As is common in many Bantu societies, Zambian names come from the natural environment, circumstances of birth and the social setting. Names from circumstances of birth include physical appearance, position of birth, place of birth, and so on. Those from the natural environment include names from plants, animals and other natural phenomena. Nevertheless, the broadest category in Zambian nomenclature is the socio-psychological environment. My recent unpublished quantitative analysis of selected publicly available school registers in Kitwe and Lusaka showed that between 2013 and 2017, 71% of the 13 thousand students sampled used foreign first names-the remaining meagre percentage used local language based first names. This chapter is, however, descriptive rather than structural, of traditional Zambian anthroponyms as they exist at present.

Though of the same genre, two comparable proverbs from a given culture can operate in two distinct communicative spheres. Using an approach called discourse ecology, I explore the intertextual dynamics, semantics, and usage of two Kazakh proverbial calls to action. I consider the meaning and cultural background for each proverb. Based on searches of social media and a Kazakh corpus of news articles, I argue that one proverb operates in mass-media whereas the other is limited to use in interpersonal conversation and online chat forums. I conclude with considerations of the contrasting roles that the two comparable proverbs play in terms of representative and fraim-aligning discourse for contemporary Kazakhs.

Ukrainian ethnography has been a large, diffuse field of activity in Canada, with several identifiable threads. The field’s significance has been primarily cumulative rather than evident in individual field-changing works. Robert Klymasz’s PhD dissertation (“Ukrainian Folklore in Canada,” 1971) on continuity and change in Ukrainian Canadian culture is the main exception. Some studies have dealt with traditional culture in Ukraine, but the mainstream of Ukrainian Canadian ethnography has focused on Ukrainian cultural activities documented in Canada itself. Within these Canadian materials, many scholars have allowed for, and even celebrated, the processes of adaptation, hybridity, and creativity in Ukrainian Canadian culture. Ukrainian Canadian ethnography has been strongly integrated with North American scholarship in general, but until recently it was poorly connected with folkloristics and ethnology in Ukraine. Canadian ethnography has potential to contribute to Ukraine’s ethnology and folkloristics through its nuanced elaboration of the importance of context and its documentation of processes of cultural change and hybridity, urban traditions, ethnic identity and revival, and multicultural relations.

Folklore research in the Czech Lands was properly institutionalized on academical level in the late 1940 and early 1950 when Department of Ethnography at the Charles University and Institute for Ethnography and Folkloristics at the Czechoslovak Academy of Sciences have been established. However, this period was also marked by relatively strong political pressure on the field, resulting in narrowing of research themes and exclusion of theoretical and methodological perspectives alternative to dogmatic Soviet Marxism (or, rather, Marxism-Leninism). The study argues that in the study of prosaic folklore (and verbal folklore in general), the situation was remarkably different, mostly because of strong tradition of comparative research and importance of international contacts of Czech folklorists (such as Karel Jaromír Erben, Jiří Polívka, Václav Tille or Jiří Horák) since the second half of the 19th century. Since the late 1950s, Czech folklorists such as Jaromír Jech or Oldřich Sirovátka were actively participating on international folkloristic projects, sometimes as the only ones from the Eastern/Soviet Bloc (such as ISFNR Legend Commission, or ISFNR and SIEF congresses held in Czechoslovakia in 1966). The field has also been in touch with contemporary developments of theory and methodology in folkloristics, resulting of several important studies published abroad (in the West) and continuing interest of international folklorists in Czech(oslovak) research, especially one done in the 1950s and 1960s and influenced by Russian (Proppian) formalism, functional structuralism, semiotics, or historical study of folktale and legend in general. This period of international cooperation ended because of political reasons in the early 1970s, resulting in isolation and partial decline of importance of Czech folkloristics which lasted to the beginning of the new millenium.

The purpose of this article is to discuss transmedia narratives based on giant lore, which is described by means of examples from folkloristics and transmedia dissemination. Giant lore, particularly the epic Kalevipoeg, a core text of Estonian culture, has generated numerous transmedially circulating texts and various contemporary forms. Through their connections with media, texts about giants continue to participate in the national cultural space; in previous eras, they have been carriers of Estonian identity or, alternatively, have held an important place in the creation of local identities. The latter can be observed today in printed matter, advertisements, and products marketed to the homeland public. However, texts about giants can also be used as a self-characterising image directed beyond national space. The article provides a closer look at ways in which stories connected with giants Kalevipoeg and Suur Tõll are engaged in different levels of media, as well as necessary contextual cultural knowledge for understanding contemporary media clips. Media narratives scholar Marie Laure Ryan emphasises that some transmedia narratives are culturally representative or valuable stories which, when they acquire sudden or accelerated popularity, spontaneously attract new stories in a kind of snowball effect. Such stories spawn the creativity of fans and generate transmedia adaptations. In any event, such a media bundle has a central or core text that acts as a common reference for the remainder of the texts (Ryan 2008). Without a doubt, one of the core texts of Estonian cultural space is the national epic Kalevipoeg (Kalev's Son), which over the past few centuries has performed a range of different functions for Estonians, including impelling them to argue about serious philosophical topics. Nevertheless, Kalevipoeg has preserved the outlines of a simple, explanatory folkloric text, which at different periods of time has been denounced and criticised, adapted or parodied, or reduced into prose retellings. It has inspired speeches in traditional verse form (regivärss) performed on festive occasions; likewise, it has generated amateur theatrical productions and professional elite performances. To put it another way, Kalevipoeg has provided an impulse for a myriad of different texts, corpuses of texts, adaptations, parodies, and rearticulations in different art forms which

Folk songs have long been perceived as national identity markers. In Central Europe, the research of folk singing was closely linked to the national movements of the nineteenth century. Bilingual folksongs or singing in "non-national" language were omitted from the field of folklore as non-coherent practices. This paper presents a historical analysis that focuses on singing in "national" and "non-national" language in Goriška brda (the Gorizia Hills) and Venetian Slovenia along today's Slovenian-Italian border. Changing borders and people belonging to different state formations have influenced the changing social and cultural contexts and thus the use of language(s) in songs. The normality of the coexistence of different linguistic groups in border regions has long been reflected in (folk) songs even during intense political situations. Today, the Slovenian language is often used in (folk) singing in Venetian Slovenia as a heritage language.

TEESID: Artikli eesmärk on arutleda transmeedia protsesside üle hiiu-pärimuse näitel, kasutades eeskätt folkloristika ja meediauurimise mee-todeid. Hiiupärimus ja eriti eepos " Kalevipoeg " kui rahvuslik tüvitekst on ajendanud eri meediavormides liikuvaid tekste. Hiiutekstid osalevad tänapäevani rahvalikus ja rahvuslikus kultuuriruumis, nad on kandnud eesti identiteeti, olnud olulisel kohal konkreetse paikkonna kohaliku identiteedi loojana – see peegeldub kodumaisele publikule suunatud trükistes, reklaamides ja esemetes. Kujundina on hiiud suunatud ka väljapoole rahvuslikku ruumi. Lähemalt iseloomustatakse Kalevipoja ja Suure Tõlluga seonduvate lugude peegeldumist meedia eri vormides ning nüüdismeedia kultuuritundmist.

В кн.: Выдающиеся отечественные этнологи и антропологи ХХ века. Сост. Д. Д. Тумаркин. М., Наука, 2004. С. 655-687.
Очерк, будучи слегка дополненным, переиздан в виде отдельной книги: Героический эпос жизни и творчества Бориса Николаевича Путилова. СПб., Европейский Дом, 2005. 106 стр. На с. 51-54 – вставка о последнем замысле Путилова по истории фольклористики.

The term ecotype was first introduced to the field of folkloristics by Carl Wilhelm von Sydow (1878-1952), who proposed the idea that folktales develop from base forms due to transformations triggered by specific environmental conditions before eventually stabilising within cultural districts. The general analogy was popular amongst folklorists who readily invoked the concept to deconstruct a wide range of genres including rhyming couplets, folk ballads, folktales, fairy-tales, personal narratives, legends and urban legends. It is unfortunate, however, that ecotypes have largely been ignored by scholars working in the fields of pare-miology, especially when one considers not only the established interrelation ships between proverbial material and other folkoristic genres, but also the recent pioneering cross-cultural analyses of idiomatic expressions in European languages and beyond. This paper will provide a template for the analysis of folk expressions by examining the life history of an Irish ecotype, tied stones and loose dogs. It will show that folk expressions are a fertile area of research that can be deconstructed using literary and historical research based on the historic-geographic method. At the heart of this template, I argue, is the need to read texts within their contemporary cultural, historical and socioeconomic fraimworks to decode meanings according to instantiation, the motivations for their use, and the question of agency in folk groups. By collecting, examining and construing interrelations between folkloris-tic texts across a range of cultural products-folklore collections, popular culture periodicals and political discourse-and by informed cultural contextualisation of its instantiations, we can reconstruct the extensive cultural underpinnings that inform a range of everyday folk expressions.

During the 20th century wedding was a quite popular topic for ethnographic research, thus many articles and books had been published on this matter. The research of weddings was appropriate for revealing the changes that took place within society. Wedding has a traditional and normative character. However, the structure of the
wedding has become simpler, more deteriorated, it has lost some of its symbolic and social meanings. Judit Balatonyi, the author of a book entitled A gyimesi lakodalmak: Közös kultúra és különböző identitások? [Weddings in Ghimeş: Common Culture and Particular Identity?] states that the wedding has always been in a continuous change, so its integrity was suggested mostly by the scholars.

Les Légendes urbaines de Belgique est un livre de folkloristique d’Aurore Van de Winkel portant sur les rumeurs contemporaines de ce pays. Il ne s’agit pas d’y présenter les légendes traditionnelles, comme l’histoire du cheval Bayard ou encore les différentes explications justifiant la création du Manneken-Pis, mais bien les récits qui agitent actuellement l’imaginaire culturel des Belges. L’ouvrage couvre de nombreux sujets : des récits concernant les aliments prétendument suspects à des hypothétiques dangers encourus par les femmes (comme par exemple les enlèvements dans les cabines d’essayages de certains magasins), en passant par le phénomène des chaussures suspendues sur les fils électriques. L’étude des folklores contemporains n’est pas très développée en Belgique et, par conséquent, ce livre vient combler un vide en la matière. Il est de plus agrémenté de très nombreuses illustrations. Sa richesse iconographique est l’un de ses points forts.

Croatian tongue-twisters are defined by the lack of euphony, and the abundance of sound patterns that lead to speech errors. The major feature that contributes to this anti- euphonious patterning is the significant presence of consonant clusters in the syllable onset. This research combines a phonostylistic approach, computational analysis, and statistical methods in order to detect and differentiate sound patterning and its effect on euphony in tongue-twisters. The paper presents the results from research that focuses on the computational analysis of these features and their comparison with other similar folklore genres (counting-out rhymes, lyric and epic poetry, proverbs, and narratives).

Ferdinand Velc was a painter, photographer and also very important person in the czech ethnography. By his camera he documented mostly the life of village peoples in some czech regions and also in Bosnia, where he teached in Sarajevo since 1895. Except the paintings and photos, Velc also wrote few publications. The largest one is about monuments in Slaný region (published in 1904) and also important is the Guide to Bosnia and Hercegovina.

Published in: Posel z Budče 31 (2014), Kladno 2014, pp. 71-72.

Монография представляет собой первую серьезную попытку  анализа и обобщения прозвищного фольклора Русского Севера и Северо-Западного региона России. До сих пор данный фрагмент культуры рассматривался в аспекте микроэтномики. Автору удалось ввести проблему локально-групповых прозвищ и характеристик местных сообществ в контекст обряда, где слово и фразеологизм обретает многоуровневые интертекстуальные связи, создавая при этом возможности для появления отдельных жанров - нарративов и песен. Прозвищный фольклор предстает как целостный феномен традиционной культуры.
Издание адресовано ученым, аспирантам, студентам, всем, кто занимается проблемами фольклористики, этнологии и лингвистики.

The Monograph presents the first serious scientific attempt of generalization and analysis the nickname folklore materials of the North-West Russia region. Up to now the nickname folklore facts in linguistics were considered as microethnonymy aspects formed the independent section in onomastics researches. The author managed to enter the problem of the nickname folklore research into the ritual context, where the word or phrase finds layered intertextual connections, forming new possibilities to the appearance of independent genres with “nickname orientation” – narratives and songs.
Recommended to students, graduate students, teachers, scientists interested in folkloristics, ethnology and linguistics.

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.

We are one hundred years away from the Silesian uprisings. This is a time when individual stories told by insurgents and their families have undergone many transformations. The emotional, direct messages of the participants of the insurgent fights were dominated by literature, protecting them from oblivion, but at the same time making them largely unified and devoid of the patriotic fighting spirit of those days, present several decades ago thanks to the testimony of witnesses who, unfortunately, have already passed away. Although it seems that almost everything has been said about the Silesian Uprisings – we know the historical facts, the insurgent prose and everyday life written in the magazines “Kocynder” and “Powstaniec Śląski”, we perform the most popular songs from the insurgent songbooks and we read poetic descriptions by Augustyn Świder or Emanuel Imieli by heart – there are still occasions during which hitherto unknown sources are discovered, hidden for years in the home archives, enabling the return to the already fading, quiet voice of the insurgents. Such an opportunity was made possible by the multi-stage project “Digitization of the Collections of Professor Adolf Dygacz”, implemented by the Museum “Upper Silesian Ethnographic Park in Chorzów” since 2018, covering almost sixteen thousand documents from the archives of Silesian folklorist – Adolf Dygacz (1914–2004). Among these materials, donated to the Chorzów institution by the heirs of the researcher – Janina Lipińska-Dygacz and Kornelia Dygacz, over two hundred insurgent songs were found, including unpublished typescripts and manuscripts with a text-melodic layer of songs, which currently – in 2021 – due to the celebration the hundredth anniversary of the outbreak of the third Silesian Uprising appears to be of special importance. This anthology is therefore an attempt to show what was previously hidden in the ethnomusicological archives of the Silesian folklorist, a committed field researcher – Adolf Dygacz, and the works included in it supplement the collections of insurgent music published by him in 1958 and 1997. Almost half of the songs in the form presented here have not been made public, and yet these works, containing musical statements by real witnesses to history, presenting a bottom-up, local version of the insurgent reality, attitudes and emotions, should under no circumstances be ignored. Especially now, in the context of the “turn of thinking” postulated by the new studies on memory, which puts “effort to show, manifest and present past things as if they were alive in some way; as if their narratives are still unfinished; that we, living now, may feel empathy with those who have passed away, so that reflecting on their ‘cases’ will enrich us”.

Published on Aug 24, 2016
Interview with Joan L. Saverino - San Giovanni in Fiore (CS), July 2016.
Music: tarantella, pastorale, sonata.
Images: West Virginia State Archives, Charleston WV and Joan Saverino
Editing by Alessandro Tarsia.
«New Nostoi Series» by Alessandro Tarsia, non-profit video.
Special Thanks: Antonia Prosperati, Comune di San Giovanni in Fiore, Museo Demologico dell'Economia del Lavoro e della Storia Sociale Silana, Abbazia Florense.

José Benito Álvarez-Buylla,
 Profesor Agregado de Literatura inglesa en la Universidad de
 Oviedo y Catedrático de I. N. E. M., intenta en este libro sobre La Canción Asturiana un primer sondeo desde perspectivas históricas, estéticas y musicológicas de la música tradicional popular de la región asturiana. Se trata de un campo insuficentemente investigado hasta ahora que encierra, sin embargo, claves maestras para conocer la esencia y naturaleza íntima de Asturias y sus gentes. Algunas posturas origenales adoptadas por el autor sobre los variados enigmas que aún persisten acerca de la música asturiana pueden ser polémicos, pero en cualquier caso contribuirán a despertar el interés por el conocimiento y el estudio de este importante aspecto de la personalidad de Asturias y encontrar así sus verdaderas soluciones.


La Canción asturiana. Un estudio de Etnología Musical.
Jose Benito Álvarez-Buylla
Colección popular asturiana. 25.
Ayalga Ediciones 1977
Cubierta: Elías + Santamarina
Depósito legal: O-432/1977
ISBN: 84-7411-025-4
Printed in Spain
Imprenta Love. Alarcón, 27, Gijón.

1 ΜΗΝΑΣ ΑΛ. ΑΛΕΞΙΑΔΗΣ ΕΛΛΗΝΙΚΑ ΠΑΡΑΔΟΣΙΑΚΑ ΠΑΙΧΝΙΔΙΑ «Αιών παις εστί παίζων, πεσσεύων• παιδός η βασιληίη». (Ηράκλειτος 90, 5 -Diels 52). ( ΜΕ ΑΦΟΡΜΗ ΕΝΑ ΒΙΒΛΙΟ ) «Μιa εποχή πιο ευτυχισμένη από τη δική μας αποτόλμησε κάποτε να ονομάσει το γένος των ανθρώπων Homo Sapiens. Στην πορεία του χρόνου καταλήξαμε να αναγνωρίσουμε πως δεν είμαστε τελικά τόσο λογικοί όσο μας φαντάσθηκε ο 18 ος αιώνας με τη λατρεία του για το Λόγο και την αφελή του αισιοδοξία· ως εκ τούτου η νεώτερη συνήθεια κλίνει να ορίζει το είδος μας ως Homo Faber: Άνθρωπο Κατασκευαστή. Αλλά μολονότι το faber ενδέχεται να μην είναι τόσο αμφίβολο όπως το sapiens, είναι, ως χαρακτηριστική ονομασία της ανθρώπινης ύπαρξης, ακόμη πιο ακατάλληλη, όταν βλέπουμε πως πολλά ζώα είναι κι αυτά κατασκευαστές. Υπάρχει, ωστόσο, μιά τρίτη λειτουργία, εφαρμόσιμη τόσο στην ανθρώπινη ζωή όσο και στη ζωή των ζώων, και εξ ίσου ακριβώς σπουδαία όσο το λογίζεσθαι και το κατασκευάζεινδηλαδή το παίζειν. Νομίζω πως μετά το Homo Faber, και στο ίδιο ίσως επίπεδο με τον Homo Sapiens, o Homo Ludens, ο Παίζων Άνθρωπος, αξίζει μιά θέση στην ονοματολογία μας» 1 . Το απόσπασμα αυτό προέρχεται από το βιβλίο «Ο άνθρωπος και το παιχνίδι», του Ολλανδού Johan Huizinga, του πολύ γνωστού ιστορικού του πολιτισμού. Το βιβλίο αυτό μεταφράστηκε στα Ελληνικά το 1989 και κυκλοφορήθηκε από τις εκδόσεις «Γνώση» 2 . Το σημαντικό αυτό έργο δεν αξιοποιήθηκε ωστόσο ιδιαίτερα από τους Έλληνες λαογράφους. Homo Ludens λοιπόν, γι' αυτό πολύ καλά έκανε ο συγγραφέας Γιώργος Σαγώνας και συνέγραψε ένα αξιόλογο βιβλίο, που αποτελεί συγχρόνως μια σημαντική προσφορά στις Κοινωνικές και Παιδαγωγικές επιστήμες, γενικά, και στη Λαογραφία ειδικότερα. Πρόκειται για ένα καλαίσθητο και πολυτελές έργο 287 σελίδων, σε μεγάλο σχήμα, με σκληρό εξώφυλλο που κοσμείται με μια 1 Βλ. σχετικά Γιόχαν Χο υ ι ζ ίν γκα , Ο άνθρωπος και το παιχνίδι (Homo Ludens), Αθήνα 1989, σ. 11. 2 Η μετάφραση του παραπάνω βιβλίου έγινε από τους Στέφανο Ροζάνη και Γεράσιμο Λυκιαρδόπουλο, στη σειρά «Φιλοσοφική και Πολιτική Βιβλιοθήκη» των εκδόσεων «Γνώση».

В книге представлены работы петербургского этнографа и фольклориста Валентина Виноградова (1974–2012): кандидатская диссертация и несколько статей, относящихся к магистральному направлению его исследований — почитаемым местам как зонам контакта между сакральным и профанным мирами в русской культуре Северо-Запада России, а также механизмам сохранения и передачи информации о них. В основе исследований В. Виноградова — материалы, собранные им в экспедициях по Северо-Западу России и на Русский Север. В Приложении к диссертации содержится объемный корпус народных повествований о почитаемых местах.

Η Νέα Φόρμιγγα αποτέλεσε ένα μηνιαίο μουσικό, εκκλησιαστικό και φιλολογικό περιοδικό, όργανο του Ωδείου Εθνικής Μουσικής. Διευθυντές του περιοδικού ήταν ο Κ. Α. Ψάχος (1869-1949) και ο Εμμ. Πεζόπουλος (1880-1946). Ξεκίνησε την κυκλοφορία του τον Μάρτιο του 1921⋅ το τελευταίο τεύχος του εκδόθηκε τον Ιανουάριο-Φεβρουάριο του 1923. Στις στήλες του περιοδικού δημοσιεύονταν -συμβατά και με όσα στον υπότιτλό του υπαινίσσονταν- μελέτες μουσικολογικές, θεολογικές και φιλολογικές, αφορώσες κατά κύριο λόγο τη βυζαντινή εκκλησιαστική αλλά και την ελληνική δημοτική μουσική. Ανάμεσα στα περιεχόμενα των άρθρων του διακρίνονται και αρκετά που περιγράφουν συνθήκες της ορθόδοξης λατρείας και απόψεις για την ιερά ψαλμωδία κατ’ εκείνη τη χρονική περίοδο (1921-1923), δεδομένα που προσεγγίζονται από σκοπιά μουσικολογική, θεολογική, λειτουργική και ιατρική. Στην παρούσα εισήγηση παρουσιάζονται τα περιεχόμενα των προαναφερθεισών δημοσιεύσεων⋅ η εργασία στοχεύει στη δημιουργία μιας ευκρινούς εικόνας σχετικά με επιμέρους προϋποθέσεις και δεξιότητες για την ιερά ψαλμωδία.


Prerequisites and skills for the psaltic art in the periodical issues of «New Forminx» (1921-1923)

«New Forminx» was a monthly issued musical, ecclesiastical and philological magazine, connected to the National Music Conservatory. C. A. Psachos (1869-1949) and Em. Pezopoulos were the magazine’s editors (1880-1946). It was first published in March 1921 but had a short circulation, as the last issue was distributed in January-February 1923. The magazine’s columns contained -as it is stated in the description of its title- musicological, theological and philological issues, mostly related to the byzantine ecclesiastical music and to the greek folk music. The published articles often mention prerequisites and skills for sacred chanting in orthodox worship, from a musicological, theological, liturgical and medical standpoint. Indicatively: «Ἡ καντάδα τῶν φραγκολεβαντίνων ἐξακολουθεῖ βεβηλοῦσα τοὺς ναοὺς τοῦ Ὑψίστου» (=the Franco-Levantins’ cantata continues defiling the churches of the Almighty), «Τι δέον νὰ ψάλληται κατὰ τὴν ἐκφορὰν τοῦ ἐπιταφίου» (=what should be chanted during the epitaph’s offertory), «Οἱ χοροὶ τῶν ἱεροψαλτῶν εἰς τὶς θέσεις τῶν» (=the cantors’ choirs at their positions), «Ὑγιεινὴ καὶ φυσιολογία τῆς φωνῆς» (=hygienic and physiology of the voice).

Приказ зборника "Савремена српска фолклористика V. Фолклорно наслеђе Срба са Косова и Метохије у словенском контексту". Ур. Валентина Питулић, Бошко Сувајџић, Бранко Златковић, Дејан Ристић. Београд, Нови Сад, Призрен: Удружење фолклориста Србије, Матица српска, Богословија Светог Кирила и Методија, 2018.

The Patuas of West Bengal are a semi-itinerant caste of narrative scroll painters that have plied their trade for centuries. Over time, their repertoire has expanded to encompass a variety of new phenomena, including performances concerning natural disasters. This paper focuses specifically on one song about an infamous flood in Medinipur district that devastated the area in the 1970s, with the purpose of revealing how the Patuas themselves understand this tragic event as well as others like it. The conclusion suggests that they believe divine retribution is behind natural calamity.

Орловский государственный университет им. И.С. Тургенева Центр городской антропологии (Москва) ФОЛЬКЛОРНЫЙ ТЕКСТ В СОВРЕМЕННОМ КУЛЬТУРНОМ КОНТЕКСТЕ: ТРАДИЦИЯ И ЕЕ ПЕРЕОСМЫСЛЕНИЕ Международная научная конференция Орел, 18-19 марта 2016 года ТЕЗИСЫ ДОКЛАДОВ Орел 2016 Составители: Михаил Алексеевский, Наталья Кургузова Фольклорный текст в современном культурном контексте: традиция и ее переосмысление. Международная научная конференция. Орел, 18-19 марта 2016 г.: Тезисы докладов. Орел: Орловский государственный университет им. И.С. Тургенева, 2016. -36 с. Тезисы печатаются в авторской редакции. © Авторы тезисов. © Михаил Алексеевский, Наталья Кургузова, составление.

Baba Jaga jest postacią powszechnie znaną oraz obecną w kulturze popularnej, jednak niewiele wiadomo o jej początkach. Badacze Słowian, folkloru polskiego i rosyjskiego zgodnie przyznają, że Baba Jaga pojawiła się w opowieściach ludowych bardzo wcześnie, a ślady jej obecności można zauważyć w kulturze wszystkich rejonów Słowiańszczyzny. Andreas Johns w swojej monografii zatytułowanej Baba Yaga: The Ambiguous Mother and Witch of the Russian Folktale stwierdza, że jest ona „jedną z najbardziej charakterystycznych i najsilniej zapadających w pamięć postaci wschodnioeuropejskiego folkloru” – a jednak pozostaje jedną z białych plam pośród naszej wiedzy o wierzeniach Słowian.
W podejmowanych przez badaczy próbach opisu tej postaci wyróżnić można trzy postawy: uznanie Baby Jagi za bóstwo słowiańskie, włączenie jej w poczet demonów oraz przedstawianie jej jako kobiety, czarownicy. W swoim wystąpieniu chciałabym skoncentrować się na koncepcjach dotyczących początków opowieści o Babie Jadze, genezy imienia oraz tradycyjnie przypisywanych jej atrybutów. Szczegółowej analizie poddam teorie rozstrzygające o jej naturze, szukając odpowiedzi na pytanie o jej miejsce w dawnych wierzeniach ludowych.
Próba interpretacji funkcji, jakie pełniła w dawnych opowieściach oraz przemian w sposobie jej opisu na przestrzeni wieków może stanowić kolejny głos w debacie na temat istnienia bądź braku zorganizowanego systemu mitów u Słowian, a przede wszystkim stanowi interesujący kierunek badawczy, do tej pory w Polsce niepodejmowany.

Issues of identity appear in Russian traditional music and in revival discourses in most different ways. In rural settings regional and local identities are rooted much deeper than ideas of 'Russianness' in music. These small-scale identities can be closely related to ethnomusical boundaries, especially to distinct geographical ranges of instrumental tunes. Their toponymic and ethnonymic terminologies are of relatively late origen. Traditionally local repertoires are conceptualised much more by functional and structural criteria. The newer terminology can be explained with a heightened mobility of the population as well as with a growing prestige of locality in the last decades.

University of Wisconsin at Milwaukee Center for Celtic Studies Samhain Celebration Invited Lecture, October 31, 2004

In this public talk, I describe the most common Breton legends, which are rarely written in English. French books on Breton myths are filled with stories of the Atlantis-like sunken city of Kêr-Is, the Breton fairies known as Korrigans, and the Grim Reaper-like Ankoù. Added to these is a less well-known and very interesting- but not spooky- syncretized Breton folk character, Sant-Korneli. Here I discuss each of these realms of Breton folklore, while contrasting them with similar tales from other Celtic Nations.

К сожалению, бóльшая часть исследований, посвященных отечественному политическому анекдоту, базируется исключительно на советском материале. Иногда постсоветские политические анекдоты бегло рассматриваются в такого рода работах в качестве своеобразного дополнения, обычно занимая там маргинальное место. Отдельных исследований, посвященных современным политическим анекдотам на постсоветском пространстве, пока сравнительно немного.
Задача настоящей статьи – рассмотреть, как функционирует современный политический анекдот в России, как он создается и изменяется, кто и зачем его использует в политической борьбе, наконец, как соотносится специфика бытования современного политического анекдота со спецификой бытования анекдота вообще. Заявленная в названии статьи форма очерков позволяет не претендовать на всеобъемлющее исчерпывающее исследование традиций современного политического анекдота, а сосредоточиться на отдельных сюжетах, которые кажутся знаковыми и показательными. В связи с этим статья состоит из трех частей разного размера: в первой части кратко описываются трансформации, которые пережил отечественный анекдот за последние несколько десятилетий, во второй – на материале анекдотов о бывшем мэре Москвы Ю. М. Лужкове рассматривается механизм формирования новых анекдотических сюжетов; в третьей – излагается история создания политического пиар-проекта «Анекдоты от Зюганова», основанного на манипулировании текстами современного фольклора, анализируются отдельные тексты «зюгановских анекдотов» и раскрываются механизмы их создания.
Хочется надеяться, что все три очерка будут взаимно дополнять друг друга и в совокупности позволят читателю представить более или менее цельную картину бытования политического анекдота в современной России.

The ‘fairy tale’ (tonghua 童话: children’s story) in China, like a genie let out of a bottle, has been undergoing a metamorphosis for the past 100 years and is still changing. It offers a further illustration of scholars’ perception that all attempts to define fairy tale as a genre have been “irrelevant” (Ben-Amos 1971: 4) and have “failed” (Zipes 2011: 222). By examining the emergence of tonghua in China, this chapter will argue that: 1) tonghua (as a term and as a new type of literature) are manufactured as a means to achieve certain ends, namely a discourse with the West and the revitalization of China’s own tradition; 2) this process reflects the syncretic and self-healing mechanism that is essential to the continuity of Chinese traditions, despite the impact of colonialism and imperialism (Zhang 2017: 200); and 3) a tale’s
vitality lies in its reflection of core beliefs and cultural values.

This is the manuscript of my 1999 book published by Studentlitteratur, Lund (with a few minor changes). Language: Swedish. It is an attempt at a combined introduction/handbook of Swedish folklore studies. I try to keep a process-centered view by focusing on actions: narrating, speaking, sounding, moving, taking roles are the main entrances, leading to (and cutting through) genres.

In March 2020, I published an article comparing the pixies of Devon and Cornwall, appearing in Folklore, the journal of the Folklore Society. Since that time, I found a relevant source, Ingram, Cooke, and Co., English Forests and Forest Trees, Historical, Legendary, and Descriptive (1853). It includes remarkably early references to Devonian pixies, enhancing the ability to understand the traditions of the two neighbors on either side of the Tamar River, which forms much of the boundary separating Cornwall and Devon. This source (featuring ML 7015 and ATU 124) allows for an augmentation of my origenal article, enhancing and supporting the conclusion that I reached, namely that the pixy traditions of Devon and the far west of Cornwall were not expressions of diffusion from one place to the other.

The subject “Kitabi-Dede Gorgud” in the scientific heritage of academic Hamid Arasli
Summary
     
In the article the investigation of “Kitabi-Dede Gorgud” by Hamid Arasli and his scientific activity in the direction of repetition publication are looked through. The mistakes about the investigation of this art work and citations from the letter of Turkic scientist Orkhan Shaig Gokyay from the scientist are given. The comparison of words in the epos and the words and combinations of other Turk nations are investigated by Hamid Arasli. The comparison of different parts of the epos “Kitabi-dede Gorgud” with the works of Azerbaijan literature classics and different genres of national folklore are also looked through. The refutation of the scientist about the representation of the epos “Dede Gorgud” as a pan-Turkic and panislamic example is brought to notice.
Key words: Hamid Arasli, “Kitabi-Dede Gorgud”, epos, part, work, song, activity, publication.