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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.)

While folktales are stories from and for the (common) folk, they are often transgressive at both literary and socio-cultural level. For instance, the phenomenon of death that holds a close affinity to human beings, at personal and social level both, is not always addressed with the same seriousness, gloominess, and philosophical perspective as the real world of the folk. Death and dead, lifeless bodies, embody myth and mystery transgressing biological and social boundaries. This playful approach is used for different contextual and textual fulfilment. Even so, the playful transgression itself dispenses the gravitas of the phenomenon of death, especially in socio-cultural contexts. This paper analyses three folktales of Rajasthan, credited to Vijaydan Detha, that engage in such playful transgressions with the idea of lifeless bodies and death. The tales, as examples of Corpse Literature, reveal and question at the same time, the role and influence of folktales in its contribution to the narrative of death. How then does one regard these playful transgressions on death in terms of meaning and discourse? [ABSTRACT FROM AUTHOR]

This paper discusses how socio communicative practices that originate in oral tradition, with a focus on Brazilian legends, manifest themselves in the digital environment. It foregrounds the production of discourse objects as a category of analysis and approaches the theoretical assumptions of linguistic and cultural studies through an interdisciplinary approach. It is a study of a theoreticalanalytical nature that aims to answer the following research questions: How are Brazilian folk narratives constructed in multimodal texts based interactions in digital environment? How are the objects of discourse constructed in the analyzed texts? The analyzed texts were collected through screenshots of interactions on public Facebook pages. It is hoped that the results will allow us to understand how digital texts are constructed and show how referential processes contribute to text construction and meaning production, deepening studies of language use in digital environments.

From the past to the present there have been valuable elder people who lead people spiritually, who guide people with their knowledge and their experiences; and whose advices are listened by many people. As moral and mature people, they ensure the existence and continuation of societies; and contribute to the formation of the unity of feeling and thought of the society. They are idealized types. They are "wise people" who own a special place in Turkish culture and have the aforementioned characteristics. When Turkish epics are examined, it is realized that the wise men are always by the side of the brave and the valiant men. In the Oguz Kagan Epic, they sometimes appear as Uluğ Türk, Irkıl Ata or Yuşi Hoca; in Manas Epic as Bakay; and in the Book of Dede Korkut as Dede Korkut. The important wise types of the oral culture have reflections in many different works today. It is possible to see the wise type that is a part of our traditional oral culture in the secondary culture environments embodied by various characters. An example of the wise type is represented by a person named Ciritçi Abdullah in the TV series Gönül Dağı, which started broadcasting in October 2020. Remarkable similarities have been identified when the events where the wise people in the folk narratives are involved and the role of Ciritçi Abdullah in the series Gönül Dağı are compared. Although there are various variations, the wise type still exists today. [ABSTRACT FROM AUTHOR]

The lakeland of Trakai is a historically, culturally, and ecologically meaningful place in Lithuania, an important realm of memory and symbol of national identity. In 1991 the historical national park of Trakai was established, bringing under its umbrella material and intangible qualities of the cultural landscape and spirit of this place. This article approaches components of the genius loci of Trakai, interpreting this concept through the lenses of the politics of the protected areas in Lithuania, asserting it was closely intertwined with an idea of sacrum, based on the aim to represent regional specifics and ethnic identity of the Lithuanian nation. Based on long-term personal observations of how values and regulations of the historical national park of Trakai evolved and were introduced in the local context in practice, a critical approach is applied concerning the separation of the local community from their decision-making about the symbolic or physical usage of their surroundings. Multiethnicity with the significant Slavic cultural element of Trakai is discussed as one of the reasons explaining why folkways of the local inhabitants were not equally involved in the whole picture of place identity, leaving the human component of the genius loci aside. The analytical line of the article focuses on the contradiction between the peculiarities of the local culture and national ideas, while the empirical presentation of the theme is set forth through the presentation of the four dimensions of sacrum: historical, cultural, ecological, and human.

This study mirrors the symbolic actions of cultural characters in Davao folk narratives. It utilized descriptive-narrative and narrative-conversational methods to collect and analyze the folk narratives in the Davao region. The Cultural Symbolism theory of Clifford Geertz was used to reveal the interweaving culture of the indigenous people. Thus, the symbolic actions present in the texts are the following: pangayaw (tribal war), divine intervention, hunting, trading, belief in the existence of heaven, usage of magical instruments, cursing and casting enchantments, and patronizing a Datu. Hence, this study contributes to the preservation of culture which is slowly vanishing due to the effects of colonization, modernization, and globalization. Thus, further studies on myths, folktales, folk songs, folk speeches, and folk epics should be done to promote the cultural awareness among postmodern Filipinos.

Values are the cultural elements that a society reveals, that creates and directs the society. In order for society to survive, it must be transmitted from generation to generation. Epic, fairy tale, folk tale, anecdote and legends, which we call folk narratives, are extremely important in providing this transfer. Because these narratives are narratives in oral, written and electronic media. Those who listen and read these narratives by accessing them from one of the specified environments will also have learned the values. Legends are texts created about the adventures of the occurrence of some formations that people saw around them in the period when science was not very developed and widespread. These texts convey the values education to future generations because of the cultural elements they contain. Legends have educational and value-added functions. Especially when they are examined in terms of value education, it will be seen that the legends are very rich and they are a type of folk narrative that can be used for value education. The main purpose of this study is to reveal this aspect of the legends, which are thought to be rich in values, and to determine that they can be used in values education. For this purpose, Saim Sakaoğlu's book 101 Anatolian Legends is based on ten core values (justice, friendship, honesty, self-control, patience, respect, love, responsibility, patriotism, benevolence) in the Turkish Language Curriculum published by the Ministry of National Education in 2019, will be examined and interpreted with the document review method, one of the qualitative research methods. [ABSTRACT FROM AUTHOR]

Folk narratives are a genre of folk literature that includes myths, legends, folktales, epics and fairytales. As the term recommends, it describes all the narrative forms of folk or orally transmitted stories typically of a particular culture. Folk narratives reflect the culture; in a culture, they function as a guidance and transmission of knowledge, regulating and structuring societal norms and, ethics, and belief systems. Degh (1972) stated that “Folk narratives are subject to such essential changes not only when they adjust to different cultures and epochs but also when they follow internal changes within the same culture.” (1972: 59). This article will highlight the main features and characteristics of the Meiteis by analyzing the women characters and their representations in the folk narratives. This discourse will also attempt to bring out the feminist elements, if any, that exist in the folk narratives of the Meiteis, as discussions of women are vague without the features and aspects of feministic perspectives. The observations and discussion of this article will positively create an understanding of how women are represented and portrayed through the characters and plots in the folk narratives and their impact on the activities performed and the position of women in the social and cultural background of the Meiteis. [ABSTRACT FROM AUTHOR]

Copyright of Studia Mythologica Slavica is the property of Scientific Research Centre of Slovenian Academy of Sciences & 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.)

This paper discusses how socio-communicative practices that originate in oral tradition, with a focus on Brazilian legends, manifest themselves in the digital environment. It foregrounds the production of discourse objects as a category of analysis and approaches the theoretical assumptions of linguistic and cultural studies through an interdisciplinary approach. It is a study of a theoretical-analytical nature that aims to answer the following research questions: How are Brazilian folk narratives constructed in multimodal texts-based interactions in digital environment? How are the objects of discourse constructed in the analyzed texts? The analyzed texts were collected through screenshots of interactions on public Facebook pages. It is hoped that the results will allow us to understand how digital texts are constructed and show how referential processes contribute to text construction and meaning production, deepening studies of language use in digital environments. [ABSTRACT FROM AUTHOR]

The study analysed samples of folk narratives, specifically three Batangas religious legends, from the lens of Archetypal criticism. In a collective sense, analysing the archetypes of religious legends revealed Batangueños' spirituality, religiosity, and traits as a people. The theme of faith as an archetypal subject relates to the Batangueños' deep trust in God amidst difficult circumstances. The caregiver female character archetype recurs in the legends, while the ruler, everyman, rebel, and sage are the male archetypes revealed by the study. The characters' negative traits as embodied in the shadow archetypes reflect that, true to their nature as human beings, Batangueños have human flaws. The water that represents the archetypal image symbolises the Batangueños' life cycle of birth-deathresurrection, purification and redemption, fertility, and growth. As gleaned from the two legends, the situation archetype may be related to the Batangueños' ownership of patron saints as part of their religiosity. Since the study focused on the non-etiological classification of legends, future researchers may study other legends that may reflect the peculiar culture of their localities. [ABSTRACT FROM AUTHOR]

Place-lore, which has been systematically collected and archived in Estonia since the 19th century, is a part of various national, communal and institutional practices. Until now, Estonian researchers have resorted to conceptualizing place-lore from the perspective of archival texts, and the focus has been on collecting and archiving the material. At the same time, theoretical study of place-lore has remained in the background. In the article I approach place-lore from the perspective of ecosemiotics and suggest a new definition of place-lore that is based on semiotic relations these narratives have with the environment they represent. Outlining different ways of how vernacular tradition and the environment it represents are semiotically related, and analysing the ways in which these relations are expressed in place-related folklore allows seeing how place-lore can be defined through (1) localizability, (2) representation of the characteristics of a place, and (3) manifestation of place experience. Defining place-lore and presenting the preliminary conceptual tools is much needed in practical collection work and archiving and serves as an important prerequisite for studying the placerelated folklore in the context of contemporary challenges, such as changing textual practices, cultural disruptions, and environmental crisis. Examples are drawn from folklore associated with mires, specifically from narratives about the Kakerdaja Bog in northern Estonia.

Air has been an important issue because it is a vital source of human. Many beliefs about weather and wind developed in ancient philosophy, mythological perceptions and celestial religions. In many of these imaginations, the wind is a divine sign. Similarly, when we turn to Turkish mythology, we encounter beliefs that the wind is dominated by gods and spirits. The Turks; the names such as “Yel Baba”, “Yel İyesi” believed that the souls they gave were the forces controlling the winds. These emerging beliefs have influenced not only social life but also folk literature. Indeed, mythological elements are treasures that enrich literature. In this context, it can be said that wind, which is an important part of mythological perceptions, frequently finds a place in the narratives. Wind is a phenomenon that positively directs the fate of the hero with a sacred touch in narratives and can transform the hero. However, we rarely witness that the wind brings negatives to heros and even the wind is the representative of evil beings. Regardless, there is a fact that the perception of wind is always associated with supernatural beings and is a decisive mystical element in the narrative. This study focuses on the meaning of philosophy, mythology, heavenly religions and sufism in order to illuminate the origin of the phenomenon of wind in the narratives. In order to support the ideas put forward in this study, the Altai epic from the South Siberian geography, “Maaday-Kara”, Shor epic “Altın Tayçı”, the Shor tales “Kayıp Kız” and “Şanssız Nekker”, the Hakas tale “Işık Işıkoğlu Hakan” and “Akkız and Karakız” from the Anatolian field will be examined. The aim of the study is to determine to what extent and how the reflections of wind imagery in Turkish mythology and cultural structure are reflected in folk narratives, and what functions they perform in the narratives.

Copyright of Maetagused is the property of Estonian Literary Museum, Department of Folkloristics 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 Mukaddime Journal is the property of Mukaddime Journal 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 International Journal of Language Academy is the property of Rota Kariyer 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 Tradition Oral Literature / Boletín de Literatura Oral is the property of Boletin de Literatura Oral 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.)

Folk narratives are used as a source for modern genres sometimes in the form of intertextuality and sometimes in the form of reproduction/creation. Some motifs or episodes undergo change and transformation while reproduction is based on folkloric or traditional elements. There are different reasons for the reproduction of folk narratives in modern literary genres. For example, folk narratives can be instrumentalized to arouse national consciousness and build national identity; it is aimed to introduce folkloric elements/values, which are about to disappear in modern society, to modern individuals. The reproduction of folklore is also exemplified by the works created from the myths/folk narratives of "Kızılırmak" and "Karakoyun". Three films were made through the combination of both folk narratives. Nazım Hikmet's script which is based on these folk narratives was filmed by Muhsin Ertuğrul in 1947. Again, based on this folk narrative, Yılmaz Güney wrote a script, which was filmed in 1967 by Ömer Lütfi Akad. Tuncer Cücenoğlu, who wrote the script of the film which was filmed for the third time in 1992, also benefited from the previous works, which was filmed by Şahin Gök. Cücenoğlu transforms these folk narratives into a musical play called Kızılırmak. In these works, which are an example of the reproduction of culture based on folk narratives and folkloric elements, the values, which were about to disappear and which were used as a source of folklore, were rebuilt with a modern form and discourse, and at the same time, the collective subconscious of the nation to which these folk narratives belonged were attempted to be enlightened. Although there were many changes/transformations in the source texts during the reproduction of the folkloric elements, the main episodes were mostly preserved. The form, discourse and theme of anonymous folk literature such as folk songs and mani (Turkish poem or song) were imitated in the script texts and especially in verse texts in which the folk narratives were used as direct sources. While there is no direct relationship between the two narratives formed around Kızılırmak and Karakoyun, both legends are combined in the modern texts created in the process of reproduction based on these narratives. Particularly in cinema films, both myths were skilfully placed in the texture of the text to form a composition. There has not been a study about the reflections of folk narratives formed around Kızılırmak and Karakoyun in modern literature and art. This article examines how folkloric elements and folk narratives constitute a source for modern texts. First of all, folk narratives and common episodes in modern narratives have been investigated; then, it has been evaluated that how the folk narratives have been used as subject, form and discourse in the production of films and plays based on these folk narratives. During this study, it was realized that the effect of folklore on modern literary genres, especially in modern Turkish theatre, has been very few on the traces of folklore or folk narratives. As a consequence of this study, it is aimed to make a contribution to the researches in this field. [ABSTRACT FROM AUTHOR]

The subjects such as how the world was formed, and how it is perceived and how many layers it consists of play an important role in Turkic mythology. The commonly held view in Turkic world relating to the perception of the world is that the sky is a semi-circle dome and the earth has four corners with eight directions. In the mythological conception of the world, the world has four sides as East, West, North and South in horizontal plane; and it consists of three layers as the sky (up), the earth (middle) and underworld (down) in vertical plane. The notion of a three-layered world consisting of the sky, the earth and the underworld is also seen in the mythology of Tatar-Turks. In the examples of epic, legend and tales of the folk narratives of Kazan-Tatars, of all these three worlds, mainly the worlds of the earth and the underground have been largely dealth with. Apart from these worlds, realms of existence of different life forms like the underwater, the dark forest, and the kingdom of the sun and the moon are also mentioned. The worlds of the "sky", the "underworld" and the "underwater" in particular, are described as "the second world"s apart from the world in which people inhabited. These worlds which do not differ much from the earth in the world view of Kazan-Tatars are perceived as being close to and connected to each other and however they are similar to the earth they also seem to be more beautiful or frightening. The events that take place in the narratives usually start on earth which is the world inhabited in a circular cycle and continue in the other worlds, and ends up on earth again. A great variety of functions have been attributed to the other worlds which have been mostly stated as "kingdoms". This study has two goals; The first one is to reveal the appearance of the notions with regard to the mythological conception of the world in the mythology of Kazan-Tatars with examples from the narratives such as epics, legends and tales; the other one is to examine the mythical qualities and functions of all the realms of existence apart from the earth such as the "underworld", the "underwater", the "sky" and the "dark forest" that we describe as the other worlds. [ABSTRACT FROM AUTHOR]

This article deals with continuities and changes in the conceptualization of womanhood among the Guji-Oromo of Ethiopia. Drawing on adults' and children's interpretation of gendered folk narratives, the article discusses the traditional conceptualization of womanhood and the emerging voices that disapprove of it. It argues that adults and children construct contesting images of womanhood through interpreting gendered folk narratives. In explicating the interplay between gender, folk narratives, and intergenerational difference, it looks into the dynamics driving the conceptualization of womanhood in Ethiopia. It shows how individuals' and groups' socio-cultural orientation plays a crucial role in the understanding of gender to which children are introducing new perspectives. It also argues that the role of cultural expression is not only to validate customary perceptions but also reflects the present and emerging changes in the construction of gender. This scenario echoes an emerging resistance that the present generation of children has imposed on the established gender stereotypical views of adults. The article is based on data collected through ethnographic fieldworks done among the Guji-Oromo for ten months in 2015. [ABSTRACT FROM AUTHOR]

This paper examines the novel Adili na Nduguze by Shaaban Robert. It seeks to explain how humanness is embedded in the plot of this prose fiction. The study uses Utu/Ubuntu as a theory of analyzing and explaining the events and the actions within this novel. The focus of the paper is to explore the plot of the novel in order to see how it reflects humanness (Utu/Ubuntu) as it is perceived among the Bantu. The analysis is done by examining the reason of characters appellation and the author attention to diction which shows how royal characters intervene a conflict within this creative work. Also the study examines the novel in order to provide an account of the ontological conflict of two opposing beliefs in which a city is turned into stones (Mji Uliogeuka Mawe). Lastly, the paper attempts to inspect and explain reasons why Hasidi and Mwivu, Adili two brothers are turned into baboons, subjected to severe whipping from Adili and the cause of the removal of the curse placed upon them which subsequently makes them humans again.

In 2014, the Archives of Latvian Folklore started developing its digital archive, which, among other things, offers an opportunity to develop new digital tools and resources for indexing folk narratives. Since the 1850s, a sizeable legend corpus has been documented in the territory of Latvia, and extensive collections have been published. While initiating the development of a digital index of legends, this article aims to consider the most comprehensive collections and publications as of today, as well to characterise the applied systems of classification and indexes. It was in the 1850s and 1860s when the first calls to write down folktales and legends were published in the press, and when the Latvian folk narratives started attracting wider interest of both Baltic German scholars and emerging Latvian intellectuals. In 1887, Fricis Brīvzemnieks published the first academic collection of folktales and legends, which included 186 texts. In this collection, the folktales and legends were classified by the genre and subject. The majority of the folktales (1863 texts) and legends (3254 texts) collected in the 19th century was published in the seven-volume edition Latvian Legends and Folktales (1891-1903, 2001) edited by Anss Lerhis-Puškaitis. It was the largest collection of Latvian folklore and one of the most sizeable publications of folk narratives in Europe at that time. In the early 1890s, the popularity of British anthropologist Edward Tylor's theory of animism was growing. As no particular classification system of legends was approbated in international research circles, Lerhis-Puškaitis developed a unique system of legend classification, which was based on the theory of animism to arrange the voluminous text corpus; however, it fell under criticism in the early 20th century. The largest current publication of Latvian folk narratives (4309 folktales and 3586 legends), Latvian Folktales and Legends (1925-1937), was prepared for publishing by Prof. Pēteris Šmits. As for systematisation of folktales, Šmits implemented a state-of-art classification system introduced by Antti Aarne based on the historic-geographic method. Unlike folktales, researchers of legends did not have any internationally applied catalogue of legend types available at the time. Šmits classified the legends into four sections: 1) etiological legends, 2) mythological legends, 3) place legends, and 4) historical legends. The Archives of Latvian Folklore (ALF) was established in 1924 with its main task to collect and archive Latvian folklore, including legends. Along with intense activities of folklore collecting, the ALF was publishing and studying the collected materials, yet no developments toward a legend index were initiated. Having recognised legends as a significant genre for the Soviet ideology, a catalogue was initiated in the 1950s by Herta Vaita (the card index of legends). In the early 1960s Alma Ancelāne engaged in the research and classification of legends, and this also concurred with the discussion activated by the International Society for Folk Narrative Research regarding the development of an international catalogue of legends, which indirectly affected Ancelāne's work. The card index of legends, which was completed after almost 30 years, covers nearly all of the material held in the ALF, some 57,000 texts. The material was primarily divided into etiological, mythological, and historical legends, whereas a more detailed subdivision was created grouping the legends into several sub-levels based on motifs, types, and occasionally by the themes included therein. Although Ancelāne's card index greatly helps in orientating oneself to the collection of legends held in the ALF, it can hardly be considered as a fully completed index of motifs or types of Latvian legends. After WWII, Latvian emigres also contributed to the classification of legends. In 1981, Lena Neuland published Motif-Index of Latvian Folktales and Legends, which followed the pattern of Motif-Index of Folk Literature by Stith Thompson using both Thompson's names and numbers of the motifs. In 2014, the digital archive of ALF, garamantas.lv, began providing options for the development of new digital tools and resources in the research of folk narratives. Much has been accomplished in the field of legend research by now, yet there is still much to be done. A sizeable number of legends have been collected, and a large portion of them has been published, but this material has not been compiled in a single data corpus. A motif-index of Latvian legends has been developed which is accessible to the international community of legend researchers, but the material it covers equals less than 5% of the entire text corpus. Likewise, a type-index of Latvian legends should also be developed. In addition, an equally wide selection of Latvian legends should be published in English. By developing a mapping tool, the digital archive would allow for the visualization of the geographical distribution of each motif and type. There are plenty of plans and intents to implement. The first impressions gained from an implementation of those will be addressed in a separate article. [ABSTRACT FROM AUTHOR]

The article considers some rare etiologies in contemporary recordings - non-biblical cosmogonic and folk biblical anthropogenic etiologies in the comparative and historical aspect. Cosmogonic etiologies are stories about the predetermination of spatial and temporal parameters of the world (texts about the origins of the elements of the earthscape, in particular, mountains; about the agreement made between God and Satan concerning the distribution of ascendancy over people at the beginning of the world and at the end of it; about the determination of the time of the existence of the world and the change of time); about the structure of the current status of the Universe (the Earth is round, it revolves and is supported by a giant turtle or tortoise); about the primary entity or body, from which the following emerges: the world (out of a child's body), a part of cultural space - a group of inhabited localities (out of a felled statue), and one of the primary elements - fire (out of a human). Anthropogenic folk biblical etiologies include stories about the origins of sexual relations between the first people (two versions); the birth of children out of different body parts (the head, through the side of the body); and the origins of hair on male bodies. [ABSTRACT FROM AUTHOR]

This article investigates correlations between Fran Milčinski’s Butalci and humorous Slovenian folk narratives about Lemberg. A small market town, called Lemberg, is famous for being the centre of numerous jokes and humorous stories. Slovenian writer Milčinski’s popular stories about the people of the fictional town of Butale are regarded as a literary work, and have become part of the nation’s narrative repertoire. Nevertheless, as their comparison with the Slovenian and foreign narrative tradition demonstrates, almost all the stories in the book are based on popular, internationally known humorous folk tales about “numskulls”.

The article presents Ludvik Janež from Čadrg, (Tolmin, northwest Slovenia), who is a folklore storyteller and collector of storytelling heritage. His rich repertoire has made him quite a name in his domestic environment, and in recent years he has often been invited to local schools, kindergartens, and various public events to enhance their cultural programme with storytelling. The article points out that with the observed storyteller the context of the event has an essential effect on the choice of text and texture (the performance of the narrative). By selecting his repertoire, its performance, and interpretation, the storyteller intentionally adapts to the social structure of the target audience and the event’s purpose. This means that the storyteller is aware that every group has different expectations and reception abilities. He therefore tries to motivate every specific group for optimal listening and understanding with carefully chosen contents and the means (requisites, costume, language) he uses to enhance his performance. Based on these elements, Janež’s repertoire can be divided into 5 types, which are all closely connected with the traditions of his native village.

Verbal folklore (fairy tales, tales, proverbs and riddles, folk beliefs, etc.) is the literary art of spoken language (or spoken dialect) resulting from contact between carrier and receiver and its aesthetic function. Folklore material has been the point of contact between Slovenian folklore studies and dialectology from the mid-!9th century, which was when material first started to be carefully collected and recorded. This paper chronologically presents, through written sources, the motivations and development of the recording principles for verbal folklore, which is reflected through guidance and instructions as well as in practical work. The author lists the various milestones that have marked different periods in Slovenian folklore studies. These are linked to changes in views of the material, to which the methodology was also adapted. One constant feature of every period is the dilemmas and problems associated with the records and editing of the texts: it seems that dialectologists have no specific problems with the recording of material, while folklorists are required to ensure that the artistic text does not lose its aesthetic elements and the comprehensibility of the rounded unit (i.e. the story) in the rigorous process of dialectological recording. At the end, the author puts forward a number of concrete proposals for closer and more systematic collaboration between the Slovenian folkloristic and dialectological professions, for example combining efforts to acquire and treat in an interdisciplinary way Baudouin's material from the end of the 19th century (held by the St Petersburg archive) and to establish a common repository of field (audio) recordings. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Kurdish Studies is the property of International Journal of Kurdish Studies 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 article discusses the images of St Christopher in a limited number of folk narratives originating in the Republic of Slovenia and this part of Austrian Carinthia settled by the Slovene minority. The discussed narratives are found in the following collections of folk narratives: France Kotnik, Storije I. Koroške narodne pripovedke in pravljice, 1924; Georg Graber, Sagen aus Kärnten, 1927; Wilhelm Tschinkel, Gottscheer Volkstum in Sitte, Brauch, Märchen, Sagen, Legenden und anderen volkstümlichen Überlieferungen, 1932, reprinted with the Slovene translation in 2004 and entitled as Kočevarska folklora v šegah, navadah, pravljicah, povedkah, legendah in drugih folklornih izročilih - Gottscheer Volkstum in Sitte, Brauch, Märchen, Sagen, Legenden und anderen volkstümlichen Überlieferungen; Anton Gričnik, Noč ima svojo moč, Bog pa še večjo, Pohorje pripoveduje, 1995; Martina Piko, Iz semena pa bo lipa zrasla. Pravlíce, storije in basmi s Koroške, 1996; Marta Orešnik, Vida Štiglic in Peter Weiss, Gori, doli, sem in tja. Folklorne pripovedi iz Zgornje Savinjske doline, 2013. The purpose of this article is to answer one fundamental question: in what way/if any do the narratives in question show deviations from the Christopher tradition as presented in the Golden Legend (the Legenda Aurea), a voluminous compendium of saints' lives, collected by the Dominican monk Jakobus de Voragine in the 1260s. In the Golden Legend, St Christopher is depicted as a giant carrying the infant Christ across a torrential river, with a blossoming rod in his hand. In order to raise the reader's awareness about the roots of the legend, the article dedicates considerable attention to the development of the Christopher traditions, beginning with the birth of the legend in the orthodox East - where the saint was often depicted as a dog-head - and ending with its integration into the medieval society of the West where Christopher is eventually regarded as the Christ-Bearer both literally and metaphorically. According to the Greek legend, the dog-headed saint served in the Roman army where he died a martyr's death. This version found its way into the European West where it survived primarily in its Latin adaptation. Another, more exotic Latin legend also emerged in the West, preserving the saint's cynocephaly and incorporating other narrative details not found in the two previously mentioned versions. Among others, it introduced the legendary king Dagnus instead of the historical emperor Decius found in the previous two accounts, emphasised St Christopher's exceptional height, 12 cubits, and provided a reconciliatory end: Dagnus is converted when his eyes are healed by the saint's blood. Western Europe obviously did not fi nd Christopher's cynocephaly attractive, as suggested by the lack of surviving pictorial representations of the dog-headed saint, with only one surviving exception. His earliest surviving image with a human face in the medieval West originates from the tenth century and his fi rst portrayal as a giant is preserved from the beginning of the eleventh century. In the twelfth and the fi rst half of the thirteenth century, the saint was beginning to be depicted as a giant carrying the adult Christ, who was often bearded, and it was not until the second half of the thirteenth century that he was beginning to be depicted as a giant carrying the Christ Child over a torrential river, the version which was promoted by the Golden Legend and which has retained its popularity ever since. In Slovenia, like in other parts of the European West, Christopher was one of the most popular saints whose mural paintings have survived in all Slovene regions, the saint being painted in supernatural size, on sites where his images could be seen from afar by the greatest multitude of people imaginable, in accordance with a belief that a look at the saint turns away unexpected death for the rest of the day. The majority of mural paintings was produced in the fourteenth, fi fteenth and the fi rst three decades of the sixteenth centuries when the veneration of the saint reached its peak in both Slovenia and western Europe. In Slovenia, the saint is depicted traditionally, with the Christ Child on his shoulders, standing in water and with a blossoming travelling rod in his hand, frontally or sometimes in profile. However, oral tradition reveals that the folk narratives discussed in this article underwent some interesting thematic modifications. For example, even though the legend from Pohorje depicts the saint rather conventionally, he is carrying the Christ Child across the river and Christ's weight is duly noticed by the saint, there is no trace of the so-called Dienstmotiv, the saint's wish to serve the mightiest lord. Apart from that, the saint's materialism and his tendency to uproot trees also help to diff erentiate this rather down-to-earth Slovene narrative from the idealised account of the saint in the Golden legend. In this part of Austrian Carinthia settled by the Slovene minority, the narratives about St Christopher are preserved in the Slovene and German languages and the article divides them into two thematic sections: Treasure hunting and Pilgrimages to Šentkrištofova gora. St Christopher's image as a protector of treasure hunters evolved in particular in the seventeenth and eighteenth centuries when the public increasingly tended to regard treasure hunting activities, legal and illegal, as a socially acceptable way of gaining wealth, especially in Germany and Austria where the saint was particularly favoured in this role. St Christopher as a protector of treasure hunters is known in Kočevje (Gottschee) in the Republic of Slovenia as well. A surviving narrative in the German language, originating among the German-speaking minority, explains Christopher's protection of treasure hunters as a reward for his act of carrying the Christ Child across the sea. Apart from Kočevje, Austrian Carinthia has also preserved this narrative element. Georg Graber in his collection of narratives from Carinthia quotes the narratives depicting the saint as a protector of treasure hunters together with many other folk narratives. The problem is, however, that Graber did not mention the language in which his collected narratives had originally existed. If the original language was Slovene, he, by concealing this fact, helped to create a false impression about the uniformly German nature of Austrian Carinthia, ignoring its bilingual nature altogether. Pilgrimages to St Christopher is a topic which has survived in Austrian Carinthia in both the Slovene and German languages. The Slovene tradition has preserved a narrative in which the locals expel the saint from their neighbourhood. The saint moves to another location and blesses his new abode with good harvests, while his former neighbours, now deeply repentant, make pilgrimages to the saint's new abode. This narrative is geographically speaking rather imprecise. It is not stated where the saint used to live before his expulsion and where he found his new abode, the only tangible detail being in this case the advice of a local priest from Kapla (Eisenkappel) to the congregation to start making pilgrimages to the saint's new habitation. The narrative recorded by Graber in the German language, by contrast, is geographically precise: St. Christopher moves from Uršlja gora (Ursulaberg) to Šentkrištofova gora (Christophberg), 904m, 13 km north-east from Celovec (Klagenfurt), because he is not happy with the locals' lack of attention towards him. Both narratives are based on the stories about wandering saints, Wandersagen/Rastsagen, who wander through various places and eventually settle on their favourite sites. Finally, it is necessary to mention the account by France Kotnik about pilgrimages made to the three mountain peaks above Gosposvetsko polje (Zollfeld), beginning at sunrise and ending at sunset, the mountain peaks in question being apart from Šentkrištofova gora also Šenturška gora (Ulrichsberg) and Šmalenska gora (Magdalensberg). Finally, the article discusses two ocassions for pilgrimages to Šentkrištofova gora, on 25 July (St James the Elder) and 10 August (St Lawrence), made with the purpose of obtaining good harvests. These two pilgrimages as well the pilgrimages to the three mountain peaks are closely associated with St Christopher's position as a Bread-Giver, attributed to the saint in this part of Austrian Carinthia, thus playing down his traditional role as the Christ- -Bearer to some degree. The article relies on the narratives recorded in the twentieth and the early twenty-fi rst centuries, which means that this research focuses on relatively recent accounts. The number of preserved narratives about the saint seems to be rather limited and on the basis of such a small sample it is at present impossible to make too general conclusions as to the saint's position in the folk narrative tradition in the Republic of Slovenia and behind its borders. Nevertheless, it is safe to assume that it is this part of Austrian Carinthia settled by the Slovene minority, which has preserved most narratives about the saint, and in spite of a limited number of accounts, it is possible to express some suggestions as to the motifs existing in the discussed narratives. First, St Christopher uprooting the trees slightly resembles Strong John in Mt 678 in Aarne-Thompson motif index; second, in Austrian Carinthia the saint functions among others as a protector of treasure hunters, third, the narratives about his migration from Uršlja gora to Šentkrištofova gora and the origins of pilgrimages to Šentkrištofova gora recall the narratives of the saints' travels, Wandersagen/Rastsagen, and fi nally, he is also known as a Bread-Giver and a patron of good harvests. St Christopher in the preserved narratives therefore acquires additional roles, independent of the Golden Legend, which confirms the saint's popularity as well as the vitality and fl exibility of his legend. [ABSTRACT FROM AUTHOR]

The article examines the attempts to modernize folk narratives in Turkey, with a special emphasis on the ones characterized by grotesque imagery, including shadow theatre and Keloğlan tales. During the 1930s, the early Republican regime launched a project aimed at employing folk narratives in the service of its Kemalist national pedagogy. This study argues that the transposition of humorous folk narratives was bound to fail because of the incongruity between the "cheerful folk word" and the "dismal official word." The study also analyzes the later adaptations of Keloğlan tales and transfigurations of Keloğlan, and argues that they followed the early Republican project insofar as ideological discourses speak in and through them. It asserts that despite all attempts to suppress the grotesque elements of the folk tradition of laughter, these have permeated into modern popular culture. [ABSTRACT FROM AUTHOR]

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Copyright of Turkbilig/Turkoloji Arastirmalari Dergisi is the property of Turkbilig/Turkoloji Arastirmalari Dergisi 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.)

Classifications of oral narratives in folklore which are done by appeal to certain predetermined literary criteria and generalizations of these criteria for the totality of oral narratives in the related tradition seem to be of the controversial aspects of folklor literature. Discussions focusing on what a "folk narrative" is, mostly tend to rather question the concept of "genre". In this paper, I will take up the problem of genre in narratives that are produced by folk storytelling tradition. First, I present a scheme consisting of "object of narration", "narrator" and "interacting audience", and I focus on how this scheme and the communicative aspect of it becomes functional in questioning what a folk narrative could be taken for. In light of this suggestion, I argue that defining folk narrative as a contextual object of oral culture could provide us with an alternative viewpoint on how to approach the problem of genre in folk narratives. This definition and its implications move from the distinction between "genre" and "genre-related properties", which I discuss in the second part of the paper. Claiming that the contextual characteristics of folk narratives could be better evaluated by appeal to composite structures of genre-related properties underlying a narrative rather than to a transcendental hierarchy of genre, the argument is intended to contribute to the present literature a brief analysis of the key concepts regarding the problem of genre in folk narratives. [ABSTRACT FROM AUTHOR]

The subject matter of this article is widespread idioms originating from folk tales and old legends that once were elements of the folklore of various European language communities but later fell into oblivion. The motifs of these tales survived in currently known idioms of many languages of Europe and beyond and thus contribute to constituting a part of the Lexicon of Common Figurative Units. [ABSTRACT FROM AUTHOR]

This paper analyses the archetypes which are considered as a repetitive images in narratives. At first, "Kam Büre Oğlu Bamsı Beyrek Boyu" in Dede Korkut Book and Bey Böyrek which is one of the well known variant of Beyrek narratives in Anatolia have been chosen and interpreted within the context of archetypal theory of C. G. Jung and Mircea Eliade. Then, the "supernatural helper", "deer as: messenger", birth of the hero" and 'rebirth" archetypes in Beyrek narratives will be determined. Besides, the similarities will be examined in the variants from different historical periods and geographies. Thus with the comparison of the archetypes in variants will be related with Jung's popular notion "collective unconscious". [ABSTRACT FROM AUTHOR]

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