Academic literature on the topic 'Symbolism in folklore'
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Journal articles on the topic "Symbolism in folklore"
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Ro’ziyeva, Mohichehra Yoqubovna. "COLOR SYMBOLISM IN UZBEK FOLKLORE." Theoretical & Applied Science 85, no. 05 (May 30, 2020): 277–84. http://dx.doi.org/10.15863/tas.2020.05.85.55.
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Владыкина, Татьяна Григорьевна. "Food Symbolism in Udmurt Folklore." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 3 (November 2, 2020): 132–40. http://dx.doi.org/10.26158/tk.2020.21.3.011.
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Фольклор удмуртов содержит весьма значимый по богатству символики напитков и еды материал. Удмуртский язык и обрядовые традиции до сегодняшнего дня сохранили архаические представления о магической связи праздничной культуры и ритуальных напитков/еды (юондыр - время пития/пиршества). Показательно присутствие в названиях праздников, знаменующих календарно важные периоды зимнего (Вожо-дыр - зимние Святки) и летнего (Инвожо - летние Святки) солнцестояния, номинации хмельного напитка сур (пиво): Толсур - зимнее пиво / зимний праздник; Куарсур - лиственное пиво / летний праздник. Компонент «пиво» в значении «праздник», под влиянием старообрядческой культуры исторически замененный на другой хмельной напиток - брагу, сохранен и в названии осенних молодежных посиделок на севере Удмуртии - ныл-брагá (девичья брага / девичий праздник). Здесь же зафиксирован термин шыд-сион (поедание супа / угощение супом) как понятие ритуальной трапезы в виде отдельной составляющей всего обрядового комплекса в контексте календарных и семейных обрядов. Символика напитков и еды, представление о празднике как о сакральной ситуации более всего проявлены в застольных гостевых песнях, звучащих во время обхода домов родственников. Песни исполнялись на соответствующий обряду знаковый напев и были способом и средством выражения чувств участников обряда: пиетета перед богами, благодарности и любви к родственникам. С символикой образов напитков и еды в ритуальных гостевых песнях перекликаются устойчивые образы заклинаний-молитв - куриськон’ов. Древнейший пласт образов восходит к простейшему комплексу понятий «питья» и «еды» (сиён-юон/шыд-нянь - еда-питие/суп-хлеб) и соотнесен не только с удовлетворением физиологических потребностей - жажды и голода, но также представляет собой символ духовного благополучия. Со временем эти понятия обогащаются смысловыми оттенками «угощения»/яств и становятся символами «радости», «удовольствия», «праздника», «пиршества», «общения» с богами, близкими, единокровными людьми - родственниками (ср. рус. «хлеб-соль»). Udmurt folklore contains rich material on the symbolism of drinks and food. The Udmurt language and ritual traditions have preserved archaic ideas of the magic connection between festival culture and ritual drinks/food (“yuondyr” means both time for a drink and time for a feast). It is significant that the names of holidays that mark important calendar periods in winter (“Vozho-dyr” - winter Yule) and summer solstice (“Invozho” - summer Yule) contain names of an alcohol drink (“sur” - beer): “Tolsur” means winter beer or winter festival; “Kuarsur” means leaf beer or summer festival. The component “beer,” also meaning “festival,” which under the influence of the Old Believers was substituted for another alcoholic drink (“braga”), is also preserved in the name of autumn youth gatherings in the North of Udmurtia (“nyl-braga” - maiden braga or maiden holiday). Here also the term “shyd sion” (the eating of soup) has been recorded as meaning both ritual feast and a component of the entire ritual complex. The symbolism of drinks and food and the idea of the holiday as a sacred phenomenon is most clearly shown in the guest songs that are performed during house-to-house visits by relatives. These are sung to a popular ritual melody and are a way to express the feelings of the ritual’s participants: piety to the gods and gratitude and love for relatives. In ritual guest songs, standard images from incantation-prayers (“kuris’kon”) echo with the symbolism of drinks and food. The most ancient stratum of images derive from a simple set of terms denoting drink and food (“sion-yuon” and “shyd-nyan” - food-drink and soup-bread) and not only correlates with satisfying of physiological human needs (thirst and hunger), but also symbolizes spiritual well-being. Over time these terms have been enriched with various shades of meaning having to do with “treating” with food and drink and suggest “joy,” “enjoyment,” “festival,” “feast,” and “fellowship” - with the gods, with the near and dear, or with consanguineous relatives (cf. the Russian “bread-salt”).
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Hutchings, John. "Folklore and Symbolism of Green." Folklore 108, no. 1-2 (January 1997): 55–63. http://dx.doi.org/10.1080/0015587x.1997.9715937.
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Jelenić, Milica. "FOLKLORNI ELEMENTI U ZBIRCI PRIPOVEDAKA IZ TAMNOG VILAJETA MOMČILA NASTASIJEVIĆA." Lipar XXIII, no. 79 (2022): 195–205. http://dx.doi.org/10.46793/lipar79.195j.
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The paper interprets the short stories from the collection From the Dark Vilayet in order to decode the mythical and folklore layer in the narrative world of Momčilo Nastasijević. Examining the storytelling technique, the presence of motifs from folk tradition, ritual and mythical symbolism, the archaic character of Nastasijević’s prose is pointed out as its peculiarity, and the phenomenon of modernist prose in folklore clothing is observed. Folkloric elements figure as an indispensable segment for understanding and interpreting the creativity of Momčilo Nastasijević.
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Mirələm qızı Qasımova, Pərvanə. "Characteristics of folklore." SCIENTIFIC RESEARCH 12, no. 8 (August 27, 2022): 24–29. http://dx.doi.org/10.36719/2789-6919/12/24-29.
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Folklorun estetik əhəmiyyəti ilk öncə onunla şərtlənir ki, o dil, fikir və bədii düşüncənin əsasında xalqın yaratdığı mükəmməl bir söz sənətidir. Folklor xəyal, təxəyyül, fantaziya və simvolikadan sənətkarlıqla istifadə edərək gerçəkliyi dolayı yolla motivləndirir və onu poetikləşdirir. Bu poetikləşdirmə, sənət yaratma prosesində əsas vəzifəni xalqın bəddi zövqü yerinə yetriri. Yəni, xalqın bədii zövqü folklorun estetik ölçülərini müəyyənləşdirən və modelləşdirən əsas faktor rolunda çıxış edir. Folklor formaları əsrlərlə xalq sənətkarları tərəfindən cilalanıb və estetik ölçülərini sabitləşdirib. Ona görə də folklor estetik hissi, gözəllik hissini, dil, ritm və forma gözəlliyi duyğusunu inkişaf etdirir. Folklorun estetik gücü ədəbiyyat, musiqi, teatr və s. kimi sənət növlərinin inkişafında böyük əhəmiyyət daşıyır. Məqalədə bütün bunlar öyrənilərək araşdırılır, foklorun səciyyəvi xüsusiyyətləri üzə çıxarılır. Açar sözlər: folklor, xalq, xüsusiyyət, ədəbiyyat, estetika Parvana Miralam Gasimova Characteristics of folklore Abstract The aesthetic importance of folklore is determined by the fact that it is a perfect art of words created by the people on the basis of language, ideas and artistic thinking. Folklore indirectly motivates reality and poeticizes it by skillfully using dreams, imagination, fantasy and symbolism. In the process of this poeticization, art creation, the main task is performed by the people's bad taste. That is, the artistic taste of the people acts as the main factor that determines and models the aesthetic dimensions of folklore. Folklore forms have been polished by folk artists for centuries and stabilized their aesthetic dimensions. Therefore, folklore develops aesthetic sense, sense of beauty, sense of beauty of language, rhythm and form. The aesthetic power of folklore is literature, music, theater, etc. is of great importance in the development of such arts. In the article, all this is studied and investigated, the characteristic features of folklore are revealed. Keywords: folklore, folk, character, literature, aesthetics
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Vavilova, Kseniya Yur'evna. "Symbolism in the English and Russian fairy tale folklore: comparative analysis." Филология: научные исследования, no. 11 (November 2021): 94–106. http://dx.doi.org/10.7256/2454-0749.2021.11.36438.
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The subject of this research is the symbolism in the English and Russian fairytale tradition. The object is the texts of the Russian and English fairy tales. Analysis of the texts reveals the typical functions performed by symbols in both folklore traditions. The author provides the examples of symbols and offers the interpretation of objects-symbols, symbols-zoonyms, color and number symbols, time and space symbols. Comparative study of folklore heritage of non-cognate languages reveals the fundamental commonness of a particular folk genre of different peoples in their perspective upon reality, methods of depiction, and ideological interpretations. The scientific novelty consists in conclusions obtained in the comparative study of the symbolism of fairy tale texts in the Russian and British folklore, which is important for determination of linguistic, semiological and cultural universals. The comparative study of folklore material of two traditions in the sphere of the poetics of folklore reveals the traditional universals and unique features on the level of symbolism of the fairy tale genre. Within the framework of the article, the author analyzes the functionality of thematic, animalistic, color, spatial-temporal, and numerical symbols. The acquired results are underpinned by a large number of text examples.
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Oinoshev, V. P., and S. V. Oinosh. "Signs of colour symbolism in traditional Altaian culture." Altaistics, no. 1 (April 5, 2024): 71–78. http://dx.doi.org/10.25587/2782-6627-2024-1-71-78.
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The study of the symbolism of traditional culture categories, including the symbolism of colour in folklore studies and toponymic names becomes very relevant due to the revival of many aspects of spiritual culture. Nowadays the symbolism of colour becomes important in the life of a modern person. It accumulates deep meanings. The extent of research done on the topic: In the Altaian folkloristics colour epithets were studied in detail in the research of M. A. Demchinova, V. P. Oinoshev, S. P. Tyukhteneva and others. Up to the present time colour symbolism in the traditional culture of the Altaian people has not been the object of special research. The aim of the study is to highlight some aspects of colour symbolism in folklore art and toponymy of the Altai Mountains. Theoretical comprehension of colour symbolism as a special category in Altaian folklore studies is based on the functional method and has been applied in the researches by S.S. Surazakov, S.P. Tyukhteneva and M.A. Demchinova. The genre symbolism of Altaian folklore seemed to be considered in those researches. The present study includes the usage of a complex of comparative and historical research methods. Being a characteristic and actively used component for a number of ethnonyms, toponyms, hydronyms and to designate religious names colour has a great semantic load in the traditions of Altaians. For example, many Altaian clans (seoki) are divided into smaller units and colours such as white, black and yellow are actively used to name them: ak (white) kobok [kœbœk], karа (black) kobok [kœbœk], kara todosh (black todosh), sary todosh (yellow todosh). There is also a large number of hydronyms and toponyms associated with black, white, yellow, blue and other colours: KaraArka, Sary-Chet, Karakol, Akkem, Karasuu etc. O.P. Molchanova, a researcher of the toponymy of the Altai Mountains, writes about the great importance of some adjectives that indicate colour in the construction of geographical names. The use of colour epithets in folklore works creates a colorful image. The sharply contrasting colours show the opposition of good and evil. There is a hierarchy of colours in traditional culture. Red colour shows the colorfulness of the object being described, also symbolizes health, wealth, a world of prosperity. Grey is typical for poor people, and it has semantics of unhealthiness. There are names with the formant “kan” in the toponymy of Altai. It turns out that the formant “kan” is added to the names of especially revered natural objects. The author of the article suggests that the word “kan” (in the meaning of “blood”) is present in the names of especially revered objects. Research perspectives: The results of the research of colour symbolism in folklore and toponymy of the Altai Mountains can be applied for further study of the characterization of artistic images in literature, folklore and ethnography. The topic requires further research.
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Liu, Minjie. "Folklore symbolism of I. Bunin’s short story “The Raven”." Philology. Issues of Theory and Practice 17, no. 1 (January 26, 2024): 177–83. http://dx.doi.org/10.30853/phil20240026.
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The article is devoted to a poetical analysis of Ivan Bunin’s short story “The Raven” (1944), which is a part of the cycle of short stories about love “Dark Alleys”. The research is undertaken in order to comprehend the role of folklore in the formation of the poetic world of Bunin’s love story, to identify the emotional and aesthetic perspectives of the images, motifs, and the central conflict of the short story, which is contextually conditioned and mediated by folklore symbols. The research is novel in that it is the first to analyze in detail the short story “The Raven”, its character system (images of the father, the son, the daughter, Elena Nikolaevna) and to identify the most important folklore components of the central conflict of the story (a love conflict). As a result, it is shown that the active involvement of folklore symbols (the folklorized concept “The Raven”, a color palette of folklore), which were close and understandable to the Parisian community of Russian emigrants, allowed Bunin (who adhered to national traditions, including folklore ones) to bring additional poetic intentions into the text of the shott story, imbued with imagery familiar from childhood and bright fairy-tale emotionality, to bring the perception of the text created in exile closer to the nostalgic memory of the abandoned homeland of Russia.
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Pospelova, Olga S. "The Image of Bluebeard in the Age of Symbolism." Literary Fact, no. 4 (26) (2022): 183–201. http://dx.doi.org/10.22455/2541-8297-2022-26-183-201.
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The article examines the symbolics in the play “Ariana and Bluebeard, or Vain Deliverance” (1896) by the Belgian writer Maurice Maeterlinck and in the libretto “Duke Bluebeard’s Castle” by the Hungarian writer Béla Balazs (1911). There is a transformation of the Bluebeard story from folklore to the field of symbolist and neo-romantic literature, where it undergoes significant changes, being transformed into a “new age myth.”
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Ajibade, George Olusola. "Water Symbolism in Yorùbá Folklore and Culture1." Yoruba Studies Review 4, no. 1 (December 21, 2021): 1–25. http://dx.doi.org/10.32473/ysr.v4i1.130029.
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Water is not only a physical substance; it is also an intrinsic part of peoples’ identity, cultural perception, religious beliefs and worldviews. Water is a relevant and a significant variable that is also germane to the understanding of Yorùbá peoples’ identity, culture and religion. Hence, this ethnographical and literary study examines the image of water in Yorùbá cosmology using folklore (oral texts) of the people as paradigms. It uses a field investigative method of research to elicit primary data from the people on the uses of water in diverse spheres of life. It supplements oral data with secondary data in the form of books, journal articles and archival materials. The data collected was analysed from the lenses of a hermeneutical-anthropological approach. The study found that water constitutes and creates cultural, social and religious identities among the Yorùbá people of southwestern Nigeria. In addition, it concludes that water represents one of the several ways through which the Yorùbá society can be best understood.
Dissertations / Theses on the topic "Symbolism in folklore"
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Bukowick, Karen Elizabeth. "Truth and Symbolism: Mythological Perspectives of the Wolf and Crow." Thesis, Boston College, 2004. http://hdl.handle.net/2345/489.
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Thesis advisor: Susan MichalczykThis thesis explores crow and wolf symbolism within the mythology of Western Tradition, focusing on the Bible, Greek and Roman mythology, Native American folklore, Shakespeare, and Aesop's fables. Much of the animal imagery in literature is negative and does not truthfully represent the animals symbolized. This thesis investigates why these negative associations are formed, how they relate to the biological lives of wolves and crows, and explores their ambiguity in relation to the positive symbolism that exists. Negative symbols acquire strength as cultures grow further away from the land they live on and focus on industry and humanity instead of the world around them. The behavior of both wolves and crows is secretive, causing people to create stories to explain their actions. Furthermore, humans use these animals as a "shadow" to themselves, bestowing characteristics upon them which are found in human nature but are generally considered unacceptable
Thesis (BA) — Boston College, 2004
Submitted to: Boston College. College of Arts and Sciences
Discipline: College Honors Program
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Brown, Patricia. "The role and symbolism of the dragon in vernacular saints' legends, 1200-1500." Thesis, University of Birmingham, 1998. http://etheses.bham.ac.uk//id/eprint/5414/.
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This thesis looks at the role and function of the dragon in the saint's encounter with the monster in hagiographic texts, written primarily in the vernacular, between 1200 and 1500. Those connotations accrued by the dragon which are relevant to this thesis are traced from their earliest beginnings. Although by the middle ages the multi-valency of the dragon is reduced to one primary symbolic valency, that of evil and significantly, the evil of paganism, the dragon never loses completely its ancient associations and they help to colour its function within the narrative. The symbolic use of the dragon in vernacular saints' lives is generally consistent, although allowing for different didactic emphases. However, the two legends on which this thesis concentrates are those of St George from Caxton's Golden Legend and St Margaret from the Katherine Group. Each reveals tensions within the text when the dragon's role departs from the familiar hagiographic topos. Firstly, the role of the hagiographic dragon is identified by a comparison with that of the dragon in romance. Allowing for cross-fertilization, this thesis focuses on the significance of the hero's dragon-fight and the saint's dragon encounter to differentiate between the ethos of the romance and hagiographic genres respectively. Tensions are created in the hagiographic text when the romance topos of the dragon-fight is used in conjunction with the hagiographic dragon encounter, as in the legend of St George. Finally, in the legend of St Margaret, the dragon's appearance unbalances and unsettles the perspective of the narrative when its role and function are deployed in the promulgation of virginity.
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Seress, Hugues. "La musique « folklorique » pour piano (1907 – 1920) de Béla Bartók : emprunt symbolique, matériau combinatoire." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040101.
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L’emprunt au folklore constitue une des nombreuses manipulations effectuées par le créateur du début du XXe siècle, à partir d’un matériau préexistant à son œuvre. Ces manipulations sont sous-tendues par de multiples processus identitaires, qui souvent détournent le regard de l’analyste, de l’œuvre vers l’ensemble de ses connotations contextuelles et symboliques. S’interroger sur les conséquences, tant stylistiques que techniques, de ces phénomènes, ne semble pas aller de soi. En réexaminant la structure tonale d’œuvres, avec et sans emprunt, composées par Béla Bartók entre 1903 et 1920, via un modèle d’inspiration néo-riemannienne permettant une interprétation de leur parcours tonal sur la définition d’unités triadiques, cette étude propose de réévaluer, au-delà de leur tonalité, des répertoires encore trop souvent considérés comme séparés par une ligne de faille assez peu perméable : celle entre romantisme et modernitéBorrowing from folklore constitutes one of the numerous operations done by early 20th century creators from a material pre-existing to their works. Those operations are subtended by multiple identity-searching processes that often shift the eyes of the analyst away from the work to the whole of its symbolical and contextual connotations. Questioning oneself about the consequences, be they stylistic or technical, of those phenomena doesn’t seem to be taken for granted. By reexamining the tonal structure of works, with or without borrowings, composed by Béla Bartók between 1903 and 1920, through a pattern of Neo-Riemannian inspiration, enabling an interpretation of their tonal distances based on the definition of triadic unit. This study aims at reassessing, beyond their tonality, corpuses still to often considered as split apart by a rather impervious flaw line, that between romanticism and modernity
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Kucevič, Zinaida. "Символика коня в русской литературе и живописи." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100707_142050-56325.
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В работе рассматривается эволюция лошади, мифология ее, воплощение в живописи и литературе.Apžvelgiamas arklio vaidmuo civilizacijos, žmonijos kultūros istorijoje, parodoma evoliucija.Kreipiamas dėmesys į arklio įvaizdį mitologijoje, tautosakoje ir dailėje. Nagrinėjama L.Tolstojaus apysaka "Cholstomeras".Ji gretinama su A.Kuprina "Izumrud".
Herein, the role of a horse in civilization and history of culture of humanity is reviewed, its evoliution is disclosed. The image of horse in mythology, folklore and art (M.V.Vasnetsov, K. Petrov-Vodkin) is focused. In the analytic part, the story "Kholostomer" by L.Tolstoy is discussed upon. History of the horse is compared with story "Izumrud" by A.Kuprin.
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Alvarez, Isabelle. "Étude sur l’évolution du thème des oiseaux de nuit dans la Grèce ancienne, médiévale et moderne." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040157.
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Cette étude se propose de dégager les variations du thème des oiseaux de nuit dans la Grèce ancienne, médiévale et moderne et de présenter une explication de ces différences en fonction du contexte historique, socioculturel et religieux. Pour la période ancienne, un inventaire des oiseaux de nuit a été établi et les occurrences concernant ces oiseaux dans la littérature, l’histoire, la mythologie et l’art ont été relevées. L’étude des oiseaux de nuit a été reprise à l’époque médiévale suivant la même approche en nous intéressant à la manière dont les principales caractéristiques des oiseaux de nuit ont été revues à la lumière de la conception judéo-chrétienne du monde, ainsi que dans d’autres textes comme le Physiologos, les nombreux Bestiaires, les Cyranides et le Poulologos.Enfin, pour la période moderne, notre attention s’est portée sur la place qu’occupent les oiseaux de nuit dans les chansons populaires, proverbes, fables, contes, poèmes et la littérature de jeunesse ainsi que dans les représentations qui leur sont associées dans l’art, l’artisanat, les emblèmes, timbres poste et monnaies. Cette étude diachronique vise à recenser les différentes espèces d’oiseaux et à évaluer le rôle qu’elles ont joué dans la pensée grecque au fil des siècles. Elle vise à établir -ou non- la continuité de leur symbolisme en fonction des conditions propres à la période envisagéeThis study has distinguished variations in the theme of nocturnal birds in Ancient, Medieval and Modern Greece, as well as presented an explanation within the historical, socio-cultural, and religious contexts. For the Ancient Greek timeframe, in an effort to outline symbolism, an inventory of nocturnal birds mentioned in zoological texts was created whereby the mention of such birds in literature, history, mythology, and art was also accounted for. The same approach was employed for the Medieval Greek timeframe. The study first focused on the revisions made to the main characteristics of these birds within the Judeo-Christian mindset, as opposed to Ancient Greece. These changes were not only adopted, but reinforced by other texts such as the Physiologos and many Bestiaries. The study then focused on the medico-magical traits of these nocturnal birds as outlined in the Cyranides, which contrasts with the Poulologos’ satire of Byzantine society by the intermediary of the birds’ behavior and biting remarks. Lastly, for the Modern Greek timeframe, the study explored the importance of nocturnal birds in folk songs, proverbs, fables, short stories, poems and youth literature. Further, the study outlined the birds’ privileged place in art, artisanal work, signs and emblems, postage stamps, and money. This diachronic study aimed to catalog the different bird species and to evaluate the role that they played in the development of the Greek line of thought through the centuries. It was also the study’s goal to ultimately establish—or not—the continuity of the symbolism as it relates to the time-specific conditions of each era
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Mountian, Daniela. "Simbologia do caos em O diabo mesquinho de Fiódor Sologub." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-15062012-103007/.
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Este trabalho se propôs a analisar O Diabo Mesquinho (1892-1902), romance-chave de Fiódor Sologub (1863-1927), um dos expoentes do simbolismo russo. Além da importância incontestável da obra para a literatura russa e mundial, foi estímulo para a pesquisa a possibilidade de delinear o primeiro estudo acadêmico sobre o autor no Brasil. A análise seguiu duas direções, que continuamente se encontraram: a evidente tessitura paródica, e a presença de arquétipos míticos universais perpassados por elementos do folclore russo. Quanto ao uso da paródia, tendo como base teórica autores como Iuri Tyniánov e Mikhail Bakhtin, foram feitas aproximações de O Diabo Mesquinho com textos de Aleksándr Púchkin, Nikolai Gógol e Fiódor Dostoiévski, cujas marcas deflagradas são essenciais para o entendimento da estrutura da obra, assim como o narrador que, subvertendo a estética realista, organiza esses discursos. Com relação à incorporação de arquétipos literários, a qual ressalta a dimensão paródica e a contextura neomitológica, tal como conceituada por Zara Mints, foi desenvolvida uma análise do desdobramento do anti-herói Ardalión Peredonov, um trickster diabólico, no herói cultural mítico. Esse aprofundamento, embasado sobretudo em Eliazar Meletínski, desvelou a articulação que a narrativa faz entre as dualidades míticas mais estáveis (caos versus cosmos, próprio versus alheio), as construções de herói e de anti-herói, e os traços folclóricos e do demonismo popular. A convivência desses componentes conduz o enredo ao caos mítico junto da loucura progressiva de Peredonov. A breve contextualização do simbolismo russo, movimento que, apoiado na própria cultura e história, inaugurou novos rumos na arte e na filosofia russas, foi também fundamental para trabalhar com O Diabo Mesquinho, pois o romance consagra seus grandes mestres, sublinha seu contexto gerador e rompe paradigmas.The research aims at analysing The Petty Demon (1892-1902), a key novel by Fiódor Sologub (1863-1927) who is one of the best known writers of the Russian symbolism. The importance of this novel is well established for Russian and world literature, and this research thesis was the first academic study on the author in Brazil. The analysis followed two main directions, which appear in intersection: first, the evident parodist structure of the text and second, the presence of universal mythic archetypes juxtaposed by elements of the Russian folklore, which inhabit the narration. Regarding the use of parody, drawing on Iuri Tyniánov and Mikhail Bakhtin, the analysis establish dialogues between The Petty Demon and texts by Aleksándr Púchkin, Nikolai Gógol and Fiódor Dostoiévski. These parodist dialogues are seen here as essential for the understanding of the structure of the text, as well as the narrator who organises these discourses subverting the realistic aesthetics. In relation to the incorporation of literary archetypes in the novel, highlighting the parodist dimension and the neomythologic structure, as conceptualised by Zara Mints, an analysis was developed on the history of the anti-hero Ardalión Peredonov, a diabolic trickster, as a cultural mythic hero. This in-depth analysis drawing on Eliazar Meletínski, unravelled the articulation between well established mythic dualities (chaos versus cosmos); the construction of the hero and anti-hero; and the folkloric characteristics and popular demonism. The relation between these components guides the story to the mythic chaos alongside the gradual madness of Peredonov. The brief contextualisation put forward in this research thesis of the Russian symbolism - a movement that based on its own culture and history launched new paths for Russian arts and philosophy - was fundamental to the analysis of The Petty Demon, as the novel established great masters in literature, highlighted its symbolist context and broke paradigms.
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Dass, Rhonda. "Native American symbols in tattooing." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3386672.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2009.Title from PDF t.p. (viewed on Jul 15, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4804. Adviser: John Wm. Johnson.
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Daly, Robyn Anne. "Asleep in a glass coffin: fairy tales as illuminating attitudes to women in the novels of Charles Dickens." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002270.
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The field of research of this thesis covers three main areas: the novels of Charles Dickens; fairy tales and storytelling; and notions of women as reflected in feminist literary theory. A reading of selected novels by Dickens provides the primary source. That he copiously drew on fairy tales has been explored in such notable works as Harry Stone's, but the thesis concentrates on Dickens 's propensity in his creation of female protagonists to give them a voice which is vivified through fairy tale. The analysis of fairy story through narrative theory and feminist literary theory functions as the basis of an exploration of the role female narrative voices play in a reading of the novels which reveals a more sympathetic vision of the feminine than has been observed hitherto. The context of this study is Victorian attitudes to women and that modem criticism has not sufficiently acknowledged Dickens's insight into of the condition of women; much of this is discovered through an examination of his use of fairy tale wherein the woman is bearer of imaginative and emotional capacities magically bestowed. The research aims to counter the view of Dickens's novels as being sexist, through the iIluminatory characteristics of fairy tale. Dickens activates his women characters by means of their often being tellers of tales replete with fairy tale imagery, and their tales are almost always seminal to the novelist's moral purpose.
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Luzyte, Rasa. "A thealogy of Mary : the non-Christian myth of Mary, the shadow of Mary and an individual connection to the divine self through Mary." Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/20251.
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My work on the thealogy of Mary conveys a largely subjective way of thinking, it does not claim to present the view of any group, and it does not profess a theoretical agenda for a cult or a religious movement of Mary. The framework of this work is grounded in symbolic (legends, fairy tales and images), psychological (the structure of the psyche according to Carl Gustav Jung: the Self, the conscious, the unconscious, the Shadow) and imaginative (individual interpretations of narratives and images) spheres that are combined with feminist spirituality theories, religious philosophy and literary analysis. In my thesis, I offer a non-Christian myth of Mary which I form out of the folklore narratives about Mary. In my work, Mary is understood as the female divine archetype on the collective level, and as an expression of the Self on the individual level. Following Jung’s theory, the archetypes are forms and not contents, that is, an archetype can be comparable to an empty shell, which we fill with our own experience or with narratives that are meaningful to us. I take the image of Mary out of the Roman Catholic context and give it a new mythological narrative. This means to me a possibility not only to acquire a non-Christian myth of Mary but also to develop an individual relationship with the divine in its female personification. On the collective level, the thealogy of Mary creates a spiritual and psychological sphere in which the female divine has a possibility to outweigh the one-sidedness of the past few thousand years of the male predominance in the religious philosophy in the West.
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Eldridge, Pamela S. "Color and number patterns in the symbolic cosmoloqies of the Crow, Pawnee, Kiowa, and Cheyenne." Thesis, Wichita State University, 1999. http://hdl.handle.net/10057/5579.
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This study represents five years of research on the symbolic cosmologies of four Plains Indian tribes: the Crow, the Pawnee, the Kiowa, and the Cheyenne. Although the lexicons of the four tribes reveal many color and
number patterns, there appear to be certain color and
number categories that are more pervasive than others.
Review of the early ethnographies and folklore texts has found the color categories of red, yellow, black, and white to be significant symbols in both ritual and myth. Further investigation suggests symbolic patterns involving the numbers two and four are also important to the Crow, Pawnee, and Cheyenne. Kiowa ritual and folklore patterns reveal the numbers two, four, and ten to be dominant numbers. Through the early ethnographies, the color red and the number four, among others, were found to be symbolically significant. Red frequently symbolized the rank of a chief, a warrior, and a virtuous woman or wife. The number four often represented symbolic gestures or motions such as those seen in the arts of painting, dancing, or drumming. This symbolic linkage of color and number patterns has been expressed in rituals such as the Sun Dance and the Morning Star Sacrifice. The Sun Dance was practiced with variations by the Crow, Kiowa, and Cheyenne. The Pawnee practiced the Morning Star Sacrifice.Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of Anthropology.
Books on the topic "Symbolism in folklore"
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Lan, Tsʻai-feng. Stories of Chinese children's hats: Symbolism and folklore. Indianapolis, IN: University of Indianapolis Press, 1996.
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Johanna, Lehner, ed. Folklore and symbolism of flowers, plants, and trees. Detroit: Omnigraphics, 1990.
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Walker, Barbara G. The woman's dictionaryof symbols and sacred objects. London: Pandora, 1995.
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Walker, Barbara G. The woman's dictionary of symbols and sacred objects. San Francisco: Harper & Row, 1988.
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B, Hutchings John, Wood Juliette, Folklore Society (Great Britain), and Colour Group (Great Britain), eds. Colour and appearance in folklore. London: Folklore Society, University College, London, 1991.
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1961-, Parker Edward, ed. The living wisdom of trees: Natural history, folklore, symbolism, healing. London: Duncan Baird, 2008.
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Reed, Mary. Fruits & nuts: In symbolism & celebration. San Jose, Calif: Resource Publications, 1992.
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Panea, Nicolae. Antropologie a tradițiilor: Tradiția populară și mecanismele de reglare a mentalității. Craiova [Romania]: Editura Omniscop, 1995.
Find full textBook chapters on the topic "Symbolism in folklore"
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Jones, Michael Owen. "Latina/o Local Knowledge about Diabetes: Emotional Triggers, Plant Treatments, and Food Symbolism." In Diagnosing Folklore. University Press of Mississippi, 2015. http://dx.doi.org/10.14325/mississippi/9781496804259.003.0005.
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Local knowledge and folk customs, in particular, play a significant role in shaping communal dietary practices and approaches to treating ailments and disease, sometimes in defiance of “official” medical knowledge and direction. In chapter 4, “Latino/a Local Knowledge About Diabetes: Emotional Triggers, Plant Treatments, and Food Symbolism,” Michael Owen Jones explores several areas of Latino/a local knowledge and belief about diabetes collected around Los Angeles, California. Here again, informant narratives powerfully reflect the critical intersection of folk culture and institutional authority. Charting explanatory models regarding causes and the course of illness or disease, the folk use of plants and botanicals to lower blood glucose levels, awareness of non-nutritional meanings and uses of food—rituals, symbols, and sources of identity—regularly ignored by dieticians, self-reported “barriers” to maintaining a recommended dietary regimen, and perceptions of the social and psychological dimensions of illness that all too rarely are considered by medical personnel, Jones sheds light into how clinical and public health officials must develop culturally sensitive treatment plans that more accurately recognize and respond to local exigencies and the preponderance of emotional and environmental stress in treating diabetes within Latino/a communities.
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Glukhova, Elena V. "The “estate topos” of Russian symbolism in the ego-documentary prose by Andrei Bely." In Russian Estate in the World Context, 48–66. A.M. Gorky Institute of World literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/978-5-9208-0627-7-48-66.
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The article discusses the modification of the “estate topos” of Russian sym- bolism in Andrei Bely’s memoir prose. The estates Shakhmatovo, Dedovo, Serebrianyj Kolodez played a key role in the cultural history of Russian symbolism. The peculiarity of Bely’s “estate text”, on the one hand, is that he found an original neo-mythological mode in the image of these estates, on the other hand, gave them heterotopic properties. The article shows how the tonality of his memoirs about Alexander Blok changes from the first edition in journal “Notes of Dreamers” (1922) to the last part of his memorial trilogy “The Beginning of the Century” (1932). If in the first version “Shakhmatovo” appears in neo-mythological meaning and a number of significant symbolic universals are realized, then in the latter version this way of representing the estate is practically erased. The image of Alexander Blok as a spiritual and symbolic center of estate cul- ture is changing: if originally he had the folklore features of Ivan Tsarevich, the ideal symbolist poet on a background of nature, and his wife was Tsarevna, the embodiment of Sophia the Wisdom of God, then later Blok appears as a Lord, carried away only by the issues of managing the estate, and his wife gets the features of an ordinary woman. The estate Serebrianyj Kolodez appears as a heterotopic space, and the features of the estate Dedovo are recognizable in the novel “The Silver Dove”.
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Senkiv, Olha. "THE IMAGE OF A SUPERCHILD IN HALYNA PAHUTIAK’S NOVEL ‘THE KINGDOM’." In Development of scientific, technological and innovation space in Ukraine and EU countries. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-151-0-4.
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American and British fantasy literature has well-established traditions. But Ukrainian fantasy is quite a young literature genre. Halyna Pahutiak is a modern Ukrainian fantasy writer. Her prose is a unique mixture of psychologism, mysticism, symbolism, feminism and urbanism. Almost all her works are permeated with western Ukrainian myths and folklore. Protagonists of her books are in search of their self-identity, that’s why they have to accomplish their mission. Even her secondary characters are original. Her novel ‘The Kingdom’ could substitute the Harry Potter book series for Ukrainian young readers. The novel includes reflections on ‘eternal’ topics: family and friendship. The main character of the story is a 14-year-old girl, called Lucina. At the beginning of the novel she may seem to be a typical vulnerable teenager, and then she appears to be brave, strong and persistent.
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Jones, Michael Owen. "Must Prison Food Sicken Bodies and Minds?" In Frankenstein Was a Vegetarian, 137–51. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496839930.003.0010.
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The last two chapters provide ways to apply an understanding of symbolism and identity to two sets of problems involving food. The first issue, in this chapter, involves how to alter penal policy and practice. Prisoners and jail inmates in 2017 numbered 2,245,000. Unfair fare has been a frequent complaint of the incarcerated. “The food shouldn't be part of the punishment,” said one prisoner. “We're still human beings, and we care about what we eat.” Too often those behind bars must sue, riot, or subvert the system to obtain better provisions. A few changes not only in the quality and variety of meals but also in recognition of how food embodies a sense of self and communicates attitudes, feelings, and values might help solve or avert a number of problems now and in the future. Research by food studies and folklore specialists offers useful guidelines.
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"Introduction." In Animating the Spirited, edited by Tze-yue G. Hu, Masao Yokota, and Gyongyi Horvath, xiii—xxvi. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826268.003.0001.
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The chapter introduces the central theme of the book, the spirited and its sub-themes of journeys and transformations. The subject of animation studies and its expanding areas of inquiry provide a multi-dimensional platform in exploring the themes concerned. The volume of fourteen essays is divided into five sections: Mindful Practices, Creation and the Spirited Process, Objects, Spirits and Characters, Inspirations from the Spiritual-Cultural Realm, Comics and Children’s Literature: Their Transformative Roles, Buddhist Worldviews, Interactions and Symbolism. The introduction posits that the universal theme of the spirited necessitates and warrants multi-faceted perspectives and analyses from scholars, artists, educators, and practitioners contributing from different geographical-cultural backgrounds. The related subjects in discussion include paintings, comics, children literature, folklore, religion, philosophy, and psychology.. It also stresses the idea of the spirited as tied to the broader aspects of mental health, spirituality and creativity. In short, it lays out the humanistic views of the book project.
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TAPODI, Zsuzsa. "Ipostazele unui cavaler medieval în opere de artă." In Diskurzus, kultúra, reprezentáció / Discurs, cultură şi reprezentare, 187–99. Scientia, 2024. http://dx.doi.org/10.47745/sapvol.2024.12.
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"László I (Sainct Ladislau, 1040–1095) is the most popular of the Hungarian saints, a true medieval athleta Christi, who fought against the pagan Cumaeans and Pechenegs. His name is linked in Hungarian folklore with the legend of the formation of the Turda Gorge, saying that the land was opened between the king and the Cumaeans who pursued him. Another episode of his legend is immortalized by the murals of thirty churches in Transylvania, which capture the duel with the Cumaean host for the release of the kidnapped girl. The message of the legend is the triumph of Christianity over the pagans. At the same time, the freckles bear a much older and universal symbolism: the triumph of light over darkness. A romantic reinterpretation by Mihály Vörösmarty from 1825 evokes the battle presented on the frieze from a unique perspective, which is related to a scene presented in the church of Sepsikilyén (Chileni). A reincarnation of the legend of Prince Csaba is the miracle of this holy king. The Hun prince descends into the Milky Way to help his Szekler descendants whenever they need support. According to this legend, the equestrian statue of King László of Oradea comes to life and appears at the head of the Hungarian armies during their battle with the Tatars in 1241. János Arany’s 1853 poem reinterprets this legend. The paper tries to find answers to the following questions: what was the symbolism of the figure of the king when the friezes were made? what did it mean to evoke him in the period of national Romanticism? what do these works of art represent from the perspective of the contemporary receiver?"
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Bainbridge, William. "Introduction: Tools for Unravelling Heritage." In Topographic Memory and Victorian Travellers in the Dolomite Mountains. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462987616_intro.
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Collins’s theory of symbolic interactionism is here introduced to the study of landscape heritage. His method for unravelling symbols in society can be profitably used to identify a signature of prestige indicating centres of attraction or civilizational poles charged with strong magnetism. The activation of that signature occurs through three levels of social circulation that culminate in the inclusion of symbols in the internal conversation of individuals. In the case of the Dolomites, the complex cluster of symbolic ingredients emerging in their heritage formation oscillates between competing zones of civilizational prestige – Venice and its Romantic aura, Switzerland and its Alpine sensationalism, Austria and its Germanic folklore, London and its cosmopolitan modernity – coexisting today in a multi-layered heritage, re-enacted, at various levels, through the interplay between different imaginative and contested geographies.
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Thompson, Tok. "The Ape that Captured Time." In Posthuman Folklore, 19–38. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825087.003.0002.
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Recent advances in animal studies have established the widespread use of learned, symbolic communication in the animal kingdom (and hence, of some variety of "language"). Meanwhile, Mechling (1989), has argued that folklore, as shared learned traditions, also exists in non-human animals. Considering that many scholars believe that humans are unique in our ability to tell stories, this schism between human and animal, the story and other folklore, has a great deal to tell us about the outlines and origins of humanity. This chapter seeks to integrate arguments from linguistics, archaeology, folklore, and cognitive science from evolutionary perspectives.
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Bock, Sheila, and Kate Parker Horigan. "Invoking The Relative: A New Perspective on Family Lore in Stigmatized Communities." In Diagnosing Folklore. University Press of Mississippi, 2015. http://dx.doi.org/10.14325/mississippi/9781496804259.003.0004.
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In chapter 3, “Invoking the Relative: A New Perspective on Family Lore in Stigmatized Communities,” Sheila Bock and Kate Parker Horigan further extend this volume’s section on disability, ethnography, and the stigmatized vernacular into the narrative and familial realms. While family stories always signify the values and identities of particular groups, they also open up opportunities for individuals to contest articulations of morality and blame in contexts of stigma. Accordingly, Bock and Horigan approach the concept of “family” not only as a classification of a particular folk group or a descriptor of narratives’ thematic content, but as a rhetorical strategy employed by narrators in contexts wherein their reputations and identities are threatened. Bringing together fieldwork materials from two independent studies—one examining accounts of personal and community experiences with Type 2 diabetes and another examining personal narratives of Hurricane Katrina survivors—the authors highlight how the concept of “family” serves as a rich rhetorical resource in individual accounts of community trauma by indexing material and symbolic relationships across both time and space.
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Toulouze, Eva, and Nikolai Anisimov. "How the Udmurt Understand the World, and Man in It." In Sator, 507–13. ELM Scholarly Press, 2021. http://dx.doi.org/10.7592/sator.2021.22.19.
Full textConference papers on the topic "Symbolism in folklore"
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Ganbold, Batmunkh. "SYMBOLISM AND DESCRIPTION OF LIONIN MONGOLIAN FOLKLORE." In Международная научная конференция "Мир Центральной Азии-V", посвященная 100-летию Института монголоведения,буддологии и тибетологии Сибирского отделения Российской академии наук. Новосибирск: Сибирское отделение РАН, 2022. http://dx.doi.org/10.53954/9785604788981_373.
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Musaeva, A. "SYMBOLISM IN THE POETRY BY S. SOKOLKIN AND A. ABDURASHIDOVA." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3714.rus_lit_20-21/155-157.
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Symbols play an important role in the lyrics of poets of the late 20th - early 21st centuries. The article is devoted to their identification and study in the works of modern Russian poets: Sergey Sokolkin and Aminat Abdurashidova. The achievements of science, historical processes have had a strong influence on the development of modern poetry. Religious, scientific, folklore symbolism is actively used by these poets to create images in poems.
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Fadeyeva, Lyudmila. "The Church of Saint Clement, the Pope: Sources and the Symbolism of the Image in Russian Folklore." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.25.
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PACIURCA, Aliona. "Sources of Inspiration in Composer Tudor Chiriac’s Creations. “Miorița” the Poem." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0010.
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Tudor Chiriac has had numerous sources of inspiration in his creations. While the composer has been consistent in terms of composition principles and key concepts, his sources of inspiration have varied greatly showing his inexhaustible originality and endless imagination. Tudor Chiriac has noticed the beauty, originality and virtues of folklore and popular music since his early childhood, and still is to this day fond of the specific national ethos and melos. Tudor Chiriac followed into Constantin Brăiloiu's footsteps when he supported the development of Romanian academic music in its own musical genres. Thus, due to his clear vision of the development of Romanian music and of the background against which the composition techniques specific to the 20th and 21st centuries have evolved, Tudor Chiriac has refined folklore suggestions in his own, unmistakable manner. Myths, fairy tales and legends are another highly attractive source of inspiration for many creators. Their value lies in the connection to the primordial archetypal meaning endowed with a rich, often esoteric symbolism. Tudor Chiriac has used several themes and symbols inspired by Romanian mythosophy. An edifying example is the poem Miorița, generally acknowledged as a masterpiece in terms of the symbiosis of a ballad theme with the most modern compositional techniques. Tudor Chiriac emphasized the semantics of musical works and the creation of an original ideational concept perceptible by the listener. Therefore, he made a rigorous selection of literary creations from poets/writers from both banks of the Prut River, thus enhancing and further emphasizing the message behind his works.
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ДАМЬЯН, Надежда. "The symbolic of birds in Russian and world folklore." In Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v3.25-03-2022.p93-97.
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The article emphasizes that exists different symbolic of birds in the folklore of many peoples in the world. Every image of bird reflects the whole system of believes and symbols. There were controversial opinions in the scientific community concerning these symbolic systems. However, the approach that consider symbolic as a complicated system has dominated recently. Basing on many sources, the author proves that the symbolic of birds in these sources have some regularities. The author suggests seven types of birds in the symbolic of birds. Sometimes these symbolic coincide among different folklore systems.
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Malcoci, Vitalie. "Semantic approaches of rural architectural decor from the south of Moldova." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.10.
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Traditional artistic creation, manifested through customs, traditions, folklore, is the basic substratum of the knowledge about a civilisation and its culture. Th roughout the entire process of its constitution, the Romanian people produced a huge substratum of archaeological cultures and mythic-folkloric structures that constitute the essence of folk creation. Folk architecture is one of the most impressive material forms from the past of any civilization. Evolving over time, it shaped some of the traditions and practices in peasant constructions, in the evolution of architectural forms, and the development of ornament and architectural decoration. Th e issue addressed refers to the plastic language of universal motifs, which are deeply rooted in Romanian culture and which contain messages encoded in a string of symbolic connotations. It involves deciphering the message and interpreting the symbolic meaning of the Tree of Life, some aspects of the solar cult, symbols as images of the world and of the universe, and the multiple representations that are part of the animal iconography repertoire.
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Butnaru, Tatiana. "An Archetypal Symbol of Immortality." In Conferinta stiintifica nationala "Lecturi în memoriam acad. Silviu Berejan", Ediția 6. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/lecturi.2023.06.22.
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In the present article - the archetypal meaning of the bird - cuckoo, a folkloric topos of wide distribution in the novelistic epic, with obvious sacred meanings and springs of maximum inner concentration, found expression. The image of the bird - cuckoo is present in several folklore texts, lyrical songs, ballad subjects, being placed in the context of ritual situations, with openness to new ontological dimensions, it expresses different postures of the human spirit, with an orientation towards a dramatic contemplation of human joints, of vital life problems. The cuckoo bird participates in the soul drama of the epic heroes, appearing as a messenger of deep feelings, feelings, inner turmoil and carries a symbolic and functional meaning at the same time, it is meant to deepen a vast spiritual universe, to express some springs fundamentals of human existence.
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Rubakova, Inna I., and Antonio Carluccio. "Second Language Identity Formation through Russian Folklore Texts." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.2-1.
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In this article, we analyze the possibility of employing short Russian folklore examples of chastushka during the development of second language identities of philology students studying Russian as a foreign language. As observed, studying folklore texts in a foreign language environment contributes to the enhancing of the level of ethnolinguistic competence, which is important for understanding a different (Russian) mentality. An effective example of such texts may be the chastushka genre, as one of the few that actively develops through the deployment of various factors. Among its main characteristics, it includes a set of rules and norms of behavior, and a collective assessment of what is happening, and demonstrates the symbolic content of general cultural mores. This article draws on a model of linguistic identity presented by Yu. N. Karaulov. The model comprises three levels. The most interesting of these three levels, in the case of this study, is the psycholinguistic (linguo-cognitive) level, the units of which are perceptions, ideas, and concepts. We also discuss a model of secondary linguistic personality, firstly attributable to Khaleeva in the 1990s. This model is significant in its practicality for teaching foreign languages. This paper also presents the components of the term ‘folk concept,’ for which, we pay particular attention to the figurative and evaluative components, since the conceptual component is itself relatively stable. We also conduct a comparative analysis of the symbolic content of lexemes of linguistic and cultural significance. The semantic complexity of the folklore texts and their linguistic and methodological potential when working with foreign students must be and are considered when conducting such a study, along with the possibility of applying obtained results when working with literary texts, thus facilitating the attainment of a deeper understanding of literary images and symbols as additional learning material. The results of this work may be used in practical pedagogical contexts of the Russian language, as well as in courses in ethnolinguistics and folklore.
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Осипова, К. В. "Чай в языке и культуре Русского Севера." In Межкультурное и межъязыковое взаимодействие в пространстве Славии (к 110-летию со дня рождения С. Б. Бернштейна). Институт славяноведения РАН, 2021. http://dx.doi.org/10.31168/0459-6.35.
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In the work on the material of vocabulary, as well as rituals, beliefs and folklore of the Russian North, the symbolics and ritual functions of tea and tea drinking in folk culture are reconstructed. The place of tea in the diet, the organization of tea drinking are considered; reveals the parameters by which the quality of tea is assessed and functions of tea in family rituals. Drinking tea in folk culture acquires a special ceremoniality and often performs the functions of social regulation: social skills are tested during tea drinking and social relations are built. In family rituals, tea takes on the symbolic functions of wine and beer, bread and bread and salt, forming a functionally close “tea-sugar” pair. Often, tea is opposed to bread as an empty and non-nutritious product, a symbol of luxury and excess.
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Varvounis, Manolis. "New Methodological Orientations of Greek Folklore." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.10-2.
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In this paper, the theoretical and methodological changes that determine Greek folklore in the first two decades of the 21st century are examined. Also, I include the collaboration and the fruitful dialogue of folklore with the social anthropology in Greece, and its scientific results. The study of folk culture, as established by older folklorists, focused on cultural continuities, for reasons amply discussed in the relevant bibliography. However, the perception of cultural transformation in the area of folk culture also led to the study of a series of exemplary modern or postmodern phenomena from contemporary or modern folklore, where the correlation with the historical, social and cultural parameters now became mandatory. Therefore, the dominant concept of cultural differentiation was introduced to the fields of folklore and ethnography, too, especially in the form of the study of modernist (and, as a rule, urban) phenomena. The older forms of Greek folklore relate to the agro-livestock economy of the societies that gave birth to and ‘consumed’ them. This paper refers to Greek popular culture, both in the traditional and in modern and popular forms and expressions. In any case, ‘tradition’ constitutes the basis of folk culture events, with regards to the concepts of the symbolic functionality of ritual forms and the strategies for acquiring social prestige, where the latter is often the driving force of the various folklore events. Indeed, social prestige is often the connective link of each commune, a fact repeated up to the present, despite the changes in the traditional communes’ social base and status.