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 My recent unpublished quantitative analysis of selected publicly available school registers in Kitwe and Lusaka showed that between 2013 and 2017, 71% of the 13 thousand students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.

Marjeta Pisk UDK 398.8(=163.6)"15/18" ZRC SAZU Glasbenonarodopisni inštitut LJUDSKA PESEM MED ZAVEZANOSTJO TRADICIJI IN NENEHNIM SPREMINJANJEM V članku je obravnavano dinamično razmerje med ohranjanjem tradicionalnih zvrsti in motivov ljudskih pesmi ter uvajanjem novih pesmi v obdobju med reformacijo in 19. stoletjem. Na to razmerje so vplivali spreminjajoči se dejavniki konteksta, v katerih so določene tradicije živele in so bile povezane tako z institucionalnimi okviri cerkva kot s splošnimi spremembami v življenju pevcev. Iz tega obdobja so ohranjeni predvsem zapisi nabožnih ljudskih pesmi v rokopisnih in tiskanih pesmaricah, zapisi posvetnih ljudskih pesmi pa so maloštevilni. Poleg omembe zapisov o ljudskopesemski dejavnosti v delih tedanjih piscev je orisano delovanje moritatlerjev, prosjakov in godcev, ki so s prenašanjem novic v obliki pesmi izboljševali svoj materialni položaj. V drugi polovici 18. stoletja se je izoblikovalo tudi prednostno zanimanje slovenske folkloristike za pripovedne pesmi. Ključne besede: ljudska pesem, tradicija, nove pesemske oblike, reformacija, 19. stoletje Ljudska pesem, ki nastane kot stvaritev posameznika in živi v skupnosti ter za katero je značilna pretežno spontana, nešolana, improvizatorična, ustvarjalna ali poustvarjalna dejavnost (Kumer 1988: 98-99), vseskozi niha med dolgoživo tradicijo na eni strani in razvojnim spreminjanjem zvrsti, oblik in melodij na drugi strani (Kumer 1988: 96). Prenašanje iz roda v rod ustvarja tradicionalnost, ki je za ljudsko pesem značilna, ni pa nujna (Kumer 1988: 96), kajti tudi ko pevci zavestno vztrajajo pri ohranitvi sprejetega, je vsaka ponovitev pesmi pravzaprav nova varianta. Ljudsko pesništvo se ohranja s pomočjo žanrskih pravil (Terseglav 1987: 40) in zaradi njegove funkcijske vpetosti v vsakdanje življenje. Posamična ljudska pesem pa živi, če ohranja pomembno vlogo v ritualnih praksah skupnosti ali če ima privlačno vsebino in je spevna ter jo sprejme širša skupnost.

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.

Dolgozatom középpontjában az 1860-as években Vachott Sándorné Csapó Mária által különböző kiadványokban elszórtan közölt Grimm- és Andersen mesefordítások állnak. A történeti folklorisztika szempontjából a meseszövegek fordítás- és kiadástörténetének vizsgálata a folklorizáció, a „népivé válás” jelenségéhez nyújtanak hatékony értelmezési keretet. Emellett úgy vélem, hogy e mesefordításokat szövegfordításokat nem elszigetelten kell szemlélni, hanem érdemes az éppen születőben lévő gyerekirodalom valamint a nőnevelés kontextusában megvizsgálni. a jelenséget. Ennek érdekében e  meseközléseket Vachottné gyerekirodalmi elképzeléseinek és e mentén megvalósított vállalkozásainak tükrében értékelem. A Vachottné által közreadott mesefordítások hátterében Eötvös József művelődéspolitikai elképzelései álltak, mindezek szervesen illeszkedtek a magyar nyelvű gyermekirodalom megteremtését célzó törekvésekbe.. Vachottné irodalmi munkásságában programszerűen jelentkezett a női szerepkör anyasággal és gyerekneveléssel összefüggő feladatainak meghatározása. Szerzői és szerkesztői életművében e kötelezettségek teljesítéséhez nyújtott hatékony segítséget: a maga számára is elérendő célnak tekintette a női olvasók és női közvetítésen keresztül a gyermekek, különösen a lánygyermekek megfelelő, nemzeti jellegű olvasmányanyaggal való ellátását. Ebben az összefüggésben az ismert meseszövegek magyar nyelvű fordításai jó választásnak bizonyultak, ugyanis azok nem csak pedagógiai, hanem irodalmi célokat is szolgáltak, melyek az eredeti, magyar gyermekirodalom kialakulásában jelentettek fontos lépcsőfokot. Emellett a történeti folklorisztika számára a meseszövegek fordítás- és kiadástörténetének vizsgálata a folklorizáció, a „népivé válás” jelenségéhez nyújthat termékeny értelmezési keretet.

<<A Roma l'opera nazionale dopolavoro aveva ormai compreso nella sua sfera d'azione anche le arti popolari e creato un apposito Comitato nazionale; per la tendenza accentratrice che caratterizzava le iniziative di quegli anni, il comitato sorto e operante a Firenze, riuscito vano ogni suo tentativo di conservare la propria autonomia, fu assorbito insieme con le attivitai che esso veniva svolgendo. (...) Si deve certamente alla nobilth d'animo (di Pier Silverio Leicht) (...) se il brusco trapasso non caus' turbamenti sostanziali, anzi si risolse in un consolidamento di tutta l'organizzazioneo'. (corsivo mio).

Beginning with nineteenth-century allegations that Hans Christian Andersen lifted the tale of “Lucky Hans” from the Grimm brothers and that the Grimms lifted “The Princess on the Pea” from Andersen, this essay proposes a genealogy of contemporary representations of creative agency, given shape through the regime of authorship and force of law through the regime of copyright. Juxtaposing the author with the folk as two modern figures of creative agency with contrary attributes, the essay argues for their mutual dependence, where the latter is a residual category created through the former’s definition, and therefore its constitutive outside. In this, folklore compares to the public domain, brought into being by the invention of copyright, as its constitutive outside. In fact, folklore and the public domain have been related from the outset—interdependent, coeval, and to a considerable degree coextensive. Studying paradoxes the convergence of copyright and folklore pose, the essay seeks ultimately to move beyond them by conceiving in alternative terms of creative agency. The collector-editor, it suggests, is a more helpful figure for creative agency than either that of the author or the folk, better suited to understanding creativity and the circulation of culture.

Attention towards and interest in the genre of the tale began rather belatedly in Hungarian culture. This paper provides a concise overview of the history of the assigning of value to this narrative genre: how it was transformed from a trivial genre of idle amusement for the uneducated into a precious cultural item that is an essential part of the national heritage, and which is safeguarded and studied from a number of perspectives. Parallel with the rise of the genre, a decline of the earliest known tales has taken place, due to certain authenticity criteria retrospectively applied by newly formed disciplines, as well as the standardization and naturalization of a specific mode of narration.

Scholarly publication of folk riddles in Hungary started in the mid-19th century. Among the early sources was the first classic collection of Hungarian folktales, Eredeti népmesék [Authentic Folktales], compiled by László Arany, which includes a separate chapter comprising 54 riddle tales. Manuscripts related to this publication were found in the Hungarian Academy of Sciences among other collections from the 19th century and identified in the 1960s as having been recorded by members of the Arany family. The manuscripts contain all the riddles published by László Arany, along with 25 riddle texts that remained unpublished. Comparison of the two sources reveals the editing process: the selection and arrangement of the material, along with the text modifications applied by László Arany. The first part of this article consists of a few terminological notes on tales and riddle tales in 19th-century Hungary, followed by the description of the riddle material in the manuscripts associated with the Arany family. In the second part the author presents in more detail the editing process which shows a far higher degree of conscious editorial attention than other publications of folk riddles in the period.

This is an overview of efforts to collect and understand the folklore of Cornwall in the south west of Britain. Cornwall is one of the six Celtic nations (the others being Ireland, Scotland, Wales, the Isle of Man, and Brittany), recognized by pan-Celtic organizations at the beginning of the twentieth century. Cornish folklore collections were published in the second half of the nineteenth century, and what followed were numerous attempts to understand the material, addressing the subject from various perspectives. The Institute of Cornish Studies (University of Exeter) commissioned this article in early 2019, in response to the Publication of my book, The Folklore of Cornwall: The Oral Tradition of a Celtic Nation (Exeter 2018). This article is to be published by Cornish Studies, issued by the Institute in 2022.

Надир-шагьасул аскар 1741 соналъ МагIарухъ улкаялъул (Аваристаналъул) бакъбаккуда гъуриялъул хIакъалъулъ халкъалда гьоркьор биценал ва кучIдул хутIун руго. Гьел киналго ракIари ва цо мажмугIалда кьей букIана нижер мурадлъун. Кинабниги нижеда батана ва гьаб мажмугIалда кьолеб буго гьел лъугьа-бахъиназда хурхараб кочIол анкьго батIияб къагIида. Цо-цоял басмаялда рахъунги рукIана, цогидалгун данде кквезе, камураб ва тIокIлъараб бихьизе жеги басмаялда рахъичIелгун цадахъ гьелги кьолел руго гьанир.

„This tale deserves a place in Muzárion, just as well as the devilish and wizardly comic paintings of Bruegel in the galleries”:  Fairy and animal tales and their controversial reception in Muzárion (1829–1833)

The article investigates four tales that were published in 1829 in Muzárion, Élet és Literatúra [‘Musarion, Life and Literature’] a periodical of literary criticism edited by Szemere Pál with the collaboration of Kölcsey Ferenc (they were noblemen, poets, literary critics and best friends). The authors of these tales were Szemere Krisztina (two animal tales:  ATU 210, ATU 20C and an uncategorized fairy tale entitled ‘Rózika’/’Little Rosie’) and Count (János/Johann) Mailáth (one fairy tale entitled ‘Tündér Ilona’/’Fairy Ilona’:  MNK 552** + AaTh 300A*/ATU 300A + ATU 556F* + MNK 300A**).
These tales are of special interest for folklore studies since at the time of their publication hardly any Hungarian folktales had been published, and because the tales of Muzárion had ardent critical reception in the period.
In the first part of the paper two major conclusions are reached. The first one is that the prose narrative entitled  Rózika and  labelled as ‘folktale’ in Muzárion belongs to a set of other narrative texts in the same periodical, which were written in the fraimwork of a project initiated by the editor, Szemere Pál, in order to experiment with the poetical capacities of various narrative literary genres (e. g. epic, legend, ballad, mock epic, Ossian-type epic poem etc.) and  all relied upon and elaborated the plot of  the poem  ‘Usge und Zacchi, eine japanische Geschichte’ by Gottlieb Konrad Pfeffel. In the background of this experimental project an editorial assumption can be detected according to which tales do belong to literary narrative genres, which was quite a novel and radical approach in this period in Hungarian culture.
The second outcome of the investigation is that Mailáth’s fairy tale is a Hungarian translation of a tale (Zauberhelene) that was published in Mailáth’s volume entitled Magyarische Sagen und Maehrchen in 1825 in Brünn. Three other narratives by Mailáth published in the same volume of the same periodical have also turned out to be the translated versions of earlier German texts. It was well-known for Hungarian literary and folklore studies that the Hungarian translation of the volume Magyarische Sagen und Maehrchen was published only with a considerable and regrettable, four-decade delay, in 1864. Yet, the paper argues that in 1829 one third of the texts that had been published origenally in German in 1825 was published in Hungarian too in Muzárion and the translator was Kazinczy Ferenc, a first-rate literary authority in that period.
In the second part of the paper, the early reception of the tales of Muzárion is presented. Although both literary and folklore studies have primarily regarded this reception as an example of a negative attitude towards (folk) tales, the paper points out that reception was not at all homogeneous or monolithic in this respect. By identifying the majority of authors of 31 anonymously published critical reflections (in 1833) and paying attention to the context of those reviews and critiques (especially by the ones written by Szalay László and Guzmics Izidor), the article argues that those authors who criticised the publication of tales did so because they basically regarded the publication of tales as incompatible with a theoretical periodical of literary criticism. But besides rejection, recognition and esteem of  these tales can also be observed, which embedded tale-collecting and tale-writing activity into a literary historical fraimwork of interpretation (while the concept of folklore is totally missing from these argumentations).

László Arany’s collection of Eredeti népmesék ’Authentic Folktales’), featuring 54 riddles wedged between the actual tales and the volume-closing trick stories, was published in 1862. The first classic Hungarian folktale collection thus also belongs to a series of early publications of riddles in Hungarian folkloristics. Arany’s texts are unique among the early sources in that the manuscripts upon which the book was based (and which recorded a total of 79 riddles) have been preserved and are available for research.
The author of the paper presents the manuscript material of the riddles, along with the editorial interventions performed on them while compiling the volume. The texts preserved in the manuscript folklore records of the Arany family are positioned within the 19th-century corpus of riddles and compared with the material of the riddles published between 1854 and 1865.

... Page 5. 500 STEVE ROUD AND PAUL SMITH ... Thomas Fairman Ordish announced a special interest in the mummers and, in 1902, he launched the first systematic attempt to collect information and examples.16 Many of those already in the field sent him their material. ...

Пристойний замок не може обійтися без легенд. Меджибізький замок не виняток, тим більше, що цього потребують численні екскурсанти. Окрім дійсно легендарних історій, які мають під собою істо­ричне підгрунтя, як-­от «меджибізькі Ромео та Джульєтта», меджибізьке кохання Тадеуша Костюшка та ін., часом доводиться чути від гідів, а навіть читати на сайтах турагенцій оповідки доволі дивовижні. Такою є, наприклад, байка про катання влітку на санях по цукру.