Journal articles: 'Lays Linguistics Folk literature Folk literature'

1

Wood, Juliette, and Wolfgang Mieder. "Tradition and Innovation in Folk Literature." Modern Language Review 84, no. 4 (October 1989): 909. http://dx.doi.org/10.2307/3731167.

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Brothers, Diana, and Anita Stern. "World Folktales: An Anthology of Multicultural Folk Literature." TESOL Quarterly 30, no. 1 (1996): 175. http://dx.doi.org/10.2307/3587617.

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Ludwig, Jonathan Z., and James Riordan. "Russian Folk-Tales." Slavic and East European Journal 46, no. 1 (2002): 222. http://dx.doi.org/10.2307/3086276.

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Perkowski, Jan L., and Roberta Reeder. "Russian Folk Lyrics." Slavic and East European Journal 38, no. 2 (1994): 400. http://dx.doi.org/10.2307/308842.

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Moyle, Natalie K., and Linda J. Ivanits. "Russian Folk Belief." Slavic and East European Journal 34, no. 1 (1990): 127. http://dx.doi.org/10.2307/309334.

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Feldman, Sara Miriam. "Jewish Simulations of Pushkin's Stylization of Folk Poetry." Slavic and East European Journal 59, no. 2 (2015): 229–45. http://dx.doi.org/10.30851/59.2.004.

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This article examines the prosody and other features of Hebrew and Yiddish translations of Eugene Onegin , which were composed as a part of Ashkenazi Jewish cultural movements in Eastern Europe, Russia, and Palestine. Russian literature played an important role within the history of modern literature in both Hebrew and Yiddish. Translating Russian literature tested the limits of the literary Yiddish and Hebrew languages. Due to the novel’s status in the Russian canon and its poetic forms, translating it was a coveted literary challenge for high-culture artistic production in Jewish languages. I examine this phenomenon using Pushkin’s simulation of folk poetry in the “Song of the Girls.” Due to the different social and textual functions of Yiddish and Hebrew, as well as their linguistic features, translatability of even formal characteristics differed from one Jewish language to another. The changes in Hebrew pronunciation during this period were reflected clearly in the changing limits of the ability of writers to translate Onegin . Though motivated by an inward-facing drive to produce modern and Western literature in one Jewish language or another, these translations were also a manifestation of the cultural bond between secular, East European Jewish intellectuals and Russian literature.

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Bailey, James, Roberta Reeder, and V. Ia Propp. "Russian Folk Lyrics." Russian Review 53, no. 3 (July 1994): 430. http://dx.doi.org/10.2307/131199.

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Hutchings, Stephen C., and Linda J. Ivanits. "Russian Folk Belief." Russian Review 50, no. 1 (January 1991): 90. http://dx.doi.org/10.2307/130220.

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Fontes, Manuel da Costa. "Cervantes: Phallic Mice, a Madman Story, a Folk Song and Two ‘Modern’ Folk Tales." Bulletin of Hispanic Studies 96, no. 10 (November 2019): 1217–32. http://dx.doi.org/10.3828/bhs.2019.70.

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Scholfield, Phil. "Documenting folk etymological change in progress." English Studies 69, no. 4 (August 1988): 341–47. http://dx.doi.org/10.1080/00138388808598585.

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Regis, Riccardo. "Individuo e comunità di fronte alla paretimologia." Zeitschrift für romanische Philologie 134, no. 2 (June 8, 2018): 349–80. http://dx.doi.org/10.1515/zrp-2018-0023.

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AbstractThis paper deals with folk etymology from the vantage point of sociolinguistics. After a critical overview of the concepts of «parole-Volksetymologie» and «langue-Volksetymologie» (Heike Olschansky), a new dichotomy based on the Coserian couple of habla (‘speech’; It. discorso) and norma (‘norm’) is proposed, with the aim of depicting the social diffusion of folk etymology. The categories of «paretimologia di discorso» (‘speech folk etymology’) and «paretimologia di norma» (‘norm folk etymology’) are thus coined and discussed, the examples being taken mainly from Italian and the Italoromance dialects.

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Canonici, N. N. "Sequential depth in Zulu folk-tales." South African Journal of African Languages 6, no. 2 (January 1986): 62–66. http://dx.doi.org/10.1080/02572117.1986.10586652.

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Vučković, Dijana, and Vesna Bratić. "Propp Revisited: A Structural Analysis of Vuk Karadžić’s Collection Serbian Folk Fairy Tales." Zeitschrift für Slawistik 65, no. 3 (August 4, 2020): 335–67. http://dx.doi.org/10.1515/slaw-2020-0017.

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SummaryIn the mid-19th century Vuk Stefanović Karadžić collected folk tales in the broader South-Slavic region and published them in a collection titled Serbian Folk Tales. Folk fairy tales make the major part of the collection. In this paper, the authors determine the folk fairy tale structure according to the methodology proposed by Vladimir Propp in the Morphology of the Folktale. The aim of the paper is to investigate, whether these fairy tales can be fully described using Propp’s Morphology. Propp’s model of the meta-folk fairy tale was developed inductively based on a rich, comprehensive, yet limited, corpus of Russian folk fairy tales, which opens up space for further testing of the proposed model.The hypothesis was set that the analyzed folk fairy tales completely conform to the plot structure of the meta-folk fairy tale with a maximum of 31 functions as proposed by Propp. The hypothesis is grounded in: 1. the time when the folktales were collected (mid-19th century, the same time as the Russian collection analyzed by Propp) and 2. the similarity of the South Slavic peoples with the peoples of the Slavic East.However, after categorial and structural analyses of the corpus were performed, it was clear that the hypothesis could not be accepted in its entirety. In the analyzed folk fairy tales, no new functions were found as compared to the 31 functions identified by Propp, but some of these functions were altered as compared to those to be expected in folk tales. This alteration occurred not only regarding the changed order of functions, assimilation and cases of dual morphological meanings of functions, but also in terms of the fantastic category of the marvelous, which is the core feature of the fairy tale genre, whose nature was changed. The study identified the rationalization of some magical motifs, which partially mitigates the quality of the miraculous in the fairy tale and found out that, in some cases, the marvelous was mitigated and “shifted” towards the (merely) fantastic. This was achieved by introducing oniric elements. One of the important conclusions of our study of the fairy tale is that these fairy tales, although labeled as folk tales, feature significant authorial intervention.

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Conrad, Joseph L., James Bailey, and Tatyana Ivanova. "An Anthology of Russian Folk Epics." Slavic and East European Journal 43, no. 4 (1999): 705. http://dx.doi.org/10.2307/309423.

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15

Wigzell, Faith, and Laura J. Olson. "Performing Russia: Folk Revival and Russian Identity." Modern Language Review 102, no. 1 (January 1, 2007): 299. http://dx.doi.org/10.2307/20467270.

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Godwin, Denise A. "Discovering the African folk-tale in translation." South African Journal of African Languages 11, no. 4 (January 1991): 109–18. http://dx.doi.org/10.1080/02572117.1991.10586902.

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Rouhier-Willoughby, Jeanmarie, and Laura J. Olson. "Performing Russia: Folk Revival and Russian Identity." Slavic and East European Journal 49, no. 3 (October 1, 2005): 529. http://dx.doi.org/10.2307/20058332.

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18

Matveyev, Rebecca Epstein. "Textuality and Intertextuality in Dostoevsky's Poor Folk." Slavic and East European Journal 39, no. 4 (1995): 535. http://dx.doi.org/10.2307/309105.

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19

da Costa Fontes, Manuel. "A Portuguese Folk Story and Its Early Congeners." Hispanic Review 58, no. 1 (1990): 73. http://dx.doi.org/10.2307/473159.

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Neethling, S. J. "Naming in Xhosa folk-tales: A literary device." South African Journal of African Languages 5, no. 3 (January 1985): 88–90. http://dx.doi.org/10.1080/02572117.1985.10586598.

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21

Karla, Grammatiki A. "Folk Narrative Techniques in the Alexander Romance." Mnemosyne 65, no. 4-5 (2012): 636–55. http://dx.doi.org/10.1163/156852512x585179.

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Abstract A structurally-oriented analysis of the Alexander Romance demonstrates that the work is not a mere random conglomeration drawn from various sources. The author is attempting to create a work possessing unity and cohesion and to this end he employs basic motifs associated with the hero, such as the motif of world-conqueror, of the φρενήρης (‘intelligent’) and the link with Heracles and Dionysus, which run through the totality of the work and ensure its cohesion. An additional interesting technique employed by the author is that of the redeployment of a motif. For example, the archetypal folk hero figure of Nektanebo, who is presented in the introduction of the Romance as Alexander’s father, is characterized by three features: magic, disguise and deception. These elements are used in a variety of ways in the description of the adventures of Alexander. In addition the triadic schema and antithesis are also employed. Considering that such figures are characteristic of folk tales as well, one acquires an idea of how skillfully the author has reworked his material, in order to create, by means of ‘popular’ tools, his own folk hero.

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22

Dobransky, Kerry. "City folk: Survival strategies of tradition-bearing organizations." Poetics 35, no. 4-5 (August 2007): 239–61. http://dx.doi.org/10.1016/j.poetic.2007.08.001.

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23

Kaushnian, Y. M. "On the Model of “National” and “International” Style (Illustrated by vocalises of S. Pavliuchenko, M. Zavalyshyna, O. and R. Voronin)." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 141–53. http://dx.doi.org/10.34064/khnum2-13.11.

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Background. Ukrainian vocal pedagogy represents almost all types of instructive vocalises, which take into account both the specifi c features of the national vocal school and the individual style of authors and originators (both composers and performers). The aspect of national stylistic extends to such a component of vocal style as pedagogy. The national-specifi c features manifest themselves, fi rst of all, in the tone of material used to teach singers. The aspect of the musical Ukrainian “linguistics” in the modern language situation is associated with a certain type and the national form of language/speech. Dialogue of languages in the form of traditions and national musical lexicon is represented in Ukrainian vocalise, even in its instructional variants. After all, vocalization, which lays in the beginning of an academic singer teaching, plays one of the leading roles in understanding the art of solo singing. Such a teaching is based on the corresponding vocal exercises and more or less completed samples that came to vocal pedagogy from the traditions of academic and folklore practice, both world and the national one. It is obvious that there is no need to draw a direct parallel between the artistic samples of the national vocal music and training in their performance based exclusively on Ukrainian vocalises. It is only about the fact that the variety of methods for the voice training and development also includes a mandatory national-specifi c component, which is developed through the national vocal school practice and is based primarily on the embodiment of folk tones in vocalization interpreted in the curriculum. Therefore, the creators of Ukrainian instructive vocalises, focusing on substantial intonation, combine it with the singing techniques arising out of Italian bel canto. At the same time, a number of methodological and methodical issues related to Ukrainian vocalises require further coverage. The question of Ukrainian vocalise in two of its varieties – instructive and artistic – has not been almost studied which is an important aspect of the relevance of the paper. Thus, the relevance of the paper is determined by the following reasons: - the signifi cant value of vocalise in the practice of vocal art; - the need to fi ll a gap in studying the genre of vocalise based on samples created by Ukrainian authors. The aim of the study is to determine the specifi city of vocalise in Ukrainian vocal art, as well as related vocal-intonational exercises in the practice of Ukrainian vocal schools. The object of research is vocalise in Ukrainian vocal art. The subject of the study is its varieties and stylistic features in the Ukrainian vocal school. The material of the study consisted of samples of various types of vocalises and related vocal-intonational exercises in Ukrainian vocal literature: collections by M. Zavalyshina, S. Pavlyuchenko, О. Voronin and R. Voronina. One can distinguish another characteristic feature common to Italian and Ukrainian vocal stylistics, which is spoken by many Ukrainian vocal pedagogues, including representatives of the Kharkov Vocal School: P. Golubev, M. Mykhailov, L. Tsurcan, N. Grebenyuk, T. Madysheva. The matter is that in their genre specifi city, vocalises always refl ect the peculiarities of vocal music with the text, where the national language imposes its imprint on melody and rhythm, as well as on harmony (Harmony of Solo Singing by B. Filts). The Ukrainian “nightingale language”, characterized by the fl uidity of the transitions from word to word, the special role of vowels being singed, emotionality in the intonational rise of words, is close in many respects to the Italian, in which the same features are presented. Therefore, the presence of these two linguistic principles, which, although presented in non-verbal forms, through vocalization, is always felt in Ukrainian vocalises, refer both to instructional and artistic samples. The multidimensional nature of the tasks facing pedagogues and students in instructive vocalises is refl ected in certain specializations on which certain collections and selections are being created. Vocalises are an international genre, in which for several centuries of its exis tence, various musical and linguistic sources and techniques of singing, coming from them, were assimilated. In the vocalises, referring to different national schools, not only “our own” musical and mental features, coming from national folklore and professional creativity, but also “strangers”, come from the sources of foreign style (far, near, own; “theywe- you”, if you recall the triads of Е. Nazaikinsky). Relevant material is needed to develop multi-ethnic stylistics in the genre of vocalise. Teachers of vocalise widely use folk songs arrangements. The practice of such arrangements forms the basis for the creation of a national musical language, and the interest of composers-arrangers in other peoples’ songs helps extend such a language base. It is known that the national vocal school style acts as a general aesthetic phenomenon and is refl ected in all spheres of vocal art. This is about the vocal style of national authors, which is closely related to the peculiarities of verbal language (“music” and “word” as a key problem of vocal tone), as well as the refl ection of such a style in performing art, where syntheses of foreign national traditions and indigenous aspects of singing related to the national culture. The national specifi c features of instructive vocalises should be considered. One should not forget that this genre is traditional in nature and dates back to classical singing schools, especially to the Italian ones.

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24

Kenez, Peter. "The Common Folk in the Revolution." Russian Review 57, no. 1 (January 1998): 107–9. http://dx.doi.org/10.1111/0036-0341.00010.

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STANLEY, E. G. "NOT ‘FOLK FEST’ BUT ‘VOLKSFEST’ FOR OED." Notes and Queries 46, no. 4 (December 1, 1999): 478—a—478. http://dx.doi.org/10.1093/nq/46-4-478a.

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STANLEY, E. G. "NOT ‘FOLK FEST’ BUT ‘VOLKSFEST’ FOR OED." Notes and Queries 46, no. 4 (1999): 478—a—478. http://dx.doi.org/10.1093/nq/46.4.478-a.

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27

White, Monica, and Andrei Sinyavsky. "Ivan the Fool: Russian Folk Belief. A Cultural History." Modern Language Review 103, no. 4 (October 1, 2008): 1180. http://dx.doi.org/10.2307/20468111.

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28

Msimang, C. T. "Syntagmatic versus paradigmatic structural analysis of Zulu folk-tales." South African Journal of African Languages 10, no. 4 (January 1990): 307–13. http://dx.doi.org/10.1080/02572117.1990.10586861.

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29

Mtuze, P. T. "Female stereotyping in Xhosa prose fiction and folk-tales." South African Journal of African Languages 11, no. 2 (January 1991): 66–73. http://dx.doi.org/10.1080/02572117.1991.10586893.

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30

Herman, David, and Susan Moss. "Plant names and folk taxonomies: Frameworks for ethnosemiotic inquiry." Semiotica 2007, no. 167 (January 20, 2007): 1–11. http://dx.doi.org/10.1515/sem.2007.069.

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31

Conrad, Joseph L., and Adele Marie Barker. "The Mother Syndrome in the Russian Folk Imagination." Slavic and East European Journal 31, no. 4 (1987): 635. http://dx.doi.org/10.2307/307071.

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32

Belova, Olga V. "“The Birds of Clay”: An Apocryphal Motif in Folklore Legends." Slovene 4, no. 1 (2015): 39–44. http://dx.doi.org/10.31168/2305-6754.2015.4.1.2.

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The article describes the adaptation of the apocryphal Gospels motif—the revival of clay birds by Jesus—in the folk traditions of Eastern and Western Slavs. The texts of folk legends demonstrate not only the active inclusion of apocryphal motifs in oral narratives, but they also incorporate the motifs’ biblical contexts and they emphasize themes that are close to everyday life and that reflect local history. The folklore texts analyzed here are from different regions of the Slavic world (Russia, Ukraine, Belarus, and Poland); they allow us to conclude that the oral tradition has retained, with great stability, these fragments from medieval sources up to the present day. Moreover, it is interesting to note the different interpretations of the same motif in monuments of Christian and Jewish literature (apocryphal Gospels and the pamphlet Toledot Yeshu). The fairly large group of folk legends with apocryphal motifs, occurring in different Slavic traditions from the 19th to the 21st centuries, thus testifies not only to the continued relevance of the biblical plots for oral culture, but also to the importance of the Apocrypha for the broadcasting and preservation of biblical stories in the folk tradition.

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Zavyalova, Olga Yu. "Tradition and Literature (Culture of Laughter of Mali and Guinea)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 4 (2021): 150. http://dx.doi.org/10.31857/s086919080016046-7.

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This article continues the topic of the previous one [Zavyalova, Kutsenkov, 2020]. It reveals how great is the role of humor in the cultures of West Africa, where it manifests itself in various spheres of life of its peoples. The Kɔ̀tɛba Folk Theater in Mali and Guinea is another traditional aspect of humor based on satire. The secret society of Kɔ̀rɛduga “jesters” is characteristic of the traditional cultures of Manden. The Dogon have guardians of brussa, alamonyou, who play the role of clowns during the release of masks, and female jesters yayeré, who are wives of the inhabitants of a given village, originating from other villages. The Manden and Dogon humor permeates all spheres of the traditional way of life, and it plays one of fundamental roles in the manner of communication, in the theater and in oral literature. Thus, satire is aimed either at resolving possible conflicts in the absence of mutual understanding between representatives of various social, age and other groups, at resolving conflicts associated with violation of etiquette. All satirical folklore genres function on this basis. Fairy tales and anecdotes ridicule violations of the norms of etiquette inherent in this particular culture. The folk theater touches on topical, actual violations of traditional norms of behavior. In conclusion, the authors note that humor is one of the foundations of the “virtual” reality of the culture created by these societies. When such regulators are violated and their semantic content changes, the whole reality and even the very existence of these peoples will change.

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34

Cameron, Deborah. "Evolution, science and the study of literature: A critical response." Language and Literature: International Journal of Stylistics 20, no. 1 (February 2011): 59–72. http://dx.doi.org/10.1177/0963947010391126.

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This article offers a critical response to the proposal made by Jonathan Gottschall (2008), and discussed sympathetically in a review article for this journal (Francis 2010), for a more ‘scientific’ approach to the study of literature. A critical examination of evolutionary psychology, the particular scientific approach which underpins Gottschall’s own work on folk tales, is followed by a broader consideration of what ‘scientific’ might mean in relation to literature, asking how far it is either possible or desirable to apply the methods and evaluative metrics of science in other areas of scholarly endeavour. It is argued that there are good reasons for linguists and literary scholars to maintain the theoretical and methodological pluralism that has characterized their fields in the past

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35

Stanley, E. "Note. Not 'folk fest' but 'Volksfest' for OED." Notes and Queries 46, no. 4 (December 1, 1999): 478. http://dx.doi.org/10.1093/nq/46.4.478.

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Slavíčková, Petra. "Hurston's "real Negro theatre": participation observation of African American folk." Brno Studies in English 41, no. 2 (2015): 91–107. http://dx.doi.org/10.5817/bse2015-2-6.

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Canonici, N. N. "Trickery as the hallmark of comedy in Zulu folk-tales." South African Journal of African Languages 10, no. 4 (January 1990): 314–18. http://dx.doi.org/10.1080/02572117.1990.10586862.

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Machmut-Jhashi, Tamara, John Fleming, and Michael Rowan. "Folk Furniture of Canada's Doukhobors, Hutterites, Mennonites and Ukrainians." Slavic and East European Journal 50, no. 2 (July 1, 2006): 371. http://dx.doi.org/10.2307/20459290.

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39

Bálint, Péter. "Dialogues of judgement and dream interpretation in folk tales." Boletín de Literatura Oral 11 (July 19, 2021): 117–45. http://dx.doi.org/10.17561/blo.v11.6041.

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Some of the kings in the narrative actually follow Kantian orientation in their judgment and allow the right of necessity to enter into their thinking: they listen to others or (the good sense of) the truthful heart because of their limited or deficient knowledge. Others, delighted with their self-belief and mania for power, throw scorn on the law, on mercy, pardon, and forgiveness, and let themselves be led by anger, stupidity, complacency, stigma and desire for exclusion. In the tale narratives, they are further represented as scholars/wisemen, fortune-tellers, the ‘foresighted’, ancient old men, old women, wizards, taltoses (in the words of folklorist Ilona Nagy “mysterious people of fate”), doubles/doppelgangers, or animals with extraordinary abilities (the ability to speak human languages, or to transfigure themselves), prestigious kings from another country, ministers, advisors, witches who deceive the king (not uncommonly Gypsy women), depending on whether the intention is to link the giver of advice and the meaning of what he says to the sacred (biblical) or the profane (sometimes mythical), as it illuminates his/her existential character.

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Selimović, Ena. "Weltliteratur and Its Others: The Serbian Poem in Eckermann's Conversations with Goethe." PMLA/Publications of the Modern Language Association of America 136, no. 3 (May 2021): 356–69. http://dx.doi.org/10.1632/s0030812921000225.

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AbstractA critical account of the Serbian poem in Goethe's conversations with Eckermann reveals the place of Balkan folk poetry in the discourse on world literature and adds a neglected narrative to the myriad genealogies of comparative literature. Building on Laura Doyle's concept of inter-imperiality, the essay foregrounds how language politics manifest the variegated contours Europe takes in Goethe's formulation of world literature. While recent scholarship in comparative literature largely examines Goethe's Eurocentrism through his invocation of an unnamed Chinese novel, an analysis of the inter-imperial and translational project of world literature gives form to multiple spheres of Orientalism.

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41

Masliyah, S. "The Folk Songs of Iraqi Children (Part 2)." Journal of Semitic Studies 55, no. 2 (June 29, 2010): 539–88. http://dx.doi.org/10.1093/jss/fgq012.

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Masliyah, S. "The Folk Songs of Iraqi Children: Part One." Journal of Semitic Studies 55, no. 1 (March 1, 2010): 183–235. http://dx.doi.org/10.1093/jss/fgq047.

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43

Osipova, K. V. "Meat in the diet of North Russian peasants: ethnolinguistic aspect." Sibirskiy filologicheskiy zhurnal, no. 4 (2020): 308–21. http://dx.doi.org/10.17223/18137083/73/21.

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The author reconstructs the complex of folk ideas connected with meat in the Russian North (Arkhangelsk and Vologda regions, north of the Kostroma region). The analysis involves Russian dialect vocabulary, folklore texts and folk beliefs. The new data collected by the Toponymic Expedition of the Ural University are introduced into scientific use. The methods of motivational analysis, semantic reconstruction, as well as semantic-motivational parallels between linguistic facts and data of non-linguistic forms of culture are applied. The study characterizes the attitude of the peasants towards the meat of different animals, slaughter ritu-als, methods of storing meat, features, important for meat products (raw – boiled, fresh – har-vested for future use, clean – unclean, etc.), and food preferences of local social groups. The author concludes that meat served not only as food but also as a cultural and linguistic sym-bol. Analysis of the vocabulary, rituals, and folk legends associated with the slaughter of live-stock allows reconstructing the tradition of the sacrifice festivals ( ). The vocabulary associated with meat food reveals a difference in the meat ration of Russians and aborigines of the Russian North, who consumed raw meat, as well as not familiar to Russian reindeer meat, seal meat, and walrus. The paper clarifies the motivation of some lexemes, for example, the designations with component tsarskiy and tserkovnyy. Nicknames, the folk motivation of which is associated with the use of meat, are analyzed (volog. telyatniki, volog. veksheedy, arch. morzheedy, arch. kostogryzy, volog. Samoed, etc.).

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Farmer, Gareth. "Avant-Folk: Small Press Poetry Networks from 1950 to the Present." English Studies 99, no. 6 (August 18, 2018): 715–17. http://dx.doi.org/10.1080/0013838x.2018.1497827.

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45

Harun, Harryizman, Azliza Othman, and Subashini Annamalai. "Malaysian folktales: An understanding of the motif- index of folk literature applicability in the local folktales’ context." Journal of Language and Linguistic Studies 17, no. 2 (June 23, 2021): 1013–22. http://dx.doi.org/10.52462/jlls.70.

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46

West, Geoffrey, and Beverly West. "Epic, Folk, and Christian Traditions in the 'Poema de Fernan Gonzalez'." Modern Language Review 81, no. 3 (July 1986): 761. http://dx.doi.org/10.2307/3729244.

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47

Moropa, Koliswa. "Depiction of indigenous food in translated isiXhosa folk narratives and biographies." South African Journal of African Languages 38, no. 3 (September 2, 2018): 247–54. http://dx.doi.org/10.1080/02572117.2018.1518017.

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48

Halsey, Katie. "‘Folk stylistics’ and the history of reading: a discussion of method." Language and Literature: International Journal of Stylistics 18, no. 3 (August 2009): 231–46. http://dx.doi.org/10.1177/0963947009105851.

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The Reading Experience Database 1450—1945 contains more than 25,000 pieces of evidence about reading habits and practices over five centuries, and of these, more than 1500 directly discuss the literary style of the works read, while others make indirect comments on style. This evidence shows literary critics and common readers alike commenting on issues of ‘good’ or ‘imitable’ style; describing how easy the work is to read aloud, recording their impressions of the ‘morality’ of the style; identifying anonymous authors by their style; and making literary judgements on the basis of style. By tracing these remarks over a long historical period (1450 to 1945), we can reconstruct the prevailing stylistic concerns of individual readers and communities of readers, and test grand historical or literary narratives against the everyday experiences of common readers. This article focuses on the period 1800—1945, and considers the ways in which the historicist and evidence-based methods of the new sub-discipline of the history of reading might be used to complement traditional stylistic analyses and methods.

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Lawless, Elaine J. "Peirce, semiotics, and strange tongues: A folk religious theory of signs." Semiotica 99, no. 3-4 (September 1, 1994): 273–96. http://dx.doi.org/10.1515/semi-1994-993-403.

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Sperrle, I. Christina. "Narrative Structure in Nikolai Leskov's Cathedral Folk: The Polyphonic Chronicle." Slavic and East European Journal 44, no. 1 (2000): 29. http://dx.doi.org/10.2307/309626.

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Journal articles on the topic 'Lays Linguistics Folk literature Folk literature'

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