Lauri Honko, the Finnish professor of folkloristics and comparative religion was a prolific and multi-talented researcher, whose topics of research ranged from the study of folk beliefs, folk medicine and Ingrian laments to the general theories of culture, identity and meaning. Honko studied Finno-Ugric mythologies, Karelian and Tanzanian folk healing, and South Indian oral traditions. Lauri Honko was known for his originality and theoretical innovations: he constructed multiple approaches to the study of culture that are still relevant in (...) class='Hi'>folkloristics and comparative religion.In this paper I aim at explicating and analysing Honko’s views about the roles of theory in folkloristics and comparative religion. More precisely, I will cover two themes. First, I will look at how Honko constructed and utilised theories during the different stages of his career. Second, I will explicate one of the central elements underlying Honko’s theory of culture, namely, functionalism, which provided the framework for his innovations such as the ecology of tradition and folklore process, and for conceptual constructs such as the ‘pool of tradition’ and ‘systems of culture’. I will conclude by assessing the future relevance of Honko’s theories in folkoristics and comparative religion. (shrink)

In his paper the author argues that interdisciplinary research and collaboration between different scientific branches are important in ensuring that research captures the wider picture. The author ascertains common points in history, ethnology, dialectology, and folkloristics by looking at various examples of onomastic research conducted in Slovakia. The research findings are part of broad pan-Slavic research and are important in Slovak Slavistics as well.

Nurses have a long tradition of storytelling. Nurses in the New Zealand government’s Backblocks Nursing Service, established in 1909 for settlers in remote rural areas, related narratives of personal experience in articles, conference papers and letters to their chief nurse that were published in the country’s nursing journal. Analysis of the 16 stories published between 1910 and 1915 revealed 14 had a common storyline and structure. Structural elements included a call, arduous journey, arrival and reconnaissance, trial (difficult case or circumstance), (...) resolution and homily. Using a literary folkloristics approach, this article argues that repetition of the story by nurses in different regions traditionalised it as a professional folktale, ‘The nurse’s odyssey’. It enabled nurses to debrief from difficult cases and write‐into‐being this new role and practice. Striking differences in the practice setting ensured the story’s reportability, while clinical details connected writer and readers through a common professional aesthetic context and strengthened the story’s credibility. For the chief nurse who was also a journal editor, publishing the stories allowed her to potentially attract nurses to the service while alerting them to its harsh realities, and show policy‐makers the profession’s value in meeting new health service needs. (shrink)

In 1965, the American folklorist Alan Lomax set out on a mission: to view, code, catalogue and preserve the totality of the world’s dance traditions. Believing that dance carried otherwise inaccessible information about social structures, work practices and the history of human migration, Lomax and his collaborators gathered more than 250,000 feet of raw film footage and analyzed it using a new system of movement analysis. Lomax’s aims, however, went beyond the merely scientific. He hoped to use his ‘Choreometrics’ project (...) as the foundation for a universally available visual and textual atlas of human movement. This article explores how Lomax’s archival ambitions supported his efforts to enact a wholesale ‘recalibration of the human perceptual apparatus’ and situates Choreometrics at the nexus of new techniques of data-gathering and the cultural ferment of the 1960s. (shrink)

Participatory research in anthropology attempts to turn informants into collaborators, even colleagues. Researchers generally accept the idea of different knowledge systems, and the practice of avoiding critical appraisal of alien knowledge systems, common in ethnography, is continued within participatory research. However, if the aim of participatory research is to turn informants into collaborators, or ideally colleagues, the ethical imperative of offering constructive criticism to colleagues should apply to them, too, even if they are seen as representing different knowledge systems than (...) the researchers. Avoiding appraisal of alien knowledge systems is problematic when the knowledge systems of the researcher and the researched are in constant contact. (shrink)

The way in which folklorists study their “scientific subject”, that is the creativity and the rich ways people attach meanings to their existence, has often been considered to be static and decontextualized. An interest in popular culture for propaganda purposes is associated with past regimes. Therefore, the notion of “folklore” still carries contradictory meanings and connotations. The author starts from a debate prompted in Italy by Alberto M. Cirese: in recent decades, Italian “native” ethnology has focused on endangered village traditions (...) rather than opening itself up to new instances of cultural change. The main risk was misrepresenting the methodology proposed by Antonio Gramsci in 1929. Today Italian research into folklore places the subject of “folklore” in its broadest context, investigating developments in society associated with the shift from a peasant to an industrial society, and embarking on additional research domains through transnational cultures. This research draws on the growing interest in cultural heritage in the public sphere, and, simultaneously, draws on recent advances in the study of uses of culture and memory. The paper studies two aspects of daily life: pure yarn handmade clothes and ornaments, and long-life tomato sauce. The study concludes that contemporary everyday folklore takes on many free and unofficial forms that call for a renewed approach. To evaluate the multiplicity of folklore meanings and their capacity to integrate interactions between the traditional and the contemporary in specific contexts, the author explores the practicality of a new idea of folklore as sustainable, popular, domestic creativity using material and immaterial goods. This idea implies a rethink of the concept of heritage and of the complexity of its increasingly official, bombastic and rhetorical manifestations. (shrink)

The idea that in order to be objective, research should be value-free, has recently been questioned in philosophy of science. I concentrate on two senses of objectivity, detached objectivity and interactive objectivity that do not require value-freedom. I use each of these to assess a young, strongly value-laden and overtly political discipline: indigenous studies. It has been criticised as relativistic and essentialistic, and in consequence, as not objective in the detached sense of objectivity, as values are used in place of (...) evidence. When addressing these critiques, I compare contemporary Sámi IS to early Finnish folkloristics. The interactive objectivity of the Sámi IS research community is increasing, and outside criticism is being taken into account. As a result, the detached objectivity of the conducted research has also increased. (shrink)

In 1873, 75 years before Karl Jaspers published his theory of the Axial Age in 1949, unknown to Jaspers and to contemporary scholars today, Scottish folklorist John Stuart Stuart-Glennie elaborated the first fully developed and nuanced theory of what he termed “the Moral Revolution” to characterize the historical shift emerging roughly around 600 BCE in a variety of civilizations, most notably ancient China, India, Judaism, and Greece, as part of a broader critical philosophy of history. He continued to write on (...) the idea over decades in books and articles and also presented his ideas to the fledgling Sociological Society of London in 1905, which were published the following year in the volume Sociological Papers, Volume 2. This article discusses Stuart-Glennie’s ideas on the moral revolution in the context of his philosophy of history, including what he termed “panzooinism”; ideas with implications for contemporary debates in theory, comparative history, and sociology of religion. It shows why he should be acknowledged as the originator of the theory now known as the axial age, and also now be included as a significant sociologist in the movement toward the establishment of sociology. (shrink)

Analyser une chanson de tradition orale française dans le cadre d’une thèse de littérature et dans une perspective mythique nécessite une démarche atypique d’autant que cette complainte se décline en plus d’une vingtaine de versions. Ce sujet étant peu traité, il a fallu tout d’abord définir l’objet « chanson de tradition orale », ce qui a eu comme mérite de mettre en relief les différents acteurs ayant présidé à la création de cette notion : folkloristes et médiévistes ont montré les (...) pistes à suivre et jalonné les investigations menées dans le cadre de cette thèse. Grâce à leurs analyses, il a été possible de rendre visibles des critères poétiques spécifiques à la tradition orale et de constituer un corpus représentatif de l’oralité. Il est rapidement apparu qu’une analyse formelle était indissociable d’une quête du sens, de même que croiser les disciplines et pratiquer l’art du comparatisme afin de débusquer à travers contes, légendes et tradition orale un éventuel scénario mythique originel. Face à l’originalité de la complainte, celui‑ci est vite apparu comme réducteur et ce n’est qu’à travers l’étymologie, l’hagiographie et l’onomastique qu’il a été possible d’affiner les analyses et de proposer une interprétation herméneutique. (shrink)

Resumo: O objetivo deste estudo é apresentar reflexões teórico-metodológicas sobre o processo de letramentos bilíngues de estudantes surdos no ensino superior. Tomamos a enunciação verbo-visual como categoria bakhtiniana que direciona as hipóteses de leitura em português pelos estudantes surdos e ocupa centralidade na produção textual sinalizada em língua brasileira de sinais. Da obra do folclorista Câmara Cascudo foram selecionadas lendas brasileiras para análise textual de elementos coesivos que operam nas estratégias de referenciação no texto narrativo em língua brasileira de sinais (...) e na língua portuguesa. Como contribuições teórico-metodológicas, apresentamos a utilização da pedagogia visual e de um roteiro que orienta a leitura com destaque aos elementos intertextuais, paratextuais e textuais na produção dos sentidos do texto. O videorregistro de lendas brasileiras em libras contribui para a ampliação do repertório de gêneros textuais sinalizados, pesquisa e diversificação de léxico regional e composição de acervo de materiais e tecnologias em língua de sinais, para a constituição de uma cultura letrada. Palavras-chave: Letramento acadêmico; Libras; Português como segunda língua; Gêneros textuais; Ensino Superior. Bilingual literacies of deaf students in higher education: a study with Brazilian legends Abstract: The objective of this study is to present theoretical and methodological reflections on the process of bilingual literacies of deaf students in higher education. We understand that the verbovisual enunciation is the Bakhtinian category that mobilizes the hypotheses of reading in Portuguese by deaf students and occupies the centrality in the Brazilian sign language textual production. We selected Brazilian legends of the work of the folklorist Câmara Cascudo, for textual analysis of cohesive elements that influence the referencing strategies in the narrative text in Brazilian sign language and in the Portuguese. As theoretical-methodological contributions, we present the use of visual pedagogy and a script that guides reading, with emphasis on intertextual, paratextual and textual elements in the production of the meanings of the text. The recording of the Brazilian sign language in video of Brazilian legends contributes to the expansion of the repertoire of textual genres signaled in the Brazilian sign language, research and diversification of the regional lexicon and the composition of materials and technologies in sign language for the constitution of a literate culture. Key-words: Academic literacy; Brazilian sign language; Portuguese as a second language; Textual genres; Higher education. Letramentos bilingües de estudiantes sordos en la educación superior: un estudio con leyendas brasileñas Résumen : El objetivo de este estudio es presentar reflexiones teóricas y metodológicas sobre el proceso de letramento bilingüe de estudiantes sordos en la educación superior. Entendemos que la enunciación verbovisual es la categoría bakhtiniana que influye en las hipótesis de lectura en portugués de los estudiantes sordos y ocupa la centralidad en la producción textual señalada en lengua de señas brasileña. Seleccionamos leyendas brasileñas de la obra de la folclorista Câmara Cascudo, para el análisis textual de elementos cohesivos que influyen en las estrategias de referenciación en el texto narrativo en lengua de señas brasileña y en portugués. Como aportes teóricos y metodológicos, se presenta el uso de la pedagogía visual y un guión que orienta la lectura con énfasis en elementos intertextuales, paratextuales y textuales en la producción de los sentidos del texto. La producción de leyendas brasileñas en lengua de señas videograbada contribuye a la expansión del repertorio de géneros textuales señalados en la lengua de señas brasileña, la investigación y diversificación del léxico regional y la composición de materiales y tecnologías en lengua de signos para la constitución de una cultura letrada. Palabras clave: Letramento académico ; Libras ; Portugués como segunda lengua ; Géneros textuales ; Enseñanza superior. Data de registro: 15/04/2021 Data de aceite: 01/12/2021. (shrink)

For over a century anthropologists and folklorists have sporadically recorded a belief that one should not point at a rainbow, lest the offending finger become permanently bent, rot, be supernaturally severed, fall off, etc. In each case the belief was reported for a particular geographical region without apparent awareness of its presence elsewhere, and in no case was an explanation for this curious idea proposed. This paper documents what is called the “Rainbow Taboo” as a global phenomenon, found among peoples (...) of quite varied cultural backgrounds, and it argues that the universality of the belief is a product of the interaction of two independent cognitive elements: an apparently innate sense that the rainbow is associated with the “other world,” and, secondly, a similar sense that pointing with the index finger is aggressive, and should not be used either in normal human interactions or more particularly against the supernatural. (shrink)

Any historical reflection of the fête (or feast) must depart from the observation of its actual conditions of subsistence, in order to understand the veritable “festive explosion” that has marked historical production this last decade. Although it is not specifically historical, the emergence of the fête (and in particular of the ancient feast) as a preferential object of study, leads one in effect to wonder about the reasons that have brought about that, in a given moment, an entire scientific class, (...) in this case the French historians, has felt attracted by a theme which until then was treated only in folklorist collections. Seemingly, three reasons, that pertain as much to the recognized function of the historical discipline as to its internal evolution, may be cited. It is clear, above all, that the increased research into the ancient feast constitutes a sort of compensation, as a means of understanding, to the disappearing system of civilization in which the fête had, or rather, is considered as having had, a central role. The historical analysis is therefore charged to explain, in its idiom and with its technique, the nostalgia evoked by a present which has eliminated the fête defined as an act of community participation. On these grounds it then becomes possible to rediscover one of the major functions assigned—implicitly or explicitly—to history today: to restore to the sphere of knowledge a vanished world of which contemporary society feels the heritage, but as an unfaithful heir. That the operation of understanding is difficult to separate from the fabrication of an imaginary past collectively desired, is, in the end, insignificant, unless it is meant to underline those themes that, by being the most neglected by our present age, become the most symptomatic of a world we have lost. The fête, vidently, is one of these. (shrink)

The article is devoted to context specific of folk songs from the collection “Songs of people of Galicia” by polish folklorist Z. Pauli. General and subjective problems and issues of Ukrainian society in 17th and 18th centuries were revealed. Song’s lyrics were analyzed and actual problems of baroque Ukrainian’s life were highlighted. Each of these problems and issues has it’s specific worldview expression. This worldview response to society and subjective problems of Baroque was presented in folk songs. Thus, the problems (...) of Ukrainian community and personal issues was considered in terms of worldview specific. So, in our point of view the main problems of Ukrainian Baroque society were “cossachyna” and conscription. Attitude of ordinary people to cossacks, their life and role in the state’s fate presented in historical songs, epic songs and Cossack songs. Context of these songs from Z. Pauli collection showed us some important worldview responses to the Cossacks. As a response to the historical events of the seventeenth and eighteenth centuries formed the cult of the warrior’s force. So the main virtues were agility and courage of the warrior. “Cossack glory” was one of the main values in the mass perception of Ukrainians. And was defeating during the battle was the most threat in terms of the relatives of warrior. In the song’s lyrics of 18th century the theme of soldier’s military duty hade wide spreading. Many families had to say good bye to their close relatives. That’s why the frequently motives of soldier songs are farewell, anguish and sorrow. Social problems such as insecurity, orphanhood and gender imbalance, caused by man’s military service, became a relevant for ordinary citizens. Personal existential problems presented in lyric songs and ballads. Widespread subjective problems such as freedom of someone own choice, choice contrary to the social or family opinion, contradictory feelings, emotions and actions outlined in folk-song’s lyrics. Frequently such song’s lyrics expressed metaphysical meditations about loneliness, person’s place in the world, happiness and desire to be happy, the influence of fate on human life etc. This group of songs present a typical Baroque pessimism. So, us our research showed ancient folk songs are real rich source for understanding worldview of our ancestors. (shrink)

The purpose of the present article is to illustrate the crucial role played by the Umwelt theory in zoomusicological (and, more generally, zoosemiotic) studies. Too much, in fact too little, has been written on the relationship between non-human animals and music. Most of these writings do not explicitly aim at contributing to the actual problem (a good example being the reflections on birdsong contained in John Locke’s Essay Concerning Human Understanding). Some are, so to speak, a little folkloristic, quite a (...) few broach the problem in strictly scientific terms, and very few take a clearly zoomusicological approach. In an attempt to understand all the possible ways in which the problem can be analysed, it turns out that all these contributions — in spite of their reciprocal diversity — have points in common, leading to three main categories of approach: discontinuity, gradualism, and pluralism (or Umwelt theory). The discontinuist attitude is by definition opposed to the intent of a zoomusicological research, which in fact defends the thesis that music is not specific only to humans. On the other hand, one might share the gradualist assumption that musicality departs from a basis common to many animal species (at least, all those provided with vocal apparatuses). However, such a basis cannot be interpreted as monolithic (i.e., as having developed in a unique and indivisible way), carrying, as a result, qualitative differences in music between species. For the above-mentioned reasons, and for others to be illustrated in the present paper, it becomes clear that the approach to zoomusicology must necessarily be pluralistic. The most suitable framework seems to be that postulated by Jakob von Uexküll, and known as the theory ofUmwelt. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Tale of Three Zoras:Barbara Johnson and Black Women WritersHortense J. Spillers (bio)Talking about Zora Neale Hurston is like approaching the Sphinx—so much riddle, so many faces, and all of it occurring on fairly high holy ground since Alice Walker's remarkable discovery a couple of decades ago.1 But Barbara Johnson's criticism cracks the code on Her Majesty and brings the sign vehicle—"Zora Neale Hurston"—to the table of juxtapositions and (...) comparisons. There is the iconic Hurston, whose positioning between the Harlem Renaissance2 and the post-World War II writers gives her a priority of status that marks the woman artist's entry into literary modernism. The latter, in its variety of contexts and alignments, opened the way to certain experimental forms for these writers and might not have been completed as a systematic gesture before the late sixties and early seventies, when this generation of practitioners was free to create antiheroic figures and to probe the limits of representability. In short, with Zora Neale Hurston a window is pried open, a breeze blows through, and by the time of Toni Morrison's Beloved, an opening has become a prospect, a landscape of vistas of possibility. We can think of Hurston, then, as an enabler, who was not particularly encouraged by the literary politics of her age, from first to last; whether by the "maledom" of Harlem Renaissance avenues to reward and achievement, or by the paradigm shift of race politics in the 1950s,3 Hurston seems to have been equipped with the uncanny ability to create a kind of chaos, to behave outside the parameters of fashion, and to create dimensions of the mythical about her as she modeled versions of self.In her role as classically trained anthropologist and folklorist, Hurston is considered today one of the major theoreticians of black culture.4 Her collections of lore, a [End Page 94] motherlode of a southern-centered orality,5 of the countryside, are fruitfully poised against the displaced metaphysical traditions of discourse that we especially associate with figures like Alain Locke and W. E. B. DuBois.6 As it now appears, the oppositional currents that run between the Hurstonian and the DuBoisian figurations have yet to be reconciled: the latter is text-based, and the former exceeds the abiding centrality of the word. Barbara Johnson argues in A World of Difference that Hurston "tried to explain the difference between a reified 'art' and a living culture in which distinctions between spectator and spectacle, rehearsal and performance, experience and representation are not fixed" [159]. For Hurston, folklore was "'the arts of the people before they find out that there is such a thing as art.'" For Hurston, unlike DuBois, for example, black culture was not a project in the modality of Bildung, or the Hegelian notion, but, rather, a repertoire of gestures that might be said to belong to a second skin—the kinetic thing that is done or said.From our current perspective, what Hurston called "folklore" and what offered the occasion for the ethnographic foray might be given other names, though renaming these acts and gestures of the everyday does not make it any easier to reconcile the conceptual split in black culture theory between textuality and orality, or between "urban" and "countryside." But all of these locutions have been essentially eviscerated by radical changes in the availability and transmission of consumer goods that have rendered US local and indigenous cultures virtually indistinguishable from Jackson, Mississippi to Boston, Massachusetts. Take any interstate network across the land, east to west, or north to south: between McDonald's and the food/gas mart, scattered along ten- to twenty-mile sequences of roadway, one is quite astonished at the sameness and homogeneity of motifs that have translated particularity into an item of commerce and exchange. At one time, the critics were calling this outcome the postmodern flow, but my own hunch is that this apparent repetition and replication of the same are riddled with a variety of timbres and accents, still, that the Hurston ear was so sharp to articulate and define six decades ago. And in that intricate choreography between the life... (shrink)

One vivid description of folktale research, still applicable although more than a half century old, reads, “Folktale study is like a desert journey, where the only landmarks are the bleached bones of earlier theories.” Because theories have proven to be so ephemeral in comparison with the tales themselves , it might seem prudent to place more stock in the tales and less in the theories or at least to take an eclectic approach toward theorizing so as to hedge bets; but (...) not all scholars of folktales exercise more circumspection now than their predecessors did fifty years ago. For example, in Little Red Riding Hood: A Casebook Alan Dundes — one of the most prominent American folklorists of our day — adduces no material dated from before 1697 that is related to the tale “Little Red Riding Hood” but manages nonetheless to question sharply the very notion of valuing early written evidence. By scrutinizing a short Latin poem written in the first quarter of the eleventh century, I hope to refute Dundes's dismissal of literary evidence and to underscore the pertinence of studying medieval literature in coming to grips with that beautiful and elusive phenomenon to which English-speakers give the name “fairy tale.”. (shrink)

Throughout the Works and Days (WD), Hesiod reaffirms and promotes his audience’s belief in the reality of the supernatural — that is, the gods of Olympus, whose power the poet clearly takes seriously, given the somber warnings that populate the final calendrical portion of the piece. Drawing on S.I. Johnston’s recent The Story of Myth, as well as the work of folklorists K. Hänninen and G. Bennett, I outline the techniques Hesiod employs to render believable the influence of the divine (...) in both the distant past and the contemporary period. Hesiod constructs a story world familiar to his audience in order to bolster the credibility of the supernatural events, both mythical and contemporary, that he reports. When speaking of the gods’ influence in his own time, Hesiod remains firm on the fact of the gods’ continued intervention only in concrete, mundane phenomena experienced by each of his audience members. Otherwise, the poet tends toward vague language, leaving his audience to come to their own conclusion about the influence of the divine. To encourage a positive conclusion, Hesiod creates an analogy between abstract concepts, such as Strife, and the anthropomorphic gods of myth. Using these strategies, Hesiod imbues WD with belief in divine influence in the world, past and present. (shrink)

The purpose of the present article is to illustrate the crucial role played by the Umwelt theory in zoomusicological (and, more generally, zoosemiotic) studies. Too much, in fact too little, has been written on the relationship between non-human animals and music. Most of these writings do not explicitly aim at contributing to the actual problem (a good example being the reflections on birdsong contained in John Locke’s Essay Concerning Human Understanding). Some are, so to speak, a little folkloristic, quite a (...) few broach the problem in strictly scientific terms, and very few take a clearly zoomusicological approach. In an attempt to understand all the possible ways in which the problem can be analysed, it turns out that all these contributions — in spite of their reciprocal diversity — have points in common, leading to three main categories of approach: discontinuity, gradualism, and pluralism (or Umwelt theory). The discontinuist attitude is by definition opposed to the intent of a zoomusicological research, which in fact defends the thesis that music is not specific only to humans. On the other hand, one might share the gradualist assumption that musicality departs from a basis common to many animal species (at least, all those provided with vocal apparatuses). However, such a basis cannot be interpreted as monolithic (i.e., as having developed in a unique and indivisible way), carrying, as a result, qualitative differences in music between species. For the above-mentioned reasons, and for others to be illustrated in the present paper, it becomes clear that the approach to zoomusicology must necessarily be pluralistic. The most suitable framework seems to be that postulated by Jakob von Uexküll, and known as the theory ofUmwelt. (shrink)

L’Académie des sciences de Finlande vient de publier un ouvrage qui apporte des éléments de réflexion intéressants sur la question du matriarcat qui aurait été naguère pratiqué par quelques sociétés européennes. En se fondant sur une double démarche, de folkloriste et d’anthropologue, l’auteur, Marisa Rey-Henningsen, s’est attachée à décrire et interpréter les rapports entre sexes qui étaient la norme voici encore très peu de temps en Galice. Une structure sociale particulière – le droit de...

In this article, the city and the urban space shall be understood as a political platform, where identities and powers are bargained, and as a screen on which they are projected. In this context, I will reflect on the strategies of identity management ‘from below’ employed by Tatar young people in Kazan and on their attempt to build a ‘Tatar urban youth culture’. These identity strategies are mainly oriented against the ‘Russian other’, a decadent consumerist West and an ignorant rural (...) Tatar culture and their main issue is the ‘repossessing’ of Kazan and the Tatarisation of the city. Such strategies namely include the use of the Tatar language in predominantly Russophone public spheres, the introduction of Tatar folkloristic elements in music and fashion as well as the appeal to a (lost) Tatar urban culture associated with an enlightened approach to Islam and to the pre-revolutionary Tatar intelligentsia. Tatar youth scenes thus use ethnicity as a resource in the linguistic, religious, historic and cultural (re)appropriation of the urban space, which in turn has to be understood as a symbolic political act in a specific historical as well as ‘glocal’ context. Thus, this article can be seen as a contribution to a critical approach towards cosmopolitanism introducing alternative concepts to reflect relationships, norms and values in urban life. (shrink)

The purpose of the present article is to illustrate the crucial role played by the Umwelt theory in zoomusicological (and, more generally, zoosemiotic) studies. Too much, in fact too little, has been written on the relationship between non-human animals and music. Most of these writings do not explicitly aim at contributing to the actual problem (a good example being the reflections on birdsong contained in John Locke’s Essay Concerning Human Understanding). Some are, so to speak, a little folkloristic, quite a (...) few broach the problem in strictly scientific terms, and very few take a clearly zoomusicological approach. In an attempt to understand all the possible ways in which the problem can be analysed, it turns out that all these contributions — in spite of their reciprocal diversity — have points in common, leading to three main categories of approach: discontinuity, gradualism, and pluralism (or Umwelt theory). The discontinuist attitude is by definition opposed to the intent of a zoomusicological research, which in fact defends the thesis that music is not specific only to humans. On the other hand, one might share the gradualist assumption that musicality departs from a basis common to many animal species (at least, all those provided with vocal apparatuses). However, such a basis cannot be interpreted as monolithic (i.e., as having developed in a unique and indivisible way), carrying, as a result, qualitative differences in music between species. For the above-mentioned reasons, and for others to be illustrated in the present paper, it becomes clear that the approach to zoomusicology must necessarily be pluralistic. The most suitable framework seems to be that postulated by Jakob von Uexküll, and known as the theory ofUmwelt. (shrink)

Yanagita Kunio (1875-1962), one of the most representative of Japanese folklorists, sees the different aspects of forests as a composite whole comprising customs, legends and way of life of the inhabitants. Yanagita looks at this in detail, wishing to understand how the forest is related to the life and customs of the people living there, an attitude that could be called an understanding from within. Given the complexity of the issue of the earth’s ecology, Yanagita suggests adopting the same attitude.

Any historical reflection of the fête (or feast) must depart from the observation of its actual conditions of subsistence, in order to understand the veritable “festive explosion” that has marked historical production this last decade. Although it is not specifically historical, the emergence of the fête (and in particular of the ancient feast) as a preferential object of study, leads one in effect to wonder about the reasons that have brought about that, in a given moment, an entire scientific class, (...) in this case the French historians, has felt attracted by a theme which until then was treated only in folklorist collections. Seemingly, three reasons, that pertain as much to the recognized function of the historical discipline as to its internal evolution, may be cited. It is clear, above all, that the increased research into the ancient feast constitutes a sort of compensation, as a means of understanding, to the disappearing system of civilization in which the fête had, or rather, is considered as having had, a central role. The historical analysis is therefore charged to explain, in its idiom and with its technique, the nostalgia evoked by a present which has eliminated the fête defined as an act of community participation. On these grounds it then becomes possible to rediscover one of the major functions assigned—implicitly or explicitly—to history today: to restore to the sphere of knowledge a vanished world of which contemporary society feels the heritage, but as an unfaithful heir. That the operation of understanding is difficult to separate from the fabrication of an imaginary past collectively desired, is, in the end, insignificant, unless it is meant to underline those themes that, by being the most neglected by our present age, become the most symptomatic of a world we have lost. The fête, vidently, is one of these. (shrink)

The purpose of this study is to offer a brief biography of Mr. M.H. Panhwar and Dr. Nabi Bux Khan Baloch, as well as their work in Sindhological studies along with a brief description of their literary differences on the origin of Sindhi language and history. A systematic literature review methodology was used to explore the contribution and contradiction of both the scholars. The study found that both the scholars were renowned researchers who worked in the fields of history, archaeology, (...) sociology, literature, and language. Both were up-to-dated academics, but their scholarly interests in history, archaeology, language, and literature were diametrically opposed. The study revealed that M.H. Panhwar was a rigorous researcher who conducted studies using scientific techniques and with the assistance of archaeological and geographical evidence. The study further explored that Dr. N. A. Baloch was a folklorist, educationist and extensive writer whose ideological hypotheses were primarily based on mythology and preserved folk literature. (shrink)

Este trabajo reflexiona críticamente sobre la construcción discursiva de la Patagonia como una distancia intersubjetiva, relativa, polisémica e histórica. En el análisis se distinguen las ideas de la región como territorio, unidad geocultural, geografía imaginaria, domicilio existencial y lugar de enunciación, y se señalan algunas de sus superposiciones y contradicciones conceptuales más frecuentes. Se problematizan las perspectivas esencialistas y folklorizantes de la región y su literatura, así como la inscripción de la Patagonia en las cartografías culturales nacionales y nacionalistas. This (...) work proposes a critical reflection about the discursive construction of the Patagonia as an inter-subjective, relative, polysemic and historical distance. In the present analysis, we distinguish between different ideas of the region, such as territory, geocultural unit, imaginary geography, existential residence and locus of enunciation, and we indicate some of its overlapping and more frequent conceptual contradictions. We criticize the essentialist and folklorist perspectives of the region and its literature, as well as the inscription of the Patagonia in the national and nationalistic cultural cartographies. (shrink)

The object of the study is the continuous preservation of the multi-genre Cossack folk song, which represents a key purpose in the implementation of the preservation of the traditional mentality at the present stage. The subject of this work is the immanent complexes of traditional song culture in the folklore heritage. The purpose of this study is to structure the issue of the cultural interrelation of the ethnic canvas of the Kuban Cossack folk songs, in the originality of the genesis (...) of the vocal and performing specifics of modern creativity. When discovering the fundamental foundations of the vocal performance of the Cossack song, special attention is paid to the study of the folklore primary sources of the Kuban folklorists, V.G.Zakharchenko, A.D.Bigdai, G.M.Kontsevich. Along with this, an expert assessment of the characteristics of the Kuban Cossack folk song according to the genre classification component is an important feature of the performance of vocal samples today. The theoretical basis is in an analytical approach to the peculiarities of the performance of a local source from the point of view of substantiating the scientific nature of the subject under consideration according to the functionally oriented elements of the report: traditions, traditional manner of performance, interpretation of the text, song melody. Methodological basis: components of the study of the local singing tradition, modernization of folklore song documents, the method of consistency-the genre diversity of Cossack performance. The author's approach to the correlation of musical sources as methodological characteristics of the Kuban Cossack singing traditions has been developed. We test the proposed system when working with archival documents, in the diagnosis of song samples recorded from informants. The key aspect is the musicological analysis of the musical collections of Kuban Cossack folk songs from the point of view of the continuously developing, multifaceted changing performing skills of the soloist and choir. The author takes into account the introduced model of performing Cossack songs since the resettlement of the Black Sea Cossacks, who brought the baggage of multi-genre sources and eventually introduced the Kuban folk singing art. The scientific novelty of the research lies in the author's analytical systematization of authentic song compositions recorded by folklorists, in the analysis of multi-genre Kuban Cossack sources (selectively) for further active performance on stage. The specific directions of performance according to characteristic song genres are determined: historical, military, everyday, marching, lyrical, wedding, ceremonial, round dance, comic. The reproduced orientation of the nature of the continuous preservation of folklore sources in the revised performance interpretation of Cossack vocal works gives rise to significant broadcasting opportunities today. (shrink)

Festzelte are the beer halls (actually tents) of German Oktoberfest style celebrations—generally called Volksfest. Being transient buildings, the tents can be massive and intimidating. 5,000 or more visitors may find a place to drink, eat, sing, dance and celebrate wildly. Chants proclaim the “Gemütlichkeit” [coziness/snugness] despite an atmosphere supercharged with wild behaviors and heavy drunkenness. Norm breaking, liminal behavior is not only tolerated but even expected and intended (up to a certain point).Victor Turner’s concept of cultural performance helps explain the (...) revelry in a beer tent. The tents with their specific rural and folkloristic decorations, spatial structure, and furnishings facilitate the joyous actions. Their staging, as well as the celebratory actions themselves, provide a sacred play-space for anti-structure and communitas, flow and performative reflexivity. The active celebratory participation creates a place where alterity reigns and enables a sense of belonging. (shrink)

Landscape, Religion, and the Supernatural presents a summa of current and classic theorizing on religion and the supernatural in relationship to the land and develops this theorizing further by confronting it with a rich set of folkloristic and historical data. Focusing on the themes of "time and memory", "repeating patterns", "identity formation", "morality", "labor", "playfulness and adventure", "power and subversion", "sound", "emotions", "coping with contingency", "home and unhomeliness", as well as "nature and environment", the book engages with a broad range (...) of theoretical concepts and approaches from the interdisciplinary field of landscape theory and the study of religions. It brings this theorizing into dialogue with the rich culture of local storytelling and landscape-related traditional beliefs of the Strandir district of the Icelandic Westfjords. In this rural region, landscape-related traditions have been collected since the early nineteenth century and continue to be important to this day. Confronting this rich heritage with the insights of landscape theory both in and beyond the study of religions allows important new contributions to theorizing landscape and religion, especially when it comes to considering the perspectives on landscape held by rural populations rather than the urban upper classes that have stood in the focus of research to date. The example of the Icelandic Westfjords shows the extreme richness of religious and supernatural approaches to the landscape that can be developed in rural communities, and how they are significantly and characteristically different from the urban perspectives of literature and the arts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Healing Powers and Modernity: Traditional Medicine, Shamanism, and Science in Asian SocietiesE. N. AndersonHealing Powers and Modernity: Traditional Medicine, Shamanism, and Science in Asian Societies. Edited by Linda H. Connor and Geoffrey Samuel. Westport, CT: Bergin and Garvey, 2001. Pp. xiii + 283. Hardcover.Healing Powers and Modernity: Traditional Medicine, Shamanism, and Science in Asian Societies, edited by Linda H. Connor and Geoffrey Samuel, consists of an Introduction, by (...) the first editor, and eleven case studies. The latter are short ethnographic studies of particular communities or healers in East and South Asian countries. All of these are well-written, detailed accounts of particular healing contexts and behaviors. Several are by first-rate veteran ethnographers, such as Laurel Kendall (writing-as usual-on Korean shamans), Mark Nichter (India), Carol Laderman (Malaya), and Geoffrey Samuel (Tibet). Others are by younger scholars, such as Amanda Harris (the Iban of Sarawak), who are carrying on the great tradition. Other essays by Kalpana Ram (India), Marina Roseman (the Temiar of Malaya), Cynthia Hunter (Indonesia), Sydney White (the Naxi of China), Craig Janes (Tibet), and Vincanne Adams (Tibet) complete the picture. All are fine ethnographic sketches.The unifying theme is a classic anthropological one: traditional, small-scale, indigenous traditions meet international forces of change. Inevitably, the former must accommodate to the overwhelmingly greater wealth and power of the agents of the latter. In the medical arena, nations often push international biomedicine to the exclusion of other modes. In the nations under study here, things are a bit more complex; all have their own elite medical traditions, some much changed by contact with biomedicine (as in the case of China's "Traditional Chinese Medicine," with capital letters; it is a new invention, in spite of the name). So local indigenous healers have to accommodate not only to some much-altered form of biomedicine; they usually have to accommodate also to some much-altered form of their country's elite medicine. They improvise, often with striking success. The spirits of the forest are joined by the spirit of canned sardines (see Roseman's chapter), but spiritual healing practice continues.Naturally, this is confusing, and here the book begins to break down a bit. "Modernity" as a concept is taken over from the writings of Foucault, de Certeau, Homi Bhabha, and the like, which are by no means consistent or clear on its meaning. And the authors of this book are far too sophisticated to think of "modernity" as any one thing or as anything at all simple. They are, perforce, left to say that modernity-especially as written up at enormous length and vagueness in the works of the authorities cited-is too complex to address here. (Someone more irreverent might even suggest that "modernity," if indeed it cannot be tightly defined, is not a concept worthy of much attention.) This leaves the book rather undertheorized.Moreover, the authors follow the aforementioned authorities in leaving out bio-scientific considerations, even from descriptions of local modernizing discourses. One wishes for some biomedical diagnoses of cases, for example, for background data on disease incidence, infant and maternal mortality, nutrition, and other basic health concerns. [End Page 702]A reviewer usually should not complain about what is not treated in a book, but in some cases here, stories really need rounding out. Laurel Kendall speaks of Korean folkloristic interest in shamans, but does not mention the fascinating and hotly debated ideas about shamanism as the fount of Korean morality and fine art. Geoffrey Samuel puts discussion of China's brutal crushing of Tibetans and their culture "beyond the scope of this chapter" (p. 215), which deprives the reader of serious consideration of the most obtrusive force shaping Tibetan medical practice today.Such quibbles are minor. These compelling studies of local healers caught in global currents can stand on their own. [End Page 703]E. N. AndersonUniversity of California, RiversideCopyright © 2006 University of Hawai'i Press... (shrink)

Attentive readers of Bakhtin are familiar with the importance he attributed to “semiliterary” or folkloristic genres and art works. Bakhtin came to the interesting conclusion that emerging and historically representative, types of literary works often build from semi-literary blocks. These blocks may be fragmented and incomplete, purely raw materials from the aesthetic viewpoint. Nonetheless, they are harbingers of the emergence of a significant literary form. This is the case with Red Square, apparently a thriller written by two Soviet defectors, Edward (...) Topol and Fridrikh Neznasky, in reality a significant, albeit semi-literary, historical novel in the style of Walter Scott. All constituents analyzed by Lukács in his famous description of Scott's historical novels are present. (shrink)

Ron Harris captured the popular imagination in October 1999 with a website where he auctioned off the ova of fashion models to the highest bidder. This article treats the controversy surrounding Harris’ site within a dual frame of critical theory’s approach to reproduction and a folkloristic approach to discourse. The website fuses traditional narrative motifs and structures with the logic of advertising, seventies television, family-values rhetoric, and the fertility industry. I argue that the great attraction of ronsangels.com is that it (...) put into relief the intervention of mechanical reproduction in human fertility together with the state of genetics at the turn of the 21st century. The result is not only a disconcerting aestheticization and commodification of biological reproduction, but also the biological reproduction of a particular aesthetic and moral code—a generation of reality by model. (shrink)

Résumé Yanagita Kunio (1875-1962), un des plus représentatifs folkloristes japonais, considère les différents aspects d’une forêt comme un ensemble composite qui comprend les coutumes, légendes et modes de vie des habitants. Le regard de Yanagita est un regard proche, qui souhaite comprendre comment la forêt se rapporte à la vie et aux coutumes de la population qui y habite. Une attitude qui pourrait être celle d’une « compréhension de l’intérieur ». Face à la complexité de la question écologique de la (...) terre, Yanagita suggère d’adopter cette même attitude. (shrink)

During the precolonial period Zulu identity was based on a set of cultural markers defined by the royal family. But European linguists extended the borders of Zulu, as a written language, to include the peoples living to the south of the Tugela river in the colony of Natal. Folklorists, anthropologists, historians, and other social scientists, as well as European employers, adopted this view of the Zulu as a people or Volk. Following the defeat of the Zulu kingdom in 1879, and (...) the decline of the royal family, migrant workers increasingly returned home with this new notion of what it meant to be Zulu. This essentially European interpretation of the word was embraced and spread by Christian converts who, in the twentieth century, sought to mobilize an ethnic political following.Chief Mangosuthu Buthelezi has continued with this tradition. In his speeches he represents the Zulu in primordial terms as a bounded group that historically has occupied both Natal and the old precolonial kingdom. The bantustan of KwaZulu, delineated and defined by the policy of apartheid, is presented as the natural heir to the Zulu kingdom and the Inkatha Freedom Party is portrayed as the guardian of the essence of Zuluness. An attractive historical self-imagery encourages people to define themselves in an exclusive manner as Zulu. Firm values and standards provide an ontological security and a network of assistance for sons abroad. Through a martial imagery, Buthelezi has represented the seven million Zulu as historically the most powerful obstacle to white supremacy. But since the resurgence of nationalist politics in the mid-1980s, and especially since the democratization started in 1990, Inkatha has attempted to attract the Zulu as a people in opposition to the ANC and their allies. This has most visibly resulted in a violent struggle for power; but it has also led to a virulent struggle over what it means to be Zulu. (shrink)

The book provides a comprehensive exploration of witchcraft beliefs and practices in the rural region of Eastern Slovenia. Based on field research conducted at the beginning of the twenty-first century, it examines witchcraft in the region from folkloristic, anthropological, as well as historical, perspectives. Witchcraft is presented as part of social reality, strongly related to misfortune and involved in social relationships. The reality of the ascribed bewitching deeds, psychological mechanisms that may help bewitchment to work, circumstances in which bewitchment narratives (...) can be mobilised, reasons for a person to acquire a reputation of the witch in the entire community, and the role that unwitchers fulfilled in the community, are but a few of the many topics discussed. In addition, the intertwinement of social witchcraft with narratives of supernatural experiences, closely associated with supernatural beings of European folklore, forming part of the overall witchcraft discourse in the area, is explored. (shrink)

This paper examines the stability of the concept of rumor in the past century. It is suggested that not only do models of explanation change, but rumors themselves also change - not only in content, but perhaps in the way they are believed or disbelieved. Social scientific interest in rumors begins with the birth of modern psychology in the 19th century, shifts to social psychology and sociology in mid-20th century, prompted by governmental concern over subversion through rumor during the Second (...) World War, and is finally revived by folklorists in more recent decades. A central assumption emerged that ambiguous situations create a vacuum which rumor fills. By the late 1960s, despite a decline in social scientific interest in the topic, a handful of significant empirical and theoretical challenges emerge from scattered studies. The discipline of folklore begins to take more interest in contemporary rumor in the 1970s, and by the early 1990s the rubric of the rumor is almost entirely supplanted in English language scholarship by the ‘urban legend’. It is argued that particular attention can and should be paid, in contemporary analysis, to the general information environment, the politics of belief, and cultural shifts in ideas about truth and falsity. (shrink)

Cet article se propose de montrer comment la présence récurrente de chevaux périlleux auprès de nombreux personnages de récits médiévaux et du folklore contemporain participe à la mise en lumière d’une fonction expiatoire conférée au destrier merveilleux. Il s’agit d’explorer la persistance de ce rôle dans le folklore régional français, afin de tracer un schéma d’un récit-type de la mise à l’épreuve et du tourment héroïques. La démarche retenue part de l’analyse du mythème chevalin dans le contexte du récit médiéval, (...) afin d’arriver à une mythanalyse d’un cheval-passeur que le folklore conserve et décline au gré des récits. Le propos s’appuie sur l’exemple de certaines chevauchées de La Queste del Saint Graal, que l’on mettra en relation avec des récits de tradition orale issus des collectes éditées par Alice Joisten et Christian Abry ou par Dominique Saur. Les déboires des élus du Graal auprès de chevaux terribles et merveilleux semblent bien ainsi constituer un topos de la remise en cause des vertus et des vices humains, dont la permanence se retrouve au sein de témoignages régionaux plus contemporains. The purpose of this paper is to evidence that the recurring presence of dangerous horses alongside many characters in medieval and contemporaneous folk narratives shed light on the atonement function of this marvel destrier. The permanence of this role in the French folklore will be emphasized in order to support a schema for a narrative type about the heroic test and torment. The approach proceeds from the analysis of the horse mytheme in the context of medieval narratives toward the mythanalysis of the ferry horse of souls, as a reputed psychopomp animal, which was ambient in folklore under various tokens. Finally, starting from specific horseback rides, typical riding raids found in The Grail Quest, their proximity with contemporaneous oral narratives edited by Alice Joisten and Christian Abry or by Dominique Saur will be recalled. The setbacks of the chosen of the Holy Grail faced to marvel and terrific horses seem to meet a topos, a challenge about virtues and vices whose permanence is attested in the most recent surveys in folkloristics. (shrink)

In Eastern Europe, when someone dies, the custom is to drape mirrors in the house with black muslin or a dark sheet. According to folklorists, this is done so that the deceased, who is believed to wander through his or her house for nine days saying goodbye to friends and family, will not be frightened when he or she cannot find his or her reflection in the mirror. While it is easy to scoff at such superstitious customs, there is much (...) to learn from them. The draping of the mirrors is a vivid metaphor, but it is also useful when it comes to making a counterintuitive point: namely, little systematic attention has been paid to the role of economic preferences, markets, and the pace of development in shaping Quebec's nationalist objectives and strategy. And it is this failure to comprehend the impact that economics, from a microscopic and macroscopic level, has had on ‘nation-building’ and, more concretely, on the October 30th referendum (where in answer to the question “Do you agree that Quebec should become sovereign, after having made a formal offer to Canada for a new Economic and Political Partnership, within the scope of the Bill respecting the future of Quebec and of the agreement signed on June 12, 1995?”, 49.5 percent of Quebeckers voted ‘Yes’) that is tantamount to a ‘draping of the mirrors,’ of providing an incomplete explanation about the bases of Quebec's nationalism. (shrink)

This volume analyses the religious, philosophical and folkloristic content of Ibn Waḥshiyya's (d. 931) Nabatean Agriculture, a book containing rich information on Late Antique paganism in Iraq. The book also contains 61 translated excerpts from the Nabatean Agriculture.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 113-120 [Access article in PDF] Wonders, Witches, Wolves, and Wisdom Ellen Handler Spitz Honors College Professor of Visual Arts University of Maryland The Annotated Classic Fairy Tales, ed. Maria Tatar, New York: W.W. Norton, 2002, Paperback: 394 pp., $16.95. We persist in hearkening to fairy tales. Along with ancient myths, the parables of scripture, the secular legends and sacred texts of many (...) lands, a stable canon of these magical tales still provides, even in the twenty-first century, an ongoing source of inspiration to artists, composers, choreographers, filmmakers, poets, and, above all, to the writers and illustrators and readers of children's books. They are of abiding interest as well to all of us who, in our various ways, concern ourselves with the aesthetic education of children. Why is this so? One preeminent authority in the field is Maria Tatar, John L. Loeb Professor of Germanic Languages and Literatures at Harvard University, an author who, with wisdom, tenderness, and erudition, has traced and researched these tales. Having devoted two decades to the phenomenon, Tatar's works include The Hard Facts of the Grimms' Fairy Tales, Off with their Heads! Fairy Tales and the Culture of Childhood, and The Classic Fairy Tales: A Norton Critical Edition.1 She has recently come out with a new book, an edited collection of twenty-six tales all illustrated, marginally annotated, and a number of them retranslated for the occasion, the result being The Annotated Classic Fairy Tales, a painstakingly produced, lavishly decorated volume that would grace any library.In addition to commenting, in the volume's elegantly wide margins, on each of the included tales, Tatar has arranged to have this new compilation ornamented with small colored reproductions of both rare and famous images associated with the tales by distinguished illustrators of the nineteenth and early twentieth centuries — artists such as Gustave Doré, Edmund Dulac, Walter Crane, Maxfield Parrish, and Arthur Rackham. While small in size and often not quite as clear as one might ideally wish (I found myself longing for some sorcery that would blow them up to full size so as to be able to feast my eyes on their wealth of detail and imaginative splendor), these images grace the text and greatly enhance its pleasures. Their presence, in fact, is one of the factors that makes this book unique. I know of no other extant work where a comparable effort has been made to join the fairy tales with a multiplicity of their most celebrated illustrations. The effect is astonishing. Readers are either transported directly back into their own early childhoods or newly acquainted with a brilliant visual canon parallel to that of the fairy [End Page 113] tales themselves. I predict it will be a rare reader who, after seeing this book, will not be desirous of learning more about the artists whose works are reproduced here. To further that end and to begin to satisfy the desire she must have known she would create, Tatar has supplied her readers with a section of mini-biographies and bibliographies not only of the authors and collectors of the fairy tales themselves (most notably, Charles Perrault, the brothers Wilhelm and Jacob Grimm, and Hans Christian Andersen) but of the illustrators. For this felicitous marriage — of word and image, of story and picture — her endeavor deserves our gratitude.Rather than take this tasteful treasure trove as a culmination of Tatar's pre-existing work, which, in a certain sense, it is, I prefer to see it as a lure that entices readers to revisit her earlier volumes which, while of recognized scholarly import and interpretive richness, all tackle questions pertinent not only to folklorists and to historians of literature but to all of us who, in the wake of recent history, have come to wonder ever more anxiously what sort of tales we ought to be telling children and ourselves and how and why. This question, incidentally, returns us to Book II of Plato's Republic, where Socrates poses this question directly to... (shrink)

Folklore has a critical role as a cultural transmitter, all the while being a socially accepted medium for the expressions of culturally contradicting wishes and conducts. In this study of Vietnamese folktales, through the use of Bayesian multilevel modeling and the Markov chain Monte Carlo technique, we offer empirical evidence for how the interplay between religious teachings (Confucianism, Buddhism, and Taoism) and deviant behaviors (lying and violence) could affect a folktale’s outcome. The findings indicate that characters who lie and/or commit (...) violent acts tend to have bad endings, as intuition would dictate, but when they are associated with any of the above Three Teachings, the final endings may vary. Positive outcomes are seen in cases where characters associated with Confucianism lie and characters associated with Buddhism act violently. The results supplement the worldwide literature on discrepancies between folklore and real-life conduct, as well as on the contradictory human behaviors vis-à-vis religious teachings. Overall, the study highlights the complexity of human decision-making, especially beyond the folklore realm. (shrink)

The relevance of the research is due to the fact that the musical and folklore heritage of V. F. Odoevsky is of great value for modern musicology, since it contains many unique recordings of Russian folk songs and songs of 26 other ethnic groups. V. F. Odoevsky is the first folklorist who recorded song folklore in a scientific way. His recordings are the first reliable examples of folklore in the history of Russian musicology. At the same time, the archives of (...) V. F. Odoevsky are practically not studied. The article examines the publications of B. B. Granovsky, since this scientist has been deciphering materials from the archive of V. F. Odoevsky for many years and introducing them into scientific circulation. The article considers that these publications reveal the style of the scientific method of V. F. Odoevsky, which is of great value in the study of the history and development of Russian ethnomusicology. Thanks to the works of B. B. Granovsky, rare songs of the peoples of Russia, which were recorded by V. F. Odoevsky, have been studied. In addition, the article shows that B. B. Granovsky not only deciphered many archival recordings of V. F. Odoevsky, but also published them in a musical collection of Russian folk songs. (shrink)

L’Académie des sciences de Finlande vient de publier un ouvrage qui apporte des éléments de réflexion intéressants sur la question du matriarcat qui aurait été naguère pratiqué par quelques sociétés européennes. En se fondant sur une double démarche, de folkloriste et d’anthropologue, l’auteur, Marisa Rey-Henningsen, s’est attachée à décrire et interpréter les rapports entre sexes qui étaient la norme voici encore très peu de temps en Galice. Une structure sociale particulière – le droit de...