Folk History Research Articles

A Classification and Characteristic of Lexicon in Ethic Development SuanXueQiMeng Class

Purpose: The GwangJaemulbo was a middle version edition from in a 1798, the Jaemulbo with which had been known by Encyclopedia written in the 19century, differ from nature, human, material. The reason why has been who the people frame a hypothesis that remade with a contaminant and object, but collect words. Numerical figure was counted by polygraph & sub-entries, improved the lexicon, recollect diverse different versions. The purpose of Vocabulary lesson in enlightening brain cell rule sense of social society has supplemented with mental culture. Method: The Suanxueqimeng in china Transcription materials in from those receive radio signals. Benran zhi xing is on the Mulmyeonggo. Master of Choi Seok-jeong’s Gusuryak has been learning, compared with Yinyang and Wuxing of the Positive School in mathematics principles. In terms of ecological history, this paper analyzed the names of animals and plants that need to be examined in the context of ecological history among the Korean equivalents found in Mulmyeonggo. Results: Arithmetic of Humanities, geography, astronomy application, adopted with humanities and social sciences. Therefore, solar and lunar copula are Jaemulbo . The realist were aware of the following facts Access to culture, language access is the fastest way. Among the approaches to language vocabulary is the fastest way. The right way to approach cultural language is a way to access. Regarding the nature of headwords, it was pointed out that there was on influence of Chinese literature by mentioning cases based on gender, direction, season, age, size, color. Regarding the importance of Mulmyeonggo in folk history, this study found that the book included various vocabulary that sheds light on the folklife in Joseon during the period. Conclusion:『Jaemulbo』in the 18th century and『Mulmyeonggo』,『Gwangjaemulbo』in the 19th century inherited『Donguibogam-tangaekpyeon』genealogy. Their basic book had been『Bonchogangmok』(1596) in China. In addition, based on the aggregated figures, the distribution of synonyms, foreign languages, and the author’s opinions was reviewed, and the characteristics according to the frequency were examined. This research on natures books that was educating wording , self-examination, learning contexts awaken human is maturing continuously.

The “Pythagorean” “Theorem” and the rant of racist and civilizational superiority – Part 2

Previously we saw that racist prejudice is supported by false history. The false history of the Greek origins of mathematics is reinforced by a bad philosophy of mathematics. There is no evidence for the existence of Euclid. The “Euclid” book does not contain a single axiomatic proof, as was exposed over a century ago. Such was never the intention of the actual author. The book was brazenly reinterpreted, since axiomatic proof was a church political requirement, and used in church rational theology adopted during the Crusades, as a counter to Islamic rational theology. Deductive proofs are MORE fallible than inductive or empirical proofs. Even a validly proved mathematical theorem, such as the “Pythagorean” theorem (based on Hilbert’s axioms), is invalid knowledge in the real world. There is no concept of approximate truth in formal mathematics. Nevertheless, the myth of “superior” axiomatic proofs in the “Euclid” book continues to be reiterated by Western historians, and colonial education teaches axiomatic mathematics. Actually, superior practical value comes from the two “Pythagorean” calculations well known to Indian/Egyptian tradition, but unknown to Greeks. The advantage of related decolonized courses in mathematics has been pedagogically demonstrated. But understanding and political will are needed to change colonial/church education.

Brick City Vanguard: Amiri Baraka, Black Music, Black Modernity by James Smethurst

Reviewed by: Brick City Vanguard: Amiri Baraka, Black Music, Black Modernity by James Smethurst Matthew Calihman James Smethurst.Brick City Vanguard: Amiri Baraka, Black Music, Black Modernity. Amherst: U of Massachusetts P, 2020. 227 pp. $26.95. Amiri Baraka’s development as an artist and thinker has raised vexing questions about race, nation, and class as forms of social identification and mobilization. In 1965, Baraka left the racially and ethnically mixed bohemian arts milieu of lower Manhattan for a life in Black nationalist cultural and political work. He decamped to Harlem, and within the same year, he returned to his hometown of Newark, New Jersey. A decade later, in the mid-1970s, he renounced Black nationalism for a Marxist politics that envisioned leading roles for African Americans and other peoples who had been subject to colonial domination and exploitation. For some observers, these changes were ruptures. But in Being & Race: Black Writing since 1970 (1988), Charles Johnson argued that Baraka’s development was a single continuous struggle: “There is from the very beginning a tension in his thought [End Page 97] between modern leftist intellectualism and race politics, between international Marxism and black nationalism” (24). Although many critics have shown that Baraka engaged with Black nationalism in even his earliest writing, few have recognized how far back his engagement with Marxism went. As William J. Maxwell notes in F.B. Eyes: How J. Edgar Hoover’s Ghostreaders Framed African American Literature (2015), the subject who first emerges in Baraka’s FBI file, opened in 1957, was at least “curious” about Marxist politics (117). But the crucial study here is James Smethurst’s The Black Arts Movement: Literary Nationalism in the 1960s and 1970s (2005), which transformed scholarship on Black Arts by surveying the movement’s various regional manifestations and by tracing its origins to midcentury intersections of Black nationalism, bohemianism, and Old Left working-class radicalism. The Black Arts Movement established Baraka’s personal and institutional connections to a Popular Front movement that survived up to his time. In Brick City Vanguard: Amiri Baraka, Black Music, Black Modernity, Smethurst resumes his exploration of Baraka’s relationship to Marxism. The book focuses on the philosophy of history that Baraka began to devise early in his career and fully formulated during the four decades preceding his death in 2014, a period that critics have generally neglected. Smethurst considers Baraka’s historical materialist vision of the development of an African American culture, a Black nation, and a Black working class, the last of which, Baraka proposed, would play a vanguard role in an international communist movement. And in Brick City Vanguard as in The Black Arts Movement, place matters: It was in Newark, Smethurst argues, that Baraka learned to hear Black music as a kind of vernacular historiography of culture, nation, and class. Baraka’s Newark was a place where many thousands of Southern Black migrants, including his own parents, entered industrial modernity. Challenging most earlier accounts of Baraka’s family history (including many of Baraka’s own accounts), Smethurst writes that Baraka’s parents entered this world as working-class strivers and maintained a basically proletarian outlook even after they found their way to middle-class jobs. In workplaces, schools, and neighborhoods, among other social contexts, the Joneses and other Black Newarkers encountered European immigrant groups (most notably, Jews and Italians) in relationships that were determined by Northern Jim Crow but that involved cultural exchange. However, because the Great Migration continued through most of the twentieth century, the Black Newark culture in which Baraka grew up and to which he returned as an adult maintained a vital connection to its Southern Black roots; for example, the city’s Black musicians and audiences remained in touch with Southern blues styles.In some ways, the Newark in which this book places Baraka looks like the Northern metropolises in Richard Wright’s Marxist “folk history” of Black America, 12 Million Black Voices (1941). But whereas Wright’s narrative ends with a prophecy of Black people thronging hopefully into new interracial industrial labor unions, Baraka’s Newark story, as Smethurst recounts it, confronts a modern city in which racial caste persists and where the industrial...

Within the Shadow of Displacement

Within the Shadow of Displacement Jamaica Baldwin (bio) The following pieces constitute the response of a wide variety of writers to my invitation for work on "home and displacement." While I have always gravitated to writing that navigates displacement on some level, spending time with these poems and stories has led me to an even deeper appreciation of the rage, grief, longing, and desire that is often carried simultaneously, the way these writers weave them into poems and stories that honor the fullness of their histories, that honor how they find ways to love and be loved within a society built on narratives designed to contain and harm so many of us. I often think of displacement and home as parallel universes. I find it difficult to talk about displacement without aching for home, or to talk about the safety of home without acknowledging, if only tangentially, the shadow of displacement in which homes are created. So many of the pieces included in this issue engage this shadow in some form. The authors are giving voice to the delicate, capacious, brutal, and complicated reality of occupying this space. One of the joys of my guest editing journey has been the solicitation process. It's the ability to reach out to writers I admire and invite them to share their work while discovering new (to me) writers along the way. I began by soliciting writers I've read who deal deftly and intimately with what it means to live in exile far from their country of birth, or what it means to long for the country of your parents' birth, or what it means to exist in community and comfort when those left behind face the daily realities of war, the daily realities of colonization—poets like Ruth Awad, Julia Kolchinsky Dasbach, Su Hwang, and others. I also reached out to writers whose work I've admired for its ability to engage the intimate realities of living in the generational shadow of empire and conquest, of being displaced in one's homeland, of living in diaspora, in that in-between space—Romeo Oriogun, Anjanette Delgado, Ana Portnoy Brimmer, to [End Page 42] name a few. I also wanted to place alongside these works pieces that engage other forms of displacement, other ways of complicating the idea of home. For example, poet Carla Griswold navigates what it is to feel displaced and rootless without leaving home, when one's lifelong partner becomes unrecognizable to you, and you to them. These are just a handful of the writers and stories that make up this issue. I began writing this introduction the day after the Buffalo, NY supermarket shooting earlier this year. Tried again not long after the Uvalde, TX massacre. Each time I found myself mute and restless. Words seemed insufficient. I didn't foresee such recent violence shadowing my thoughts on this project, and yet I chose this topic precisely because displacement is a kind of violence—I should have seen it. Mass shootings have become a consistent, unsurprising part of life in the United States. Making a home here is a risky endeavor. Warsan Shire said, "no one leaves home unless home is the mouth of a shark." What happens when you leave the mouth of one shark only to end up in another? What happens when the local elementary school where you send your kids becomes a war zone? The answer, as these writers have expressed with such fierce honesty and grace, is that we begin with what we've lived, with what's been passed down to us, and what we decide to pass on to others. "One wrong history giving way to another / until you find yourself stranded / at home," (Joan Kwon Glass). We begin with acknowledging the truth. "Violence has always lived here" (Julia Alekseyeva). We begin with our children. "What does it mean that my only justice has been on the page, and that life, for you, will be different," (Terese Marie Mailhot)." We begin with the bravery to articulate what we need to replace the silences built around us. "all i want / is a kind hand / recognizing my spine," (Quenton Baker). [End Page 43] Jamaica...

“Euclid” must fall: The “Pythagorean” “theorem” and the rant of racist and civilizational superiority — Part 1

To eliminate racist prejudices, it is necessary to identify the root cause(s) of racism. American slavery preceded racism, and it was closely associated with genocide. Accordingly, we seek the unique cause of the unique event of genocide + slavery. This was initially justified by religious prejudice, rather than colour prejudice. This religious justification was weakened when many Blacks converted to Christianity, after the trans-Atlantic slave trade. The curse of Kam, using quick visual cues to characterize Blacks as inferior Christians, was inadequate. Hence, the church fell back on an ancient trick of using false history as secular justification for Christian superiority. This trick had resulted in a false history of science during the Crusades when scientific knowledge in translated Arabic texts was indiscriminately attributed to the early Greeks, without evidence. This false history enabled belief in religious superiority to mutate into a secular belief in White superiority. After colonialism, and the Aryan race conjecture, the belief in White superiority further mutated into a belief in Western civilizational superiority, openly propagated today by colonial education. Hence, to eliminate racist prejudice, it is necessary to engage simultaneously with the allied prejudices about Christian/White/Western superiority, based on the same false history of science.

Исторические воззрения Е.П. Савельева в оценках современных исследователей

Evgraf P. Savelyev is one of the brightest and most popular Don historians of the early XX century, the author of generalizing monographs, essays, journalistic writings, reports on archaeological expeditions, poetic and prosaic works, dramas, and songs. The author refers to the appraisals of the historical views of E.P. Savelyev in modern historiography. The historiographic sources are the works of N.A. Mininkov, M.A. Ryblova, B.S. Kornienko, I.I. Yurchenko, A.Yu. Peretyatko, A.I. Kozlov, A.I. Agafonov, M.P. Astapenko, G.D. Astapenko and E.M. Astapenko, other Russian historians, as well as the publications of E.P. Savelyev. The greatest attention of researchers is attracted by the large generalizing work of E.P. Savelyev «The history of the Cossacks from ancient times to the end of the XVIII century. Historical research in three parts” (1915-1918), in which an original concept of the genesis and development of the Don Cossacks is proposed. Many Russian historians criticize this concept, especially the research methods of E.P. Savelyev, though it became widespread in connection with the processes of Cossack revival in the 1990s-2000s. A positive assessment of the views of E.P. Savelyev was given by representatives of the «new chronology» and Slavic folk history, considering it consonant with their own views. Other historical works by E.P. Savelyev are still less in demand among professional historians and a wide circle of readers, in particular those dealing with the activities of the Don atamans M.I. Platov and Prince N.I. Svyatopolk-Mirsky. Meanwhile, without them, it is impossible to give a comprehensive assessment of the work of E.P. Savelyev as an integral part of the Don historiography of the early XX century.

The problems of the leader, national treason and the readiness of the people to fight for their freedom in the fairy-tales by Ivan Lypa

The relevance of the study is due to the interest in Ivan Lypa’s work, which was awakened by the turbulent dynamics of the national processes of Ukrainian society, the rethinking of Ukrainian history and culture. Despite the intensification of research into the writer’s work, fairy-tale creativity remained within the margins of attention. However, they are of research interest in the context of the problem of ideology in fairy-tale texts, which is considered in the article through the prism of post-colonial studies. The subject of this study is the anti-colonial elements of the “Tales of Freedom” poetics by Ivan Lypa. The methodology of analysis is based on the theoretical foundations of post-colonial criticism, in particular on the ideas of E. Said, G. Ch. Spivak, E. M. Thompson, S. Pavlychko, M. Ryabchuk, T. Gundorova, Ya. Polishchuk, O. Yurchuk, whose ideas help to consider Ivan Lypa’s “Tales of Freedom” as a bank of post-colonial technologies for occupied Ukraine. The purpose of this study is to deconstruct imperial narratives in I. Lypa’s philosophical tales and to identify the technologies and practices for liberating Ukraine from colonial dependence. As a result of the analysis, it was concluded that by distancing himself from specific historical eras, the writer transfers the problems of Ukrainian society into a fairy-tale space. This helps him look at Ukrainian prospects completely removed from time but rather from the viewpoint of eternity. In a fairy-tale space, the author solves the long-standing historical problems of Ukraine associated with the loss of independence: the lack of strong leaders, national treason, the unwillingness of the people to fight, the demoralization of society, the disbelief in one’s own strength, education on a false history imposed by the metropolis. Consideration of fairy tales from the point of view of post-colonialism allows us to find veiled allegories and hidden intentions in the author’s work, in which the writer shows how Ukraine should free itself from colonial dependence. An important factor in this, according to Ivan Lypa, is the return of historical memory. The perspective of the study is the post-colonial analysis of Ivan Lypa’s work as an ideological and artistic integrity.

Diagnostic approaches and prevalence of Rifampicin resistant Mycobacterium tuberculosis in District Mardan

The disease tuberculosis (TB) caused by Mycobacterium Tuberculosis (MTB) is most common infectious disease in developing countries. The disease is fatal if not treated during the early stages of infection, thereby early and precise detection is a decisive step in curing the disease. The aim of this study was to analyze the prevalence of tuberculosis in patients reporting to Mardan Medical Complex (MMC), located in the district Mardan, KPK, Pakistan. The sputum of patients was analysed by Ziehl-Nilsen (ZN) staining technique followed by light microscopy called Acid-Fast Bacillus (AFB) staining. The sputum samples were collected from the patients and analysed by special PCR method called GeneXpert MTB/RIF assay, for genomic detection and resistance assay for rifampicin antibiotic were used, are the commonly used medicine for the treatment of MTB infection. Total 121 patients reported to MMC, represented 74 % patients from Mardan, 12% from Nowshera and 14% from Swabi. These patients were screened for the aim to evaluate the techniques for the detection of MTB. The light microscopy method confirmed 66 (55%) of the patients positive for MTB, whereas the same samples reported 78 (68%) patients positive for MTB through GeneXpert MTB/RIF assay, The Positive Predictive Value (PPV) and Negative Predictive Value (NPV) found for light microscopy were 99% and 78.1% respectively. The most used drug rifampicin was found ineffective in 9 patients (7%). Additionally, 83% of the patients when interviewed had a folk history of tuberculosis. Keywords: Microscopy, PCR, Mycobacterium tuberculosis, Rifampicin.

Образ Снегурочки в эскизах костюмов для русского театра конца XIX века: пути эволюции

В исследовании на основе эскизов костюмов для постановок пьесы «Снегурочка» А. Н. Островского выявляются основные тенденции эволюции образа главной героини на протяжении последней четверти XIX в. Художественное изучение эскизов русских художников-станковистов этого периода и обращение к результатам исследований в области истории народного и сценического костюма, этнографии, биографическим изысканиям позволило рассмотреть изменение облика костюма Снегурочки от первых постановок пьесы (1873) до врубелевского воплощения (1890). Анализируемый образ развивался путем отказа от «художественного подхода», присущего русскому академизму (М. Клодий), последующего обращения к интерпретации В. М. Васнецова, в которой Снегурочка оказалась наиболее точным выражением идеала русской красоты, а затем – к народной романтизации, проявившейся в эскизах Н. К. фон Бооля и М. А. Врубеля. Трактовка В. М. Васнецова установила новый «сказочный канон», сохраняемый в театральном и киноискусстве до сих пор. The aim of the study is to identify the ways and features of the transformation of the fairytale image of the Snow Maiden (the main heroine of the play of the same name by Alexander Ostrovsky) in the conditions of the Russian stage of the late 19th century. The work was carried out on the basis of sketches of stage costumes created by Russian easel painters of the late 19th century. Other important sources were studies in the field of the history of Russian painting and scenography, the history of folk and stage costumes, ethnography; biographical research on Viktor Vasnetsov; Ostrovsky’s diaries. The core of the research was an evolutionary approach, which eventually made it possible to achieve the aim of the study. A comparative historical method was used for discovering the similarity between the motives reflected in the images of the Snow Maiden in the analyzed sketches and Russian folk ornaments of the 19th century that decorated the traditional costumes of Russian peasant women. In the course of the study, the appearance of the Snow Maiden’s costume was analyzed. From how it was shown in the sketches for the first productions of Ostrovsky’s play in the Bolshoi and Maly Theaters (sketches by M. P. Klodt) to the image of the heroine captured in the relief drawing by Mikhail Vrubel. Particular attention was paid to Vasnetsov’s interpretation, in which the image was successfully correlated with the traditional motives that existed in the folk ornament and embroidery of the Russian North. The characteristic features of the image of later authors (Nikolay von Bool and Mikhail Vrubel) were revealed. The later incarnations of the image were studied (for example, in Soviet cinema at the end of the 20th century). It has been established that a sketch of a stage costume solves the problem of the structure of the embodied image, it is an illustration of the author’s artistic beliefs and (in the case of reaching a certain level of artistic perfection) is a guideline for determining the technology of creating a costume. It has been determined that sketches made by old masters of Russian theatrical costume have a special artistic value and expressiveness. The leader among the masters, according to the author, is Vasnetsov, the creator of the authentic, perfect graphics of the Russian folk costume. The image of the Snow Maiden on the Russian stage of the late 19th century developed from the “artistic approach” characteristic of Russian academism and implemented in the works of M. P. Klodt to the most accurate expression of the ideal of Russian beauty embodied by Vasnetsov and further towards popular romanticization (von Bool and Vrubel).

Slantwise Moves: Games, Literature, and Social Invention in Nineteenth-Century AmericaRespawn: Gamers, Hackers, and Technogenic Life

Slantwise Moves: Games, Literature, and Social Invention in Nineteenth-Century AmericaRespawn: Gamers, Hackers, and Technogenic Life

White supremacy in retreat? Past histories and contemporary racisms in the public pedagogies of Britain and America

ABSTRACT Racisms are plural, taking different forms in different countries, subject to change in focus and intensity over time. Colonialism and slavery influence attitudes and policies in both countries through to modern times. In examining the British and American contexts, one needs to particularise by a) country, b) ethnicities, c) histories, d) contemporary economic forces which sustain racisms and e) anti-racist and decolonising practices in the school curriculum, instructional relationships and wider public education contexts. Racisms are about power and exploitation, generally exercised by a White population through the devaluing of minorities and denial of their rights, needs and pain. Despite Civil Rights laws and Affirmative Action, the USA has a brand of racism that is at times barbaric, extreme and recurrent, bolstered by discriminatory law and law enforcement. Britain’s racisms, despite Race Relations Acts, discriminate across a range of sectors with interventions funded which have been too limited, seldom sustained and with variable impacts. Until attributes of ‘Whiteness’ are openly interrogated, the folk histories of the countries rebalanced, the school curriculum reconsidered and historical roots for contemporary ‘erasure of Black suffering’ are recognised, ‘White premium’ will persist. That is the challenge to public pedagogies in educational establishments and the wider society.

Research Study in Two Unpublished Artworks of the Important Greek Artist, Theofilos Hadjimichael (1870-1934)

The purpose of this research is to highlight, study and publish two very important signed works of the Greek folk painter - hagiographer of modern Greek art, Theofilos Hatzimichael (1870-1934), which belong to a private collection. These are the works: 1. "New type of rural Mytilene with its coexistence that weaves in rocket", wood painting, time: 1931. 2. "The young Hercules Panais Koutalianos in England", wood painting, time: 1932. The dominant element in Theofilos' work is Greekness and the illustration of the Greek folk tradition and history. He spent most of his life in Pelion, while in 1927 he returned to Mytilene. In Mytilene, despite the mockery and teasing of the people, he continues to paint, making several murals in villages, for a fee, usually for a plate of food and a little wine. Many of the works of this period have been lost, either due to physical damage or destruction by their owners. In Mytilene, he was met by the renowned art critic and publisher Stratis Eleftheriadis (Tériade), who lived in Paris. Eleftheriadis owes much to the recognition of the value of Theophilos' work and its international promotion, which, however, took place after his death. Through the present study of the aforementioned works, we will highlight unknown aspects of the last phase of Theophilos' artistic creation, a period particularly important for the thorough and kaleidoscopic knowledge of his work, since it is the period that is visible through his color palette and His stylistic choices are the optimism and security conveyed to him by the acquaintance and support he receives from Eleftheriadis. Finally, the present work for the study of Theophilos' two unpublished works will be scientifically strengthened by utilizing the achievements of technology. Specifically, in the context of current study, the portable non-destructive techniques of the Non-Destructive Techniques Laboratory of the University of West Attica will be used. In particular, the techniques will be used: 1) portable Raman spectroscopy, for the authenticity test of the paintings 2) portable XRF spectroscopy, for the qualitative analysis of the data concerning the colour palette of the creator, compared to other identified paintings by NTUA.

The Limits of Memory in Disavowed: Interference, Military Execution, and the Dishonored Dead

In looking at the history of U.S. military execution during World War II, this article explores the relationship between memory and psychological interference in the browser-based game Disavowed (2021). As an interesting example of the palimpsestuous negotiation between individual identity, narrativity, and cultural memory, Disavowed structures itself through the misremembering of an actual historical encounter. In such a way, it reconstructs a false history of events misconstrued within the memory of the game designer, put into dissonance with historical documentation of what “really happened” – an execution witnessed by tens of thousands of soldiers, but that seems largely erased from the record. The result is an interplay between the memories of veteran Theodore “Ted” Eaker, the public awareness of Private Eddie Slovik’s execution, and the journey to piece together what is a fractured, unreliable and racially problematic history of the practice of military execution.

Славянские фэнтези вчера и сегодня

The article is devoted to the study of the evolution and transformation of the Slavic fantasy genre on Russian soil: from its inception in the 1990s to the present day. Fantasy on the material of the events of the time of the pro-Slavic unity in Russia gained popularity and special significance. They solved the compensatory tasks of re-identification for the mass consciousness: with the collapse of the Soviet empire, the post-Soviet man needed a positive identity, which manifested itself in turning to the “great past” in predominantly heroic images. The subsequent historization and contextualization of the genre, its transformation from a fairy tale to a quasi-historical narrative was largely due to the influence of the ideologies spread by folk history. In the 2000s, Slavonic fantasy employs the mechanisms of routine, serialization, reduction, and convergence. In the 2010s, Slavic fantasy continues to be part of the national myth, gaining new genre forms — a film, a computer game, etc. However, new examples of the genre (in particular, Andrei Rubanov’s novel “Finist the Clear Falcon” of 2019) broadcast nostalgic moods in the aesthetic spirit retroutopia. If at the turn of the 1990–2000s Slavic fantasies became close to a historical adventure novel, now their rapprochement with a fairy tale is indicative.

Теоретическое язычество

The topic of this article is very important and relevant today due to a rapid process of the revival of neo-paganism not only in Russia but in other countries as well. While in Western countries the problem of neo-paganism worsened sharply in the 50-60s of the twentieth century, in the Soviet Union such organizations started to appear en masse since the end of the 80s of the last century. And in 90s there were people who wrote in the genre of folk history. This study is relevant as it considers the problem of the activity of prolofic writers belonging to neo-paganism of the relatively recent past and present. This article focuses on the people who do not belong to any pagan community, even treating them negatively, but share a pagan worldview and devote many books to it. These books are very popular and can be found in most conventional bookstores. The article analyzes the genre of folk history. The biographies are described briefly with reference to scientific regalia. It is mentioned that the scientists are engaged in research which is not in their field of competence. Pseudoscientific theories about history and language are discussed in detail. In conclusion, it is emphasized that modern pagans are usually busy not reconstructing ancient beliefs and finding the lost heritage of their ancestors, but inventing illiterate hoaxes in order to create a name for themselves.

"You Just Never Can Know What's Up the Road": An Interview with Cecil Brown

"You Just Never Can Know What's Up the Road":An Interview with Cecil Brown Zachary Manditch-Prottas (bio) and Cecil Brown In 1969, Cecil Brown's provocatively titled debut novel The Life and Loves of Mr. Jiveass Nigger made quite a splash on the literary scene. From legend of hardboiled letters Chester Himes, to liberal outlet The New Leader, reviewers noted that Brown's prose was as knowing as his subject matter was titillating; the mixture of the erotic and uproarious made for a novel of uniquely sophisticated parody. Jiveass relates the satiric odyssey of a classic trickster figure named George Washington (one of several aliases) who, fed up with American bigotry, lands in Denmark on a quest of self-discovery. Washington, in the midst of the many entangled social revolutions of the 1960s, traverses the streets and sheets of Copenhagen finding his shrewd sexual allure to be his greatest asset—but also his greatest impediment—during his curious journey. Insofar as the many women he beds are permissive blondes among the well-to-do, the story negotiates the underbelly of white America's greatest anxiety: interracial sex. Indeed, the novel can be read as a sardonic rejoinder to the phallocentrism of a certain strand of Black Power and to a much longer legacy of white phallic anxiety.1 Thus, the thematic imperatives that pushed the novel's evocative wit were both timely and timeless, making it all the funnier, all the more biting, and its author all the more difficult to peg. Undoubtedly, a new voice had arrived in African American literature, but reviewers were unsure if that voice was jocular or scathing. Fellow satirist of Black life Charles Wright christened Brown the "literary superman of the year." The New York Times dubbed him a "born pornographer gone straight."2 As we settle into our chairs to begin our interview, I mention this particular Times review; Brown knowingly grins. He later explains that he did actually begin with the provocative title and then, his grin widening into his eyes, "went about filling in the rest from there." Brown has a skill for leading with allure, drawing readers close with a story so compelling that it may be some time before they realize they have wandered into something more serious. Brown tells me that while living in Copenhagen himself, he wrote the novel so that he "could laugh at himself." On the other hand, his story's hero, Washington, says toward the conclusion of his riotous adventure that he would like to write a "serious book." Jiveass is, in the blues tradition, both. Indeed, for Brown, laughter and seriousness are longtime traveling companions of African American expression. Across Brown's forty-year writing career, in novels like the hilarious, although often tragic story of Black comedians in Hollywood, Days Without Weather (1983), his moving autobiography of his rural coming-of-age, Coming Up Down Home (1995), and his thorough folk history Stagolee Shot Billy (2003), he has always maintained a particular interest in "the trickster." He tells me that he "revels" in those who have the ability to "get out of situations using their wit." He has known more than his fair share of (in)famous tricksters. He is a folklorist whose life, by his own account, is somewhat folkloric. Behind his writing is a tapestry of tales featuring a Who's Who of mid-twentieth-century African American cultural history. Brown may refer nostalgically to Eldridge Cleaver as his Berkeley "running buddy" in one breath and taking "Jimmy's" [James Baldwin's] car out for late-night joyrides in the South of [End Page 275] France in the next. He relates his encyclopedic knowledge of the legend of Stagolee to a passing gesture Miles Davis made backstage that had him, Paul Mooney, and Richard Pryor in stitches. The stories keep coming, each full of that liveliness that only legends contain, and, as you wait for the next punchline, storyteller Cecil Brown knows that he's got you, right there where amusement and seriousness meet. Zachary Manditch-Prottas: How did you get started writing? Cecil Brown: Well, I grew up in North Carolina, by Cape Fear River. In the...

Experiencing Uncommon Faithfulness:

The challenges confronting the church in the 21st century, especially that of persistent systemic racism, call for a methodological shift in ecclesiology. This paper explores the meaning and benefits of Natalia’s Imperatori-Lee’s narrative ecclesiology within the context of race in the United States Catholic Church. By turning to the story of God’s people, especially the silenced and oppressed, ecclesiology is empowered to challenge false histories and overturn theologies which justify oppression. Furthermore, the work of the Holy Spirit and the responses of the faithful are made evident in lives of “uncommon faithfulness,” such as those of Black Catholics in the US. To be guided by narrative ecclesiology today, members of the church must engage in an embodied struggle for liberation and so hear the story of God’s people anew.

Formation of Oleksandr Kolosok creative personality as a performer and choreographer

The purpose of the article is to find out the features and conditions of the formation and development of the creative personality of the Honored Artist of Ukraine, laureate of international contests, Professor Oleksandr Petrovych Kolosok on the basis of a previously identified set of sources. The methodology consists in the application of general scientific methods of theoretical and empirical levels: analysis and generalization of scientific and theoretical bases of research, logical method, interview method. These methods make it possible to characterize the socio-cultural conditions in which the formation of a professional performer of folk-stage dance, and later the choreographer O. Kolosok in historical retrospect. Scientific novelty. The publication covers for the first time the life and creative path of O. Kolosok, in particular, his performing and choreographic activities, as well as the first source of information used - an interview with O. Kolosok, which was once taken by the author of the article. Conclusions. Oleksandr Petrovych Kolosok – Honored Artist of Ukraine, winner of international contests, professor, entered the history of Ukrainian folk and stage choreographic art as an unsurpassed professional performer, and later – director, teacher, theorist, and practitioner, whose life can be called an example of service to Ukrainian culture and folk choreography. The formation of his creative personality took place in the middle - second half of the twentieth century, when bright artists, talented personalities, whose names are included in the golden fund of folk stage choreography, created in Ukraine. Well-known figures of culture and art, including O. Kolosok, with their creative achievements, laid a solid foundation for the further development of folk stage dance and educated a whole generation of professional performers, and later choreographers and teachers.

Post-truth as a syndrome of Digital Age: ultimate understanding of the phenomenon and scenarios of the future

The subject field of this research is the combination of cultural phenomena, which correlate with the initially highlighted concept of “post-truth” through generalization of its criteria. The traditionally narrow understanding of post-truth is associated with news reports of mass media. However, the distortion of actual picture, using the techniques of heuristic rhetoric and mechanisms that instigate cognitive biases is a more common situation in modern society, which unites various communication phenomena, touches upon news and everyday communication, artistic endeavor, and many other areas. The specific subject of research is the range of possible scenarios of social development depending on its response to proliferation of the phenomena that comprise the cultural-communication complex of “post-truth”. This article is the first attempt of scientific summary of the phenomenal picture of post-truth based on the competent expansion of the criteria from the partial instances to the general mechanisms. Partial criteria, such as neglecting objective factors in the report, appeal to human values and ideologies, use of emotional pressure for substantiating own opinion, the author replaces with the general: media distortion of reality as a goal of report, use of cognitive biases, use of mechanisms of heuristics. Based on the highlighted criteria, the author analyzes the question of semantic and cultural correlation with post-truth of such as the phenomena as the fan theories of two types, litbaits, pop science, folk history, astroturfing, fan fakes, clickbaits, narrative journalism, etc. Scientific novelty also consists in outlining the possible scenarios for social development and its communication environment depending on the strategies of response to expansion of the sphere of post-truth.

Salvation through History: On the Relationship between An Kyo ˘ngjo ˘n’s Millenarian Doctrine and Pseudohistory

In recent years, South Korean pseudohistorians, who accuse the academic establishment of promoting “colonial-era historiography,” have achieved political influence impacting professional research on early Korea. Their alternative narrative imagines ancient Korea as an expansive continental empire giving rise to northeast Asian civilization. Archetypal to this conceptualization is the apocryphal history Hwandan kogi 桓檀古記 (1979). Placed in the history sections of bookstores, the most accessible edition today is that translated by An Kyo˘ngjo˘n, second-generation patriarch of the syncretic new religion of Chu˘ ngsando. An’s Hwandan kogi contains an extensive introduction both synthesizing the full canon of Korean pseudohistory, and incorporating his own millenarian doctrine drawn from Sino-Korean esotericism; An further supplements both these aspects with corresponding Western pseudoscience pertaining to lost civilizations and imminent apocalypse. Situating An’s doctrine in diachronic contexts of popular Korean history and new religion, this paper seeks to illuminate one of the lesser known forces currently abetting Korean pseudohistory.