Folklore Elements Research Articles

Mortal Subtext in O.E. Mandelstam’s Poem “Oh, How We Love To Be a Hypocrite”: Folklore Reality

The article dwells upon the problem scarcely investigated in literary studies: a folklore tradition in O. Mandelstam’s poetry. The researchers studied manifestation of mythological tradition in the poet’s artistic world and revealed different archetypal models but they paid no attention to folklore elements. Only folklorists and ethnographers, while describing children's games associated with the theme of death, refer to one text of the poet illustrating their scientific research. This remark made it possible to develop the idea of folklore tradition existing in the acmeist’s works having a latent character. The folklore commentary of one of the poems makes it possible to understand an image structure of the text in other way and brings a reader to the ontological level of the content.

Folk Toys and Games for Children: Cultural Heritage of Vietnam

Folk toys and games are elements of folklore, created by the people, which contain tangible and intangible cultures of profound value from various communities, regions, or countries. In this article the author analyzes the importance of the role of folk toys for children in educating them about their traditional culture, creative and aesthetic values, and promoting personal skills as well as community cohesion. Folk toys also contribute to the economy of many trade villages, thereby contributing to social and economic development.Int. J. Soc. Sc. Manage. Vol. 4, Issue-4: 223-231

Kajian Strukturalisme Dan Nilai Moral Cerita Rakyat Syekh Maulana Manshurudin Cikadueun Sebagai Upaya Pelestarian Dan Bahan Pembelajaran Apresiasi Sastra

The purpose of this research was to determine the intrinsic elements of folklore and moral values ​​of Sheikh Maulana Manshurudin Cikadueun as the conservation and appreciation of literary learning materials. This research uses qualitatif descriptive method. Analysis of the structure of the story using intrinsic element analysis theory. As for the moral value analysis is based on a combination of several opinions. This research was conducted in the presence of the object of tesearch is Kp Cikadueun, Ds Cikadueun, Kec Cipeucang, Kab Pandeglang. The data used in this study are the data of oral and writing of data. Based on the results of research on folklore Sheikh Maulana Manshurudin Cikadueun can be seen that the structure contained folklore In the story of the people of Sheikh Maulana Manshurudin Cikadueun is the theme, plot, character and characterization, background, viewpoint and mandate. In addition, the results of research shows that moral values ​​contained in the folklore of Sheikh Maulana Manshurudin Cikadueun divided into two: good moral values ​​and bad moral values. Good moral values ​​is religious, responsibility, respect, mutual help, perseverance, love of country, a lot of sense, and courage. While the bad moral values ​​are disobedient to his parents, and lie. Conservation efforts, especially the legend of Sheikh Maulana Manshurudin Cikadueun should continue to be optimized, because it proved that people segitar object of the research have been many who do not know to this folklore. besides the use of folklore Sheikh Maulana Manshurudin Cikadueun as pembelajara material must be done because besides introduction folklore among students in the folklore of these are moral values ​​that can be imitated.

Lietuvių folkloro teatrinės tradicijos XX a. mėgėjų teatre

The article examines the manifestations of theatrical elements in Lithuanian folklore and their impact on the formation of the national theatrical culture. It aims to establish the significance of the folklore theatrical traditions on the amateur theatre activities in the second half of the 20th century. Key words: Lithuanian folklore, theatrical elements, amateur theatre activities.

МІСТИЧНІ МОТИВИ В КИТАЙСЬКІЙ СЕРЕДНЬОВІЧНІЙ ПРОЗІ

The purpose of the article is to study Chinese medieval mystical novel’s genesis, the main mystic motives in Chinese early medieval short novel, including Taoism and Chinese Buddhism influence. The historical reason’s observation of medieval short novel`s genesis, including the analysis of intellectual world atmosphere in early dark medieval times is also proposed. This thesis systemized different genres of Chinese medieval mystical short novel, influences from sociо-historical process to mystical novel’s genesis. The key attention is focused on Gan Bao “Sao Shenji” and Buddhist short novel’s genesis and main characteristic.Using the methods of historical cross-culture studies and historiographic analysis of classical Chinese texts, such as Bao “Sao Shenji”, Lu Yiqing, Wang Yan and Hou Bo short medieval Buddhist novel (xiaoshuo) the author explores ер specificity of Chinese medieval prose. Chinese medieval prose is analyzed in the context of world history and in the context of Chinese literature genre paradigm history. It has also analyzed the main characteristic of a short mystical novel chronotope, which, according to the author of the article, usually reflects two mains levels of reality: absolute and relative. The article explores the main religious influences on the short medieval novel, especially the influence of the cult of Heaven, Tengranism, Chinese Buddhism and religious Taoism. Chinese medieval mystical novel was a new Chinese literature genre, which included detailed portrait characteristics of the main heroes, pseudohistorical motives and structured symbolic chronotope.It has combined Buddhist, Confucian and Taoist philosophy, high literary style, unpredictable plot and elements of folklore. Short medieval novel had a strong influence on the further development of Chinese literature.

The Ethnic Component in the Russian Mass Music

The article is devoted to an actual problem of the mass musical culture — implementation of folklore material into the mass music fi eld of view. The process of commercialization and “massifi cation” of folklore is accompanied by disappearance of indigenous ethnic traditions and inclusion some of their means of expressiveness into the global, supranational cultural space. The phenomenon of ethnica is regarded as an important participant of the modern popular music industry. The author attempts to classify the ethnic segment, on the basis of a number of parameters: its closeness to/distance from the folklore original, its geographic and stylistic background (jazz, rock, pop). It is noted that the interest in ethnic style was a reaction to the growing integration trends in the world masscult practice and indicated the need to overcome the internal unilateralism and certain stylistic uniformity of the world pop scene. As a result, the Slavic, gypsy and oriental styles, native for the Russian mass music, were complemented by the celtica, latina, reggae, balkanism, and other “alien” styles. With all this, the most creative approach to the folk material is realized by jazz and rock musicians, while the eth-no-pop is limited to certain elements of folklore, used as an original colorful material. The article investigates the mechanisms of implementation of the “alien” traditions into the auditory experience of Russian listeners. There is put out a hypothesis about further dissolution of ethnicity in the popular music, which is adequate to the current multicultural processes.

Gas Chromatography-Mass Spectrometry (GC-MS) Analysis of Aqueous Extract of Daniellia oliveri Stem Bark

A novel Gas Chromatography-Mass Spectrometry (GCMS) analysis of aqueous extract of Daniellia oliveri stem bark was performed to identify the composition and percentage abundance of the various phytochemical constituents of Daniellia oliveri stem bark. The extract was obtained using 1:4 (w/v) of the pulverized stem bark in distilled water. Gas Chromatography-Mass Spectrometry Analysis was carried out on a Perkin Elmer Turbo Mass Spectrophotometer while measurement of peak areas and data processing were carried out by Turbo-Mass- OCPTVS-Demo SPL software and spectrums of the components were compared with the database of spectrum of known components stored in the gas chromatography-mass spectrometry library. The phytochemical constituents identified are some fatty acids such as oleic acid, fatty acid methyl esters such as 1-(hydroxymethyl)-1, 2-ethanediyl ester and some volatile organic substances such as 1, 1, 1, 4-Tetramethyl-4-chloro-4-vinyl-1, 4-disilabutane. The presence of these compounds justifies the use of some parts of the plant for various elements in folklore and can be advised as a plant of phytopharmaceutical and industrial importance.

Folkloric Elements in the Novel Kocharethi by Narayan

Folkloric Elements in the Novel Kocharethi by Narayan

A Crown of Wishes by Roshani Chokshi

Reviewed by: A Crown of Wishes by Roshani Chokshi Kate Quealy-Gainer, Assistant Editor Chokshi, Roshani A Crown of Wishes. St. Martin’s Griffin, 2017 [400p] Trade ed. ISBN 978-1-250-08549-8 $18.99 E-book ed. ISBN 978-1-250-08550-4 $9.99 Reviewed from galleys R Gr. 8-12 Princess Gauri, now the prisoner in a Ujijain jail, wants nothing more than to reclaim [End Page 260] her kingdom from her devious brother, Skanda. Vikram, the prince of Ujijain, wants nothing more than to be allowed to govern his realm rather than merely serve as a figurehead. An invitation to the Tournament of Wishes by the Lord of Wealth and Treasures brings the two strangers together in the otherworldly land of Alaka, and they must work together to fulfill the Lord’s given tasks; only one of the pair, however, can win the prized wish, and certain death will be the fate of the other. Chokshi revives the luscious and strange setting of Alaka from The Star-Touched Queen (BCCB 4/16), pulling in further elements of Indian folklore for creatures both charming and terrifying, such as the poisonous vishakanyas and the beastly vanaras of the Night Bazaar. Set against this vivid backdrop is a story with two skillfully drawn protagonists: Vikram’s cunning matches Gauri’s fearsomeness to make some serious crackling chemistry, but the two are just as interesting individually as they are together. Knowledge of the previous book is helpful but not necessary, and this gem will likely send those new to Alaka back to the companion story as its fans wait for another invitation to Chokshi’s luminous world. Copyright © 2017 The Board of Trustees of the University of Illinois

HISTORY OF SAUDI FOLKLORE AND FACTORS THAT SHAPED IT

Abstract. This study investigates history of Saudi folk heritage as well as different historical and cultural factors that shaped Saudi folklore. Based on studies by eminent scholars of folk literature, such as William John Thoms, Walter J. Ong, Campbell, James Wynbrandt and Zwettler Michael, this study explains how folk elements pass down from generation to another, how they function significantly as a vehicle to transmit nation's experience and demonstrate how such genres are relevant to present human life. Saudi Arabia is a rich country in folkloric elements represented by two most compelling folk genres of poetry and music. This research opens much-needed criteria of research on diverse heritage of a country that inherited from different cultures. Discussion in this study helps familiarize readers with history of this country because an account of modern Saudi Arabian folk heritage without discussing these realities would be incomplete. Keywords: Saudi Arabia, folklore, music, poetry, Najd, Hijaz, cultures ...folk tales, stories from tradition, are all of them most vital connection we have with imaginations of ordinary men and women whose labor created our world. Angela Carter 1. Theoretical frame Literature utters its voices in different forms for different functions. This encompasses written and forms of literature deviated from this broad and general category which, of course, includes unofficial and unrecorded literature of people. As a part of literature, folk literature is supposed to create spiritual edification, entertainment and beauty, broaden knowledge, reform personalities and refine our psyches. Further, folk literature has a wide range of functions on national levels. According to William R. Bascom, folk literature serves to sanction and validate religious, social, political, and economic institutions, and to play an important role as an educative device in their transmission from one generation to another (1953:284). The nonexistence of physical manifestation of literature, text, is what distinguishes folklore from other literature. Walter J. Ong differentiates between two discourses in a broader way by referring to folklore as Oral that often look to pragmatics while written discourse as [c]hirographic structures look more to syntactic: Written discourse develops more elaborate and fixed grammar than discourse does because to provide meaning it is more dependent simply upon linguistic structure, since it lacks normal full existential contexts which surround discourse and help determine meaning in discourse somewhat independently of grammar (Ong 1982:37). So, what is folklore and how is this genre created? The definition of folklore looks simple yet challenging. Since earliest systematic study of folklore, though not under this name, investigations had not resulted in a fixed and solidified definition, however it remained more critical. Before term was coined, William John Thoms (1802-1885) was first to investigate this area as a part of literature. Thoms, British writer and editor of tales started investigating his society's old poetry, music, magic, superstitions and tales. He was trying to find a simple term to replace many phrases given to same genre of literature such as oral sayings, popular antiquities, oral traditions, traditional art, the lore of people, etc. Thoms was mainly a clerk and a civil servant and had a tough workload but in his free time from what he described as onerous official duties he went on investigating several issues in work of Chaucer, Jeremiads and others. Though Thoms was not a folklorist and did not have a major work in literature he acquired fame in history of this genre. …

Disturbance of Native Americans as Reflected in Selected Folkloric Poems of Luci Tapahonso, Joy Harjo and Simon Ortiz

As a result of colonialization and assimilation, the natives were disturbed between past and present. Adopting the colonizer culture, style of life, language and changing home place come together in the mind of Native American people and lead them to be confused; they intermingle between past and present. They want to be themselves but the colonizer wants them to be the others. This feeling of disturbance affected Native American people, especially the chosen poets for this study. This paper shows how Native American people reflect their disturbance toward the colonization in their folkloric poetry. It explains how each element of folklore represents their disturbance towards the colonizer’s dominant culture. This paper will be done under postcolonial framework utilizing Frantz Fanon’s second views about the natives. Disturbance follows assimilation and they together forced Native Americans to present fighting literature which shows the third phase of Fanon.

THE RELATIONSHIP BETWEEN TSHIVENDA LINGUISTIC VOCABULARY AND MUSICAL TRAJECTORIES AS ENCAPSULATED IN MIRERO, MAAMBELE AND DZITHAI

African societies have always had-well established oral traditions. Vhavenḓa have a great wealth of folklore, such as mirero (proverbs), maambele (idioms) and dzithai (riddles) which help portray myriad aspects of their cultural heritage. As part of indigenous knowledge system, folkloric elements such as mirero, maambele and dzithai are used as vehicles for advising, correcting, reprimanding or rebuking. They are also used in providing direction, support and guidance. Through these folkloric elements, Vhavenḓa have always had their way of expressing how they perceive the significance of their different musical practices and styles. In their general day-to-day language, they have their own musical terminology to explain a particular perception. There is always a close connection between indigenous music and the day-to-day lives of people in traditional African societies.

FOLKLORE: AN INSTRUMENT OF CONFLICT PREVENTION, TRANSFORMATION AND RESOLUTION IN THE ETHIOPIAN CONTEXT

The article assesses the role of folklore in the form of verbal, ritual and material objects as a means of customary dispute prevention, transformation and resolution in selected ethnic groups in Ethiopia. Samples of oral narratives in the form of proverbs, myths and legends from the Amhara, Tigray, Oromo and Issa linguistic groups are found to have cohesive functions that reiterate harmony among the respective communities and individuals prior to conflicts; conciliatory and mediatory functions during inter-ethnic and intra-ethnic or personal conflicts; and lastly, compensatory functions after conflicts. The familiarity of the content in the narratives and the beauty of the language of the mediators, usually the elders, transform the state of enmity into the state of tolerance and recompense. The pre-reconciliation, reconciliation and post-reconciliation rituals usually accompanied by animal sacrifice, as well as the venues of the rituals (usually river banks and under trees), create a local colour that foreground a feeling of exoneration, absolution, communalism as well as commitment to discontinue blood feuds. The material objects mostly used during the reconciliation rituals, such as Tabots, crosses and other relics of the Orthodox Church, Kalacha, boku, Chachu, Siniqee and Hanfala of the Oromo have a frightening effect on the people who want to redress damages by force. The widest usage of folkloric elements for conflict prevention, resolution and transformation is found to have a consoling and therapeutic effect on the material and psychological dimensions of conflict. On the other hand, it is suggested that concerned bodies should preserve and make use of such rich folkloric heritage that conform with the constitution of the country and international human right conventions.

AFRICAN WOMEN AND MEN AS PERFORMERS OF ORAL ART: A RE-EXAMINATION OF KODIYAMALLA AND MOKOROTLO

This paper explores knowledge of folklore as essential to understanding the image of African women. Folklore is much closer to the African consciousness than to the consciousness of an average European. It would not be an exaggeration to mention that all African writers use elements of folklore in their writings. Carl Jung’s archetypal theory is important for honing our analysis, as it provides a theory-based structure of the study. Through archetypal theory, kodiyamalla as oral performance is examined as part of the Basotho tradition and the creativity of its women. Because the various aspects of traditional culture are so tightly interwoven, the examination of oral literature will necessarily bring in mokorotlo, which is sung by men, because the content of mokorotlo and that of kodiyamalla have much in common.Â

In the process of global resemblance, traditional Turkish music culture

The technology and media, developing in the last century, are both changing social life gradually and taking hold of the world. In a world in which the communication opportunities push the limits, the sharing of knowledge accrue breathtakingly. In this process when the difference of time and place disappears, cultures affect each other, resemble each other and become the same swiftly. The resembling of cultural values also bring about predominating of dominant culture in a hegemonic way. So traditional cultures come up against the danger of absence by losing their values rapidly. In this current identified as globalization, it is an obligatory that people transfer their cultures and socio- cultural savings to next generations to keep their own values alive by protecting. These transferred products are generally values that public feel them belonging to themselves, interiorize and attribute a deep meaning to their self- culture via their feelings. The re-identifying of music, handicrafts, oral literature and traditional theatre and folkloric elements that can be identified as similar nature, by approaching with an academic consideration and using them with scientific methods in cultural transmission matter in the sense of increasing the significance of traditional culture in the face of globalization. In this study, in the face of globalization effect increasing gradually, protection of traditional culture, transmission it to the next generations and bringing up healthy social generations are discussed. The study has descriptive qualification and also includes surveys and studies that have been done in this field. The importance of traditional culture, new structuring that are needed in art education, proposals aimed to practices and programs constitude this study's main topic.Key Words: Globalization, Resemblance, Turkish Music Culture, Traditional

The Star-Touched Queen by Roshani Chokshi (review)

Reviewed by: The Star-Touched Queen by Roshani Chokshi Kate Quealy-Gainer, Assistant Editor Chokshi, Roshani The Star-Touched Queen. St. Martin’s Griffin, 2016 [352p] Trade ed. ISBN 978-1-250-08457-4 $18.99 E-book ed. ISBN 978-1-250-08548-1 $9.99 Reviewed from galleys R Gr. 8-12 Maya’s father, the king of embattled Bharata, comes to seventeen-year-old Maya and asks her to promise herself in marriage to one of the rebels and then kill herself to save her people. Before she can swallow the poison, however, a strange young man bats it away and convinces her to choose him as her husband, and they then escape the suddenly besieged palace. Amar is no rebel leader but the ruler of Akaran, a land that lies past the Night Bazaar and in the Otherworld—fairy-tale places that Maya no longer believes in until she sees them for herself as they travel. Amar promises she will rule over the world, but first she must hone magical skills she did not know she possessed. Ornate, intricate prose packed with vivid imagery immerses readers in the heat of Bharata, the strangeness of the Night Bazaar, and the barrenness of Akaran. Chokshi pulls from elements of Indian folklore, and the creatures and places, described in precise but poetic detail, are as fascinating as they are terrifying. Maya is a formidable and refreshingly ambitious heroine—she doesn’t shrink from power but yearns for it, and she marries Amar because he can offer it. This epic tale spans from the starry heavens to the depths of the underworld, and it offers a grand, Eastern-inspired readalike for fans of Taylor’s Daughter of Smoke and Bone (BCCB 9/11). Copyright © 2016 The Board of Trustees of the University of Illinois

Visual Artists as Literary Artists: Fantasy and Folklore in 1950s Komiks-to-Film Adaptations

This paper explores how the komiks creator and the filmmaker became the “other” literary artists in the 1950s through the komiks penned during the era and the film adaptations that were drawn from said materials. This paper trains its focus on the deployment of the fantasy genre and the folkloric elements in both the source text and the target text. A great number of the elements from the fantasy genre have been appropriated from foreign models while the folkloric elements were scooped from earlier folk narratives in the Philippines. From komiks, the stories underwent another process of generic mediation through the cinematic adaptation of the pre-existing texts. This process of sourcing fantasy and folklore from komiks to film will be exemplified through sample extant texts such as Tulisang Pugot (1953) and Tucydides (1954), both the Liwayway komiks series and the films by Sampaguita Pictures, Inc. and LVN Pictures, Inc. respectively. The central aim of the paper is to project the role of komiks creator and the filmmaker in representing the “national-popular” life in the 1950s, namely: (1) as “appropriator” of foreign impulses; (2) as “localizer” of borrowed/imported materials; and (3) as “indigenizer” of stories by melding the foreign and the folkloric. The paper will then examine the participation of the visual artists—once obscured and traditionally dismissed as marginal—in reconstituting popular literary consciousness in their time and unofficially doubling as public “intellectuals” of their generation.

The Union of Two Worlds: Reconstructing Elements of Proto-Athabaskan Folklore and Religion

This study reconstructs elements of proto-Athabaskan folklore and religion, challenging received wisdom about the character of Southern Athabaskan culture. Detailed parallelism between Athabaskan and Old World folklore traditions, especially Inner Asian ones, means we must now consider that Southern Athabaskan cultures may retain significant elements of proto-Athabaskan belief systems originating in Asia.

Music for Prague 1968: A display of Czech nationalism from America

As an overt response to the Soviet bloc invasion of Czechoslovakia, Karel Husa’s Music for Prague 1968 makes an obvious nationalistic statement. In his foreword to the published score, Husa describes Prague’s use of the Hussite war song “Ktož jsú boží bojovníc” as its most important unifying motive. He says this song has long been “a symbol of resistance and hope.” The author does not debate the work’s nationalistic intent, he finds remarkable that, in 1968, Husa was an American citizen, teaching at Cornell, and using compositional techniques not frequently associated with Eastern European nationalism. If musical nationalism (expressed by folkloric elements) in Eastern European countries can be used to express primacy over avantgarde music, Music for Prague 1968 presents the opposite — a traditional war song submersed in an entirely Western European/American musical language. The study examines several portions of the composition to demonstrate the ways in which Husa expresses his nationalism in a non-nationalistic manner, including chromatic transformations of the Hussite song; the integrally serial third movement, in which unpitched percussion instruments are intended to represent the church bells of Prague; and the opening movement’s non-tonal bird calls, intended to represent freedom. Furthermore, Music for Prague 1968 uses a Western avant-garde language in a way that Husa’s other overtly nationalistic post-emigration pieces (Twelve Moravian Songs, Eight Czech Duets, Evocations of Slovakia) do not. In this light, it will be seen that Music for Prague 1968 fills a special role in Husa’s nationalistic display.

From Ius Valachicum to the vlach folkloric influences within central Europe

This article aims to show the ancient links between the cultural and professional migration of the Vlach (Romanian) shepherds and their folkloric influence upon the Central Slavic ethnographic style and folkloric customs. The migration began more than 1.000 years ago and it was a phenomenon spread over East and North-East Europe and over Central Europe, far away over the River Don to the Caucasian area and through the Balkan Peninsula towards Asia Minor. Concerning the Central European medieval laws from the 17th century till the 18th century, the Vlach shepherds communities had their old oral Vlach jurisdiction and special rights periodically renewed by the Hungarian, German and Polish kings. They played an important military role as frontier guards or defenders of the nobility men. Although from the middle of the 18th century all the Vlach communities were under external domination, their cultural and folkloric heritage was identified to the Central European Slavs’ folklore. It was seen especially in the musical tradition. Many Czech, Polish and Slovak researchers have researched different old folkloric elements and published them in more than 200 abstracts or studies. The results proved that the Romanic elements were about 500 years old or more and influenced much of the Central Slavic folkloric genre. We cannot make an exception of the hundred ancient Romanian words inherited by today’s Slovak shepherds together when many thousands of Vlach ethnographic and folkloric influences lead us towards some interesting conclusions that for a long time the co-existence of the Czech, Slovak and Polish and Vlach population had generated a Slavic-Romanic cultural mix. This genre of the cultural symbioses and its elements are unique in the Central Slavic cultural area.