Search

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 Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur 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.)

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.)

With the innovation movements on music and institutions in the 19th century, the Alaturka-Alafranga distinctions have become evident in Turkish music. This has caused dilemmas, debates and disputes in the field of music. Classical music, Turkish music, Enderun music, so-called art music, the city-centered style of music, which is transmitted between generations through the meshk method, has caused it to be considered as a museum and archaeological material. With the establishment of the Republic, the modernization movement also made itself felt in music policies, and efforts to create new-contemporary Turkish music based on Western music began, and the understanding of harmonizing local musical elements according to Western music procedures was born. Although folk music is not targeted, this approach and policies have enabled urban music intellectuals to turn to the public; folk music has started to be “discovered” by urban intellectuals. Âşık Veysel is one of the first of this period. Âşık Veysel; he came to the fore with his life, sensitive functioning style, understanding of the republic and revolutions, style of using Turkish, and became an icon during and after his period. The task of narrating the revolutions of the state was given to the poet through public houses, associations, concerts, tours and village institutes. Although the state's approach to music in the multiparty period was non-political, it is seen that the expansion of cultural industries in this period continued the role of the lover in music with the tools of the period. This study aims to identify the aspects of Âşık Veysel that overlap and do not overlap with cultural policies, his task in transferring traditional Turkish music to the twenty-first century, his position in today's understanding of music and official approaches. In this direction, the effects of modernization approaches in music on the tradition of minstrelsy and folk music, the consequences of policies, the discussion and evaluation of their reflections on today's music will be the main point of the study. In the study, first of all, the literature on music policies was scanned and read. Then, the evolution process of traditional music was tried to be determined using the content analysis technique. As a result, it can be seen that the traditional music-contemporary music dichotomy was achieved in the case of Âşık Veysel, although not with the planned goals and methods of the policies of the period. [ABSTRACT FROM AUTHOR]

The branch of science that identifies, compiles, classifies and analyzes the material and spiritual culture of a nation is called folklore. Folklorists use folklore studies to recognize a nation itself or to introduce itself to other nations of the world. Folklorists who carry out these studies need to recognize and classify their field of science as in other branches of science. Because this field, which we call folk life, does not maintain its continuity as a whole and is divided into different branches and sub-branches over time. Undoubtedly, one of the important branches of folklore is folk literature. However, folk literature is also divided into many sub-branches within itself. In this study, we have studied folk narratives, which is one of the sub-branches of folk literature, and the epic/dastan genre within it. Our aim in this study is to show and use the term "epic/dastan" as an inclusive term for all other Kurdish epic narratives, since, in Kurdish folklore studies, there is a clear confusion of literature and a problem of polysemy. In this study, we have created a new classification of epic narratives by analyzing Kurdish epic narratives in terms of event chain structure. In addition to the classification and suggestions we put forward in this study, we have also shared the studies and discussions on this subject in the field before us. [ABSTRACT FROM AUTHOR]

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 Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli 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 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 Turkish Journal of Social Research / Turkiye Sosyal Arastirmalar Dergisi is the property of Turkish Journal of Social Research 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 Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur 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.)

Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur 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.)

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.

Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur 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.)

Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur 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.)

Copyright of Türkbitig Journal of Cultural Studies is the property of Turkbitig Journal of Cultural 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.)

Copyright of Journal of Social Sciences Research / Sosyal Bilimler Arastirmalari Dergisi is the property of ODU Journal of Social Sciences Research 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 Knowledge: International Journal is the property of Institute for Knowledge Management 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 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.

All nations in the world have produced legends about communities who are foreign to them. They have turned the origins, traditions and uses of these communities into narratives at the mythic level. They produced legends about each other and made foreign tribes the subject of their own folk tales, tales and epics. While these stories show the feature of getting to know the stranger first, they diversify after getting to know the foreigner. This is especially common in neighboring tribes. In various periods of history, Turks, too, frequently flocked to Europe and became neighbors with European nations, lived together and fought with them with the intention of being permanent and plundering. This long interaction process pushed the European people to create legends about the Turks. However, these creations are not positive as they are mostly the result of wars. On the contrary, they are legends made from scratch that the Turks are conveyed as enemies while the victories won againts the Turks are valued as legendary, and it sometimes mixed with the old stories of the nations or it was completely about the Turks. In this essay, the legends and memorats will be examined. Subsequently, how the Turkish perception developed in the European oral culture and how the Turks affected the social life of the European people will be discussed. [ABSTRACT FROM AUTHOR]

Copyright of Facta Universitatis: Series Physical Education & Sport is the property of Facta Universitatis, Series Physical Education & Sport 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 Studies - Language & Literature is the property of Electronic Turkish 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.)

Copyright of Turkish Studies - Language & Literature is the property of Electronic Turkish 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.)

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.)

Copyright of Bulletin of Ablai Khan KazUIRandWL: Series 'Philological sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages 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 Family Upbringing / Wychowanie w Rodzinie is the property of Family Upbringing Editorial Board / Redakcja czasopisma Wychowanie w Rodzinie 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]

It is a complex event for a cultural element to migrate to another society, to affect a new society and to be adopted by that society. This cultural migration event has been researched by anthropologists since the 19th century, theories have been put forward and discussions have been made on this subject. The point that interests us the most from the conclusions reached is the following: Cultural elements that migrated to new environments were accepted by people in a new social and natural environment, and they were attributed to human personality. For example, heroic epics are accepted as the most dominant literary genre of nomadic society. The Turks in Asia created the world's greatest epic tradition. Music, poetry, proverb, legend, history, society's ethnography and beliefs find their expression in these epics. The literature created by our minstrels, who migrated from Central Asia to Anatolia and adapted to Anatolia's rich oral culture tradition, consists of love stories, which is a mixture of poetry and prose. These love stories give us another example of the synthesis between nomadic and settled culture. The texts created after cultural migrations and cultural influences clearly show us how cultural change is reflected from oral tradition to written works, and what kind of changes it has undergone over time. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat 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.)

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 RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat 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.)

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.)

The work titled "Folk Songs I Compiled from Hafik Region" prepared by Kaya Güven (2023), a name devoted to culture, is a compilation work for Turkish folklore and especially Turkish folk music studies. While the name of the work is on the front cover of the work and the name of the author is placed just below it, a visual photograph of Lake Hafik, the widely known natural beauty of the region, is placed in the middle. [ABSTRACT FROM AUTHOR]