What if we used the stories that researchers and practitioners tell each other as tools to advance interdisciplinary disaster research? This article hypothesizes that doing so could foster a new mode ...of collaborative learning and discovery. People, including researchers, regularly tell stories to relate “what happened” based on their experience, often in ways that augment or contradict existing understandings. These stories provide naturalistic descriptions of context, complexity, and dynamic relationships in ways that formal theories, static data, and interpretations of findings can miss. They often do so memorably and engagingly, which makes them beneficial to researchers across disciplines and allows them to be integrated into their own work. Seeking out, actively inviting, sharing, and discussing these stories in interdisciplinary teams that have developed a strong sense of trust can therefore provide partial escape from discipline‐specific reasoning and frameworks that are so often unconsciously employed. To develop and test this possibility, this article argues that the diverse and rapidly growing hazards and disaster field needs to incorporate a basic theoretical understanding of stories, building from folkloristics and other sources. It would also need strategies to draw out and build from stories in suitable interdisciplinary research forums and, in turn, to find ways to incorporate the discussions that emanate from stories into ongoing analyses, interpretations, and future lines of interdisciplinary inquiry.
L'article esquisse le développement des études de folklore et d'ethnographie en Albanie et au Kosovo de 1945 à 1991. Cette période est celle des régimes communistes en Albanie et en Yougoslavie, dont ...le Kosovo fait alors partie. L'auteur révèle que le moteur du développement de ces disciplines n'est pas tant l'ideologie communiste que les idées nationales qui émergent au XIXe siècle, pendant la période de formation de la nation albanaise. The article sketches the development of folklore studies and ethnography in Albania and Kosovo from 1945 up to 1991. This period corresponds with the existence of communist regimes in Albania and Yugoslavia, of which Kosovo was then part of. The article reveals that the driving force behind development of ethnography and folkloristics in both cases was not that much communist ideology, but in fact were the national ideas shaped during the period of formation of Albanian nation in the 19th century. Der Artikel zeichnet die Entwicklung der Folklorestudien und der Ethnographie in Albanien und im Kosovo von 1945-1991 nach. Dieser Zeitraum überschneidet sich mit der Regierungszeit der kommunistischen Regime in Albanien und Jugoslawien, von dem der Kosovo Teil war. Der Autor zeigt auf, dass der Motor der Entwicklung dieser Fachbereiche weniger die kommunistische Ideologie war, sondern vielmehr die nationalen Ideen, die ab dem 19. Jahrhundert entstanden, also zum Zeitpunkt der Entstehung einer albanischen Nation. El articulo esboza el desarrollo de los estudios de folclore y de etnografía en Albania y en el Kosovo de 1945 a 1991. Este periodo corresponde a la existencia de regímenes comunistas en Albania y en Yugoslavia, país que incluía entonces el Kosovo actual. El autor revela que el motor del desarrollo de estas disciplinas fue menos la ideología comunista que las ideas nacionales que surgieron en el siglo xix, durante el periodo de formación de la nación albanesa. Artikulli skicon zhvillimin e folkloristikës dhe etnografisë ne Shqipëri dhe në Kosovë nga viti 1945 deri në vitin 1991. Kjo periudhë përkon me ekzistencën e regjimeve komuniste në Shqipëri dhe ne Jugosllavi, pjesë e se cilës asokohe ishte edhe Kosova. Artikulli tenton të provojë, se forca nxitëse për zhvillimin e etnografisë dhe studimeve mbi folklorin ne të dyja rastet nuk ishte edhe aq ideologjia komuniste, por në fakt ishin idetë kombëtare të krijuara gjatë periudhës së formimit të kombit shqiptar në shekullin e XIX.
Eleştirel folkloristik perspektifinden, erkek beden morfolojisini, özne oluşun, bilginin ve iktidarın kaynağı olarak gören; bir başka deyişle, yaşamı fallosantrik bir varlık anlayışı ve temsil ...sistemi kabullerine göre inşa eden toplum ve kültür düzeninin önkoşulu doğanın, kadının, bedenin ve bütüncül deneyimin olumsuzlanarak nesne statüsüne indirgenmesi ve bu nesneler üzerinde tasarruf hakkı olan eril-aşkın öznenin üretilmesidir. Bu kültürel yapılandırma kapsamında, erkek bedenselliğinin akışkan özellikleri, aşkın ve aklî bir insan söylemi içinde perdelenerek katılaştırılırken, ortak duyuş kabullerine dair özne olmanın gerekliliklerine uymayan diğer tüm bedenler ve öznellikler, eril öznenin müdahale gerekçesi olarak nesneleştirilirler. Bedenleşmiş cinsiyetin tekrara dayalı bir performans olarak üretimi, kültürel söylem ve bedenleşme deneyimi arasında bir özdeşlik oluşturmayı hedefler. Ancak, söylemin deneyimlenen etkileri kesin olmaktan ziyade olumsal’dır. Deneyim, her durumda kişisel bir içselleştirme sürecidir ve bu yönüyle her performans, performans söylemi ve onun deneyimlenmesi arasında ortaya çıkan uyumsuzluğun dayandığı “yıkıcı bir potansiyeli” (performatif) bünyesinde taşımaktadır. Bu yaklaşımdan yola çıkarak, eril kültürel söylem ve kadın deneyiminin karşılaşma anında ortaya çıkan “performatif yıkıcılığın” gücüne odaklanan bu çalışmada, eril söylemin akışkan bedenleşmiş varoluş üzerindeki katılaştırıcı/bedensizleştirici söylemsel tertibatının tüm güzergâhları, sınırlamaya ve kontrole meydan okuyan “beden sıvıları” üzerinden takip edilmektedir. Bu takip sürecinde eril söylemin, katı, ayrıksı, kontrollü ve “bedensizleşmiş erkek özneler” ve bütünüyle akış-kan, sızdıran ve kontrolsüz, dolayısıyla da eril öznenin kontrolüne muhtaç “kadın-nesne-bedensellikler” üretme mekanizması incelenmektedir. Söz konusu söylemsel yapılandırma, eleştirel folkloristik merkezinde, Feminist düşünür Luce Irigaray’ın “Katı ve Akışkan Mekanik” kavramlarına dayanan teorik yaklaşımı başta olmak üzere, Feminist post-yapısalcı, yapı-sökümcü ve gözlemlenebilen, duyularla algılanabilen/fenomenolojik yaklaşımlar çerçevesinde açıkça ortaya serilebilen bir zihniyeti önümüze çıkarmaktadır. Böylece bu çalışmanın amacı, ortak duyuş çerçevesinde kadınla özdeş “akışkan bedenleşmiş varoluşun”, hem teorik ve hem de pratik sonuçlar ortaya koyabilecek performatif bir imkâna dönüştürülebileceğini ve böylelikle kadın, erkek ve doğanın ilişkisel varoluşunu ihata eden akışkan, kanlı-canlı bir yaşam deneyimi ve bilim pratiği (eleştirel-feminist folkloristik) için hareket noktası olabileceğini tartışmaya açmaktır. Çalışmanın bir diğer amacı, folkloristiğin insan yaşamına yakınlaşmış bir disiplin olabilmesi ve postmodern bilim anlayışında disipliner varoluşunu güçlendirebilmesi için özdüşünümsel, eleştirel, bedenleşmiş ve çözüm üreten bir araştırma, analiz pratiği haline getirilmesine katkı sağlamaktır. Bu bağlamda çalışma, eleştirel folkloristik perspektifine odaklanarak kültürel süreçler içinde bedenleşme deneyimine; diğer bir deyişle, duygulanan, korkan, acı çeken “gerçek insan” anlayışına yönelik bir yaklaşımı benimsemektedir. Böylece, folklorun davranış örüntüleri boyunca erkek beden morfolojisini ve eril söylemi önceleyen geleneksel ortak duyuşa dayalı dünya düzeninde kadını edilgen, kontrole tabi bir nesneye indirgemesini mikro ölçekte folklorun belirgin bir problematiği olarak görmektedir. Makalenin kurgusu ve akışı, erkek varlığına karşı mücadele içinde olan kadının, yaşamın tüm hallerini karşılama becerisini; buna karşılık erkeğin katılaşmasını/bedensizleşmesini kendiliğinden ortaya sermektedir.
From the perspective of critical folkloristics, considering male body morphology as the source of becoming a subject, knowledge and power; in other words, the prerequisite of the social and cultural order that constructs life according to the assumptions of a phallocentric understanding of existence and representation system is the negation of nature, woman, body and holistic experience, reducing them to object status and producing a masculine transcendent subject who has the right to dispose of these objects. In this cultural construction, while material and fluid nature of male corporeality is veiled and solidified in a transcendent and rational human discourse, all other bodies and subjectivities that do not comply with the requirements of being a subject regarding common sense acceptance are objectified as the subject's justification for intervention. The production of embodied gender as a repetitive performance aims to create an identity between the cultural discourse and the experience of embodiment. However, the experiential effects of the discourse are contingent rather than definite. Experience is, in any case, a personal internalization process, and in this respect, every performance carries within itself a "destructive potential" (performative) on which the incongruity that emerges between the performance discourse and its experience is based. Based upon this approach, in this study, which focuses on the power of this “performative destructiveness” that emerges at the moment of encounter of masculine cultural discourse and female experience, all the routes of the solidifying/debodying discursive setup of masculine discourse on fluid embodied existence are followed through “body fluids” that defy limitation and control. In this followup process, the mechanism of masculine discourse's production of solid, discrete, controlled and "disembodied male subjects" and "female-object-bodies" that are completely fluid, leaky and uncontrolled, and therefore in need of the control of the masculine subject, are examined. The aforementioned discursive structuring, at the center of critical folkloristics reveals a mentality that can be clearly revealed within the framework of Feminist post-structuralist, deconstructive and observable, perceptible by senses/phenomenological approaches, especially the theoretical approach of Feminist philosopher Luce Irigaray based on the concepts of "Solid and Fluid Mechanics". Thus, the aim of this study, is to open a discussion about the “fluid embodied existence identified with woman” can be transformed into a theoretical and a practical performative possibility and thus a starting point for a fluid and living life experience and science practice (critical-feminist folkloristics) which encompasses the relational existence of women, men and nature. Another aim of the study is to contribute to making folkloristics a self-reflective, critical, embodied and solution-producing research and analysis practice so that it can become a discipline that is closer to human life and strengthen its disciplinary exist-ence in the understanding of postmodern science. In this context, the study focuses on the critical folkloristic perspective; the experience of embodiment in cultural processes; in other words, it adopts an approach towards the understanding of the "real person". Thus, this article considers the reduction of female to a passive, controlled object in the world order based on traditional common sense, which prioritizes male body morphology and masculine discourse throughout the behavior patterns of folklore, as a distinct problematic of folkloristics on a micro scale. The structure and flow of the article is the ability of the female, who is already in the struggle against the existence of male, to meet all aspects of life; on the contrary, it reveals the solidification/disembodiment of the male by itself.
This article discusses the terminology and representations concerning the older Estonian oral song tradition specialists in Estonian folkloristic literature from the late 19th century to the second ...half of the 20th century. The folk singers' relationships with their family, community, and folklorists from the perspective of diachronic and synchronic intersubjectivity is also considered. At the heart of the documentation and study of runo songs (regilaulud) are folk singers who actively embody the song culture. They are specialists who, in addition to having knowledge of the lyrics, tunes and performing practices, also have a need to perform in public, learn from other (older) singers, and share their skills with the next generations. At the height of the documentation of folklore at the turn of the 19th and 20th centuries, runo songs had receded to the periphery of cultural life and lost their importance in musical self-expression. So, too, the runo singer became the embodiment of the margins of society – someone old and poor. As folklore studies developed, the representation of the folk singer gained agency – the singer was not only a reservoir of knowledge or a repeater of rituals, but also a specialist in communication. In the 1960s, a wedding singer – an improviser who actively used poetic means – took over as the collective image of a folk singer. However, the song tradition is also carried on by people of a different nature, who know a lot of songs and the context in which they are used, but do not wish to perform in public. In this article, I focused on the inactive, modest singers. The main subjects of this article are the folk singers recorded in the 1960s, during the last great wave of runo song documentation. All those studied were „of singers' blood": their immediate family were wellknown singers. In order to become proficient in performing the runo songs, they had to have grown up in a close relationship with their grandmother. It was the modest singers, in particular, who continued to express themselves by means of the runo songs in the form of autocommunication. The relationship of the modest singers with the collectors of folklore may even have been more positive than that of the active ones; they developed a closer bond with the collectors, were more patient and more accommodating.
Regardless of Eric Hobsbawm’s negativistic understanding, ‘tradition’ is a powerful and dynamic (and in no way traditionalist) concept in academic folkloristics. The widespread scepticism against ...‘traditional music’, both as a recognizable field of research and a matter of theoretical thought, is based on an insufficient and sometimes stereotypic understanding of a term and concept with a fascinating history. I argue that there is good reason to maintain a term which is intrinsically linked to core issues of ethnomusicology, among them community-based music, cultural innovation, oral/aural transmission, sonic orders, and stylistic pluralism.
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