Suchergebnisse

The problem of speech stereotypes of the Russian wedding ceremony in the texts of works of fiction is discussed in the paper. What is subjected to specific analysis are the plays by Alexander Ostrovsky with the theme of matchmaking, where samples of oral folklore and wedding rituals are widely represented in the speech of the matchmakers. The samples of their poetry, replete with folkish and ritual wedding elements, are presented in the article with their analysis given from the side of content and form as well as comparison with their authentic folkish oral prototypes, including ones fixed on Kostroma soil as well, is made. The study is based on the works of well-known Russian folklorists who devoted their work to studying local traditions of the Russian wedding speech genres and folklore patterns accompanying them. Historical and cultural links of Alexander Ostrovsky's dramaturgical creative work with live folklore and ritual folk traditions are established. In this respect, the high appreciation of the archival folklore and ritual collections of Kostroma, including the one in the walls of Kostroma State University, is revealed by the experts. In conclusion, it is pointed out that folklore speech elements in Alexander Ostrovsky's drama are of substantial and stylistic importance, and these includes elements of Russian wedding ceremonies and many typified poetic examples of oral folklore conveyed through the speech of matchmakers.

This collection of essays represents the first interdisciplinary study in English to consider social memory in Japan across a wide range of issues and phenomena. Unlike previous studies which have focused on isolated issues, especially Second World War events, this volume examines in depth a variety of memorialization subjects, including music and poetry, artefacts and tools, oral testimonies and written documents, stones and performances, rivers and earthquakes, ritual and ceremonies as well as art and artists. In addition to valuable insights into the social and cultural life of the Japanese, its contextualized analysis and rich narrative provide a basis for the comparative study of collective memory-making. The chapters are thematically grouped as 'Remembering the Dead', 'Art of Memory' and 'Nature Remembered'

This volume discusses the participation of Jews as soldiers, journalists, and propagandists in combating the Nazis during the Great Patriotic Waräóîas the period between June 22, 1941, and May 9, 1945, was known in the Soviet Union. The essays included here examine both newly discovered and previously-neglected oral testimony, poetry, cinema, diaries, memoirs, newspapers, and archives. This is among the first books to combine the study of Russian and Yiddish materials, reflecting the nature of the Jewish Anti-Fascist Committee, which for the first time during the Soviet period included under the same institutional umbrella both Yiddish-language and Russian-language writers. This volume will be of use to scholars, teachers, students, and researchers working in Russian and Jewish history.

This article is based on folklore studies of oral epic tradition in the Serb-Croat (or, depending on territory, Croat-Serbian) language which was common to the majority of former Yugoslavia population (in fact, all but Slovenes and Macedonians). The corpus of 1200 oral epic songs were chosen among other folklore genres because of their strong ideological position which made them the only form of oral literature where town appears as a human habitation clearly defined in time and space. In all other forms of traditional culture, the urban space is imagined and represented either as a miraculous or elfin place (as in fairy-tales, ritual poetry, short literary forms, et al), or as a notion with a name but without a content (as in etiological and other legends). In contrast, the epic poetry builds the image of urban space. ; Ovaj tekst je zasnovan na proučavanju usmene epske tradicije na srpskohrvatskom (ili, zavisno of teritorije, hrvatskosrpskom) jeziku, a geografski pokriva teritoriju bivših jugoslovenskih republika Srbije, Crne Gore, Hrvatske i Bosne i Hercegovine (danas tri posebne države od kojih svaka smatra da ima svoj poseban jezik). Korpus je sastavljen od 1200 epskih pesama sakupljenih tokom XIX i u samom početku XX veka, objavljenih u zbirkama koje se danas smatraju klasičnim. Izbor epike kao jedine vrste tekstova koji mogu poslužiti kao građa za ovu temu nije slučajan. Samo u epici, koja je izrazito ideološka poezija, grad je koncipiran i predstavljen kao u vremenu i prostoru definisano ljudsko naselje. U svim drugim tekstovima narodne kulture (književnim i neknjiževnim) grad se javlja ili kao vilinsko i čudesno mesto (lirika, bajke, kratke forme), ili kao pojava sa imenom ali bez sadržine (etiološka predanja i legende). U epici, međutim grad je predstavljen kao centar vlasti i moći, pa se i država izjednačava sa brojem i snagom gradova koji je čine. Samo u epskim pesmama, zato što se one bave postavljanjem etičke, socijalne i političke norme - dakle odnosom između države, vladara, vere i naroda, gradovi su modelovani kao lokusi sa strukturom, dovoljno važni da se za njih vode ratovi i ginu čitave vojske. Kako najnoviji tužni događaji sa našeg prostora pokazuju, ova komponenta složenog pojma grad žilavo se i dobro čuva i pod današnjim, za tradicijsku i svaku drugu - kulturu teškim i nepovoljnim uslovima.

The quest to understand the evolution of the literary mind has become a fertile field of inquiry and speculation for scholars across literary studies and cognitive science. In Paleopoetics, Christopher Collins's acclaimed earlier title, he described how language emerged both as a communicative tool and as a means of fashioning other communicative tools—stories, songs, and rituals. In Neopoetics, Collins turns his attention to the cognitive evolution of the writing-ready brain. Further integrating neuroscience into the popular field of cognitive poetics, he adds empirical depth to our study of literary texts and verbal imagination and offers a whole new way to look at reading, writing, and creative expression. Collins begins Neopoetics with the early use of visual signs, first as reminders of narrative episodes and then as conventional symbols representing actual speech sounds. Next he examines the implications of written texts for the play of the auditory and visual imagination. To exemplify this long transition from oral to literate artistry, Collins examines a wide array of classical texts—from Homer and Hesiod to Plato and Aristotle and from the lyric innovations of Augustan Rome to the inner dialogues of St. Augustine. In this work of "big history," Collins demonstrates how biological and cultural evolution collaborated to shape both literature and the brain we use to read it

AbstractThis article explores theremaniementof three episodes current in the Perso-Arabic Alexander tradition—i.e., Eskandar's confrontation with the Indian king Fur; Eskandar's visit to Queen Qeydāfeh; and Eskandar's encounter with the Gymnosophists—in the anonymous PersianEskandarnāmeh, a medieval epic narrative in prose (dāstān;ca. 12th–14thc.). Through extensive comparative evidence from other genres, primarily narrative poetry (Ferdowsi'sShāhnāmeh, Nezāmi'sSharafnāmehandEqbālnāmeh), mirabilia (ʿajāyeb), and exegetical works (qesas al-anbeyāʾandtafsir), this study engages with how the modalities of thedāstāngenre, with its strong leaning towards traditional oral storytelling, affect the narrative choicesEskandarnāmeh's author makes in treating these themes. In so doing, this article attempts to develop a more informed assessment of the strategies and devices which, activated both on the production and reception planes, generate competing interpretations of well-known plots recast in different narrative modes.

This article argues that the status of spinster was associated with widowhood in the decades after the First World War in Britain, an association that is still active in our collective memory. Widely publicized census statistics suggesting that a whole generation of young men perished during the war led to the beliefs that an accompanying generation of women had lost lovers and fiancés, would be unable to marry, and were therefore deprived of the chance of leading "normal," happy lives. Drawing upon a range of sources, including census statistics, fiction, poetry, autobiography, and oral history, the author examines the consequences of these beliefs for unmarried women in the context of a society that privileged marriage and nuclear families with male breadwinners and dependent wives over all other family formations.

In the article the author discusses phraseological units in the perspective of their transformation and use in the artistic text of rock poetry. The issues of semantics, specifics of changes in form and content in the intermediate aspect are investigated. Rock poetry is an art form that combines verbal and non-verbal aesthetic means of expression in its structure. In this paper, the ways of manifestation of the author's identity of Viktor Tsoy in the use of phraseological units and their occasional variants are determined. The last album of the poet, which was released posthumously, but reflected new trends in the author's poetics and presented the use of folklore elements, thus showing the desire for the folk element, is considered as the material of analysis. In this case, the peculiarity of rock poetry is also important — the focus of the artistic word in this context on sound, on oral reproduction, representation in the interaction of means of different arts. On the other hand, traditionally, researchers also determine the attitude of rock authors to colloquial speech, to proximity to the folk context. In particular, the use of phraseological units proves this position. The intermediate structure of rock compositions introduces its transformations into the semantic content of phraseological units within the framework of the author's intentions. For the rock author, the aspiration to understand the place of man in the universe, his uniqueness and at the same time inclusion in the historical reality, in the folk element, is a significant incentive for the discovery and presentation of his own artistic world, the path of his creative development and, in general, cognition. Thus, the private and the general interact, the individual life of a person and his social reality in the context of being.

This multi-layered history of a horrific famine that took place in late-nineteenth-century China focuses on cultural responses to trauma. The massive drought/famine that killed at least ten million people in north China during the late 1870s remains one of China's most severe disasters and provides a vivid window through which to study the social side of a nation's tragedy. Kathryn Edgerton-Tarpley's original approach explores an array of new source materials, including songs, poems, stele inscriptions, folklore, and oral accounts of the famine from Shanxi Province, its epicenter. She juxtaposes these narratives with central government, treaty-port, and foreign debates over the meaning of the events and shows how the famine, which occurred during a period of deepening national crisis, elicited widely divergent reactions from different levels of Chinese society

The proprietors of Amman's publishing houses do a brisk trade in books about politics and religion. They have also, in recent years, begun to profit from the growing demand for "tribal literature." This new market, which emerged in the late 1970s, expanded greatly in the 1980s. It includes folkloric monographs (al ʿAbbadi 1989; al-ʿUzayzi 1984), genealogical compendia (Abu Khusa 1989), Bedouin poetry (al-ʿUzayzi 1991), introductions to tribal law (Abu Hassan 1987; al-ʿAbbadi 1982), and studies which, combining elements of all these genres, are packaged as "historical" works (al-ʿAbbadi 1984, 1986). The advent of a popular literature about the Jordanian tribes written by and for local Bedouin has been hailed in Jordan's national press as a new form of "patriotism," and the oral traditions now being adapted to print are thought to convey a uniquely Jordanian heritage.

"Between 1935 and 1970 the Irish Folklore Commission (Coimisiún Béaloideasa Éireann), under-funded and at great personal cost to its staff, assembled one of the world's largest folklore collections. This study draws on the extensive government files on the Commission in the National Archives of Ireland and on a wide variety of other primary and secondary sources, in order to recount and assess the work and achievement of this world-famous institute. The cultural, linguistic, political and ideological factors that had a bearing on the establishment and making permanent of the Commission and that impinged on many aspects of its work are here elucidated. The genesis of the Commission is traced and the vision and mission of its Honorary Director, Séamus Ó Duilearga (James Hamilton Delargy), is outlined. The negotiations that preceded the setting up of the Commission in 1935 as well as protracted efforts from 1940 to 1970 to place it on a permanent foundation are recounted and examined at length. All the various collecting programmes and other activities of the Commission are described in detail and many aspects of its work are assessed and, in some cases, reassessed. This study also deals with the working methods and conditions of employment of the Commission's field and Head Office staff as well with Séamus Ó Duilearga's direction of the Commission. This is the first major study of the Irish Folklore Commission, which has been praised in passing in numerous publications, but here for the first time its work and achievement is detailed comprehensively and subjected to scholarly scrutiny. This work should be of interest not only to students of Irish oral tradition but to folklorists everywhere. The history of the Irish Folklore Commission is a part of a wider history, that of the history of folkloristics in Europe and North America in particular. Moreover, the Irish Folklore Commission maintained contacts with scholars on all five continents, and this work has relevance for many areas of the developing world today, where conditions are not dissimilar to those that pertained in Ireland in the 1930's when this great salvage operation was funded by the young, independent Irish state."

Cover -- Changing Seasons -- Title -- Copyright -- Contents -- Foreword -- Preface to Revised Edition -- Acknowledgments -- ABOUT THE PROGRAM -- Curriculum Goals -- Curriculum Content -- Curriculum Implementation -- Tips for Facilitators -- How to Use This Book -- ORAL LANGUAGE -- Strategies for Activities and Lessons -- Getting Started -- Warm-Up Activities -- Lessons -- Listening -- Speaking -- Vocabulary Building -- WRITTEN LANGUAGE -- Activities -- Lessons and Steps for Various Writing Styles -- Expository Writing -- Descriptive Writing -- Persuasive Writing -- Narrative Writing -- Folklore -- Poetry -- TECHNOLOGY TRAINING -- Basic Functions to Teach for Navigating Video Conferencing Platforms -- Teaching Strategies -- Key Technology Terms -- Video Conferencing Technology Training -- Sample Online Interactive Lessons -- Checking for Understanding -- Challenges -- SEASONAL ACTIVITIES -- ABSTRACT ART ACTIVITIES -- APPENDICES -- Appendix A. Additional Idioms, Commonly Misspelled Words, Food Words, and Recipes -- Appendix B. Questionnaires -- Appendix C. Graphic Organizers -- Appendix D. Technology Resources and Assessments -- Appendix E. Sample Daily and Weekly Plans -- Glossary -- Resources -- About the Author.

Societies have relied on different cultural mechanisms to cultivate appropriate and timely models of heroic masculinity, which have included oral tradition, art, epic poetry, and theatre. In contemporary times, cinema has become one of the primary venues to disseminate masculine archetypes throughout a society's collective conscious. In certain cases, heroic masculinity can be manifested when characters embrace their valor, courage, and physical prowess for the greater good while eschewing the potentially toxic elements of their personalities and powers. In Ryan Coogler's 2018 film Black Panther, the dichotomy of toxic masculinity and heroic masculinity plays out through a series of ritual combats. Black Panther applies traditional and historically relevant motifs to show how its superhero addresses the question of toxic versus heroic masculinity; and, in the end the film condemns toxic masculinity by portraying a hero who embodies strength, wisdom, and inclusiveness.

La poesía experimental produce modos de conocimiento que difieren de las cartografías convencionales de representación y a su vez requieren modos de lectura alternativos. En este estudio se exploran tecnotextos de dos autores latinoamericanos que han creado nuevos modos de escritura. La tecnopoesía, como veremos, vive en los límites de la textualidad, la discursividad y el canon literario. IP Poetry de Gustavo Romano, y "Cypher" de Eduardo Kac, reciclan lenguajes escritos, orales, genéticos (ADN), lenguaje computacional, sonido, imagen, etc., al tiempo que activan la participación del lector y, paradójicamente, la naturaleza autopoética del poema, eliminando distancias entre proceso y producto y desafiando las expectativas de autoría y lectura. La democratización y manipulación de diversos lenguajes y tecnologías es un aspecto integral de la tecnopoesía que activa desde los márgenes, una nueva política de representación y contribuye a la reconceptualización de la poesía.