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Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Tekst jest analizą zjawiska fascynacji ludowością i folklorem w okresie dwudziestolecia międzywojennego w Polsce. Przywołane przykłady dotyczą kontekstu inspiracji twórców sztuk wizualnych, w szczególności związanych z warszawskim stowarzyszeniem artystycznym Pro Arte, takich jak: Stanisław Masłowski (1853–1926), Henryk Piątkowski (1853–1923), Stefan Popowski (1870–1937), Józef Rapacki (1871–1929), Stanisław Straszkiewicz (1870–1925), Czesław Tański (1862–1942), Władysław Wankie (1860–1925), Marian Wawrzeniecki (1863–1943), Henryk Weyssenhoff (1859–1922), Teodor Ziomek (1874–1937). Grupa funkcjonowała w latach 1922–1932 w środowisku zbliżonym do Towarzystwa Zachęty Sztuk Pięknych. W szczególności poruszone zostaną dwa wątki przywiązania do ziemi ojczystej (koncepcja telluryzmu), czego wyrazem jest malarstwo pejzażowe członków grupy oraz zainteresowanie stylizowanym rodzimym folklorem.

Copyright of Mersin University School of Medicine Lokman Hekim Journal of History of Medicine & Folk Medicine is the property of Mersin University School of Medicine and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Online Journal of Music Sciences (OJOMUS) is the property of Online Journal of Music Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Social & Cultural Research (SKAD) is the property of Journal of Social & Cultural Research (SKAD) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Universal Journal of History & Culture is the property of Universal Journal of History & Culture and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Wydawać by się mogło, że o tradycji ludowej napisano już prawie wszystko i nic nowego nie da się w zakresie tej materii powiedzieć, ponieważ obecnie rejestruje się w terenie jedynie kulturowe odpryski dawnej chłopskiej kultury, które zachowały się w rodzinnych zasobach za sprawą nestorów, ewentualnie w archiwach zbieraczy regionalistów. Zwłaszcza za mało satysfakcjonujące może uchodzić badanie etnograficznych regionów już dobrze rozpoznanych i opisanych, jak Kaszuby. Obszar ten, cieszący się znacznym zainteresowaniem badaczy, już w XIX w. i to z różnych powodów – zarówno politycznych, historycznych oraz językowych (Wróblewska 2018: 93–103) – dawnych (Nadmorski 1892; Ramułt 1893), jak i współczesnych (Labuda 1996; Paždjerski 2016), zdaje się być obszarem miałkim poznawczo. Nic bardziej mylnego. Okazuje się, że rzeczywistość potrafi zaskoczyć, czego dowodzi wydana niedawno monografia Kaszubskie dziedzictwo kulturowe: ochrona – trwanie – rozwój, pod red. Ewy Kocój, Cezarego Obracht-Prondzyńskiego, Katarzyny Barańskiej i Mirosława Kuklika (Kocój, Obracht-Prondzyński, Barańska, Kuklik 2021). Jest to praca niezwykle interesująca, wieloautorska, w przekrojowy sposób ukazująca najważniejsze elementy regionalnego dziedzictwa kulturowego, z uwzględnieniem aspektu jego trwałości i zmiany. Jednocześnie nie brakuje w niej prezentacji zupełnie nowych zjawisk, związanych ze zmianami zachodzącymi w regionie za sprawą czynników cywilizacyjnych, kulturowych, jak też politycznych, dowodząc nieustającej dynamiki kulturowej. Za niekwestionowany walor monografii należy uznać opis kształtowania się zupełnie nowych form tradycji, niepozostających w związkach z dawną kulturą ludową, ale wynikających ze specyfiki ziemi kaszubskiej. Nie brakuje również przykładów działań, np. artystycznych czy animacyjnych, które zostały zainspirowane tradycyjną kulturą. Całość przemyślana, dobrze poparta przykładami, również materiałem zdjęciowym, szkoda jedynie, że czarno-białym, co odbiera nieco smaku. A zmysły przy poznawaniu regionalnego dziedzictwa Kaszub odgrywają ogromną rolę, wiele tu bowiem dźwięków, kolorów, zapachów. Ale mimo tego drobnego mankamentu zebrane w tomie prace (łącznie 12, dodatkowo wstęp i noty o autorach), w większości wyrastające z badań terenowych, to interesujące, napisane z pasją, pogłębione, wieloaspektowe studia dotyczące wybranych elementów ludowego dziedzictwa Kaszub, takich jak język, literatura, muzyka, folklor, obrzędy i zwyczaje.

Copyright of Zeszyty Wiejskie is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Special Treatment / Különleges Bánásmód is the property of University of Debrecen and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Theatre Criticism & Dramaturgy / Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi is the property of Journal of Theatre Criticism & Dramaturgy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Prezentację powiązań folkloru ze współczesnymi wydarzeniami o charakterze politycznym autorka poprzedza doprecyzowaniem pojęcia folkloru. Akceptując koncepcję Ludwika Stommy, uznaje folklor za kulturę izolacji świadomościowej, która jest częścią kultur społecznie i historycznie zróżnicowanych. Przekaz folklorystyczny, jako tradycyjna forma tworzenia, jest natomiast efektem twórczej aktywności uczestników oraz odbiorców danego wydarzenia, korzystających zarówno z bezpośrednich, jak i elektronicznych środków przekazu, przede wszystkim z mediów społecznościowych. Jako pierwszy przykład autorka prezentuje sposoby folklorystycznej aktywności służącej oswajaniu traumy wywołanej przez kataklizm (powódź) i atak terrorystyczny. Następnie zwraca uwagę na folklorystyczny kontekst współczesnych demonstracji i strajków przeprowadzanych w przestrzeni publicznej, które dzięki zróżnicowanemu performansowi nabierają charakteru „karnawału oporu” lub eksponują oddolny protest wobec decyzji podejmowanych przez rząd i parlament. Prowadzi to nie tylko do powstania wspólnoty emocji, ale również wspólnoty informacyjnej, która może mieć istotny wpływ na kształtowanie opinii społecznej.

This study evaluates the characteristics of Kazakh fairy tales as a cultural phenomenon from a scientific perspective. Fairy tales are important in determining the worldview of the Kazakh people and recognizing their conceptual orientation. The Kazakh worldview as a linguistic picture of the world in Kazakh fairy tales has been studied according to the theory of reflection. In the 21st century, the global importance of quality education and training has increased significantly. Future generations' ability to find their place in society depends on their level of education, competence and cognition. In the article, in accordance with the principles of reflection, the role of fairy tales in instilling positive qualities in a child - from an early age - is analyzed. Another important concept is the "self" of the individual. The ways in which fairy tales provide knowledge, creativity,application of established skills, social reflection, the ability of an intellectual individual to think about the meaning of life and existentialism are reviewed with specific examples. In this study, the image of Kazakh fairy tales as a cognitive and cultural phenomenon was tried to be determined cognitively. At the basis of the study of the linguistic image of the world are philosophical problems that examine the general problems of the image of the world. In world science, this concept was put forward by M. Heidegger. It is the meaning of the word "image (picture, video)" regarding the image of something that first comes to our mind. But the meaning of the concept of "world image" is deep and comprehensive. Where the world becomes a picture, general entities are seen as things that man aims at and therefore wants to present to himself, things that he opposes and literally wants to present to himself. [ABSTRACT FROM AUTHOR]

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research is a study of cultural expressions (oral traditions) which aims to describe traditional expressions of the Pasemah Bengkulu ethnicity as a means of social control in society. The research method used is a descriptive ethnographic approach. The research data is in the form of traditional expressions of the Pasemah Bengkulu ethnic community which were obtained through observation and or recording from a number of informants intentionally or not. The research procedure follows the steps proposed by Spradley (1997). The results of the study are seen from the meaning, communication situations, speakers of the other party, and ways of expressing anger. Expression of anger is a means to express feelings of annoyance, disappointment, and dislike. Expressions of anger can be a means of therapy for speakers and interlocutors for the emotions they experience and are one of the cultural images of the Pasemah Bengkulu ethnic community. In addition, the expression of anger is also a form of social control for society as well as a recorder of taboo vocabulary.

The Knotted Cord – pierwsza angielska powieść polskiego pisarza emigracyjnego, Jerzego Pietrkiewicza, ukazała się w 1953 roku równolegle w Londynie i w Nowym Jorku. Książkę wydano w Polsce dopiero po 52 latach, pod tytułem Sznur z węzłami (2005). The Knotted Cord została napisana zgodnie z konwencjami współczesnej powieści brytyjskiej, co pozwoliło Pietrkiewiczowi odnieść sukces na rynku literatury angloamerykańskiej. Element egzotyki, jakim są dla brytyjskiego czytelnika barwne opisy wiejskich obrzędów, stanowi jeden z aspektów, które sprawiły, że książka stała się bliska wrażliwości odbiorcy wychowanego w kulturze anglosaskiej. Zaprezentowany przez pisarza kulturowy i społeczny obraz przedwojennej polskiej wsi ukazany jest z dużą dozą realizmu, choć w świecie przedstawionym rzeczywistość miesza się z magią, a pogańskie zabobony z religią katolicką. Dwa najważniejsze obyczaje opisane w powieści to Noc Świętojańska i obrzęd Pustej Nocy związany z pogrzebem.

KALINOWYM MOSTEM CHODZIŁAM, KALINOWE SERCE ZGUBIŁAM: CONTINUATIONS AND TRANSFORMATIONS OF FOLK MOTIFS IN LITERARY TEXTS The author analyzes the relationship between the folk images of viburnum, viburnum bridge and viburnum grove, as they all are reconstructed in the Lublin ethnolinguistic dictionary, and viburnum motifs identified in five selected literary texts: Teofil Lenartowicz’ Kalina ‘Viburnum’ (1845), Wincenty Korotyński’s Two Loves (1857), Krystyna Krahelska’s Kalinowym mostem chodziłam ‘I Used to Walk over the Viburnum Bridge’ (1941), Andrzej Trzebiński’s Wymarsz Uderzenia (1943) and Tadeusz Urgacz’ Kalinowe serce ‘Viburnum Heart’ (1961). As a result, both continuation and transformation of folk motifs can be detected. What connects the “Viburnum” motifs and the images created from them in the literary works representing different eras, times and styles is the world of values communicated by means of a symbol. The recurring value, as projected here in/by the central symbol of the viburnum, appears to be love.

Zasadniczym celem artykułu jest prezentacja ludowej bajki konkursowej oraz próba odpowiedzi na pytanie, czy jest to nowa forma folkloru. Podstawę materiałową rozważań stanowią przekazy/teksty nadsyłane na konkursy ludoznawcze ogłaszane w latach 1955–1966 przez Muzeum Etnograficzne im. Marii Znamierowskiej-Prüfferowej w Toruniu, Polskie Towarzystwo Ludoznawcze – Oddział Toruń oraz Polskie Radio w Bydgoszczy. Z ponad 6 500 nadesłanych tekstów uwzględniono w badaniach jedynie bajki (ponad 350), które w założeniu organizatorów konkursów (łącznie odbyło się sześć) miały stanowić zapis tradycyjnych chłopskich przekazów. Wybrane opowieści, w większości realizacje znanych wątków opisanych w Polskiej bajce ludowej w układzie systematycznym przez Juliana Krzyżanowskiego, poddano analizie, wydobywając z nich cechy zarówno je łączące, jak i odrębne w stosunku do przekazów z przeszłości, aby scharakteryzować nowe zjawisko, z którym mamy do czynienia, czyli ludową bajkę konkursową.

Copyright of Postscriptum Polonistyczne is the property of Wydawnictwo Uniwersytetu Slaskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The author analyzes the relationship between the folk images of viburnum, viburnum bridge and viburnum grove, as they all are reconstructed in the Lublin ethnolinguistic dictionary, and viburnum motifs identified in five selected literary texts: Teofil Lenartowicz' Kalina 'Viburnum' (1845), Wincenty Korotyński's Two Loves (1857), Krystyna Krahelska's Kalinowym mostem chodziłam 'I Used to Walk over the Viburnum Bridge' (1941), Andrzej Trzebiński's Wymarsz Uderzenia (1943) and Tadeusz Urgacz' Kalinowe serce 'Viburnum Heart' (1961). As a result, both continuation and transformation of folk motifs can be detected. What connects the "Viburnum" motifs and the images created from them in the literary works representing different eras, times and styles is the world of values communicated by means of a symbol. The recurring value, as projected here in/by the central symbol of the viburnum, appears to be love. [ABSTRACT FROM AUTHOR]

Toplum kültürünün en önemli göstergelerinden biri olan geleneksel giyim kuşam, bir milletin milli kültürünü, inançlarını, geleneksel örf ve adetlerini, yaşam tarzlarını simgeler ve kimliğinin oluşmasında önemli bir rol oynar. Geleneksel giyim kuşam, yöresel özellikler taşıdıklarından genellikle resmi bayramlarda, kutlamalarda, kurtuluş günlerinde, şenliklerde, festivallerde ve ilimizin temsil edildiği hemen her yerde sergilenmektedir. Geçmişten günümüze yörenin taşımış olduğu kültürel birikimin somut bir göstergesi olan bu kıyafetlerin sergilenmesi günümüzde önemlerini daha da artırmaktadır. Çanakkale Ayvacık köylerinde yaşayan Türkmenlerin özel günlerde, düğünlerde, törenlerde, şenliklerde geleneksel kıyafetlerini kullandığı bilinmektedir fakat Çanakkale Ayvacık köylerinde Türkmen giyim kuşamı konusunda literatürde çok az araştırma yapıldığı gözlemlenmiştir. Bu amaçlar doğrultusunda Türkmen giyim kuşamının belirlenebilen örneklerini bilimsel yöntemlerle belgelemek, arşivlemek, günümüz insanı ve gelecek nesillere tanıtmak, onların giyim kuşamı bakımından değerlerini ortaya koymak amacıyla araştırılması hedeflenmiştir. Türkmenlerin yaygın olarak yaşadıkları Çanakkale’ye bağlı Ayvacık köylerinde (Güzelköy, Çiftlik köy) alan araştırması yapılarak giyilen Türkmen gelin ve kadın giysileri araştırılmış; isimleri birer birer tespit edilip tanımlanmıştır. Yapılan alan araştırması sonucunda giyim kuşam; başa giyilenler, sırta giyilenler, ayağa giyilenler, aksesuarlar şeklinde tespit edilerek, kullanma biçimleri, sembolik anlamları, ne şekilde hazırlandıkları, hangi durumlarda kimler tarafından giyildikleri açıklanmıştır. Bu bağlamda araştırmada, Çanakkale Ayvacık köyleri örneklerinden hareketle giyim kuşama ad verilmesi ile ilgili hususlar; folklor, sosyo-kültürel durum ve anlambilim perspektifinde değerlendirilmeye çalışılmıştır. Bu araştırma ile Türkmen giyim kuşamının genel özelliklerinin ortaya konulması ve bu değerlerin yaşatılması açısından konu “Çanakkale Ayvacık Köylerine İlişkin Bazı Bilgiler ve Hıdırellez Şenliği”, “Metin; Doku, Bağlam ve Anlambilim Perspektifinde Türkmen Giyim Kuşam Adlarına Bakış”, “Sosyo-Kültürel Bağlamda Türkmen Giyim Kuşamı ve Sürdürebilirliği Üzerine Tespitler” başlıkları altında incelenmiştir. Araştırmada, Çanakkale ili Ayvacık ilçesi Güzelköy ve Çiftlik köyünde görülen Türkmen giyim kuşamının zenginliğini gösteren örnekler sunulmuştur. Bu örneklerin Çanakkale’ye bağlı Ayvacık köylerinde zamanla yaşam biçimlerinin değişmesiyle giyim kuşamda da farklılaşmalar yaşandığı, yeni kuşağın Türkmen giyim kuşamına ait özellikleri yeterince tanımaması talebin azalmasında etkili olduğu gözlemlenmiştir. Çalışma sürecinde hem bölge tanıtımına hem de nesiller arasındaki kültürel aktarımın sağlanmasına yardımcı olacağını düşünerek Türkmen giyim kuşamının önemi, güncel durumu ve sürdürebilirliği bakımından konu ele alınmıştır.

Toponymic legends, a subcategory of the legend genre in field of folklore, are valuable cultural heritage that reflect the cultural and historical significance of a place and are associated with the beliefs and stories of local people. Toponymic legends are stories hidden in the depths of place names. These legends shed light on the history and cultural context of the places they are named after. Serving as a reflection of a place's essence, toponymic legends nourish the fabric of geography, revealing the uniqueness of a region. Like an archaeologist carrying the traces of history, they provide us with an unparalleled window to unravel the secrets of the past and understand the roots of local culture. However, this subcategory has not been sufficiently studied within the discipline of folklore. However, the study of toponymic legends contributes to the preservation and valorization of cultural heritage by providing scientific data in cultural, historical, linguistic, geographical and ecological fields. Moreover, the interrelationship between similar legends in different regions is an important means of comprehensively assessing the culture of a nation. This relationship sheds light on the internal harmony, national unity and historical depth of a spesific nation's traditional culture. The aim of the study is to provide a holistic perspective on Turkish culture through two toponymic legend texts from Kazakh Turks. The legends of "Kız Kulesi" (Maiden's Tower) and "Kırk Kız" (Forty Maidens) exist among both Kazakh Turks and other Turkish communities in the research sample. Both legends belong to the categorical subcategory of toponymic legends. When examined in terms of their motifs and narrative patterns, along with their texts, variants, and historical background, they show significant similarities. Furthermore, when the elements that constitute the narrative are analyzed and interpreted from the perspective of Turkish culture, it is determined that they possess intra-cultural consistency. The fact that Turkic communities, which have interacted with distant and different cultures, share the same legends with almost identical motifs, indicates the preservation of cultural unity. "Kırk Kız" and "Kız Kulesi" legends shed historical light on Turkish culture within the toponymic category. These legends, with their rich motifs and narrative elements, provide insights into the cultural heritage and historical background of the Turkish people. They serve as important cultural symbols, reflecting the deep-rooted traditions, beliefs, and values of the Turkish culture. Through the exploration of these legends, one can gain a deeper understanding of the historical, social, and cultural dynamics that have shaped the Turkish identity over time. [ABSTRACT FROM AUTHOR]

The Nazi Era (1933-1945) varied in terms of mass propaganda and mass manipulation activities. The ideological background of these activities is largely based on the "political pseudo-myths" created by Nazi ideologues, especially Adolf Hitler. In our opinion, the term "contemporary myths" used by Roland Barthes for the symbolic tools of modern times is also valid for the artificial mythology produced by the Nazi ideology. Nazi ideologues did not hesitate to include old myths that did not belong to them. Such an attitude they adopt clarifies the term "working of myths", the role (function) they have assumed as a form of discourse in Hans Blumenberg's work titled Arbeit am Mythos. Focusing on the myth of Prometheus, which is seen as a "fundamental myth" for Western culture, later European cultural variants (i.e. co-texts) of an authentic Ancient Greek myth were created. With a similar logic, the Nazi discourse refers to the Siegfried myth with a similar orientation instead of the Prometheus myth. So, in this study, we aim to focus on the Siegfried myth, one of the main elements of Germanic folklore, to reveal how this myth was "processed" by the Nazi ideology, in other words, it was transformed in a new context and instrumentalized in a political discourse. Such an interrogation necessitates recalling some established definitions and functions of myth. Therefore, at the first stage, by referring to some general definitions of the concept of "myth", each mythology was rewritten in one way or another in later periods, made a part of this or that discourse, gained existence through oral or written transmission, updated in another way, that is, its form and we will emphasize that it is a "processed" form of an old mythological narrative that has become stereotyped with its content. These definitions are also intended to draw attention to the fact that there is no myth that has not been "processed", "pure" or "original", in other words, not transformed, as Gilbert Durand, which Kubilay Aktulum discussed in his book İmgelem Çözümlemesine Giriş, expressed in the context of myth analysis. In this way, Nazi ideologists believed that it was an effective way to consider the share of the mythological content that they found ready in their own time and that continued from one period to another in their propaganda discourse, and therefore they believed that it was necessary to use mythical material in their ideological discourses, and they tried to justify this in their discourses. Accordingly, as a requirement of the theoretical determination, it is inevitable to focus on the meaning of the Siegfried myth, which ideologists found ready at the first stage, in German culture. As we shall see, the myth of Siegfried has undergone several 'processes', undergoing a semantic as well as formal transformation. For example, the first stop of the mythical discourses of ideologues is the Nibelungen epic written in the 13th century. The myth of Siegfried was filtered through the feudal culture in this text written in Middle High German. The sub-text of the mythical discourse adopted by the Nazi ideologues is this epic. The second stop is the operations of the German Romantics, who brought about the rebirth of Germanic mythology around 1800; that is, the myth of Siegfried represents the search for a 'national consciousness' for the German romantics. The third important stage is Richard Wagner and Nietzsche's vision of Siegfried (last quarter of the 19th century), which shares his views. Richard Wagner transforms this myth into a symbol of German identity. Nietzsche also makes use of myth in this direction. Similarly, Nazi ideologues (hence the chief ideologue Adolf Hitler) deliberately distorted the Siegfried myth and instrumentalized it in order to manipulate the masses. In Nazi ideology, a parallel is drawn between the betrayal and murder of the figure of Siegfried and the German Empire's defeat (allegedly stabbed in the back) of the First World War. While the Nazis infuse a folklore element into their discourse, they draw parallels between Siegfried's mythological destiny and their own real conditions. In this study, how an old mythological story is transformed and instrumentalized in an ideological context will be analyzed in a thematic perspective. [ABSTRACT FROM AUTHOR]

Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Łódzkie Studia Etnograficzne is the property of Polish Ethnological Society / Polskie Towarzystwo Ludoznawcze and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Łódzkie Studia Etnograficzne is the property of Polish Ethnological Society / Polskie Towarzystwo Ludoznawcze and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Łódzkie Studia Etnograficzne is the property of Polish Ethnological Society / Polskie Towarzystwo Ludoznawcze and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Technology affects human life both positively and negatively. In the 21st century, all societies have begun to move away from their own cultures and values. There are many ethical problems in the world today. These ethical problems vary according to the structure of each society. Due to this change in the understanding of ethics, it is seen that many ethical problems are experienced in the Turkish world. In order to contribute to the resolution of these problems, I have revealed my Folkloric Grounding Metaethics Analysis Method, which is the method of analysis of my theory and Metaethic Theory of Folklore, with my interdisciplinary work in the fields of folklore and ethics. Metaetic Theory of Folklore moral life; It puts forward the proposition that it can be justified on the basis of traditions, customs and traditions, proves this claim with the ethical index of the Book of Dede Korkut, the complete scholar of the Turkish world.The subject of this study is the ethical analysis of the Negative Ethical Values of Creating Animosity and Slandering, which is one of the negative ethical values in the Dede Korkut Book of Ethics Index. The aim of our study; It is to make an exemplary study at the point of applying the Metaethic Theory of Folklore to the narratives by determining the folk ideas in the folklore sense, the propositions in the metaethical sense, which are the source of the emergence of the ethical understanding of the Turkish society.

The main expectation from academic outputs is to make an original contribution to the field of science. This contribution, which can be followed through citations, is one of the important indicators of the effectiveness of publications and academic journals in the field. This activity can be shaped by different dynamics for different research areas. Folklore is a field of humanities with a predominant national character because its field of study is subjects of a particular group of peoples. In this context, it is possible that different factors such as language and cultural proximity, apart from publication quality, have an impact on the evaluation of the field through citations. The main purpose of our study is to reveal the basic dynamics of scientific activity in the field of folklore through the journal Millî Folklor (MF) and other folklore journals. In this context, the scientific communication processes of the folklore discipline will be discussed with bibliometric methods in our study. In our study, the analyzes were carried out in two stages. Firstly, the position of MF and other folklore journals in the field is discussed with their publication numbers and citations. Secondly, the citation dynamics of the folklore field were examined through the publications citing to folklore journals. As a result, obtained from the bibliometrics analysis, it was seen that when MF is evaluated together with other folklore journals, it stands at a different point in terms of the number of citations and publications. In terms of citation averages, "Journal of Folklore Research" and "Journal of American Folklore" are prominent in the field. It has been determined that the citation lag value and the half-life value which indicates literature obsolescence differ considerably between journals. It was observed that 50% of the cited publications of the “Journal of American Folklore” started to be cited in the first year, while this value was 3 years for MF. In the list created according to literature obsolescence values, MF is the journal with the lowest half-life value among the journals evaluated. In the second part of the study, it was examined which disciplines citing to the field of folklore, it has been revealed that the fields of anthropology and history are prominent and the share of citations taken from outside of the folklore field. It has also been revealed that the share of citations to folklore publications from other research fields in total citations has increased over the years. Finally, diversity analyzes were carried out on the citations of folklore publications. In the diversity analyses carried out, it was examined in which sources the citations received by the journals were concentrated and whether this created a bias towards the citations received. These analyzes were carried out in the context of the scientific fields, countries, and journals of the publications citing to folklore publications. As a result of the diversity analysis, it is seen that in the citation tendencies of the folklore journals, language, culture and spatial proximity are the basis of the citation dynamics for the field. In the analysis made in the context of the languages of the journals in the field, it was seen that while Turkish, Spanish and German were in the periphery, the journals with the English language were in the central position and the publications in these English journals had a high tendency to get citations from different countries, scientific fields, and journals. [ABSTRACT FROM AUTHOR]

The “verbal art” works which was used prior to the emergence of folklore or the term “folklore” in Russian folklore history is divided into two as “pre-revolution period” and “Soviet folklore”. The interest in folklore in Russia and the people who are viewed as its creator was first started to be seen in the 18th century. The changes occurring in the consciousness of the European peoples expand to Russia. The great interest in the terms “people”, “populism”, “nation”, “nationalism” and especially the “people’s soul” term of Herder followed by Ossian’s poems in Russia, increases attention towards the people who are the conveyers of culture. Academic attention to folklore starts during the 1840s and 1850s with the mythologist M. Buslayev who in the history of Russian folklore is seen as the follower of Grimm Brothers and who established the first folklore professorship in Russia. The breadth of the field of folklore research carried out in Russia, the versatile and comparative research conducted by researchers without being exposed to any political pressure, the close follow-up of folklore studies carried out in Europe provide the emergence of different methods and different trends in this discipline. The 1917 October Revolution is accepted as the beginning date of the period called Soviet era folklore. However, a perspective similar to the nations policy of pre-revolution Tsarist Russia implicitly structures these studies. The basic principles of Soviet folklore, on the other hand, have become evident since the 1930s. In this framework, first of all, the basic elements of folklore have been tried to be classified by distinguishing the terms folklore (research material) and folkloristics (discipline that studies folklore). In the first decade following the October Revolution, many institutions continued to exist and provided the necessary conditions for folklore studies, albeit with difficulty. During the radical political changes in all areas of life due to the Revolution in the 1920s, especially Y.M. Sokolov's contribution is great. Author of Russian Folklore, which is the first folklore textbook published in Russia, folklore consultant of the First Congress of Soviet Authors, Y.M. Sokolov also tried to build a bridge between the academic world and politics. The Soviet administration radically changed the content and working principles of folklore as a tool to "affect the masses". The nature of new folklore products is “traditional in form, new in content.” expressed in words. In particular, the use of oral folk art to spread the Soviet ideology provides the emergence of new folklore contents within twenty years. It has been observed that the feature of folklore that can influence and direct the masses of the people is used to strengthen the socialist society and the cult of Stalin. Despite everything, the Soviet folklore period, which constitutes the content of folklore reflecting a period and continued to develop until the death of Stalin, is considered as the decline period of the studies of Russian folklore. Therefore, folklore and folklore products are redefined according to the dominant ideology. At the meeting of the Union of Soviet Authors, the functions of folklore and folklore products for the Soviet society are discussed and the method of folklore studies is determined in the light of these discussions. In this period, both the concept of folklore, folklore products and folklore studies gain a new content according to the Soviet ideology. [ABSTRACT FROM AUTHOR]

Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Folklore is a form of children's literature. Libraries can provide a collection of folklore for children among users in introducing local culture and language. So folklore has been researched by several researchers from various countries. This study aims to determine the development of children's literature in folklore in the library. The research method used a qualitative approach through the content analysis method. The references studied were from seven references which were then mapped into several categories. Based on analysis 7 reference, all the folktales characters can psychology and phisic analysis. Folklore can retall to stundents at the school through storytelling and folklore reproduction on modul at school. Folklore is representation of culture at the region. The collection of folklore is the one of unique collection at the library. Based on seven reference, the most widely written folklore research is the theme of storytelling which is researched from 3 references. The research method that is widely used is the literature study method used from 3 references. Types of folklore that have been studied are folk stories written 6 times, poetry written 5 times, epic stories (struggles) and songs written 3 times, animal tales, legends, historical stories, myths, proverbs and written utterances respectively. 2 times, and other types of folklore are written once. The conclusion of this study shows that folklore can be researched from a variety of sciences, folklore as an effective learning medium in schools and libraries, folklore reproduction enriches children's literature in the realm of education.

Autorka analizuje ludowe przepowiednie pogody wyekscerpowane z wydanego w roku 1900 tomu Народна метеорология (Ludowa meteorologia). Na podstawie ich analizy stwierdza, że chociaż w języku bułgarskim brakuje przysłów kalendarzowych, to w tradycji ludowej funkcjonowały przepowiednie pogody i przyszłych plonów związane z określonymi ważnymi datami kalendarza liturgicznego. Najważniejszą z tych dat jest 1 lutego – dzień św. Tryfona, patrona winnic i winiarzy. Artykuł zawiera omówienie tych właśnie prognoz.

Artykuł podejmuje próbę możliwie szerokiego i różnorodnego spojrzenia na twórczość mazurkową kompozytorów polskich od Żeleńskiego do Kilara, zrodzonej z impulsu, który wyszedł od dwóch największych twórców tego gatunku w historii muzyki – Chopina i Szymanowskiego. Posłużył temu subiektywny wybór trzydziestu jeden utworów fortepia­nowych z przedziału czasowego 1880-2006, zawierający przykłady z muzyki artystycznej. Twórczość użytkowa i, z niewielkimi wyjątkami, również salonowa, została pominięta. Autor skupia się na zagadnieniach harmo­niki i melodyki, które – jego zdaniem – są w stanie najpełniej ukazać obecność prze­two­­rzo­nych elementów pochodzenia ludowego oraz wzajemne relacje sfery wpły­wów i inspiracji w stosunku do tendencji indywidualnych i nowatorskich. Utwory zostały podzielone na pięć grup: (1) mazurki inspirowane idiomem chopinowskim i/lub o cechach użytkowo-salonowych, (2) mazurki inspirowane idiomem góralskim, (3) mazurki o inspiracjach płynących z dwóch różnych źródeł, (4) mazurki zdradzające oddziały­wanie inspiracji przeszłości na indywidualny warsztat kompozytorski, (5) mazurki z dominującymi cechami autorskiego warsztatu kompozytorskiego.

Przedmiotem badań podjętych w artykule jest lubelska tradycja Święta Godowego, w szczególności kolędowania, analizowana diachronicznie w ramach tartusko-moskiewskiej teorii semiotycznej. Poprzez wyróżnienie podstawowych struktur symboli realizowanych w ramach Godów oraz zestawienia – na przykładzie semiotyzacji przestrzeni obrzędu – tekstualnej i akcjonalnej warstwy święta podjęto próbę dotarcia do grupy jego najstarszych pokładów symbolicznych, ujętych jako fragment partycypującego w kosmologii ludowej osnownego „tekstu Święta Godowego”. Wnioskiem wyciągniętym z tych rozważań jest związek Godów z dawnym mitem solarnym i kosmogonicznym, będących częścią odtwarzanej semiosfery horyzontu bałtosłowiańskiego.

Snakes are frequently misunderstood and ill-perceived animals. Having in mind the frequent killings of snakes near villages in Serbia as their habitats coincide with agricultural land, we administered questionnaire to the local inhabitants at several localities to evaluate human perception of the snakes with a special reference to Vipera ammodytes. We interviewed 87 individuals where the majority (68%) were men of age 65 and older. We classified responses to eight different topics: attitude, knowledge, awareness, folklore, knowledge about nose-horned vipers, possible threats to the vipers, direct killings and snakebite incidence. Younger age groups of the respondents (18-24 and 25-34) had positive attitude and more knowledge about snakes while other age groups were ambivalent. Further, gender groups were also ambivalent. Almost half (45%) of respondents recognized V. ammodytes, but 36% stated that this viper “jumps and attacks” humans, and majority of respondents (61%) perceived this species as aggressive. Regarding these results, we have proposed possible conservation measures. [ABSTRACT FROM AUTHOR]

The scientific article refers to the opening of a research institute, which was of great importance for solving urgent problems of the economy and culture of Karakalpakstan. [ABSTRACT FROM AUTHOR]

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Copyright of Theatralia is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Folklor bi qadên xwe yên curbicur ve di gelek qadên cuda yên perwerdeyê da tête bikaranîn. Yek ji wan qadan hînkirina zimanan e. Janrên folklorê yên wekî çîrok, çirçîrok, destan, metelok, stranên gelêrî, helbestên gelêrî, mamik, xeberoşk, zûgotinok û gelekên din di materyalên hînkirina kurmancî da jî têne bikaranîn. Hinkirina kurdî li Tirkîyeyê heta salên 2010î li saziyên serbixwe û taybet bi rêve çûye. Lê sala 2012an bi biryara Wezareta Perwerdeya Neteweyî ya Tirkîyeyê ve Kurdî (Kurmancî/Zazakî) wekî dersên hilbijartî ketiye mifredata xwendinê. Li gor wê biryarê refên 5 heta 8ê dikarin dersa kurdî hilbijêrin û heke li xwendingehekê ji 10an zêdetir xwendekaran ders hilbijart, rêveberiya xwendingehê mecbûr e wê dersê veke. Ji bo amadekirina pirtûkên wan dersan li ser daxwaza wezaretê li Zaningeha Mardîn Artukluyê, ji mamosteyên Beşa Ziman û Çanda Kurdî komîsyonek hate avakirin. Vê komîsyonê ji bo refên 5, 6, 7 û 8an pirtûk amade kirin û ew pirtûk heta sala 2017an hatine çapkirin û li xwendingehan hatine belavkirin. Sala 2017an bikaranîna wan pirtûkan hate betalkiririn û vê carê dîsa li ser daxwaza wezareta perwerdeyê, komîsyoneke cuda ji mamosteyên bajarê Batmanê hate avakirin. Wê komîsyonê jî ji bo heman refan pirtûk amade kirin û ew pirtûk heya roja me li dersên kurdî yên hilbijartî wekî pirtûkên dersê têne bikaranîn. Di vê xebata xwe da em dê lê binêrin ka hêmanên folklorê di hînkirina kurmancî da çawa hatine bikaranîn. Ji bo xebatê ew herdu setên pirtûkên dersa Kurdî (Kurmancî) hatine hilbijartin yên ku li Tirkîyeyê li xwendingehên navîn hatine/têne bikaranîn û pirtûkên pola 5an yên herdu setan hatine analîzkirin. Wek metodolojiya xebatê me metoda dokûmenterî daye ber xwe. Emê ewil paşxaneyeke dîrokî ya hînkirina kurdî li Tirkîyeyê peşkeş bikin, dûvra çarçoveyeke teorîk bidin ku têda li ser teoriyên hinkirina zimanan û bikaranîna hêmanên folklorê di hinkirina zimanan bisekinin. Herî dawî jî emê li ser pirtûkên mijara xebatê hûr bibin û lê begerin ka di her yek ji wan pirtûkan da rêjeya hêmanên folklorê çend e û ew hêman bi çi awayî hatine hilbijartin û çawa hatine bikaranîn.

Tuvans are today a Turkic people living in the autonomous Republic of Tuva, which is connected to the Russian Federation. The Republic of Tuva is located in the north of Mongolia in the South Siberia region. Apart from the Republic of Tuva, the Tuvans live in the Altai province of Mongolia's Bayan-Ölgiy and Hubsugul and Xinjiang Uyghur Autonomous Region of China. The Republic of Tuva is located between the Sayan mountains in the north and the Tannu-ula mountain range in the south. Tuvans remained as an isolated society in the region where they lived due to the effect of geography. This feature of Tuva geography has been effective in the preservation of their culture. Every society has its own unique cultural characteristics. In this sense, the most important feature that increases the recognition of Tuvans in the world is Tuva throat singing, which is called höömey. The main feature of the höömey, which has many types, is that more than one sound can be heard clearly from the larynx at the same time. Tuvan throat singing is known by the name of höömey, which is one of these different forms. There are five basic styles of höömey, namely höömey, sıgıt, kargıraa, borbaŋnadır and ezeŋgileer. The fact that the höömey has various sub-styles is related to the fact that the voice coming out of the throat has different heights in the basic melodic formations. The emergence of different styles is explained by the difference of life style among nomads. According to this, nomadic shepherds perceived nature according to the living conditions of their region and performed höömey music in different styles. Throat singing is the traditional music of Tuvan. There is a close relationship between höömey and Tuvan culture. Tuvan culture and beliefs have a great influence on the formation of the höömey. At this point, höömey is associated with the ancient nomadic shepherd Tuvan. Nomadic shepherds are reminiscent of steppe life. There is humming, sound of water and wind, bleating and chirping of birds in nature in the vast steppes and taiga of Tuva. This polyphony resembles a melody. For Tuva's nomadic shepherds, this sound system has inspired a form of music that consists of a mixture of different sounds. Thus, Tuvan throat singing, called hööemey, emerged by imitating the sounds of nature. Höömey has many practical uses in the Tuvan culture. One of the most important of these is the shepherds' performing höömey during migration, which forms the basis of the höömey-culture relationship. Except for nomadic activities, it is sung at weddings and funerals, certain holidays and festivals, and various sports competitions. Höömey is also associated with traditional Tuvan beliefs. According to Tuva animism, every being has a soul. Tuva shamans developed certain rituals in order to communicate with nature spirits and used höömey to influence the spirits in these rituals. In this study, höömey has been examined together with the formation process of different styles. The main purpose of the study is to show the historical and cultural factors in the formation of the höeme together with the effort to contribute to the preservation of the cultural heritage of the people of Tuva and to make it known to the wider audience. [ABSTRACT FROM AUTHOR]

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Jerzy Paramonow to przestępca który w szczególny sposób zaistniał w wyobraźni społecznej jako bohater anonimowej ballady podwórkowej. Funkcjonując przez lata w wąskim obiegu, w ostatnim czasie przypomniany został przez twórców muzyki rozrywkowej. Poszczególne wersje losów Paramonowa — niezależnie od różnic wynikających z immanentnej estetyki zespołów oraz medium — ukazują „wspólnotę wyobraźni”, z której czerpali zarówno twórcy anonimowej ballady ulicznej, jak i jej zestetyzowanych wersji. Do najważniejszych z nich należą: - zakorzenienie schematu fabularnego w pieśni ulicznej; - bliska pieśni jarmarcznej estetyka opisów przemocy; - kreacja postaci głównego bohatera na wzór opowieści o zbójnikach. Jednocześnie zakorzenienie owych tekstów kultury w tradycji anonimowej twórczości minionych wieków uzmysławia trwałość pewnych wyobrażeń. Są one potencjalnie aktualizowane i dostosowywane do zmieniającego się kontekstu społecznego, w jakim funkcjonują odbiorcy, jednak ich istota oraz funkcja w komunikacji literackiej pozostaje niezmienna.