONESIAN FOLKLORES: A SEMIOTIC STUDY." An-Nas 3, no. 1 (April 21, 2019): 66–81. http://dx.doi.org/10.36840/an-nas.v3i1.177.
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“Indonesia consists of many islands, tribes, and cultures, so that the folklores possessed by this country are diverse. For Indonesian people, those folklores are not only used as a tool of entertainment for children, but also as a device for adults in teaching values and norms of society. Most of the folklores tell about the relationship between woman and man, whether they are as husband and wife, parents and children, lovers, friends, and others. That kind of relationship is closely related to gender, especially about the woman’s position. This writing analyzed about 15 Indonesian folklores and how women were portrayed or represented in those stories. In analyzing those folklores, the writer used descriptive qualitative research method, in which the writer concerned on how women were portrayed. From the analysis of the fifteen Indonesian folklores chosen randomly, it could be concluded that some folklores described women positively, but mostly described them negatively. Some folklore shows a woman who is smart, tough, wise and more concerned with the interests of others than herself. However, women are also described as negative figures, for example as stepmothers, as spirits, animals, objects of curses, and only doing domestic work (housework). Almost in every folklore above, it is stated that a female figure is a figure who has a beautiful face. So, it can be said that women are judged by their physical characteristics.”
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Guiscafrè Danús, Jaume. "The Folklore Archive of the University of the Balearic Islands." Estudis de Literatura Oral Popular / Studies in Oral Folk Literature, no. 5 (December 30, 2016): 19. http://dx.doi.org/10.17345/elop201619-28.
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L’Arxiu de Folklore de la Universitat de les Illes Balears és un projecte modest, però ambiciós, que es troba en la seva fase inicial de construcció. Està integrat en l’organigrama de l’Arxiu Històric, del qual constitueix un dels fons, però la seva supervisió acadèmica va a càrrec del Departament de Filologia Catalana i Lingüística General. Està constituït, inicialment, per un subfons integrat per treballs de curs que han elaborat alumnes de la mateixa universitat com a activitat d’avaluació d’assignatures relacionades amb el folklore i la literatura oral popular. En aquest article s’expliquen els fonaments teòrics i metodològics en què es basa, els antecedents que n’han fet possible la constitució i els propòsits amb què es va crear. Així mateix, se’n descriuen les eines de gestió i el fons, el subfons, les sèries i les subsèries que l’integren.
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Chattopadhyay, D., K. Maiti, A. P. Kundu, M. S. Chakraborty, R. Bhadra, S. C. Mandal, and A. B. Mandal. "Antimicrobial activity of Alstonia macrophylla: a folklore of bay islands." Journal of Ethnopharmacology 77, no. 1 (September 2001): 49–55. http://dx.doi.org/10.1016/s0378-8741(01)00264-1.
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Leighton, Robert. "Antiquarianism and Prehistory in West Mediterranean Islands." Antiquaries Journal 69, no. 2 (September 1989): 183–204. http://dx.doi.org/10.1017/s0003581500085401.
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In the West Mediterranean islands before the mid-nineteenth century, discoveries of fossil bones, prehistoric deposits in caves and megalithic monuments stimulated ideas about the remote past, as in other parts of Europe where similar phenomena were observed. Many of these ideas were characteristic of a pre-scientific age and their sources are sometimes obscure. Their inspiration can often be traced to the Bible, classical texts, folklore, as well as to advances in palaeontology and direct observation of antiquities. The study of fossils and prehistoric remains progressed gradually, following a similar pattern elsewhere. Two lines of enquiry emerged, one closely linked with progress in the natural sciences and the other concerned with ancient monuments and the background to the classical world.
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Kołoczek, Bartosz Jan. "The Aegean Imaginarium: Selected Stereotypes and Associations Connected with the Aegean Sea and Its Islands in Roman Literature in the Period of the Principate." Electrum 27 (2020): 189–210. http://dx.doi.org/10.4467/20800909el.20.010.12800.
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This article is devoted to the rarely addressed problem of Roman stereotypes and associations connected with the Aegean Sea and its islands in the works of Roman authors in the first three centuries of the Empire. The image of the Aegean islands in the Roman literature was somewhat incongruously compressed into contradictory visions: islands of plenty, desolate prisons, always located far from Italy, surrounded by the terrifying marine element. The positive associations stemmed from previous cultural contacts between the Aegean and Rome: the Romans admired the supposedly more developed Greek civilisation (their awe sometimes underpinned by ostensible disparagement), whereas their elites enjoyed their Aegean tours and reminisced about past glories of Rhodes and Athens. The negative associations came from the islands’desolation and insignificance; the imperial authors, associating the Aegean islets with exile spots, borrowed such motifs from classical and Hellenistic Greek predecessors. The Aegean Sea, ever-present in the rich Greek mythical imaginarium, inspired writers interested in myth and folklore; other writers associated islands with excellent crops and products, renowned and valued across the Empire.
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Wattimena, Lucas. "Arkeologi Kepulauan Maluku." Kapata Arkeologi 9, no. 1 (April 23, 2016): 29. http://dx.doi.org/10.24832/kapata.v9i1.197.
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Archaeological cultural resources in the Maluku Islands consist of a variety of aspects, including Prehistoric, Historic, Islamic, colonial and Ethnoarchaeology. These aspects are categorized in helping the mapping of archaeological research in the Maluku Islands. Functional structural archaeological remains integrated in the cultural unity of the social system as a symbolic interaction. Maluku Archipelago covers the two areas, namely Maluku and North Maluku. The problem this paper is how archaeological resources can show the interpretation of symbolic interaction. Archaeological remains (cultural resources); dolmen, caves, castles, old country/old settlement, menhirs, sultanate, Kapata / folklore is the basic structure of cultural understanding in the Maluku Islands. The goal is to know and understand the remains, archaeological remains were able to reconstruct the culture of human society Maluku Islands. Approach to research using library study. From the research that archaeological cultural resources is a symbolic interpretation of the interaction of a group of human society in a particular area. Sites sampled studies prove that archaeological cultural resources as a reflection of the people of Maluku Generally and certain areas in the Moluccas in particular.Sumberdaya budaya arkeologi di Kepulauan Maluku terdiri dari berbagai aspek, diantaranya Prasejarah, Sejarah, Islam, Kolonial dan Etnoarkeologi. Aspek-aspek tersebut dikategorisasikan untuk memudahkan pemetaan penelitian arkeologi di Kepulauan Maluku. Struktural fungsional tinggalan-tinggalan arkeologi terintegrasi dalam kesatuan sistem sosial budaya sebagai interaksi simbolik. Kepulauan Maluku berarti kita berbicara dalam dua wilayah, yaitu Maluku dan Maluku Utara. Permasalahan penulisan ini adalah bagaimana sumberdaya budaya arkeologis dapat menunjukan interprestasi interaksi simbolik. Tinggalan-tinggalan arkeologis (sumberdaya budaya); dolmen, gua, benteng, negeri lama/permukiman lama, menhir, kesultanan, kapata/folklore adalah struktur dasar pemahaman akan kebudayaan di Kepulauan Maluku. Tujuannya adalah untuk mengetahui dan memahami tinggalan-tinggalan arkeologis mampu merekonstruksi kebudayaan masyarakat manusia Kepulauan Maluku. Pendekatan penelitian menggunakan studi kepustakaan. Dari hasil penelitian bahwa sumberdaya budaya arkeologi merupakan suatu interprestasi interaksi simbolik suatu kelompok manusia masyarakat pada daerah tertentu. Situs-situs kajian penulis yang menjadi sampel membuktikan bahwa sumberdaya budaya arkeologi sebagai cerminan masyarakat Maluku Umumnya dan daerah tertentu di Maluku pada khususnya.
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CERÍACO, LUIS M. P., MARIANA P. MARQUES, ANDREAS SCHMITZ, and AARON M. BAUER. "The “Cobra-preta” of São Tomé Island, Gulf of Guinea, is a new species of Naja Laurenti, 1768 (Squamata: Elapidae)." Zootaxa 4324, no. 1 (September 26, 2017): 121. http://dx.doi.org/10.11646/zootaxa.4324.1.7.
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The Cobra-Preta (black snake in Portuguese) of Sao Tomé Island in the Gulf of Guinea has historically been referred to as Naja (Boulengerina) melanoleuca (Squamata: Elapidae). Its presence on the island has been traditionally explained as an introduction from the mainland by Portuguese settlers, supposedly to control the rat population. This explanation has been widely accepted by local authorities and even international conservation agencies. The taxonomic identity of this snake has remained undisputed by all taxonomists who have published about it, with the exception of L. Capocaccia in 1961. Arguments supporting the human introduction hypothesis are weak and are contradicted by historical, morphological and molecular data. Further, the biogeographic history of the Gulf of Guinea oceanic islands and recent insights on the taxonomic identity and evolutionary history of other taxonomic groups occurring there suggest that the Cobra-Preta, in fact, represents a distinct lineage of the melanoleuca group, endemic to São Tomé. We here describe the Cobra Preta as a new species. The new species differs from N. (B.) melanoleuca, its sister species, by a distinct coloration ventral pattern and the type of contact of the sublingual scales. Data on the toxicology, distribution, ecology, folklore and conservation status of the new species are presented.
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Maryati, Tuty. "Utilization of Balinese Folklore as Source of Value for the Social Studies: Perspective of Critical Education." Journal of Education and Vocational Research 6, no. 2 (June 30, 2015): 55–60. http://dx.doi.org/10.22610/jevr.v6i2.189.
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This paper is based on research study with the same title. Research is motivated by the existence of Bali as one of the islands in Indonesia, which is rich with various aspects of traditional culture, including a wide variety of folklore. Even Bali is also known as one of the saviors of Nusantara literary texts, especially from Java, Bali, and Lombok stored or written in the form of books or manuscripts (lontar). One of oral folklore is satua or Balinese folktale. It has many functions and strategic role, such as an endorsement tool for regulations and cultural institutions; as a compeller and supervisor to ensure the norms of society will always be adhered to collective members; and as a pedagogical device and learning for children, both in the family, the community as well as the school as a media, sources and learning agency. With qualitative approach, the text study toward three stories (satua), it was found the classical Balinese wisdom is very important for the students’ character development. Balinese folktales (satua) are also loaded with the Balinese dominant ideology such as Tri Hita Karana, the ideology of patriarchy and ideology of gender. Through perspective of critical education, these values can be utilized as source of social science learning in Junior High School.
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Hasan, Nita Handayani. "MOTIF DAN TIPE DALAM CERITA RAKYAT KEPULAUAN ARU [Type and Motive in Aru Island Folklore]." TOTOBUANG 5, no. 1 (January 30, 2018): 137. http://dx.doi.org/10.26499/ttbng.v5i1.56.
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The collection of folklore in Indonesia is an interesting thing to do. It can shows the cultural wealth, and grows up the pride of nation’s folklore varieties. The folklor inventorization has bene rarely done in Kepulauan Aru district, Mollucas province. It’sbecause the villages in Aru’s island has been separated by the sea and difficult to be reached. This research discussed about type and motif of a few folklore in Kepulauan Aru district.. The purpose of this research were finding out the folklore which had invented before, and clasifyed them in type and motive. The metode wasqualitative analyzing. The result found that there were nine folklores which has invented, four types, and four motives. Pengumpulan ragam sastra lisan yang ada di nusantara merupakan hal yang menarik untuk dilakukan. Hal tersebut dapat menunjukkan kekayaan budaya bangsa, dan menumbuhkan rasa bangga terhadap keanekaragaman kekayaan sastra lisan nasional. Inventarisasi sastra lisan di Kabupaten Kepulauan Aru, Provinsi Maluku hingga saat ini masih jarang dilakukan. Hal tersebut dikarenakan desa-desa di Kabupaten Kepulauan Aru masih sulit dijangkau karena dipisahkan oleh lautan. Walaupun demikian, penelitian ini mencoba mengangkat beberapa cerita rakyat dari Kabupaten Kepulauan Aru yang telah terinventarisasi untuk kemudian dikelompokkan dalam tipe dan motif. Tujuan dari adanya penelitian ini, yaitu untuk mengetahui cerita-cerita rakyat apa saja yang telah terinventarisasi, dan termasuk dalam tipe dan motif apa sajakah cerita-cerita rakyat tersebut. Metode yang digunakan yaitu analisis kualitatif. Setelah melakukan pengamatan, hasil yang diperoleh, yaitu terdapat sembilan cerita rakyat yang terinventarisasi, empat tipe dan empat motif cerita.
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Joffry, S. Mohd, N. J. Yob, M. S. Rofiee, M. M. R. Meor Mohd Affandi, Z. Suhaili, F. Othman, A. Md Akim, M. N. M. Desa, and Z. A. Zakaria. "Melastoma malabathricum(L.) Smith Ethnomedicinal Uses, Chemical Constituents, and Pharmacological Properties: A Review." Evidence-Based Complementary and Alternative Medicine 2012 (2012): 1–48. http://dx.doi.org/10.1155/2012/258434.
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Melastoma malabathricumL. (Melastomataceae) is one of the 22 species found in the Southeast Asian region, including Malaysia. Considered as native to tropical and temperate Asia and the Pacific Islands, this commonly found small shrub has gained herbal status in the Malay folklore belief as well as the Indian, Chinese, and Indonesian folk medicines. Ethnopharmacologically, the leaves, shoots, barks, seeds, and roots ofM. malabathricumhave been used to treat diarrhoea, dysentery, hemorrhoids, cuts and wounds, toothache, and stomachache. Scientific findings also revealed the wide pharmacological actions of various parts ofM. malabthricum, such as antinociceptive, anti-inflammatory, wound healing, antidiarrheal, cytotoxic, and antioxidant activities. Various types of phytochemical constituents have also been isolated and identifed from different parts ofM. malabathricum. Thus, the aim of the present review is to present comprehensive information on ethnomedicinal uses, phytochemical constituents, and pharmacological activities ofM. malabathricum.
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Boochani, Behrouz. "Film as folklore." Alphaville: Journal of Film and Screen Media, no. 18 (December 1, 2019): 185–87. http://dx.doi.org/10.33178/alpha.18.15.
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Codirector Behrouz Boochani offers a critical reflection on Chauka, Please Tell Us the Time in which he discusses the multilayered meanings of the film. He shares his thoughts about his cinematic vision and how it is connected to the land. In this respect, the film cherishes the sanctity of the island’s ecosystem and knowledge system and also criticises the way the Australia-run detention centre degrades nature and the social fabric of the island. Boochani also elaborates on issues pertaining to reception and the way folklore (both Kurdish and Manusian) frames his resistance and critique.
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Lysaght, Patricia. "An Artist on Inis Oírr and Inis Meáin: Simon Coleman’s Visit to the Aran Islands in 1959 on Behalf of the Irish Folklore Commission." Folklore 131, no. 1 (January 2, 2020): 1–33. http://dx.doi.org/10.1080/0015587x.2019.1658380.
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Safron, E. A. "MYTHOLEGEME OF ISLAND IN SCANDINAVIAN FOLKLORE." Учёные записки Петрозаводского государственного университета 175, no. 6 (September 2018): 41–45. http://dx.doi.org/10.15393/uchz.art.2018.208.
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Tsuji, Takashi. "Crocodiles in Philippine Folklore." Southeastern Philippines Journal of Research and Development 26, no. 1 (March 31, 2021): 19–34. http://dx.doi.org/10.53899/spjrd.v26i1.122.
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This study investigates Philippine folklore of saltwater crocodiles to understand the relationships that people have with them from an anthropological perspective. The collected folklore was classified into eight types: 1) ancestor, 2) monkey heart, 3) red hen, 4) execution, 5) incarnation, 6) deception, 7) monster, and 8) Lusmore. The analysis shows that the crocodile folklore of the Philippines is strongly connected to that of the indigenous people in Borneo. Filipino people tend to recognize crocodiles as both fierce and foolish because they are harmful to their society. In their history, they have rigorously hunted crocodiles for their skin, causing their relationship with them to significantly diminish over time. However, crocodiles are also seen as having the supernatural power to cure sick people, so eating them is prohibited among the Pala’wan on Palawan Island, for instance. This paper concludes that the Filipino people and the crocodile were able to build a harmonious relationship of coexistence in the past, and the current corrupted relationship must change for its future wellbeing.
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Yektiningtyas, Wigati, and Evalina Silalahi. "Fables as Media of Environmental Education for Sentani Children in Jayapura Regency, Papua." Celt: A Journal of Culture, English Language Teaching & Literature 20, no. 2 (December 30, 2020): 237. http://dx.doi.org/10.24167/celt.v20i2.2867.
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Abstract: Fable is one of Sentani verbal folklore that was passed down by parents to children to teach morals. One of them is about the importance of preserving environment. Nowadays, unfortunately, fable is not frequently told anymore. Children and even most Sentani people do not recognize it. From long observation, Sentani children do not pay attention much to the nature as well. Data of fables were obtained from some informants, i.e. tribal chiefs (ondofolo, khote) and elderly people in East Sentani (Ayapo, Waena, and Asei Island) and Central Sentani (Sentani and Ifale) in 2017-2018. By adopting socio-cultural approach, this paper aims to discuss about (1) the natural environment of Sentani people, (2) the use of fables in environmental education for children. This study found that (1) fable is creative and innovative materials in teaching children about environment: nature, fauna, and flora that can be done informally, nonformally, and formally, (2) children have emotional ties with the fables and want to learn more, and (3) it is an alternative way of revitalizing Sentani fables and disseminating the socio-cultural values embedded in them. This study is benefecial to motivate Sentani children to learn more about their ancestor’s heritages, love their environment, and be proud of their identity. Key words: fable, environment, Sentani folklore, revitalizationAbstrak: Fabel merupakan salah satu folklor verbal Sentani yang dahulu dituturkan secara oral dari para orang tua ke anak-anak untuk menyampaikan berbagai ajaran moral. Salah satunya adalah tentang pentingnya merawat lingkungan. Saat ini, fabel sudah jarang dituturkan lagi. Anak-anak bahkan sebagian orang Sentani tidak mengenalinya. Melalui pengamatan yang cukup lama, anak-anak Sentani kini tidak lagi memperhatikan lingkungan hidup mereka. Data fabel dikumpulkan dari para informan, yaitu para pemangku adat (ondofolo, khote) dan para tua-tua adat di Sentani Timur (Ayapo, Waena, dan Pulau Asei) dan Sentani Tengah (Sentani dan Ifale) pada 2017-2018. Dengan menggunakan pendekatan sosial-budaya, paper ini bertujuan untuk membahas (1) lingkungan alam masyarakat Sentani dan (2) penggunaan fabel dalam pendidikan lingkungan bagi anak-anak. Studi ini menemukan bahwa (1) fabel merupakan materi yang kreatif dan inovatif untuk mengajarkan anak-anak tentang lingkungan: alam, fauna, dan flora yang dapat dilakukan secara informal, nonformal, dan formal, (2) anak-anak mempunyai hubungan emosi dengan fabel yang dipelajarinya dan ingin belajar lebih banyak fabel, (3) penggunaan fabel sebagai pengajaran merupakan cara alternatif dalam merevitalisasi dan diseminasi fabel Sentani dan nilai sosial-budaya yang terdapat di dalamnya. Studi ini bermanfaat untuk memotivasi anak-anak Sentani untuk terus mempelajari dan mencintai pusaka budaya leluhur mereka, mencintai lingkungan hidup mereka, dan bangga akan indentitas mereka. Kata kunci: fabel, lingkungan, folklor Sentani, revitalisasi
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Coates, Carrol F. "Folklore in the Theatre of Franck Fouché." Theatre Research International 21, no. 3 (1996): 256–61. http://dx.doi.org/10.1017/s0307883300015376.
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Franck Fouché was born on 27 November 1915, in Saint-Marc, Haiti. His formative years were precisely the period of the first American occupation of the island. He received his baccalauréat from the Lycée Pétion in 1934. After studying literature at the Université d'Haïti, he returned to Saint-Marc as a professor of literature and director of the Lycée Sténio-Vincent in 1940. He began to publish poetry (‘Billet à Florel’, 1941) and founded a literary review, Horizon (1942). He wrote for two daily newspapers, Le National and Le Nouvelliste in 1944. He received a Licence en Droit from the Université d'Haïti in 1945. After serving as Editor of Le National (1953–4), he was appointed Cultural Attaché at the Haitian Embassy in Mexico City in 1957. Along with a number of Haitian intellectuals, he emigrated from the Duvalierist Haiti to Montreal in 1966. He taught in Chambly. At the Université du Québec à Montréal, he completed an M.A. thesis, Vodou et théâtre; pour un nouveau théâtre populaire (1976). Following an automobile accident, he died on 3 January 1978 in Montreal.
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OGO, Hiroshi. "Folklore of Isolated Island: Osaki-Kami-Jima’s Name of Places and Natural Disasters." Journal of Island Studies 19, no. 1 (February 28, 2018): 83–102. http://dx.doi.org/10.5995/jis.19.1.83.
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Baird, Mary Twining. "“I Know Just How He Feels”." Children's Folklore Review 40 (June 13, 2021): 33–42. http://dx.doi.org/10.14434/cfr.2021.vol40.32799.
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This essay is written in the ethnographic present. It is based on research in South Carolina carried out in the late 1960s and early 1970s with the cooperation and consent of the residents of the John’s Island Community. All lines from the games and songs were sung during the presentation October 18, 2019, 2:30 P.M. at the American Folklore Society Annual Meeting in Baltimore, MD. The description of the Vulture’s gait and the Ranky Tanky body shake were demonstrated.
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de Reuse, Willem J. "The diffusion of Chukchi “magic words” in Chukotkan and St. Lawrence Island Yupik folklore texts." Études/Inuit/Studies 31, no. 1-2 (January 20, 2009): 201–11. http://dx.doi.org/10.7202/019722ar.
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Abstract The languages of the Siberian Yupik region, including Chukotka in the Russian Far East and St. Lawrence Island, Alaska, have been heavily influenced by Chukchi, a genetically unrelated language. In this paper, I focus on Chukchi influences on Yupik folklore. Apparently meaningless “magic words” or formulae used in Yupik tales often appear to be of Chukchi origin. In Chukotka, their Chukchi origin is sometimes recognized by speakers of Yupik, but on St. Lawrence Island, the origin and meaning of the “magic words” is not recognized. The existence of “magic words” provides us with information about the sociolinguistic relationship between Siberian Yupik speakers and Chukchi. The Chukchi were in a position of power with respect to the Siberian Yupiget since they were more numerous, and since the Yupiget depended on them for trade. As a result, the Yupiget saw their Chukchi neighbours and their language as threatening and mysterious, and expressed this feeling by having the foreign protagonists of their tales talk in this strange language.
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Yosi, Klementin Fairyo. "GAMBAR CADAS PRASEJARAH DI TELUK WONDAMA SEBARAN DAN CERITA RAKYATNYA." Jurnal Penelitian Arkeologi Papua dan Papua Barat 12, no. 2 (January 21, 2021): 97–113. http://dx.doi.org/10.24832/papua.v12i2.233.
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ABSTRAKKeberadaan gambar cadas di Teluk Wondama ditulis oleh Galis tahun 1948. Balai Arkeologi Papua tahun 2016 di Pulau Roon. Hasilnya bersifat eksplorasi, belum terfokus pada tipologi gambar cadas. Tahun 2019 Balai Arkeologi Papua melakukan penelitian Tipologi gambar cadas prasejarah di kawasan Teluk Wondama. Selain mengkaji tipologi gambar cadas, juga mengungkap cerita rakyatnya. Tujuan penulisan adalah mengetahui tipologi gambar cadas, seperti apa sebarannya dan apa saja cerita rakyat terkait gambar cadas. Metode penelitian eksploratif dan deskriptif kualitatif. Tahapan penelitian adalah studi kepustakaan, penelitian lapangan, tahap pengolahan data. Dalam pengolahan data menggunakan juga software plugin Dstretch pada aplikasi imajiJ untuk memperjelas gambar. Hasil penelitian menemukan tujuh situs gambar cadas yaitu situs Suanggini, Ambesibui 1, Ambesibui 2, Ambesibui 3, Sanepa, situs Pulau Nuasa dan situs Inuri Kiari. Motif gambar berupa gambar manusia, kadal, ikan, penyu, lingkaran, penanda arah, segitiga, garis, dan gambar tidak teridentifikasi. Kata kunci : Penelitian, Situs, Gambar, Cadas, Pulau. ABSTRACTThe existence rock images in Wondama Bay was written by Galis in 1948. Papua Archaeological in 2016 on Roon Island. The results exploratory, not focused typology rock images. In 2019 Papua Archaeological conducted a typology study rock images prehistoric in Wondama Bay area. In addition to studying typology of rock images, also reveals folklore. The purpose writing is know typology rock images, what are their distribution and what are the folklore related to rock images. Explorative and descriptive qualitative research methods. The stages of research literature study, field research, data processing stage. In processing data also use dstretch plugin software on imageJ application to clarify image. The results found seven rock image sites, Suanggini site, Ambesibui 1, Ambesibui 2, Ambesibui 3, Sanepa, Nuasa Island site and Inuri Kiari site. Image motifs form images humans, lizards, fish, turtles, circles, direction markers, triangles, lines, and images are not identified. Keywords: Research, Site, Image, Cadas, Island.
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Roodenburg, Herman. "Making an Island in Time: Dutch Folklore Studies, Painting, Tourism, and Craniometry around 1900." Journal of Folklore Research: An International Journal of Folklore and Ethnomusicology 39, no. 2-3 (May 2002): 173–99. http://dx.doi.org/10.2979/jfr.2002.39.2-3.173.
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Wolf, Stacy. "All about Eve: Apple Island and the Fictions of Lesbian Community." New Theatre Quarterly 10, no. 37 (February 1994): 28–32. http://dx.doi.org/10.1017/s0266464x00000063.
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We continue our occasional series on the actuality and the ideology of lesbian performance with a study of Apple Island, a performance space in Madison, Wisconsin. Many of the productions of this ‘women's cultural and art space’ could, suggests Stacy Wolf, be categorized as performance art: she looks at these in the context of other modes and definitions of cultural production, and at the ‘complex interplay of identity and knowledge’ which constructs Apple Island's potential spectators. Looking at both positive negative critiques of its work, she concludes that the activity through which its refusal of political and performative divisions is best exemplified is the weekly class-cumperformance of country western line dancing, and suggests through folkloric analogy how this helps to define or redefine the meaning of cultural feminism. Stacy Wolf is a doctoral candidate in Theatre and Drama and a lecturer in Women's Studies at the University of Wisconsin, Madison. She has also published articles in Theatre Studies, Women and Performance, and the Journal of Dramatic Theory and Criticism.
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Cruwys, E. "Profile: Knud Rasmussen." Polar Record 26, no. 156 (January 1990): 27–33. http://dx.doi.org/10.1017/s0032247400022737.
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ABSTRACTKnud Rasmussen (1879–1933), born in Greenland of Danish-Inuit stock, spent his childhood in Greenland. After schooling in Denmark he returned to Greenland for expeditions to the Inuit of the northeast, establishing by his late twenties a reputation as explorer and ethnographer. He undertook seven major expeditions to the Arctic, collecting ethnographic, archaeological, meteorological, geological, zoological and botanic data. His longest and best-known journey was the Fifth Thule Expedition, in which he travelled by dog sledge across Arctic America from Danish Island in the east to Nome, Alaska. His extensive record of the culture of Inuit groups met on his journeys remains one of the most valuable collections of Inuit folklore in existence.
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Tuyet, Phan Thi Yen. "Maritime anthropological studies in island and coastal areas in Southern Central and Southern Vietnam from narrative, oral History and life history approach." Science & Technology Development Journal - Social Sciences & Humanities 1, no. 4 (December 27, 2018): 85–94. http://dx.doi.org/10.32508/stdjssh.v1i4.467.
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This paper explores conversations of fishermen and residents in island and coastal areas in southern Central and Southern Vietnam within the framework of maritime anthropology. The conversations are presented in the forms of narratives, storytellings and memories from three different approaches: narrative, oral history and life history. Deloyed in anthropology, history, literature, folklore and other disciplines, these approaches share one common character – interviewing as the means of data collection. Only through interviewing, a researcher is able to engage his/her subjects into the process of commemorating their lived experience, both individually and collectively. From fragmented memories and stories about the past to vivid representation of contemporary social reality of the people in island and coastal areas, the researcher then needs to “combine” them spatially and temporally to reconstruct a comprehensive narrative. If we fail to do that, these precious narratives would eventually vanish. To embed these narratives into the scientific stream of social life, we need to double-check, investigate, study and analyze them from multi-disciplinary perspectives. This is a real challenge to researchers; however, the information we achieve after “cleaning up data” is remarkably meaningful both scientifically and pragmatically.
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Iswanto, Iswanto, and Marsi Bombongan Rantesalu. "Kajian Toleransi Dalam Teks Cerita Rakyat Masyarakat Rote di Nusa Tenggara Timur." BIA': Jurnal Teologi dan Pendidikan Kristen Kontekstual 3, no. 2 (December 19, 2020): 282–305. http://dx.doi.org/10.34307/b.v3i2.126.
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Abstract: Tolerance as a value is manifested in the life behavior of a group of people. The aim of this study is to analyze and describe tolerance studies based on the folklore of the people of Rote in East Nusa Tenggara. As research conducted by Rantesalu and Iswanto (2018), defines tolerance values based on the stories of the people of the Toraja community, namely the value of acceptability and understanding combined with togetherness and complementary. Another empirical paradigm was obtained from Hofner (2018) which explains the tolerance is influenced by social and political contexts. This research is focused on the specificity of the perception of tolerance that is formed from values based on folklore data. The method used is descriptive qualitative method and enriched with Ricour hermeneutic method in text analysis. The data obtained in the form of a folklore titled Landu, which tells the history of the formation of the Landu community on the island of Rote. The Landu Kingdom is one of the 19 kingdoms on Rote Island in the 14th century. Based on the data obtained the results of research on tolerance values contained in CRMR Landu are (1) This acceptability and understanding as a base the basis of tolerance is explained by the verb diadik loke // hule 'beri // kasih' and (2) the value of brotherhood based on the form of diadik dalek // teik 'rasa // inner', inak // touk 'father // mother '.Keywords: Tolerance, Text, Value Abstrak: Toleransi sebagai sebuah nilai diwujudkan dalam perilaku kehidupan suatu kelompok masyarakat. Tujuan penelitian ini ialah meganalisa dan mendeskripsikan kajian toleransi berdasarkan cerita rakyat masyarakat Rote di Nusa Tenggara Timur. Sebagaimana penelitian yang dilakukan oleh Rantesalu dan Iswanto (2018), mendefinisikan nilai toleransi berdasarkan ceritera rakyat masyarakat Toraja yang di dalamnya terdapat internalisasi nilai keberterimaan dan kesepahaman (acceptability and understanding). Selanjutnya, nilai-nilai tersebut disejajarkan dengan kebersamaan (togetherness) dan saling melengkapi (complementary). Paradigma empiris lainnya diperoleh dari Hofner (2018) yang menjelaskan toleransi yang ditimbulkan dari konteks politik di Indonesia. Penelitian ini lebih difukuskan pada kekhasan persepsi toleransi yang terbentuk dari nilai berdasarkan data cerita rakyat. Penelitian ini menggunakan pendekatan deskriptif kualitatif yang diperkaya dengan metode hermeneutik Ricour dalam analisa teks. Data yang diperoleh berupa cerita rakyat berjudul Landu, yang menceritakan sejarah terbentuknya masyarakat Landu di pulau Rote. Kerajaan Landu adalah salah satu kerajaan dari 19 kerajaan di Pulau Rote pada abad ke-14. Berdasarkan data diperoleh hasil penelitian nilai toleransi yang terdapat dalam CRMR Landu adalah (1) Nilai keberterimaan dan kesepahaman (acceptability and understanding) ini sebagai alas dasar toleransi dijelaskan berdasarkan verba diadik loke//hule ‘beri//kasih’ dan (2) nilai persaudaraan (brotherhood) yang berdasarkan pada bentuk diadik dalek//teik ‘rasa//batin’, inak//touk ‘ayah//ibu’. Kata Kunci: Toleransi, Teks, Landu
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Bibi, Asma, A. Thangamani, and V. Venkatesalu. "Some endemic medicinal plants of Andamans with antimicrobial potential." Journal of Applied and Advanced Research 1, no. 1 (June 13, 2016): 10. http://dx.doi.org/10.21839/jaar.2016.v1i1.7.
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The present study was aimed to determine the antimicrobial activity of some endemic plant species used in folkloric medicine by the inhabitants of Andaman Islands, India. The ethanol extracts prepared from the leaves of four plants viz; Alstonia kurzii, Tabernaemontana crispa, Mangifera andamanica and Vitex diversifolia were assessed for antibacterial activity against clinically isolated human pathogenic bacteria and antifungal activity against some phytopathogenic fungi. The ethanol extracts showed more inhibition towards Gram positive than Gram negative bacteria and the bacterial strains showed more susceptibility than the fungal strains tested. Among the plants, Vitex diversifolia exhibited the highest antibacterial activity and Mangifera andamanica showed the highest antifungal activity.
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White, Timothy J. "Historical sociology in the field: Teaching Irish identity through field experience." Irish Journal of Sociology 24, no. 1 (April 2016): 54–77. http://dx.doi.org/10.1177/0791603515627045.
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Teaching Irish Historical Sociology in the field offers unique opportunities for students to engage with sites critical to the historical development of Irish identity. For the past fourteen years, I have taught an Irish Historical Sociology course in Ireland designed to teach students the contested nature and layers of Irish identity based on the waves of migration that have come to Ireland throughout the centuries. The course begins by examining the earliest people to come to Ireland and then examines the impact of the Celtic Migrations, the introduction of Christianity, the Anglo-Norman invasion/settlement, the Plantation migration, the famine, the Irish revival in the late nineteenth and twentieth centuries, as well as changes in demography, economy, and religion in the twentieth century. Through on-site lectures, talks, and experiences in music and dance, the environment, traditional crafts, folklore and heritage, local history, and sports students learn the various groups who came to the island over time and how these groups have shaped Irish identity.
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Yao, Dan, Ke Zhang, Lin Wang, Rob Law, and Mu Zhang. "From Religious Belief to Intangible Cultural Heritage Tourism: A Case Study of Mazu Belief." Sustainability 12, no. 10 (May 21, 2020): 4229. http://dx.doi.org/10.3390/su12104229.
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Mazu belief was recognized by United Nations Educational, Scientific and Cultural Organization (UNESCO) as the Intangible cultural heritage of Humanity in 2009, which is China’s first world-class folklore intangible cultural heritage. More than 5000 Mazu temples and 200 million tourists who believe in Mazu can be found worldwide. The aim of the study was to take Meizhou Island as a case study to understand the relationships among tourists’ perceived value, place attachment, and revisit intention. In total, 424 tourists in Meizhou Island were surveyed and structural equation modeling was performed to test such relationships. Results show that tourists’ perceived value has a significant positive impact on place attachment (p < 0.05), which in turn has a significant positive impact on revisit intention (p < 0.05). The results of bootstrap test show that the confidence intervals are (0.001, 0.328), (0.147, 0.425), (0.058, 0.396), (0.092, 0.408), respectively, which do not contain 0. Therefore, place attachment acts as a complete intermediary in the relationship between tourism resources and service value, social value, cost value, and revisit intention. The confidence interval of the direct effect of cultural value and revisit intention is (0.193, 0.501), which does not contain 0, indicating that place attachment acts as a partial mediator in the relationship between cultural value and revisit intention. Findings of this study would be of use to readers of cultural tourism.
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Hukubun, Lejar Daniartana. "PERANCANGAN BUKU ILUSTRASI CERITA RAKYAT SUKU MALIND." IKONIK : Jurnal Seni dan Desain 1, no. 1 (July 13, 2019): 69. http://dx.doi.org/10.51804/ijsd.v1i1.428.
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Merauke merupakan tempat yang istimewa, karena berada di ujung timur pulau Indonesia. Di kota tersebut dikaruniai berbagai macam kekayaan alam dan budaya setempat. Salah satu budaya asli dari daerah tersebut adalah suku Malind, yang memberikan keunikan dan kekhas an kota Merauke. Namun belum banyak yang mendokumentasinya secara terltulis. Tujuan yang dingin dicapai adalah merancang buku ilustrasi buku cerita rakyat suku Malind dalam bentuk karakter Wayang Papua, dengan begitu memberikan kebaruan dalam menyampaikan sebuah pesan, serta melestarian cerita rakyat suku Malind. Metode yang digunakan dalam perancangan ini menggunakan analisis 5W 1H dan design thinking. Metode yang bervariasi bertujuan untuk mendapatkan data secara valid. Pengumpulan data dilakukan dengan cara observasi, wawancara, dan dokumentasi. Teori yang digunakan adalah teori Desain Komunikasi Visual. Manfaat yang dapat diperoleh dari teori adalah untuk mendapatkan jawaban dari masalah melalui strategi, pengamatan, referensi serta pengalaman yang mereka alami. Perancangan ini ditujukan untuk anak-anak usia 7 hingga 12 tahun. Perancangan ini menerapkan konsep komunikasi dan ungkapan daya kreatif agar dapat diterima oleh target audience. Selain itu, target audience diharapkan dapat memecahkan masalah melalui pesan visual. Perancangan buku ilustrasi cerita rakyat suku Malind merupakan solusi, agar salah satu kebudayaan Malind berupa cerita rakyat dapat dilestarikan. Misinya agar anak-anak sejak dini mulai mengenal kebudayaan mereka, dengan begitu kebudayaan ini dapat dilestarikan.Merauke is a special place, because it is on the eastern tip of the island of Indonesia. In the city it is blessed with various kinds of natural resources and local culture. One of the indigenous cultures of the area is the Malind tribe, which gives uniqueness and distinctiveness to the city of Merauke. But not many have documented it in writing. The cool goal is to design a book of illustrations of Malind folklore books in the form of Papuan puppet characters, thus giving newness in delivering a message, as well as preserving Malind tribal folklore. The method used in this design uses 5W 1H analysis and design thinking. Varied methods aim to obtain data validly. Data collection is done by observation, interviews, and documentation. The theory used is the theory of Visual Communication Design. The benefits that can be obtained from theory are to get answers to problems through strategies, observations, references and experiences they experience. This design is intended for children aged 7 to 12 years. This design applies the concept of communication and expression of creative power so that it can be accepted by the target audience. In addition, the target audience is expected to solve problems through visual messages. The design of an illustrated Malind folklore book is a solution, so that one of the Malind cultures in the form of folk tales can be preserved. Its mission is that children start to recognize their culture early, so that this culture can be preserved.
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Lummer, Felix. "Was Guðmundr á Glasisvǫllum Irish?" Temenos - Nordic Journal of Comparative Religion 55, no. 1 (June 29, 2019): 75–95. http://dx.doi.org/10.33356/temenos.83426.
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This article tackles the question of a possible Irish origin for the Old Norse literary figure Guðmundr á Glasisvǫllum. The images of Guðmundr, his realm Glasisvellir, and the sometimes associated territory of Ódáinsakr fluctuate in various ways in the different saga narratives in which they occur. The variability of the Guðmundr á Glasisvǫllum narrative has caused scholars to debate its possible origin for over a century. The more widely supported notion is that a mythological compound around Guðmundr must have originated in Irish mythology and folklore rather than being an indigenous, Nordic construct. The present article aims to follow up on this discussion, comparing the original Old Norse source material and that found in Gesta Danorum to Irish accounts that might have influenced them. By highlighting the differences between the Guðmundr á Glasisvǫllum complex and the suggested Irish sources, the degree to which it seems likely the motif could actually have originated in Irish thought will be assessed. Norwegian folk tales about the magical island Utrøst will then be considered to highlight the possibility of a more local background for Guðmundr and his realm.
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Lowe, Henry, Blair Steele, Joseph Bryant, Emadelden Fouad, Ngeh Toyang, and Wilfred Ngwa. "Antiviral Activity of Jamaican Medicinal Plants and Isolated Bioactive Compounds." Molecules 26, no. 3 (January 25, 2021): 607. http://dx.doi.org/10.3390/molecules26030607.
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Plants have had historical significance in medicine since the beginning of civilization. The oldest medical pharmacopeias of the African, Arabian, and Asian countries solely utilize plants and herbs to treat pain, oral diseases, skin diseases, microbial infections, multiple types of cancers, reproductive disorders among a myriad of other ailments. The World Health Organization (WHO) estimates that over 65% of the world population solely utilize botanical preparations as medicine. Due to the abundance of plants, plant-derived medicines are more readily accessible, affordable, convenient, and have safer side-effect profiles than synthetic drugs. Plant-based decoctions have been a significant part of Jamaican traditional folklore medicine. Jamaica is of particular interest because it has approximately 52% of the established medicinal plants that exist on earth. This makes the island particularly welcoming for rigorous scientific research on the medicinal value of plants and the development of phytomedicine thereof. Viral infections caused by the human immunodeficiency virus types 1 and 2 (HIV-1 and HIV-2), hepatitis virus B and C, influenza A virus, and the severe acute respiratory syndrome coronavirus 2 (SARS CoV-2) present a significant global burden. This is a review of some important Jamaican medicinal plants, with particular reference to their antiviral activity.
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Fotiadou, E., and E. Stylianidis. "DOCUMENTING ANCIENT THRESHING FLOORS AS PART OF OUR TANGIBLE/INTANGIBLE CULTURAL HERITAGE FROM ARCHIVE AERIAL PHOTOS: A CASE STUDY IN CYPRUS." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 233–40. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-233-2021.
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Abstract. Threshing floors are common cultural features of the Mediterranean agricultural landscape and have been used from antiquity until some decades ago to thresh grains. Therefore, they constitute an integral part of our tangible and intangible cultural heritage as they are constructions that are linked with complex relationships between crops, technology, folklore, local materials and traditions from our ancestors. However, today, threshing floors are obsolete and destroyed almost everywhere due to modern development and very little attention has been given by archaeologists to these important cultural features. The identification and recording of ancient activity areas such as threshing floors is an important part of archaeological research contributing to the reconstruction of past ways of life and to the preservation of inherited traditions from the past. Access to historical archives of aerial photographs provide a high-quality photographic record, offering considerable potential in detecting ancient threshing floors that do not exist anymore because they have been buried in the course of time or destroyed. This study was conducted to deploy a methodology that deals with the identification of ancient threshing floors and their remains in the island of Cyprus through photo interpretation, by utilizing archival aerial imagery in combination with supplement ethnoarchaeological information.
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Lim, Sugiato, and Wishnoebroto Wishnoebroto. "Folk-Culture Development Under Surrounding-Zones Theory Perspective: An Observation of Hakka’s Chinese New Year Custom in Bangka Island Indonesia." Humaniora 7, no. 2 (April 30, 2016): 273. http://dx.doi.org/10.21512/humaniora.v7i2.3532.
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Hakkanese experienced several major migrations and ultimately distributed in every corner of the world. From the earlier period, the Hakkanese believed that someone should return to their origin until they settled down. Among much Chinese folklore, the most notable moment of the Hakanese was the transition between the old and the new, commonly called the Chinese New Year or Spring Festival custom. New Year custom roughly started from the beginning of the twelfth of the 23rd lunar month has been extended into the Lantern Festival. From the twelfth of the 23rd lunar month, it began to enter the Small Year festivals, and the Chinese were beginning to prepare series of activities which deals with throwing away the old while welcoming the new. Until New Year Eve, which was the culmination of the Year’s custom, the whole family gathered happily to meet the spring season. New Year activities would continue until the Lantern Festival. But for the Hakka people, the festive atmosphere and activities would continue until the 20th day of the first lunar month, which was called Tian Chuan Festival. After that, the New Year was ended completely. The research method applied was the qualitative method with observation and library research regarding Bangkanese Chinese festival. The observed population in this research is the Hakkanese community in Bangka. This article finds that the Chinese community in several regions in Indonesia still maintains and preserves the original form of the indigenous culture. It can be seen from the Lunar New Year tradition runs by the Hakkanese in Bangka. At the same time, it also reflects the vitality of folk culture and the values of its existence.
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Kohdrata, Naniek, and Cokorda Gede Alit Semarajaya. "Memotret Bentuk-bentuk Toleransi di Desa Kampung Kusamba, Karangasem, Bali." Jurnal Lanskap Indonesia 13, no. 1 (April 1, 2021): 1–6. http://dx.doi.org/10.29244/jli.v13i1.32696.
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Kampung Kusamba Village is a relatively small size village in the Bali Island with a majority Muslim population. The village area is surrounded by villages that are predominantly Hindu. The Kampung Kusamba is an example that tolerance in social life is actualized. This research emphasizes on documenting tolerance between Kampung Kusamba dwellers with the Balinese through architectural forms and folklores, myths, or any other oral histories. The research method used is qualitative. Data were collected using a purposive approach, utilizing an in-depth interview technique to resource persons and photographic surveyed for architectural forms. The analysis was carried out descriptively using an ethnographic domain analysis technique approach. Preliminary findings from this study were that physical architectural features that reflect the local culture are the same or almost the same as Balinese architecture. A form of tolerance was also found in the form of artifacts that reflected the diversity of the population of Kampung Kusamba in the past. Oral histories of the past as a manifestation of the intangible landscape also showed the attitude and tolerance of the people of Kampung Kusamba and the people who live in Bali respectively. Moreover, there was also a story that shows the position and special relationship of Kampung Kusamba with Klungkung Royal.
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Ferguson, Stephney. "Defining a Role for a New National Library in a Developing Country: The National Library of Jamaica, 1980–1990." Alexandria: The Journal of National and International Library and Information Issues 8, no. 1 (April 1996): 65–74. http://dx.doi.org/10.1177/095574909600800105.
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The National Library of Jamaica, created in 1979 from the West India Reference Library (WIRL), had to define its role and functions in the light of the existence of a well developed public library system which served the entire island, as well as a university library system and a fair number of small special libraries. Staff first had to be made aware of how the newly designated library differed from the old WIRL, which although well known for its outstanding collection of ‘Westindiana’ was primarily an urban-based library. The media were used to present information on the role and functions of the new library, which would perform all the accepted fundamental functions of national libraries in developed countries, except that relating to the coverage of foreign literature; in addition it would also be involved in interlending and document supply. Jamaica is a small developing country in which the European/North American-based culture and the African-influenced folk culture coexist. The library therefore recognizes the importance of developing collections of ephemera, oral history and folklore. There is a small preservation and conservation facility. In serving as the national bibliographic centre, it produces the national bibliography and creates various other bibliographic tools of national use. As the focal point of the national information system, it has developed a national referral service to aid interlending. Current awareness services are offered to library and information professionals, there is a programme of mounting exhibitions, and strong international links are maintained. Growth and development have been severely hampered by dwindling financial resources, which have resulted in some cutbacks to services. Nevertheless, the library has firmly established itself as an important cultural institution and as a leader in Caribbean library and information work.
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Radnawati, Daisy, and Sitti Wardiningsih. "PENINGKATAN KUALITAS VISUAL LANSKAPJALAN DI SEMPADAN SETU BABAKAN PADA AREA WISATA SETU BABAKAN." NALARs 18, no. 2 (June 30, 2019): 119. http://dx.doi.org/10.24853/nalars.18.2.119-130.
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ABSTRAK. Perkampungan Budaya Betawi (PBB) merupakan satu kawasan dengan komunitas yang ditumbuhkembangkan dengan Budaya Betawi meliputi hasil gagasan dan karya baik fisik maupun nonfisik yaitu kesenian, adat istiadat, foklor, kesasteraan, bahasa, tanaman dan bangunan yang bercirikan keBetawian. Batasan area penelitian ini adalah Perencanaan Lanskap jalan di sempadan Setu Babakan dan pulau jalan yang ada sebagai pusat wisata dalam kawasan PBB Setu Babakan. Secara visual Setu Babakan bisa dikatakan sejuk dan asri, terlihat dari adanya pohon-pohon existing yang mengelilingi bantaran Setu Babakan yang memberikan fungsi ekologis pada suatu kawasan. Pohon tersebut juga menghasilkan bayangan pada air Setu, sehingga seperti bercermin dan memberikan estetika visual yang baik. Namun beberapa area komersial dan parkir yang yang berada di sebelah barat dan timur memberikan dampak yang kurang baik. Metode pada penelitian ini menggunakan pendekatan J. Simonds (1983). Penelitian ini bertujuan untuk membuat perencanaan lanskap jalan di sempadan Setu Babakan yang dapat memberikan identitas kawasan Setu Babakan sebagai area wisata, dan dapat memberikan nilai tambah bagi kawasan tersebut. Selain itu dapat meningkatkan kualitas visual pada kawasan Setu Babakan serta memberikan pelayanan bagi seluruh pengguna jalan yang nyaman, aman dan memperhatikan kelestarian lingkungan di sekitarnya. Kata kunci: Perencanaan Lanskap, Ornamen Betawi, Wisata Setu Babakan ABSTRACT. The Betawi Cultural Village (PBB) is an area with a community that is cultivated with Betawi Culture which includes the results of ideas and works both physical and non-physical, namely art, customs, folklore, literature, language, plants, and buildings characterized by Brethren. The boundary of this research area is the Landscape Planning road in the border of Setu Babakan and the island of the street that exists as a tourist center in the Perkampungan Budaya Betawi Setu Babakan region. Visually, Setu Babakan can be said to be relaxed and beautiful, as seen from the existing trees surrounding the banks of Setu Babakan which provide ecological functions in an area. The tree also produces shadows on Setu water, so it looks like a mirror and offers good visual aesthetics. However, some commercial and parking spaces which are in the west and east have an adverse impact. The method J. Simonds (1983) approach includes design planning in the stages of preliminary activity, inventory, analysis, synthesis, construction, concepts, and designs. This study aims to make a road landscape planning in the Setu Babakan border that can provide the identity of the Setu Babakan area as a tourist area, and can provide added value to the district. Besides, it can improve the visual quality of the Setu Babakan area ludes design planning in the area and offer services to all road users who are comfortable, safe and pay attention to the preservation of the surrounding environment.Keywords: Landscape Planning, Betawi Ornaments, Setu Babakan Tourism
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Badalanova Geller, Florentina. "Cosmogonies and mythopoesis in the Balkans and beyond." Slavia Meridionalis 14 (November 27, 2014): 87–147. http://dx.doi.org/10.11649/sm.2014.005.
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Cosmogonies and mythopoesis in the Balkans and beyondCompared and contrasted in this article are three different types of accounts dealing with the cosmogonic and eschatological themes employed in Slavonic and Balkan oral tradition, para-Biblical literature and modern poetry. The focus of analysis is the cluster of motifs attested in the creation narrative of the apocryphal Legend of the Sea of Tiberias. Two versions are examined: the South-Slavonic one discovered in 1845 by V. Grigorovich in the Monastery of Slepche, and the 18th century Russian account from MS № 21.11.3 (fols. 3a–5b) from the Archaeographic Department of the Library of the Academy of Sciences [Библиотека Академии наук, Рукописный отдел] in St. Petersburg, composed most probably by an Old Believer; this manuscript is published here for the first time. Folklore counterparts of the apocryphal Legend of the Sea of Tiberias are treated, with special emphasis on the oral narratives from the Bulgarian diaspora in Bessarabia (God and the Devil Create the World Amicably but then Fall Out). Finally, a poem of the 20th century Bulgarian intellectual Pencho Slaveykov [Пенчо Славейков] from his anthology “On the Island of the Blessed” is discussed; the poem, entitled How God willed the Earth to come to be and what did Satanail do after that? was designated by Slaveykov himself as “a legend of the Bogomils”, and blended within his lyrics are dualistic themes and motifs attested in vernacular Christianity, with the hallmark of Haeresis Bulgarica. Kosmogonie i mitopoetyki na Bałkanach i nie tylkoW artykule zostały porównane trzy typy narracji zawierających wątki kosmogoniczne i eschatologiczne, które funkcjonują w słowiańskiej i bałkańskiej tradycji ustnej, literaturze parabiblijnej oraz poezji doby modernizmu. Przedmiotem uwagi stała się grupa motywów poświadczonych w narracji o stworzeniu, znanej z Legendy o Morzu Tyberiadzkim. Analizom poddane zostały dwie wersje: południowosłowiańska, odkryta w 1845 roku przez W. Grigorowicza w Monastyrze w Slepče, oraz ruska – z XVIII wieku, znajdująca się w kodeksie MS № 21.11.3 (fols. 3a–5b), przechowywanym w Oddziale Rękopisów Biblioteki Akademii Nauk w Sankt Petersburgu – skomponowana najprawdopodobniej w środowisku staroobrzędowców (rękopis ten jest tu publikowany po raz pierwszy). Następnie przeprowadzona została analiza odpowiedników folklorystycznych apokryficznej Legendy o Morzu Tyberiadzkim, ze szczególnym uwzględnieniem narracji ustnych funkcjonujących w bułgarskiej diasporze w Besarabii (Bóg i Diabeł tworzą świat w przyjaźni ale potem stają się wrogami). Na końcu został poddany interpretacji poemat z XX wieku autorstwa bułgarskiego modernisty Penczo Sławejkowa [Пенчо Славейков] z antologii Na wyspie błogosławionych [На острова на блажените]; poemat ten, zatytułowany Jak Bóg zezwolił, aby powstała ziemia i co potem uczynił Satanael?, został nazwany przez samego autora „legendą Bogomiłów”, i skompilowany w jego tekstach z dualistycznymi motywami występującymi w chrześcijaństwie tego regionu, a rozpoznawanymi jako haeresis bulgarica.
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Yakimenka, Tamara. "Landscapes of the Belarusian ethnic music of archaic layer: aspects of study (based on publications of ethnomusicological works of young musicologists BSC / BSAM 1991–2013)." Ethnomusic 16, no. 1 (2020): 170–88. http://dx.doi.org/10.33398/2523-4846-2020-16-1-170-188.
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Digests of articles by young musicologists of the Belarusian State Academy of Music, devoted to revealing the landscape panorama of the Belarusian ethnomusical culture of ritual genesis, are examined [1–5]. It’s shown that the considerations of young researchers published in the ethnomu- sicological editions of 1991–2013 aim at studying the autochthonous and historically deep phenomena of the Belarusian folklore fund, at revealing the features of ethnic song and instrumental melos in ritual complexes of calendar-farming and life cycles. A significant part of the research is devoted to the disclosure of typology, melo- geography, functional load, intonational, structural-rhythmic-compositional and eth- nophonic characteristics of song-ritual and instrumental practices of different regional and local traditions. In the subject spectrum of the articles the important issues are the sound world of ethno-song archaic layer considered in the aspect of mytho-sound-poetics [5], the pitch, articulation and ethnophony of the ancient melos, conditioning thereof by the signal-communicative sound activity as a factor of stability of ritual sound standards in the musical consciousness of carriers for many centuries. The ‘song territories’, which, as a result of placement on the borderland of his- torical-ethnographic and ethnocultural areas, are marked by a variety of linguistic in- fluences, the coexistence of diverse anthropological types in the autochthonous popu- lation (with the appropriate difference in beliefs, ritual practices and lifestyles) found their study in the issues of the ethnomusicological series. The ethno-song loci of various scales and levels – from their intraregional spe- cies (‘local’, ‘special’, ‘island’) [4] to status ones for ethnomusical cultures (the so- called ‘regional borderland’) [5] are studied. An ethnopsychological consideration is reflected in a number of articles [4]. Among the objects studied by young musicians there are significant ones in the ethnomusic culture of Belarusians song forms of the ‘Valachobny’ (Easter) and St George Day ancient rituals [1], congratulatory visiting rituals of the Carol period and the ‘Yashchar’ roundelay-game action assigned to the time of the Philippe post (Ad- vent) [2], childbirth and narrative (ballad) songs [4], groups of ‘Rajok’–‘Sparysh’– ‘Dazhynki’ (end of the Harvest) and ‘Aviasets’ (autumn) songs of Poozer’e (Lake district) [4], song traditions of the Maslenitsa (Shrovetide) ceremonies [4], the lead of the ‘Arrow’, ‘Rusal’, spring swings [5]. In the series of ethnomusicological collections of 1991–2013 landscapes of the ancient ethnomusic culture in its ‘Belarusian’ area on the territories of the Western Dvina basin, the upper course of the Dnieper, Dnieper–Druts–Berezina interfluve, Po- nemanje [1–5] were disclosed from the positions corresponding to the leading direc- tions of modern ethnomusicology. 187 The perspective of the researches carried out by young musicologists, their level and directly the potential of scientific problems were confirmed later in ethnomusico- logical dissertations [6–10], audio collections of the ‘Audio Atlas of the Traditional Musical Culture of Belarus’ and monographs [11–13].
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Ng-Chan, Taien. "“Buoyant Cartographies”: Strata-Mapping the Detroit River Border." Abstracts of the ICA 1 (July 15, 2019): 1. http://dx.doi.org/10.5194/ica-abs-1-268-2019.
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<p><strong>Abstract.</strong> In the early days of September 2018, a group of artists and researchers converged on the Detroit River (an international border between Detroit, Michigan, USA and Windsor, Ontario, Canada) to investigate the “Buoyant Cartographies” that this particular site demanded. As one of the parties involved in this participatory event (along with Lead Investigators <i>In/Terminus Creative Research Group</i> and <i>Float School</i>), my artist-research collective Hamilton Perambulatory Unit (HPU) undertook an experimental mapping project that investigated the different “strata” of the place and the development of a “city-image.” The HPU Strata-Walk is an experimental and performative mapping methodology that focuses on how spatial meaning is created through a “stratigraphic” sensing of a site. The Detroit-Windsor border makes an especially compelling site for a Strata-Walk, in light of the conflicts over borders and walls in the current political environment, which presents an urgent need towards understanding and envisioning alternate possibilities for border zones. As a material site and geo-political space, the Detroit River border particularly benefits from intermedial investigations into spatial meanings and their construction. Notably, the role of folklore and local narratives on the internet and social media (and the erasure of Indigenous knowledge) figures large in developing one's knowledge of place. Experimental cartographies can thus help to develop alternate ways of seeing such sites.</p><p>This presentation is an attempt to trace this particular event of “discovery,” an account of how a place becomes known and how intermedial practices influence the manifestation of space and experience. Inherent in this research is the overarching question of how one begins to decolonize public narratives of place, how gaps and erasures in knowledge can be located in order to demarcate a way forward for further study and action. With these concerns in mind, I conduct a preliminary analysis of the border site through the activities of the HPU and our specific “strata-walking” framework, which focuses on different approaches of mapping-as-process, from phenomenological, ethnographic and cultural landscape reading methodologies to networked, social and digital media research. This performative mapping can shape individual experiences of the border through the revealing of complex networks, flows, and narratives, and point to fissures where alternative imaginings might be possible. I will first begin with a brief introduction to the HPU’s methodologies, before situating them in a survey of relevant literatures around experimental and critical processes of mapping. Then, using photographic and textual documentation, I delve into some very preliminary results of the investigation, focusing on touristic experiences of border crossing as well as a look at the specific “imageability” of Peche Island in the Detroit River, a place of rumour and mystery, now a nature park maintained by the city of Windsor. The overall goal will be to demonstrate the necessity of experimental cartographies in the creation of alternate experiences and more reflexive narratives about the border zone, with the Detroit-Windsor border as a case study.</p>
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Song, Tian. "Composer – Artist: The role of pianist Hsu Fei Ping in the creative activity of Huang An Lun." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 43–60. http://dx.doi.org/10.34064/khnum1-50.04.
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Background. The article is dedicated to the creative communication of two outstanding Chinese musicians – a pianist Hsu Fei Ping and a composer Huang An Lun. Complete mutual understanding facilitated their communication. Practically in all his programs, the pianist included the music of Western European and Chinese composers. Critics especially noted that Hsu Fei-Ping had the musical penetration, brilliance and poetry of interpretations. Among many Chinese pianists, he was recognized as the best interpreter of piano works by Huang An Lun. This musician has a special role in the work of Huan An Lun, being not only the “addressee” and the first performer, but also the inspirer of many composer’s opuses. The context of the creative intercourse of Huang An Lun and Hsu Fei Ping is also interesting because some of the composer’s works were written on the initiative of the outstanding Chinese pianist. Objectives. The purpose of the article is to reveal the role of the outstanding pianist Hsu Fei Ping in the creativity of Huang An Lun and the features of his performing interpretation the composer’s piano works. Methods. The research methodology necessary for disclosure of the selected theme is based on an integrated scientific approach combining the principles of musical-theoretical and performing analysis. Results. Hsu Fei-Ping is rightfully regarded as one of the most brilliant Chinese pianists who made themselves known in the 20th century. In this paper the life and career of the musician is considered, a general assessment of his creative achievements is given. It is argued that the creative cooperation and friendship of Hsu Fei-Ping with his compatriot and peer Huang An-Lun was due to life circumstances. The fate of both musicians had many common “points of intersection”: both musicians were of the same age, both in their youth showed uncommon interest in learning national and western musical art. The Cultural Revolution became a tragic watershed in their lives, which, however, made it possible to get even closer to the folklore environment and to feel the pain and suffering of the Chinese people at that time. Both musicians left China in the 1970s, having received education and achieved success in developed western countries: Hsu Fei-Ping – in the USA, Huang An Lun – in Canada. It is quite natural that the communication of such bright individuals, who have gone through the difficult path of development, provided an opportunity for mutual creative enrichment. The pianist promoted Huang An-Lun’s piano music in Israel, the USA, Canada, Russia and other countries, recorded CDs with works by the composer. In 2001, in Shanghai, and then in Hong Kong, discs with a recording of the piano cycle of Huang An-Lun’s “30 Pieces in the Popular Cybei Style” were released. In the same year, he recorded in Moscow the disc with Third Dance Poem, op. 40, by Huang An Lun. Hsu Pei Fing played the piece at the Rubinstein International Piano Competition in Israel, where he became the winner. In 1990, the piece by Huang An Lun created a similar sensation at a festival dedicated to the music of contemporary composers at the Walter Concert Hall in Toronto. A few years later, Hsu Pei Fing performed the piece at Carnegie Hall in New York. The largest composition by Huang An-Lun dedicated to Hsu Pei-Fing was Concerto No. 2 in C minor op. 57 for piano and orchestra. Its premiere took place on June 12, 1999 at the stage of the Shanghai Music Hall. The Shanghai Symphony Orchestra was conducted by Huang An-Lun himself, the piano part was performed by Hsu Fei-Ping. With the Russian Philharmonic Orchestra conducted by Konstantin Krymets, the pianist performed the second edition of the Concerto. The poem for piano and orchestra “Gulangyuy” op. 66 was written in memory of Hsu Fei Ping. The composer embodied in music the image of the birthplace of the outstanding Chinese pianist, Gulangyu Island, also known as “Piano Island”. Conclusions. Hsu Fei-Ping was for Huang An-Lun a kind of “beacon” in the field of piano music. Most of the composer’s piano works were focused on the phenomenal pianism of his friend. Being an outstanding performer of the West European classical and romantic repertoire, Hsu Fei Ping remained in the memory of musicians, first of all, as the inspirer and the best interpreter of piano works by Huang An Lun. The image of this remarkable pianist is captured in “Dance Poem No. 3” op. 40, Concert No. 2 in C minor op. 57, Poem for piano and orchestra “Gulangyuy” op. 66. Hsu Fei Ping brilliantly embodied in his performance one of the main ideas of the work of Huang An-Lun – the theme of man’s collision with forces of reality hostile to him. At the core of his performing drama is the conflict between the sinister, aggressive and lyrically quivering human beginning. It is represented by the pianist through the sound realization of various types of melodies, rhythms, textures, and the richest timbre palette. Hsu Fei Ping’s deep interpretations of Huang An Lun’s music, built on maximum polarization of images and expressive means, are the best confirmation of the mutual enrichment of the artistic worlds of two musicians, whose creative ways and convictions evolved in a similar way, which allowed them to understand each other completely.
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Shields, Andrew, Angela Bourke, James Kelly, J. Th Leerssen, Gerard O'Brien, William Murphy, Ciaran O'Neill, et al. "Reviews: Jennifer Regan-Lefebvre, Cosmopolitan Nationalism in the Victorian Empire: Ireland, India and the Politics of Alfred Webb, The European Culture Wars in Ireland: The Callan Schools Affair, 1868–81, The Irish Folklore Commission 1935–1970: History, Ideology, Methodology, Irish Protestant Identities, Contested Island: Ireland 1460–1630, a History of Ireland's School Inspectorate, 1831–2008, Nationalism and the Irish Diaspora in the United States, Terenure College 1860–2010: A History, Michael Davitt: From the Gaelic American, Franco-Irish Military Connections 1590–1945, Catholic Belfast and Nationalist Ireland in the Era of Joe Devlin, 1871–1934, a Nation of Politicians: Gender, Patriotism, and Political Culture in Late Eighteenth-Century Ireland, The Papers of the Dublin Philosophical Society, 1683–1709, Clubs and Societies in Eighteenth-Century Ireland, The Irish College, Rome and its World, Historical Association of Ireland, Marsh's Library: A Mirror on the World, Law, Learning and Libraries, 1650–1750, The Ivy Leaf: The Parnells Remembered. Commemorative Essays, Ireland, India and Empire: Indo-Irish Radical Connections, 1919–64, in the Wake of the Great Rebellion: Republicanism, Agrarianism and Banditry in Ireland after 1798, Irish Influence at the Court of Spain in the Seventeenth Century, The Irish Conservative Party 1852–1868: Land, Politics and Religion, The Making of the Irish Protestant Ascendancy: The Life of William Conolly, 1662–1729, Women, Marriage and Property in Wealthy Landed Families in Ireland, 1750–1850, Divided Kingdom: Ireland 1630–1800." Irish Economic and Social History 38, no. 1 (December 2011): 122–69. http://dx.doi.org/10.7227/iesh.38.7.
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Kidder Hodges, Benjamin. "Atmospheric Visions: Mirages, methane seeps and ‘clam-monsters’ in the Yellow Sea." Shima: The International Journal of Research into Island Cultures, September 4, 2021. http://dx.doi.org/10.21463/shima.132.
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Mirages seen at sea have a long history of being interpreted as distant islands and mythological realms. Hot and cool pockets of air refracting light can make boats and islands appear as if floating in air. These atmospheric visions can be studied as physical phenomena and as cultural imaginaries, an extension of what Philip Hayward has called the aquapelagic imaginary. In alliance with Donna Haraway’s mythology-inspired Chthulucene, this article will use the Chinese folklore of the shen (蜃) (‘clam-monster’) to consider ecological issues around deep sea mining. In the ancient etiology of the shen, its breath was thought responsible for visions of Penglai, the fabled island home to the Eight Immortals believed to lie somewhere in the Yellow Sea. The search for Penglai and its rumored elixir of life has now been supplanted by exploration for methane, a largely untapped fossil fuel seeping up from the ocean floor. The clams and multi-species communities that cluster around these emissions, alongside mythological sea creatures, give shape to changing affects and atmospheres on the horizon.
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Pandawana, I. Dewa Gede Agung, and I. Nyoman Agus Suarya Putra. "PERANCANGAN PENGEMBANGAN TOKOH MANIK ANGKERAN UNTUK MEDIA GAME INTERAKTIF : CERITA TERPISAHNYA JAWA DAN BALI BERBASIS ANDROID." Jurnal Teknologi Informasi dan Komputer 5, no. 2 (October 11, 2019). http://dx.doi.org/10.36002/jutik.v5i2.786.
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<p>ABSTRACT Ancient stories often known as legends or folklore give philosophy, meaning and moral values about good and bad life. Folk stories are often told by parents to their children at bedtime. This is able to increase imagination, curiosity of children, thinking patterns and behavior of children towards the good. But with the development of technology, folklore began to be forgotten and began to be replaced by television and gadget media. This study aims to help mediate Balinese folklore into Android-based games in the hope that can make folktales more interesting and able to convey the moral message, traditions and local wisdom of Bali. The Balinese folklore raised is a story about Manik Angkeran which tells the story of the separation of the islands of Bali and Java. This first phase of the research focused on the character design stage and the character movements of Manik Angkeran and it’s supporting characters designed based on the cultural philosophy of the regions of Bali and Java. The results of this study are to implement the Manik Angkeran and supporting characters in the form of moving characters on Android devices. Based on the results of BlackBox testing on 3 different Android devices, this first stage game shows the functionality that is expected, and the sharpness of the image is quite clear even though each device has a different resolution.<br />Keywords: Design, Game , Manik Angkeran, Android<br />ABSTRAK<br />Cerita zaman dahulu yang sering dikenal dengan legenda atau cerita rakyat memberi filosofi, makna dan nilai moral tentang kehidupan yang baik dan buruk. Cerita rakyat sering diceritakan oleh orang tua kepada anaknya disaat menjelang tidur. Hal ini mampu meningkatkan imajinasi, rasa ingin tahu anak, pola fikir serta tingkah laku anak-anak kearah yang baik. Namun dengan semakin berkembangnya zaman dan teknologi cerita rakyat mulai dilupakan dan mulai tergantikan oleh media televise dan gadget. Penelitian ini bertujuan untuk membantu memediasi cerita rakyat Bali ke dalam bentuk game berbasis Android dengan harapan dapat mengemas cerita rakyat agar lebih menarik dan mampu menyampaikan pesan moral, tradisi dan kearifan lokal Bali. Cerita rakyat Bali yang diangkat adalah cerita tentang Manik Angkeran yang mengisahkan terpisahnya Pulau Bali dan Pulau Jawa. Pada penelitian tahap pertama ini difokuskan pada tahap perancangan karakter dan gerak karakter dari Manik Angkeran serta karakter pendukungnya yang dirancang berdasarkan dari filosofi budaya daerah Bali dan Jawa. Hasil dari penelitian ini adalah mengimplementasikan karakter Manik Angkeran dan karakter pendukungnya ke dalam bentuk karakter bergerak pada perangkat Android. Berdasarkan hasil pengujian BlackBox pada beberapa perangkat Android yang berbeda, game tahap pertama ini menunjukkan fungsionalitas yang sesuai dengan yang diharapkan serta tingkat ketajaman gambar yang cukup jelas walaupun setiap perangkat memiliki resolusi yang berbeda.<br />Kata Kunci : Rancang bangun, Game, Manik Angkeran, Android</p>
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Baykova, Olga, Olga Obukhova, Yulia Berezina, Galina Porchesku, and Natalia Kryukova. "Language as a consolidating factor of ethnic identity of the russian germans." Revista EntreLinguas, June 1, 2021, e021024. http://dx.doi.org/10.29051/el.v7iesp.2.15150.
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The article aims at identifying the attributes of ethnic identity and ethnic concepts of minority groups living in the territory of the Russian Federation, in particular, the Russian Germans living in the city of Glazov and the Vyatka-Kama region. The relevance of the study is determined by the need to understand and to study the shared characteristics of the ethnic identity of the German ethnic group: national self-awareness, preservation and revival of the ethnic culture and traditions, language preservation. The materials of the research are the tape recordings of unprepared German and Russian speech which were made during dialectological and ethnographic expeditions to Glazov. The speech of three informants is analyzed in the study. Nine main parameters of the ethnic identity are examined in relation to the Russian Germans of Glazov: common history, common territory, religion, living environment, family background, folklore, behavior standards, mentality of the ethnic group, and the common language. The language is described in more detail in the study. The results of the study suggest that the ethnic identity of the Russian Germans in question is a changing dynamic category. In our opinion, the language is the most important consolidating factor of the cultural integrity of an ethnic group, an instrument for sharing culturally important information and experience; so it is one of the core parameters of ethnic identity of the Russian Germans living in Glazov. This article will be of interest to researchers in the field of German dialectology and German speech islands.
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Sharief, Mohamed Umer, and Sitaram Prasad Panda. "Folklore artefacts of aboriginal Shompen tribe in Great Nicobar Island, India." Genetic Resources and Crop Evolution, September 28, 2020. http://dx.doi.org/10.1007/s10722-020-01027-x.
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Saarlo, Liina. "Regilaul tuulte pöörises. Eesti folkloristika poliitiliste muutuste ajajärgul 20. sajandi keskel / Regilaul in the whirlpool. Estonian folkloristics during the political changes in the middle of the 20th century." Methis. Studia humaniora Estonica 16, no. 20 (November 30, 2017). http://dx.doi.org/10.7592/methis.v16i20.13888.
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Artikli eesmärk on jälgida regilaulu kui Eesti folkloristika paraadžanri käekäiku Eesti sovetiseerimise ajajärgul 1940.–1950. aastatel ja selle kaudu eesti folkloristide kohandumisi muutuva teaduspoliitikaga. Kuna sõjajärgset Eestit võib lugeda koloniseerituks Nõukogude Liidu poolt, tuvastatakse sotskolonialismi tunnuseid Eesti sõjajärgses folkloristikas. Vaatluse alla võetakse regilaulu muutuv positsioon ametlikus retseptsioonis ning folkloristlikel välitöödel. Kuna nõukogude ajajärku esitatakse sageli eesti rahvakultuuri õitseajana, vaadeldakse lähemalt rahvaloomingu viljelemist harrastajate ja professionaalsete kunstnike tasemel, rahvusliku vormi sotsialistliku sisuga täitmist. The purpose of the paper is to follow how Estonian folklorists adapted changing science policy in the 1940s and 1950s, and how an elite genre of the Estonian folklore – regilaul – was treated in the course of the Sovietization of Estonian humanities and cultural life.There are several distinctive features of the Soviet colonization in the post-war Estonian folkloristics. First, an extensive reform of the organization of the academic institutions took place in annexed Estonia, following the example of organizational structures in Soviet Russia’s Academy of Sciences.The most specific feature of the Soviet colonialism was the extremely strong dependence of the peripheries on the colonial centre. Academic life in Estonia was guided by the resolutions of the Communist Party of the Soviet Union, which were observed and monitored closely by local authorities at the plenary meetings of the Estonian Communist Party and further discussed at the meetings of local academic institutions. These discussions were followed by waves of reassessments, (self) criticism and repressions. Folklorists from the Baltic republics were supervised and “assisted” by Russian folklorists in terms of the methods of the Soviet folkloristics at the union-wide conferences held in Moscow, the Soviet colonial centre. Direct models were taken over to reorganize folkloristic fieldwork and research in the spirit of the new ideology.The third specific feature of the Soviet colonialism was the adaption of Soviet pidgin, colonial discourse, which proliferated especially during the last years of the Stalinist era, from 1948 to 1953. Research in any discipline was limited by the Marxist method; any deflection in it was considered renegade and therefore punishable. In Estonian folkloristics, however, the mastering of the Marxist method comprised largely of clever usage of the colonists’ slogans and formulae, such as “bourgeois-nationalist”, “formalism”, “cosmopolitanism” versus “internationalism”, “objectivism”, and “anti-patriotic” etc. Oft-repeated labels carried no actual meaning; far from any rationale, they were rather formulaic weapons of fighting with enemies, tools of revaluing and (self) criticism. In the end of the 1950s, the use of most grievous lexis declined, but in general, the Soviet discourse was adapted.The altering position of regilaul in the folkloristic writings and fieldwork is discussed in the paper. The last years of the Stalinism, the hierarchy of the folklore genres was turned upside down and classical folklore genres were marginalized because mainstream Soviet folkloristics were focused on contemporary “Soviet folklore” and amateur cultural activities. Estonian folklorists adapted the new reality expeditiously, implementing a sort of mimicry. Fieldwork was carried on in areas with vivid traditional culture, such as Setumaa and Kihnu Island, using the collection of Soviet folklore as pretext. Folklorists did not change their collecting methods and continued to collect traditional folklore genres. Examples of contemporary “folk creations” were documented randomly and unsystematically; all the more were these findings proudly brought before the public at the union-wide forums and in the local press. In these years, curiosa like eulogies to the Lenin and Stalin, collective farms and the Soviet Army in the form of regilaul were documented.After the death of Stalin, Estonian folklorists returned to the classical folklore genres, though overemphasizing the motifs of “class struggle” and “heroism of the working crowds” in the old oral poetry.Due to the existing stereotypes regarding favouring ethnic minorities and folk culture under the Soviet regime, the paper takes a closer look to the use of folklore or/and folk creations at both the amateur and professional level of cultural activities. Although Soviet propaganda hailed the blossoming of the folk cultural activities, not all branches of the folk culture were allowed to blossom. Certainly, “folk” and “national” cannot be seen as synonyms. The concept of folklore was blurred because of the parallel concept of folk creations, which included non-traditional cultural activities. Folklorists were forced to deal with amateur cultural activities. In the professional level, the slogan of “socialist content in national form” marked deterioration, simplification and impoverishment regarding means of artistic expression. Instead of folklore pieces, the national epic “Kalevipoeg” was used as an exemplary to the professional artistic creations. Because of sophisticated stylistic features and lyricist mood of regilaul, conflicting to the Soviet aesthetics, becoming inspired by the regilaul tradition was out of the question for artists of the Stalinist era. Enforced simplicity and conservatism caused innovation in literary and musical creations in 1960s, broadening the use of regilaul in professional culture.
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Laak, Marin. "Unelõiv ja Saarepiiga: Jüri Talveti kirjanduslik "Kalevipoeg" / The Rhisomes of „Kalevipoeg“: Literary Interpretation of the Estonian National Epic by Jüri Talvet." Methis. Studia humaniora Estonica 14, no. 17/18 (January 10, 2017). http://dx.doi.org/10.7592/methis.v14i17/18.13214.
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Teesid: Artikkel keskendub eepose „Kalevipoeg“ käsitlusele võrdleva kirjandusteaduse vaatepunktist. „Kalevipoja“ uurimine ilukirjandusliku teosena muutis paradigmaatiliselt rahvuseepose senist tõlgendust ja seda tänu Jüri Talveti käsitlustele „Kalevipojast“ kui suurest Euroopa eeposest, silmapaistavast maailmakirjanduse kunsteeposte seas. Eepose teksti ja poeetika kirjandusteaduslik uurimine on selgitanud, kuidas eepose tekst on üles ehitatud sisemistele, intratekstuaalsetele seostele, mis korduvad gradatsiooniliselt ja toetuvad teatud kindlatele tekstuaalsetele sõlmpunktidele, näiteks „Saarepiiga“, „uni“ jpt. Enam kui autentsed allikad, on „Kalevipoja“ kui kirjandusliku teksti puhul oluline eepose toimimine pidevalt uusi tekste ärgitava tüvitekstina. Eepose analüüs näitab, kuidas selliste seoste alusel tekivad uued kultuurilised ühikud, kauneid näiteid selliste motiivikordustele rajatud seosteahelate kohta leidub ka Jüri Talveti luules. The article focuses on the treatment of the epic The Kalevipoeg from the viewpoint of comparative literature. This approach is a continuation of the study of literary relations of the epic which, on the one hand is opposite to, but on the other hand continues the present folkloristic approach to The Kalevipoeg as a folklore-based epic, which is based on the comparative-historical method of studying folklore. F. R. Kreutzwald’s role in creating the national epic was enormous; the epic can be conceived as a fictional and intentional piece, emphasising the role of its author. Although different genres of genuine folklore can be recognised in the epic, works of fiction of European and world classics have also been used in its construction, and the text of the epic has itself become an intertextual foundation for new works of fiction. The paradigm of discussing the epic changed due to Jüri Talvet’s groundbreaking treatment of The Kalevipoeg as a great European epic and one of the most remarkable representatives of the genre of literary epic in world literature. Literary scholarship of the text and poetics of the epic has demonstrated how the text is constructed by gradational internal intertextual relations, based on certain textual nodal points such as, e.g., ’island maid’, ’stone’, ’sleep’, etc. For example, the figure of Island Maid is intertextually related to many earlier archetexts and fundamental texts and has, in its turn, inspired other fictional texts. The author intentionally allowed for ambiguous interpretation of the death of a young girl – the girl slipped into water, but was it an accident or a suicide? The Estonian heroic epic differs from other literary epics by a gradational motif of ’sleep’, occurring through the text; by using this motif, the author develops the heroic epic into a tragedy of fate. The hero is informed about his fatal guilt in sleep long before it occurred in real life. Jüri Talvet has discovered such rhizomes of relations in the text of The Kalevipoeg due to his studies of world literature, but he has also written about them in his poetry.
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Lestari, Nanny Sri. "TRACING THE MYTH OF THE PEOPLE, AS PART OF LIFE (A CASE STUDY OF DAMPU AWANG FOLKLORE)." International Review of Humanities Studies 3, no. 1 (June 28, 2018). http://dx.doi.org/10.7454/irhs.v3i1.41.
Full textAbstract:
A community is the largest unit of the society. Society is a collection of several communities that have a common agreement. In everyday life they make a mutual agreement both oral and written in life. The agreement was made. There are mutually agreed rules, norms and values for mutual preservation among the people. One unique example is to look at a society that lives in a shared environment that then guard each other by agreeing on a common myth. Society does not object to the myth, the people accept the myth willingly without having to express likes or dislikes. An example of this is folklore about Dampu Awang. Dampu Awang story is known as a folklore in the northern coastal area of the eastern part of the island of Java or precisely in the vicinity of Rembang. Local people believe that Dampu Awang was native Javanese. According to the oral story of the local people, they believe that Dampu Awang was a nomad from Java who then succeeded in trading with the people. Dampu Awang came back to Java and landed in Lasem's big port. For the local people, Dampu Awang was very reliable and had great stories. Based on the oral story of the society, local people believe that Dampu Awang was not just a successful nomad and merchant but also someone who introduced new influences. As a wanderer and wholesaler Dampu Awang bought a lot of crops from the local community and also brought a wide variety of merchandise that could be exchanged for the produce. Trade activities conducted by Dampu Awang provide opportunities for local people to interact with the people from outside the archipelago. It is interesting that this Dampu Awang myth does not only belong to the locals but also to Chinese immigrants in Rembang. They know this story with their respective story variants. Dampu Awang is considered to have left a large relic; an enormous ship anchor placed in front of a church in Kartini park. This myth is kept around in the form of oral folklore delivered from time to time.