The reflection about research on Slavic folklore must be accompanied by a careful reminder that in the 19th century many people showed general interest in it and carried out field studies: these were ...amateurs, travellers, journalists and professional gatherers, i.e. ethnologists, and in the 20th century – folklorists (who continued the earlier work following accepted scientific curricula). The close linguistic affinity of the Slavs, similarity of political situations and social structures of folklore depositaries throughout history facilitated and developed comparative research on various folklore genres (tales, songs, legends, proverbs, comic stories). In the 19th century, Slovak songs were distinguished by Oskar Kolberg. Conversely, a concrete example of pioneering academic achievements in folk tale studies in Slovakia includes the tales collected by Pavol Dobšinský and Samuel Czambel, and later (in the first half of the 20th century) by Frank Wollman and his followers; and after World War II – by Viera Gašpariková. Many integrative, interethnic and comparative research initiatives have been directly linked to the tales and resulted in printing valuable collections of texts edited by folklorists from Poland and Slovakia e.g. Śpiewająca lipka. Bajki Słowian Zachodnich (The Singing Linden Tree. The Tales of the West Slavs), Zbójnicki dar. Polskie i słowackie opowiadania tatrzańskie (The Robber’s Gift. Polish and Slovak Stories about the Tatras), Słoneczny koń. Bajki słowackie (The Sunny Horse. Slovak Tales), Skarb w garncu. Humor ludowy Słowian Zachodnich (The Treasure in the Pot. Folk Humour of the West Slavs), Bajki słowackie (Slovak Tales by P. Dobšinský). According to the author of the article, Polish and Slovak work in the field of tales stands out among the research on folklore genealogy of the Slavs. Therefore, she focuses on the anthologies that promote and popularize Slovak tales in Poland.
This study mirrors the symbolic actions of cultural characters in Davao folk narratives. It utilized descriptive-narrative and narrative-conversational methods to collect and analyze the folk ...narratives in the Davao region. The Cultural Symbolism theory of Clifford Geertz was used to reveal the interweaving culture of the indigenous people. Thus, the symbolic actions present in the texts are the following: pangayaw (tribal war), divine intervention, hunting, trading, belief in the existence of heaven, usage of magical instruments, cursing and casting enchantments, and patronizing a Datu. Hence, this study contributes to the preservation of culture which is slowly vanishing due to the effects of colonization, modernization, and globalization. Thus, further studies on myths, folktales, folk songs, folk speeches, and folk epics should be done to promote the cultural awareness among postmodern Filipinos.
Air has been an important issue because it is a vital source of human. Many beliefs about weather and wind developed in ancient philosophy, mythological perceptions and celestial religions. In many ...of these imaginations, the wind is a divine sign. Similarly, when we turn to Turkish mythology, we encounter beliefs that the wind is dominated by gods and spirits. The Turks; the names such as “Yel Baba”, “Yel İyesi” believed that the souls they gave were the forces controlling the winds. These emerging beliefs have influenced not only social life but also folk literature. Indeed, mythological elements are treasures that enrich literature. In this context, it can be said that wind, which is an important part of mythological perceptions, frequently finds a place in the narratives. Wind is a phenomenon that positively directs the fate of the hero with a sacred touch in narratives and can transform the hero. However, we rarely witness that the wind brings negatives to heros and even the wind is the representative of evil beings. Regardless, there is a fact that the perception of wind is always associated with supernatural beings and is a decisive mystical element in the narrative. This study focuses on the meaning of philosophy, mythology, heavenly religions and sufism in order to illuminate the origin of the phenomenon of wind in the narratives. In order to support the ideas put forward in this study, the Altai epic from the South Siberian geography, “Maaday-Kara”, Shor epic “Altın Tayçı”, the Shor tales “Kayıp Kız” and “Şanssız Nekker”, the Hakas tale “Işık Işıkoğlu Hakan” and “Akkız and Karakız” from the Anatolian field will be examined. The aim of the study is to determine to what extent and how the reflections of wind imagery in Turkish mythology and cultural structure are reflected in folk narratives, and what functions they perform in the narratives.
The study analysed samples of folk narratives, specifically three Batangas religious legends, from the lens of Archetypal criticism. In a collective sense, analysing the archetypes of religious ...legends revealed Batangueños’ spirituality, religiosity, and traits as a people. The theme of faith as an archetypal subject relates to the Batangueños’ deep trust in God amidst difficult circumstances. The caregiver female character archetype recurs in the legends, while the ruler, everyman, rebel, and sage are the male archetypes revealed by the study. The characters’ negative traits as embodied in the shadow archetypes reflect that, true to their nature as human beings, Batangueños have human flaws. The water that represents the archetypal image symbolises the Batangueños’ life cycle of birth-death-resurrection, purification and redemption, fertility, and growth. As gleaned from the two legends, the situation archetype may be related to the Batangueños’ ownership of patron saints as part of their religiosity. Since the study focused on the non-etiological classification of legends, future researchers may study other legends that may reflect the peculiar culture of their localities
Millî kültürün inşa edilmesinde ve şekillenmesinde önemli hizmetleri olan âşıklar, bu geleneğin yaşatılarak geleceğe taşınmasında müstesna rol oynamışlardır. Âşıklık geleneğinde destan ve halk ...hikâyeleri; millî kültürü ve tarihi yansıtması bakımından oldukça önemli bir mirastır. Manzum parçaların sıkça kullanıldığı bu edebi türlerin anlatılması, çok güçlü bir hafıza gerektirmektedir. Destan ve halk hikâyelerinin kuşaktan kuşağa intikal ederek günümüze ulaşmasını, âşıklara borçluyuz. Âşıklar; musiki, nazım, nesir ve tiyatro sanatı unsurlarını birleştirerek kendi sanatlarını icra etmişlerdir. 16.-17. yüzyıllarda Türk kültür coğrafyalarında altın dönemini yaşayan âşıklık sanatı, özellikle 19. yüzyılda pek fazla halk hikâyeleri ortaya çıkarmıştır. İrevan, Göyçe, Borçalı, Karabağ, Şirvan, Derbent muhitlerinin yanı sıra Karadağ-Tebriz, Urmiye, Horasan, Kaşkay, Zencan, Save gibi bölgeleri de kapsayan Azerbaycan âşıklık geleneği, Türk halk edebiyatının önemli bir kültür hazinesidir. 19. yüzyılda Azerbaycan âşıklık geleneğinin önemli merkezlerinden biri olan Göyçe, Azerbaycan Türk âşıklık geleneğine Ak Âşık (Allahverdi), Âşık Alı ve Âşık Alesker gibi dev üstatlar kazandırmıştır. Göyçeli Âşık Alı, 19. yüzyıl başlarında dünyaya gelen ve en uzun ömürlü sa-natkârlardan biri olarak bilinmektedir. Âşığın hayatı ve sanatsal faaliyeti ile ilgili en fazla bilgi, “Âşık Alı’nın Türkiye Seferi” adlı halk hikâyesinde yer almaktadır. Destan ve halk hikâyelerinde görülmekte olan farklı versiyon ve varyantlaşma, bu eser için de geçerlidir. “Âşık Alı’nın Türkiye Seferi”nin üç metni tarafımızca tespit edilmiş ve birbirine fazla benzemeyen bu eş metinler için çalışmamızda varyant terimi kullanılmıştır. Şimdiye kadar konuyla ilgili tek varyanttan bahsedilmiş ve ele aldığımız üç varyant arasında mukayeseler yapılmamıştır. Kullandığımız baskı yılına göre varyantlardan birincisi, Âşık İmran Hasanov ve Âşık Mahmud Memmedov; ikincisi, Âşık Hacı Bayramov; üçüncüsü ise Âşık Gulu tarafından anlatılmıştır. Çalışmamızda; Âşık Alı hakkında bilgi verilmiş, hikâyenin tanıtılması için Kiril alfabesiyle yayınlanan birinci varyantın ayrıntılı özeti çıkarılmıştır. Varyantlar, onları anlatan âşıkların adıyla adlandırılmış, her üç varyant arasındaki farklar ve yeni bilgiler tespit edilerek başlıca özellikleri açıklanmıştır. Varyantlar arasındaki farkları daha net görebilmemizi sağlaması ve hikâyenin önemli temel unsuru olan nazım parçalarını temsil etmesi adına “Ağrı dağı” şiiri, ayrıca incelenmiştir. Türkiye’deki Âşık İkbal (Yığval) ve Âşık Esmer’den bahsedilen hikâyede; Ağrı, Iğdır, Kağızman, Kars, Sarıkamış, Erzurum, Muş ve İstanbul gibi bölgelerin adı geçer. Eserde, Âşık Alı’nın; Yunus Emre, Karacaoğlan, Dadaloğlu, Pir Sultan Abdal, Âşık Ömer, Âşık Emrah, Öysüz Dede, Kayıkçı Kul Mustafa, Kul Mehmet, Kul Himmet, Âşık Hasan gibi üstatlardan haberdar olduğu ve onların şiirlerini ezbere bildiği görülmektedir. Bu doğrultuda çalışmamızın bir diğer amacı, “Âşık Alı’nin Türkiye Seferi” bağlamında 19. yüzyılda Azerbaycan ve Türkiye âşıklık geleneğinin yakın bağlarına dikkat çekmektir.
The minstrels, who greatly contributed to the formation and shaping of the national culture, played an exceptional role in keeping this tradition alive and carrying it on to the future. The epic and folk narratives from the minstrelsy tradition is a very important heritage in terms of reflecting national culture and history. The recitation of these literary genres in which verses are often used requires really good memory. We should be grateful to minstrels that such epic and folk narratives have been passed on from generation to generation and have reached the present day. The minstrels recited these literary genres combining elements of music, poetry, prose and theatre. The golden age of the minstrel art within the Turkic cultural geography was in the 16th-17th centuries, and especially many folk narratives appeared in the 19th century. The Azerbaijani minstrelsy tradition, which includes regions such as Irevan, Goyçe, Borçalı, Karabağ, Şirvan, Derbent, as well as Karadağ-Tebriz, Urmiye, Horasan, Kaşkay, Zencan, Save, is an important cultural treasure of Turkish folk literature. Göyçe, one of the important centers of the Azerbaijani minstrelsy tradition in the 19th century, brought great masters such as Ak Ashik (Allahverdi), Ashik Ali and AshikAlesker to the Azerbaijani Turkish minstrelsy tradition. Ashik Ali from Göyçe is known as one of the longest-lived minstrels who was born at the beginning of the 19th century. The widest information about the life and artistic activities of the minstrel is contained in the folk narrative called "Âşık Ali’nin Türkiye Seferi" (Ashik Ali’s Journey to Türkiye). The existence of versions and variants characteristic for epics and folk tales is valid for this literary work as well. Three texts of "Âşık Ali’nin Türkiye Seferi" were identified by us, and the term "variant" is used in our study for these three texts, which are not very similar to each other. So far, only one option has been mentioned on this subject, and no comparisons have been made between the three options we have discussed. According to the edition year, the first of the variants was narrated by Ashik Imran Hasanov and Ashik Mahmud Memmedov, the second by Ashik Hacı Bayramov and the third by Ashik Gulu. In our study, information about Ashik Ali has been given and in order to introduce the narratives, a detailed summary of the first variant published in the Cyrillic alphabet has been provided. The variants have been named after the minstrels who narrated them, the differences between the three variants and new information have been identified, based on which their main features have been explained. In order to enable us to see the differences between the variants more clearly and to introduce the verse part that is an important basic element of the narrative, the poem "Ağrı Dağı" has been studied separately. In the narrative that mentions Ashik Ikbal (Yığval) and Ashik Esmer from Türkiye there are also references to such regions as Agri, Iğdır, Kağızman, Kars, Sarıkamış, Erzurum, Muş and Istanbul. From this narrative, we can also see that Ashik Ali knew such masters as Yunus Emre, Karacaoğlan, Dadaloğlu, Pir Sultan Abdal, Ashik Ömer, Ashik Emrah, Öysüz Dede, Kayıkçı Kul Mustafa, Kul Mehmet, Kul Himmet and Ashik Hasan and knew their poems by heart. In this direction, the other aim of the study is to draw attention to the close ties of the minstrelsy tradition of Azerbaijan and Türkiye in the 19th century in the context of "Âşık Ali’nin Türkiye Seferi" (Ashik Ali’s Journey to Türkiye).
This article focuses on the concept 'reconstruction of the world' proposed by G. Zoran in his theoretical work on the representation of space in narrative. It makes special reference to the ...inter-medially transformative processes that narrators and audiences undergo, as materially concrete objects in space turn into representations in the verbal medium. Investigating the possible bodies of knowledge common to the participants in the communicative process, the article specifically discusses animals widely described in late antique and medieval Jewish folk tales and considers the possibilities for reconstructing the sources of shared imaginary worlds.
Place-lore, which has been systematically collected and archived in Estonia since the 19th century, is a part of various national, communal and institutional practices. Until now, Estonian ...researchers have resorted to conceptualizing place-lore from the perspective of archival texts, and the focus has been on collecting and archiving the material. At the same time, theoretical study of place-lore has remained in the background. In the article I approach place-lore from the perspective of ecosemiotics and suggest a new definition of place-lore that is based on semiotic relations these narratives have with the environment they represent. Outlining different ways of how vernacular tradition and the environment it represents are semiotically related, and analysing the ways in which these relations are expressed in place-related folklore allows seeing how place-lore can be defined through (1) localizability, (2) representation of the characteristics of a place, and (3) manifestation of place experience. Defining place-lore and presenting the preliminary conceptual tools is much needed in practical collection work and archiving and serves as an important prerequisite for studying the placerelated folklore in the context of contemporary challenges, such as changing textual practices, cultural disruptions, and environmental crisis. Examples are drawn from folklore associated with mires, specifically from narratives about the Kakerdaja Bog in northern Estonia.
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