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Snow White has been a cultural icon since Brothers Grimm wrote her story in 1812, based on the folk tale of the beautiful princess. Despite the wide variety of Snow White film versions, from Walt Disney's animated classic to the recent reinvention of the fairy tale by Universal Pictures, never before had it been adapted with a sense of eclectic metaphor beyond centuries and nationalities until the arrival of the project of the Spanish director Pablo Berger. Blancanieves (2012) emerges as a melodrama set in southern Spain during the 1920s, with an unusual heroine turned into a bullfighter for the big screen with the dwarfs. The aim of the article is to analyze this movie and its characters as platforms to discern the cultural, social, and folkloric circumstances that act to configure an independent Snow White, who retains connections with her predecessor versions. In methodological terms, the purpose is to study the many references of Pablo Berger's work from different prisms: not just based on the film analysis (for instance, the narrative structure shows a debt with both the German and French silent movies) but also, throughout different literary and historical references. [ABSTRACT FROM AUTHOR]

Based on results of a survey on the cult of souls in Campo de Cartagena, the present study takes a historical, anthropological, ethnographic and folkloric journey through the customs associated with the days of All Saints and Souls. Emphasis is placed on the legends and folk tales told on the night of Souls with purpose of vetoing the nocturnal outings of the youngest. Likewise, our traditions are compared with those of other cultures, fundamentally with the Celtic Samain, from which derived Halloween, leaving striking similarities. [ABSTRACT FROM AUTHOR]

In the community of Tetlama, Morelos, a Nahua tale was recorded in Spanish in 2013 and was subsequently translated into Nahuatl by people from the nearby Nahua community of Cuentepec. This folk tale refers to a special relationship between the Jumil Hill and the Devil. The story of Jumil Hill possesses some features that allow the audience to consider it a relevant work by the community because of the particular lore that it transmits, which warns community members about actions, behaviours, and emotions that threaten them by causing breaks in the social cohesion. Therefore, the process of recreating a new version of this tale contributes to its transmission and intracultural translation by re-nahuatlization allowing us to reflect on the survival of the Nahua cultural continuum in this region in spite of linguistic displacement, as well as the preservation of oral tradition as a result of updating and refunctionalizing the Nahua oral folklore, and its reincorporation as part of the Nahuatl linguistic heritage. [ABSTRACT FROM AUTHOR]

This paper presents a narrative from the oral tradition of Ayutla Mixe, a Mixe-Zoque language spoken in southern Mexico. The story is about an apokäät or shaman, a person to whom people go instead of going to the doctor. According to popular belief, the story, told by Elena Vázquez, is based on what happened to a woman who, until recently, lived in Talera, a community belonging to the municipality of Ayutla. The text is presented in two versions, one for the general public and one for linguists. The latter has the morphological breakdowns and glosses. Some of the characteristics of the Mixe writing system are presented in the introduction. Of particular relevance are two issues that are not generally discussed with respect to Mixe orthography: the representation of lenis consonants and compound words. [ABSTRACT FROM AUTHOR]