Türk halk anlatılarından efsaneler bugüne kadar birçok açıdan incelenmiştir. Temelde sözlü bir anlatı türü olan efsaneler yazıya geçirildiğinde edebîlik vasfı olan metinler olarak var olmaya devam eder. A.J.Greimas tarafından geliştirilen ve değişik temellere dayandırılan bir yazınsal göstergebilim yöntemi olan “aktansiyel model” tüm metinlere uygulanabilen bir yöntemdir. İncelememizde bu yöntemi bir efsane metnine uygulayarak yöntemi halkbilimsel bakış açısıyla beslemeye çalıştık.
Abstract
Many Turkish folk narratives have been studied from different perspectives.  The legend that is basically an oral narrative form, achieves literary value when transferred into written form. A.J. Greimas has elaborated the actantial model for semiotic analysis that can be applied to all types of written texts. This paper uses Greimas’s ‘Actantial Model’ through a folkloristic perspective in interpreting a legend.

Some of the earliest Hungarian animal tales were published in 1829 in a periodical
of literary criticism (Muzárion, Élet és Literatúra) under the name of Mrs. Krisztina Szemere, a young noble woman, who died a year before. As a supplementary contribution to her recently published biography, the author presents two forgotten portraits of hers from the middle of the 1810s and a manuscript letter by Ferenc Kazinczy, an outstanding figure of Hungarian literature, who witnessed Mrs. Szemere’s death and reported of it to her mother

Падшие ангелы vs черти народной демонологии 11 не дух ли, не огнь ли. Слыши же и Давида вопиюща, и рекоуща, творяи аггелы своя, духы и слоугы своа огнь палящь. Да елико огньное естьство творя, разоумныя и бестелесныя духы» [Баранкова, Мильков 2001: 550]. Полная бестелесность сделала бы духа вездесущим, но вездесущ лишь Бог, а ангелы могут быть и действовать только в одном месте и в одно время. Это значит, что духи телесны и вещественны по отношению к Творцу, но бестелесны по отношению к материальному миру -эта мысль Иоанна Дамаскина была признана на VII Вселенском соборе и послужила одним из обоснований иконографии ангелов в образе человека (как душа наделена «тонкой» телесностью и визуально подобна своему телу, так и ангельский образ может быть подобен человеческому; ср.: Деян. 12: 15). Естественно, такая идея порождала множество спекуляций и наивных трактовок об «истинных» ангельских телах. В апокрифе «О всей твари» утверждается, что «никоторыи же святый виделъ аггела нагимъ естествомъ, но токмо едина святаа Богородица нагимъ естествомъ видела Гавриила» [Тихонравов 1863 II: 349]. Во второй половине XVII в. «пустозерский сиделец» Лазарь писал, что ангелы действительно выглядят как крылатые люди [Субботин 1881: 117-118] и т. п. В противовес этому на Западе с XIII в. распространилась мысль о полной бестелесности духов, но ее поддержали не все европейские теологи [Keck 1998: 31-32].

Vysokoškolské učebné texty Ľudová slovesnosť v literatúre pre deti a
mládež je publikácia, v ktorej si kladieme za cieľ sprostredkovať študentom učiteľstva v bakalárskom štúdiu Predškolskej a elementárnej pedagogiky základné informácie o vybraných druhoch žánrov ľudovej slovesnosti, s ktorými sa dominantne stretávajú deti v predškolskom aj primárnom vzdelávaní.

Једна од основних делатности и задатака обновљеног Удружења фолклориста Србије јесте организовање међународних научних конференција и симпозијума фолклориста у циљу неговања
и поспешивања међудисциплинарне сарадње. То су скупови под
заједничким називом Савремена српска фолклористика (I Нови Сад
2013, II Београд–Тршић 2014; III Ниш 2015, IV Источно Сарајево/Пале
2016, V Призрен – Велика Хоча 2017).
Резултати ових међународних мултидисциплинарних скупова јесу
врло значајни зборници радова (Савремена српска фолклористика I,
ур. З. Карановић, Ј. Јокић, Нови Сад: Филозофски факултет, Центар за
истраживање српског фолклора, 2013; Савремена српска фолклористика
II, ур. С. Ђорђевић Белић, Д. Лајић Михајловић, Н. Радуловић, Б.
Сувајџић, Ђ. Трубарац Матић, Београд: Институт за књижевност и
уметност, Удружење фолклориста Србије, Универзитетска библиотека
„Светозар Марковић”, 2015; Савремена српска фолклористика III, ур.
Б. Сувајџић, Д. Поповић Николић, Д. Петковић, М. Бојанић Ћирковић,
Београд: Универзитетска библиoтека „Светозар Марковић”, Филозофски
факултет Универзитета у Нишу, Удружење фолклориста Србије, 2016).
Ретки су зборници међународног карактера и значаја код нас који су
стручно тако уско спецификовани, а истовремено и интердисциплинарни
у контексту представљања опсега, достигнућа и циљева проучавања
савременог фолклора.
У складу са прокламованим принципима и вуковском бригом „за
све Србе ма где обитавали”, Удружење фолклориста Србије, Институт
за књижевност и уметност (пројекат Српско усмено стваралаштво
у интеркултурном коду), Филозофски факултет Пале, Филолошки
факултет Бања Лука, Универзитетска библиотека „Светозар Марковић”
у Београду и Вукова задужбина организовали су Међународни научни
скуп Савремена српска фолклористика IV (7. и 8. октобра 2016).
6
Скуп је одржан на Филозофском факултету на Палама. Тема скупа је
била Савремена српска фолклористика, са следећим подтемама:
Појам границе у фолклору; Обредна и календарска година; Сакупљачи
и проучаваоци фолклора; Савремена фолклористика и студије културе.
На скупу су узели учешће истакнути фолклористи из Србије, Републике
Српске, Русије и Украјине.

Радови заступљени у овом зборнику репрезентативни су како по
интенцији да дочарају дух и атмосферу који су владали на међународном
научном скупу Савремена српска фолклористика IV (Источно Сарајево/
Пале 2016), тако и по свеобухватној тежњи да истакну основне
тенденције у проучавању фолклора и развоју фолклористике у савременом свету. Учешће припадника различитих фолклористичких и
сродних дисциплина снажно је афирмисало интердисциплинарност
као пожељан и адекватан начин бављења изузетно сложеном, синкретичном фолклорном грађом. У зборнику су заступљени представници
различитих генерација, од најзначајнијих имена савремене српске
фолклористике до младих научника који су име за њену будућност.
Смишљено мапирање српског културног простора, од „српског севера”
и првог скупа у Новом Саду, преко Београда, Тршића, Ниша, па до
Источног Сарајева/Пала и Призрена, подстакло је на највишем научном
нивоу сарадњу универзитетских и других научних институција и
установа, уз нужну и неопходну децентрализацију и контекстуализацију
научне мисли. И најзад, радови заступљени у зборнику Савремена
српска фолклористика IV представљају леп научни принос развоју
фолклористике и хуманистичких наука у сфери националне културе
и културе уопште.

Özet: Erzurumlu Emrah, Türkiye'de halk edebiyatı incelemeleri arasında yoğunluk bakımından ilk sıraya oturan âşık tarzı şiir geleneği ve temsilcileriyle ilgili olarak geçen asrın ilk çeyreğinde başlayan çalışmalarda adından ilk söz edilen âşıklardandır. Söz konusu araştırmalar 1913-1914 yıllarında kendini göstermeye başlar. Erzurumlu Emrah, Orta Anadolu'da hayli tesiri olan bir gelenek temsilcisidir. Bu tesir hem Erzurumlu Emrah'ın eserlerindeki yetkinlik hem de onun takipçileriyle oluşan "Emrah Kolu" ile kendini gösterir. Emrah, Erzurumlu olmasına rağmen hayatını Erzurum'da geçirmediği için Erzurumlu âşıklar arasında da dolaylı bir tesiri söz konusudur. Bu tesir sözlü kültür ortamıyla değil yazılı kültür ortamıyla oluşmuştur. Erzurumlu Emrah'ın âşıklık sanatının icra töresi ile ilgili karşılıklı söylenmiş eserlerinin tespit edilmemiş olması, onun Erzurum âşıklık geleneğine -icra töresi bağlamında-katkısı olmadığını da düşündürür. Bir gelenek edebiyatı olan âşık tarzı edebiyat geleneği içinde usta-çırak ilişkisine dayalı olarak yetişen temsilciler arasında kendine has bir hiyerarşiyle birbirine bağlılığını gösteren anlayışları barındırdığı bilinmektedir. "Âşık kolu" adı verilen bu anlayış usta âşığın saza ve söze kabiliyeti olan bir genci çırak edinip, yanında gezdirerek, saz ve söz meclislerine sokması ve zamanı geldiğinde onun yetişip olgunlaştığına kanaat getirmesiyle mahlas vermesi esasına bağlıdır. Erzurumlu Emrah Kolu ile ilgili tespitler de genelde âşık kolları, özelde Erzurumlu Emrah takipçilerinin özellikleri hakkında fikir vericidir. Aydınlar tarafından yapılagelen çalışmalarda Erzurumlu Emrah'ın hayatı ve sanatıyla ilgili karanlık noktalar aydınlatılmıştır. Konuya, müzik çevreleri de kayıtsız kalmamış ve âşığın birçok türküsü farklı yörelerden derlenerek Türk halk müziği repertuvarına kaydedilmiştir. Bu bağlamda, Erzurumlu Emrah'ın dillerde dolaşmakta olan ve repertuvara girmiş elliden fazla türküsü ve şarkı formunda bestelenmiş şiirleriyle yurdun muhtelif köşelerine kadar sirayet ettiği görülmektedir. Bunun dışında Erzurumlu Emrah'ın şiirlerinin cönklerde bulunması onun sözlü gelenek yanında yazılı gelenek yoluyla da halk arasında sevilip sayılan ve benimsenen bir âşık olduğunu gösterir. Erzurumlu Emrah, aydınlarda ve halkta farklı biçimde tezahür eden bir olgudur. Halk arasında Ercişli ve Erzurumlu ayrı ayrı Emrahlardan ziyade tek bir Emrah'ın âşık olarak bilindiği ve sevildiği görülmektedir. Bu araştırmada, Erzurumlu Emrah'ın halk ve aydınlar arasında nasıl, hangi kaynaklar vesilesiyle tanındığı ve algılandığı tartışılıp değerlendirilecektir. Anahtar Kelimeler: Âşık tarzı şiir geleneği, Erzurumlu Emrah, Ercişli Emrah, halk, aydınlar.

ESTA SEGUNDA ENTREGA de tesoros del Atlas telliano consta de dos grandes secciones: una de cuentos maravillosos, protagonizados en su mayoría por princesas, sultanes, monstruos, ogros y ogresas; y otra de cuentos realistas y de ingenio, cuyo propósito, por lo general, es el de provocar la risa en el oyente. En esta última sección, se ha incluido un apartado reservado exclusivamente al ciclo de Yohá, el famoso trickster -granuja y astuto unas veces, bobo e ingenuo otras-tan característico de muchos países donde el islam tiene o ha tenido una presencia importante.

Sa pagbubuo ng kasaysayan ng isang bayan, isang maselang gawain ang pangangalap ng mga datos na may 400 taon na ang nakalilipas. Kaya hindi maiiwasang hagilapin at itala ang mga alamat at kuwentong bayan tungkol sa lugar na tinutukoy. Bilang isang dumayo’t naninirahan sa lalawigan ng Rizal, sa bayan ng Binangonan, pinili kong alamin ang pagpapangalan sa mga bayan ng aming lalawigan batay sa mga nakalap na alamat at kuwentong bayan ng mga ito. Pinili ko ang Isla ng Talim sa Lawa ng Ba’i at dito ituon ang aking saliksik mula sa makukuha kong mga alamat ng mga bayan ng Rizal. Matagal na akong nahihiwagaan sa islang ito mula pa noong nasa elementarya ako. Mula sa tuktok ng aming bubong ay tanaw ko ang lawa at ang isla. Lalo pa akong namangha nang maakyat ko ang burol sa aming subdibisyon at ituro ng ilang kaibigan ang Bundok Tagapo na mas kilala bilang Bundok ng Susong Dalaga ng nasabing isla.

Wikipedia, the free encyclopedia defines ethnopoetics as the “recording of text versions of oral poetry or narrative performances that use poetic lines, verses and stanzas to capture the formal, poetic performance elements which would otherwise be lost in the written texts”. With the preponderance of emphasis on writing as a major mode of communication in today’s world, verbal and extra verbal or non- verbal modes of communication are gradually suffering relegation and possible obliteration in favour of writing. Despite this relegation however, pre or semi- literate cultures like the Bakor in Nigeria still largely depend on orality as a formal means of encoding and decoding knowledge and experiences for educational purposes as well as the transfer of culture along generational lines. Storytelling, therefore, has a prominent place in the lives of the people as a means for the transfer of knowledge and for other educational objectives, yet, it is observed that the influx of modern multimedia forms like home videos, Mass television viewing centers and GSM phones have drastically impacted on storytelling as a formal traditional means of achieving these educational objectives. As a result, traditional communities have lost their reliance on storytelling with the consequent debasement of storytelling sessions which occupied the pride of place in the field of entertainment in Bakor society. This write up is therefore an attempt to call attention to the need for the revival and repositioning storytelling as a veritable past time in Bakor. It examines the importance of the performance context of storytelling as an event in oral discourse, which emphasizes not just the word but also other non verbal or extra verbal accompaniments for the effective transfer of cognitive experience. The findings are that the word and all its associations, in the context of storytelling performance, is very vital as a record of culture and identity, not only in Bakor community but also in most other African societies who depend on oral performances as a record of culture and folk life. The performance contexts become invaluable as records of the creative indulgences of traditional communities like the Bakor in Ogoja Local Government Area of Cross River State in Nigeria. Through them, one can better glimpse the narrator’s complex presentation of the Bakor Hero-protagonist in his many faces of portrayal of the communal experiences of the people.

An introduction to the pre-print working papers of the seminar-workshop held  in Helsinki in May 2017. Of wider interest may be its short discussion of formulaic language in the section "The Construct of the ‘Poetry’ versus ‘Not Poetry’ Dichotomy". This section may be relevant both to researchers of formulaic language in conversational or prose discourse interested in understanding how this relates to work done on formulaic language in poetry, and vice versa. It may also be of use to scholars interested in using Oral-Formulaic Theory but stumble over Parry's definition of formula as something that occurs "under the same metrical conditions" when studying prose or poetry without a periodic meter.

Compared to western European tendencies, tales in Hungary were put down rather
belatedly, only at the very end of the 18th century, and until the second half of the 1850s the publication of tales was also rare and sporadic, therefore the exploration of the word mese (signifying ‘tale’) may reveal data about the use and evaluation of the genre as well. A further problem is that the word mese has referred unequivocally to the genre of tale only in the past one and a half century; previously it was applied to name several genres, out of which the mese = ‘tale’ identification proved to be rather late and of secondary importance.
In the first part of the article the author summarises the achievements of the former linguistic and folkloristic research about the changing meaning of the word mese.
In the second part of her article the author presents the database of the Comprehensive Dictionary of Hungarian Language (A magyar nyelv nagyszótára) prepared at the Institute of Linguistics of the Hungarian Academy of Sciences. The historical corpus of the database is made up of texts altogether consisting of 27 million words published between 1772 and 2000, and as it contains texts from various contexts (poetry, fiction, drama, journals, correspondence, natural and social sciences, pedagogical and religious treatises etc.), it can be considered as a representative sample. The author collected all occurrences of the word mese from this database and publishes these excerpts in an appendix to her article.
On the basis of this corpus, the meanings of the word mese in the period are as follows: didactic narrative (subtype: fable); enigma (subtype: riddle); fi ctional (empirically unverifi able) narrative whose assessment may be: neutral (very rare), negative/pejorative (very frequent), positive (rare); its subtypes are: gossip, myth, belief legend and fairy tale; the plot of a narrative or a play. The author notes that the word mese was used interchangeably to denote fairy tale and belief legend, which implies that these two genres might have been perceived as highly similar in this period.

The aim of this thesis is to create an ethnolinguistic analysis of two corpuses of Mongolian riddles (Lovor and Ölziikhutag 1990 and Ölziikhutag 2013). The work contains over one hundred riddles appended with translations and morpheme-to-morpheme glosses. The riddles are further analyzed on a phonetic level, including descriptions of specific sound patterns and alliterations, as well as their lexical and semantic properties. This complex analysis, in conjunction with findings gained in field research, renders possible the description of a specific language of Mongolian riddles, characterized by the frequent occurrence of borrowings, the presence of semantically and phonetically 'damaged' words, ideophones, metaphors and many specific cultural expressions. The language of Mongolian riddles also often skilfully exploits overt abstractions, allusions, and lexical and morphological ambiguities, in addition to other techniques which facilitate conceptual mapping and cognitive blending. This linguistic analysis makes possible a description of the various aspects of the worldview of Mongolian nomads concealed in these riddles, including the characteristic linking of the 'sacred and profane,' as well as the relationship of these riddles to mythology and religious ideas.

Folklore, as a historical and cultural process producing and transmitting beliefs, stories, customs, and practices, has always thrived and evolved in the broader context of history and culture. Consequently, tradition and modernity have long coexisted and influenced one another, in particular in the world of folk narratives, orality and literature, storytellers and writers. Since the nineteenth century, folklorists (a category including a variety of figures) have collected, transcribed and published pieces of oral tradition, thus giving folklore a textual form and nature. However, folk narratives continue to be also a living and performed experience for the tradition bearers, a process giving rise to ever new and different expressions, according to the changing historical, social, cultural, and economic conditions. To be sure, folklore – and folk narrative – needs to be constantly lived and performed to remain something actually pertinent and significant, and not only within the oral and traditional contexts. Interestingly, between the nineteenth and the twentieth centuries, folklore increasingly came to be regarded as and transformed into an inheritance, a valuable, national heritage particularly fitting for those countries, such as Ireland, in search of a strong, national identity. In this light, folklore and folk narratives, beside their routine existence within their original contexts, were consciously " performed " by the official culture, which employed them in politics, education, literature, etc. In the process, it could happen that folk materials were dehistoricised and idealised, " embalmed " according to Máirtin Ó Cadhain, and even trivialised. This situation was turned into a fruitful and significant source of inspiration for the literary parody of Myles na gCopaleen (Flann O'Brien) who, in his Gaelic novel, An Béal Bocht, revealed the funny yet distressing truth of the Irish folklore being misunderstood and betrayed by the Irish themselves.

Resumen. El folklore, como proceso histórico y cultural que produce y transmite creencias, historias, costumbres y prácticas, siempre ha evolucionado en el amplio contexto de la historia y la cultura. Por consecuencia, la tradición y la modernidad se han influido mutuamente a lo largo del tiempo, particularmente en el campo de las narraciones populares, la oralidad y la literatura, los contadores de historias y los escritores. Desde el siglo XIX los folcloristas (que es

This research traces the journey of a single fairy tale from its origins in Parisian salons three hundred years ago to an oral version told from memory by a French Missourian miner in 1934. Mme d’Aulnoy’s “Finette Cendron” has a peculiar history because it combines the plots of two tale types, “Le Petit Poucet” (“Little Thumbling,” ATU 327) and “Cendrillon” (“Cinderella,” ATU 510).

Benito Mastacchini lives in Suvereto, Livorno, in the southern Tuscany and he is one of the older person still able to improvise in Ottava Rima. I interviewed him within my research about the social aspects of the oral poetry in Ottava Rima and its relationship with censorship during the period of Fascism.
Publish in "La nave dei poeti ancora viaggia. Incontri dei poeti estemporanei a Ribolla", edit by Paolo Nardini and Corrado Barontini, 2012, Arcidosso-Grosseto, IT, Effigi, pp. 219-23

En los sonetos de El rayo que no cesa Miguel Hernández lograba consolidar un cauce expresivo que ya había venido fraguando desde sus etapas anteriores. Y, para conseguirlo, el poeta elaboró una cosmovisión muy personal que poco a poco iría asentando los cimientos definitivos de su producción ulterior. En las páginas de aquel poemario -que por fin le brindaría a su autor el ansiado reconocimiento de sus admirados Juan Ramón Jiménez y Pablo Neruda-Miguel Hernández diseñó un imaginario poético en el cual los bóvidos, que él describía mediante un léxico que evocaba la materia ígnea y mineral, asumían un papel muy destacado. De todas las semblanzas de los astados que se hallan presentes en El rayo que no cesa, muy significativas resultan las del soneto que reproduzco a continuación:

Предмет данного исследования — поэтическое творчество самобытного автора Дамняна
Крстича (д. Врбица, Заечарски округ, Сербия). В работе представлены основные сведения
о поэте и его жизни, при этом особое внимание уделяется рукописным сборникам стихов.
Цель исследования — определение особенностей его поэзии, в частности, присутствия
элементов устной и письменной литературы, способов их композиции и функционирования. Указывается взаимосвязь фольклорного материала в стихотворениях с классическими произведениями сербской устной литературы.
Исследовательским корпусом данной работы являются стихотворения Дамняна
Крстича. Знакомство с ним и его творчеством состоялось во время полевых исследований языка и фольклорного наследия Тимочской Краины (Хранители тимочских
говоров, 2015–2016 гг.) Материал состоит из аудио- и видеозаписей бесед, включая
записи авторского чтения стихов, а также фотографии рукописей. В поэзии Крстича
тематически доминирует деревенская жизнь в прошлом и настоящем, родной край,
его история и традиционная культура.

Spivak’s rhetorical question ‘Can the subaltern speak?’ finds true expression in the story of Jane Furse and similarly Manche Masemola dying at the same age as Jane. Two marginal girls are the subject of my discussion, namely Jane Furse and Manche Masemola. The two girls’ bodies are employed as agencies to (re)create a religious narrative of proselytising. Both girls do not speak in their voices, but through other bodies who reconstruct the narrative to achieve particular goals. The virgin body is essential to elevate the narrative to a myth. I will argue that the two girls’ virginal condition was necessary to construct a discourse that would shape Anglican historiography in the Northern Transvaal. Also, I argue that their marginal condition, subjects them to competing for hermeneutics: firstly, the power of virginity; secondly, the role of the young body to preserve sanctity and transmogrification; and lastly, to begin a debate on the role of young people, especially girls to construct alternative history. I invoke the question of subalternity whether these young people had the power to speak for themselves or they merely become agencies of discourse. I begin my discussion with the Anglican Church’s narrative of Jane and then proceed to the story of Manche Masemola to explain how her marginal body was a fit instrument of creating martyrdom and urgency. This discussion is a product of critical inquiry into an oral historical narrative(s) that continues to shape feminine discourse in respect of power, race and inter-subjectivity.

In this article we offer four Algerian versions of The Shepherd Youth in the Robbers’ Power that will force us to reconsider the current theories about the origin and distribution of this tale. These variants, which were collected in a tiny mountainous region of northern Algeria, display a diversity of motifs and characters even greater than the set of versions of the entire European continent.

En el presente artículo se publican cuatro versiones bereberes del cuento El joven pastor en poder de los asaltantes que nos obligarán a replantearnos las teorías acerca del origen y de la distribución del relato. Estas variantes —que fueron recogidas en una minúscula región montañosa del norte de Argelia— despliegan una diversidad de motivos y de personajes incluso superior al conjunto de paralelos de todo el continente europeo.

Hacia mediados del siglo XIX, un texto estremeció los cimientos del pensamiento más puritano y conservador de Occidente. Se trataba de unas tablillas cuneiformes mesopotámicas en las que se relataba cómo el dios Enki había ordenado a su siervo Utnapishtim que preparase una nave donde albergar a una pareja de animales de cada especie, así como a los suyos, pues el dios Enlil, molesto por el ruido que hacían los hombres, había decidido acabar con la humanidad por medio de un diluvio. La sorpresa, como decimos, fue mayúscula. No sólo porque esta aventura del Poema de Gilgamesh remitiese de manera inequívoca al mito de Noe, sino porque el texto bíblico era muy posterior al babilónico, hoy datado en tomo al siglo XXXI a. c., hecho que dejaba en entredicho algunos pilares de la fe judeocristiana.

A paper presented at a conference organized by Al Habib University, Karachi. It analyse the colonial construction of indigenous knowledge as folklore, which led to the disparaging of forms of local knowledge production and the presumption of illiteracy of traditional society in Punjab.

... At this point only, she refers to herself by Perrault's heroine's name: “Altesses, Cendrillon vous méprise autant que vous le méritez” (“Highnesses, Cendrillon despises you as much as ... [End Page 49]. Copyright © 2007 Wayne State University Press. Project MUSE® - View Citation. ...

Abstract: The ideals of manhood have been celebrated in all cultures through interesting stories of adventure, warfare, and love. The concept of Sahibqiran as an ideal king and
world conqueror remained ingrained in the consciousness of the Muslim ruling elite as well as in the common reader’s sensibility throughout Islamic history and across the widespread Islamic territories from the Arabian Peninsula to the South Asian subcontinent.
This article analyzes the concept of Sahibqirani as illustrated by the compositional techniques and thematic devices employed by storytellers of an oral narrative titled
Dastan-e-Amir Hamza Sahibqiran (1855). It explores the historical, political, and cultural backdrop of the honorific Sahibqiran and its romanticization in popular Islamic literature. The Adventures of Amir Hamza: Lord of the Auspicious Planetary Conjunction (2007) is
an English translation of Dastan-e-Amir Hamza Sahibqiran. The work is the longest romance cycle in Urdu, comprising a forty-six-volume written record of an oral storytelling tradition. The stories in this work are centered on the heroics of Amir Hamza, a fictitious character with complex historical and religious affiliations. As a popular Indo-
Islamic romance, it combines history, religion, and culture. This article explores the ideals of manhood and kingship as depicted in this romance and introduces a non-native speaker of Urdu to a new world of collective imagination informed by history, religion, and culture.

Session abstract: In order to obtain a holistic view of man's perceptions and reactions to salt, special consideration should also be given to those aspects considered minor and therefore usually neglected. These are divided into two categories: written testimonies and oral testimonies.

The first category includes: (1) Passages on salt found in writings with very different purposes, e.g. Literary works (in prose or lyrics), travel journals, memoirs, etc.; (2) Passages about salt in various works written in idioms without international circulation; and (3) Episodes neglected in the history of salt-related sciences or technologies. Oral testimonies refer to relevant salt events in which various persons took part or of which they heard. They must be valued by introducing them into the scientific circuit.

Our session is open to researchers all over the world interested in capitalizing on this intangible, neglected patrimony. Our session also encourages the participation of people outside the academic world, whose unique testimonies about salt are particularly precious for scientific research.

Please visit the congress' website for more information on the event and for submitting a paper — http://saluniversalis.com/submit-paper/

Antropologi, musicologi, demologi e ricercatori di varia provenienza ed esperienza si confrontano sul terreno della musica popolare in Puglia, nel più ampio quadro della storia e della cultura locale, nazionale e internazionale.
Un percorso interdisciplinare attraverso temi, momenti e interpreti di una tradizione complessa e variegata, dalle molteplici trame e intersezioni.