Language is the most important means of communication between people, a tool that enables the transfer of ideas to others. In addition, language is the mirror of national culture and a treasure that ...protects it. The nature of the lands where each nation lives reflects the economic, social, cultural and spiritual system, oral creativity, fiction, art, science and tradition of that nation and collects them and transfers them from generation to generation. Transferring the language to future generations is also a national-cultural duty. The service of the language is also great in the development and learning of wise expressions such as proverbs, idioms, aphorisms, which appear as short and meaningful logical generalizations that act verbally. Every proverb and saying is considered the verdict of the people. They either confirm or deny something. One of the most common and extensive genres of Uzbek folklore is the epic. In this regard, examining the linguistic features of proverbs in epic texts (“Alpomish” and “Yodgor”) which are popular among the public from various aspects is considered one of the urgent problems of Uzbek linguistics.
Reframing the early French fairy tale Bottigheimer, Ruth B; Stedman, Allison; Harries, Elizabeth Wanning ...
Marvels & tales,
01/2005, Letnik:
19, Številka:
1
Journal Article
This concise and informative guide looks back at the customs and traditions of a predominantly rural Wales during the nineteenth century. Each chapter is complemented by several eye-witness accounts ...that create vivid descriptions of a forgotten way of life, such as the revelries of the corn harvest, winter nights by the fireside, and the traditional "cwrw bach" or fundraiser. Customs are arranged into four main groups: those centred on the hearth and home, agriculture, community life, and the parish church. The Customs and Traditions of Wales explores each custom's origins and examines the transformation of Welsh traditions during the nineteenth and early twentieth centuries in response to industrialization. A substantial new introduction places this classic work in its context, charting the progress of the field since the original publication and celebrating Trefor M. Owen's life and work.
This article examines Yeats’s broad use of Irish folklore between 1888 and 1938, and attempts to find a justification for his contention that his own unique metaphysical system expressed in both ...editions of A Vision, itself an outgrowth of his three decades of ritual practice as an initiate in the Hermetic Order of the Golden Dawn, could somehow function as both an interpretation and enlargement of “the folk-lore of the villages”. Beyond treating Irish fairy stories as a way for Yeats to establish his own Irishness, capture what remained of “reckless Ireland” in its twilight, or create a political counter-discourse set against English hegemony, the immutability and immortality of the sídhe are considered in light of the assertions of several minor lectures from the Golden Dawn. This connection sheds new light on Yeats’s ideas about Unity of Being, and hypothesizes a possible esoteric path to “escape” from his system of phases so as to resolve the body-soul dilemma evident in his poetry.
O artigo problematiza o papel das coleçoes fonográficas e uso de gravaçoes sonoras em pesquisas etnográficas. A primeira parte trata do impacto da invenção do fonógrafo em pesquisas etnográficas e ...investiga os diferentes sentidos atribuidos aos arquivos fonográficos pela antropologia e etnomusicologia. A segunda parte consiste num relato de pesquisa sobre o acervo fonográfico de Luiz Heitor Correa de Azevedo, formado entre 1942 e 1944, a partir de um projeto de documentação de "música folclórica brasileira" nos estados de Goiás, Ceará e Minas Gerais. A partir dessa experiencia de pesquisa abordam-se lógicas de colecionamento e metodologias em um projeto baseado em documentação fonográfica, nos anos 40, no Brasil, bem como os diferentes sentidos atribuidos a fonogramas de Luiz Heitor em circulação por contextos nao académicos.
What activities did the women of ancient Greece perform in the sphere of ritual, and what were the meanings of such activities for them and their culture? By offering answers to these questions, this ...study aims to recover and reconstruct an important dimension of the lived experience of ancient Greek women. A comprehensive and sophisticated investigation of the ritual roles of women in ancient Greece, it draws on a wide range of evidence from across the Greek world, including literary and historical texts, inscriptions, and vase-paintings, to assemble a portrait of women as religious and cultural agents, despite the ideals of seclusion within the home and exclusion from public arenas that we know restricted their lives. As she builds a picture of the extent and diversity of women’s ritual activity, Barbara Goff shows that they were entrusted with some of the most important processes by which the community guaranteed its welfare. She examines the ways in which women’s ritual activity addressed issues of sexuality and civic participation, showing that ritual could offer women genuinely alternative roles and identities even while it worked to produce wives and mothers who functioned well in this male-dominated society. Moving to more speculative analysis, she discusses the possibility of a women’s subculture focused on ritual and investigates the significance of ritual in women’s poetry and vase-paintings that depict women. She also includes a substantial exploration of the representation of women as ritual agents in fifth-century Athenian drama.
Even when Yeats sought exterior validation, his methods were sometimes rather slipshod. ...in his excitement over finding apparent corroboration for what would become the central trope for A Vision ...(1925), his vision of "a naked woman of incredible beauty, standing upon a pedestal and shooting an arrow at a star", Yeats was blatantly duped by William Sharp (Yeats, Autobiographies 280; Yeats, Later Essays 14). Through the special blending of Irish and occult lore, Yeats could attain a subject matter both unique and of general validity. ...his three interests the literary, political, and philosophical became - at least in his poetic theory and practice - unified, for his art was the expression (as Pater required) of his personality, the expression (as Irish nationalism demanded) of the Irish mind, and a method of buttressing and extending (as Blavatsky and MacGregor Mathers urged) the teachings of theosophy, Rosicrucianism, and cabalism. ...fifteen years after formally resigning from active participation in the Stella Matutina (the schismatic successor of Mathers' original Golden Dawn), Yeats closed nearly two decades' work on A Vision with the lament: "It seems as if I should know all if I could but ... find everything in the symbol. ...they take the supernatural events so much for granted that they seem advocates for Evans-Wentz's view in The FairlyFaith in Celtic Countries: "If fairies actually exist as invisible beings or intelligences, and our investigations lead us to the tentative hypothesis that they do, they are natural and not supernatural, for nothing that exists can be supernatural" (xxiv).
The study focuses on contemporary forms of folklore and their relationship to literary forms like Fantasy, Sci-fi, Horror and Fantasy Game. The first problem is the specification of the terms and the ...classification of the internal structure of these terms. A typical structure of contemporary oral folklore, such as urban legends, is a combination of classical forms of folklore (subject matter from fairy tales, anecdotes etc.) and the influence of films, television and books. This contamination is really typical for postmodern culture. Fantasy stories can de divided into five categories - 1. alternative history (variants of past history or future evolution); 2. classical fantasy (variants of mythology or classical fairy tales or legends); 3. parody of fantasy or humour fantasy (the fantasy world is mostly only background); 4. urban fantasy (more or less a part of urban legend); 5. comics (the importance of graphic form - Superman, Batman etc.). Sci-fi and horror stories are mostly literary products influenced by classical legends or urban legends. Party games, especially “Dungeons & Dragons”, and their enactments by fans are a special part of the fantasy world. Ethnologists are faced with the questions of which method to use to carry out field research and what is actually relevant. Based on the first experiences we can see that for the research into this “new” field we can use the standard methods without problems. But for a better understanding we need to read fantasy, sci-fi and horror books, watch fantasy, sci-fi and horror movies, and get acquainted with the websites related to fantasy or sci-fi content. For a good analysis of fantasy party games one needs to become a member of a gamers’ group. The use of modern recording equipment like digital video cameras and cameras etc. is also very important.
This thesis interrogates the question ‘how does a local poet achieve connections in a context defined by difference?’ The creative practice section offers a collection of poetry written within given ...contexts, from specific places and emerging out of collaboration, commission and participative practice. Each project offers the difference anticipated by the research question. Therefore the context from which the poem emerged is made explicit to further support the argument. A local poet achieves connections in a context constituted by difference by using her imaginative capacities to produce virtual and emergent, yet real, material space. In Chapter One I define the creative process as that of ‘Local Poetics’ via a discussion of Heaney’s use of the term local poet and New-Materialist thought. I offer close readings of poems by Norman Nicholson, Adrian Henri and Barry MacSweeney to describe how the poem is a ‘local solution to a local problem’ and I present the history of participatory writing in Liverpool in relation to my own experience to support this idea. Chapter Two offers ‘case studies’ of my creative writing process to argue for ‘local poem as more than words’. The local poem emerges from multiple influences not all of them linguistic. In Chapter Three I extend this idea to consider how a local poet writes with their context not about it making poetry with the agency and affordances of materials. I conclude that connections are achieved by the local poet when multiple material trajectories acting on the sensate body become imaginative thought. In the process those material energies are transformed. Through intimate connection with an audience or reader the material process continues. I describe this activity as the work of the local poet.
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