Functions Of Folklore Research Articles

Image of the Main Character and the Value of Character Education in Beranak Beruk Folklore

Background: The position and function of folklore in the last decade seem to have been increasingly shifted due to advances in information technology, cultural systems, social systems and currently developing political systems. It is not impossible that various forms of old culture, including folklore, will be neglected amidst the increasing activity of development and renewal, so it is feared that oral literature which is full of values, norms, and customs will eventually disappear without a trace. Purpose: explaining the image of the character and the value of character education in the story of Beranak Beruk so that it can become a reference in improving character in the world of education. Design and methods: The research method used is qualitative, with data collection techniques through document study and library observation. Results: there are two types of character images in the story Beranak Beruk, there are good images and bad images. Of these two images, only the positive image can be used as a reference for character education values, namely religious, honest, tolerant, disciplined, hard work, creative, independent, democratic, curious, national spirit, love of the country, respect for achievement. , Friendly/Communicative, Loves Peace, Likes Reading, Cares for the Environment, Cares for Social Affairs. Responsibility.

Analisis Makna Simbolik Pada Tradisi Lawang Sakepeng Dalam Upacara Pernikahan Adat Dayak Ngaju Di Kecamatan Tewah Kabupaten Gunung Mas

This study aims to describe and analyze (1) the procession of execution in the Lawang Sakepeng tradition, (2) the symbolic meaning contained in the Lawang Sakepeng tradition in Dayak Ngaju traditional weddings, and (3) find out the function of folklore in the Lawang Sakepeng tradition using semiotic studies. The method used in this research is descriptive qualitative. The source of the data in this study was secondary data from a video showing the documentation of the Lawang Sakepeng tradition in a Dayak Ngaju traditional wedding ceremony. The instrument in this study is a documentation guide. Documentation guidelines are carried out by analyzing symbolic forms. The data analysis technique used in this study uses C.S Pierce's semiotic study as a reference. Based on the results of the research obtained: (1) the procession of the Lawang Sakepeng tradition in the Dayak Ngaju traditional wedding ceremony which has been studied has three stages of implementation, namely Panganten Mandai/Haguet, Lawang Sakepeng tradition and Mamapas traditional ceremony. (2) The forms of symbolic meaning in the procession of the Lawang Sakepeng tradition in the Dayak Ngaju traditional wedding ceremony which have been studied have forms of symbolic meaning in the form of: palm fronds, three-tiered threads, flowers, money, bahalai/saput, red and white flags, martial arts fighters/sakepeng performers and dancer. (3) The function of folklore in the Lawang Sakepeng tradition procession is: strengthening the feeling of collective solidarity, as a fun tool and providing entertainment for people who witness it, as a tool for preserving Dayak cultural customs, and as a tool for mutual cooperation in a society.

KAROMAH KH. LATHIFI BAIDHOWI DI DESA SUKOSARI KECAMATAN GONDANGLEGI KABUPATEN MALANG

Abstract: The aims of this research are (1) Social, Cultural and Religious Aspects in the Folklore of Karomah KH. Lathifi Baidhowi (2) describes the socio-cultural aspects contained in folklore, (3) explains the functions and public responses to folklore, (4) describes the implementation of folklore as teaching material for Indonesian literature at IAI AL-Qolam. This study uses a qualitative descriptive method, using a fixed case study design strategy. The data in this study are in the form of sentences and paragraphs. There are two sources of data in this study, namely primary data sources originating from informants or sources at the folklore place of Karomah KH. Lathifi Baidhowi is here. Sources of secondary data in the study came from stories in the Biography book and data from interviews with the Community/Santri. Data collection techniques in this study through in-depth interviews, observation, and documentation. The data analysis technique used in this study is a qualitative data analysis technique using an interactive analysis model. The results of this study are four (1) the origin and structural analysis of the folklore of Karomah KH. Lathifi Baidhowi the theme of folklore is about people's belief in stories. The plot used is a forward plot, the character in the story of Karomah KH Lathifi as Msrsyid Toriqoh who makes accusations to several areas around East Java. The setting of the story is divided into two,namely the setting of the place and the setting of time. (2) The social aspects of thisfolklore include social aspectsrelated to religiousissues, cultural aspects in this study include people's beliefs. (3) Community responses and the function of folklore, namely the benefits of several Karomah and ritual worship activities according to Islamic teachings. (4) Implementation of the folklore of Karamah KH. Lathifi Baidhowi as a literature teaching material at IAI Al-Qolam is appropriate and relevant and can be used as literature learning material.

The theory of the "four functions of folklore" in world folklore studies

Research in the field of philological science is primarily closely related to text recognition. The search and comprehensive research in this direction marked the beginning of the emergence of new views and judgments, theories and research methods. One of them, that is, the theory of the “Four Functions of Folklore", as a native point of view on the differentiation of texts of oral folk art. His birth was caused by the conclusion of a scientist named B. K. Malinowski in the early twentieth century and the opinion of anthropologists. Then, 20-30 years later, his conclusion became a theory and was proposed as a new method of studying the folklore text. The first person who raised this topic was an American folklore scholar – William Bascom in 1953-1954. Since then, this topic has been actively discussed among scientists-members of the "Society of American Folklore" the results of the study were published in the scientific publication "Journal of American Folklore". The scientist W. Bascom, generalizing the texts of oral folk art, studies its place in the life of the people. As a result, four main functions of the folklore text are distinguished: protection of traditions, customs, education and upbringing, support for going beyond the established views. It was formed as a theory and already then began to be used in scientific research and educational programs. This topic will be studied by Turkish scientists after the 2000s and included in the content of education. Such views have been mentioned in the works of Kazakh scientists since the beginning of the twentieth century, although it is not called "the four functions of folklore". However, due to the lack of close relations between American and Soviet scientists, many research works were ignored. Therefore, this article discusses the theory of the" four functions of folklore", the history of its origin and study. For this purpose, the research of B. K. Malinowski, who first expressed his opinion on the topic, and W. Bascom, who justified the theory and the work of other scientists, are taken as a basis. The issues related to this topic are reasoned by the opinion of Kazakh scientists. As a result of the study, the four functions of folklore voiced by the scientist U. Bask are comprehensively shown, its connections with Kazakh folklore are differentiated. This, in turn, will allow us to study samples of oral Kazakh folk art within the framework of new humanitarian knowledge and on the basis of world scientific relations. In addition, it can be used in the training of industry specialists.

Foreign Models, Familiar Themes: The Aesthetic Function of Folklore in Works by Szymanowski and Górecki

There is an overwhelming tendency for scholars of Polish music to politicize the presence of folk music references when they appear in art music compositions. This has particularly been the case in studies of Frédéric Chopin, where certain myths pertaining to that composer’s extramusical intentions have long dominated how his music was unpacked in musicological literature. In this article, I demonstrate that our understanding of later Polish composers suffers similarly from the politicization of folklore. In an examination of the discourse surrounding both Karol Szymanowski and Henryk Mikołaj Górecki, I argue that a myopic understanding of the compositional possibilities bound up in folk music engagement has limited the scope of our interrogations into their compositional practices. I then reposition folk music as an aesthetic tool in their works that has enabled these artists to negotiate the compositional challenges confronting their respective generations. In addition to improving our understanding of these two composers’ methods, my analyses highlight how folk music models can lend a sense of familiarity and cohesion to the modern musical aesthetic.

الحکایة الشعبیة فی نماذج من السیر الذاتیة السعودیة

الملخص : تمتلک الحکاية الشعبية حضورا مهما في مجال الکتابة السردية عامة، والسيرة الذاتية خاصة، من خلال توظيف العديد من کتاب السيرة الذاتية السعودية لها، إذ تمثل رافد إغناء وتنويع جمالي ودلالي للنص السيرذاتي. ويهدف البحث إلى استقراء صور حضور الحکاية الشعبية في جنس السيرة الذاتية السعودية، وإبراز خصائص تمثل کتاب هذا الجنس الأدبي لها في إنشاء نصوصهم، ماجعل الحکاية الشعبية عنصرا مهما يسهم في إنتاج النص السير ذاتي، من خلال التفاعل الأجناسي، الذي يقيمه کاتب السيرة الذاتية السعودية بين فن الحکاية الشعبية الضارب في العراقة في السردية العربية القديمة وجنس السيرة الذاتية. وهو التعالق الأجناسي الذي يولد تعالقا /أو تفاعلا نصيا من خلال استحضار کاتب السيرة الذاتية لنصوص متعددة ومتنوعة من الحکاية الشعبية المتوارثة عبر الزمان والمکان والمتناقلة شفويا عبر الرواية في صورها الفردية والجماعية. وسأتوخى في مقاربة هذه الإشکالية منهجا إنشائيا يقوم على البحث في کيفية توظيف کتاب السيرة الذاتية السعودية لنماذج الحکاية الشعبية في إنشاء نصوصهم، بالترکيز على وظيفة الحکاية الشعبية في إنشاء نظام الحکاية للنص السيرذاتي وخطابها. وسأعتمد في مقاربة هذه الإشکالية إجرائيا على نماذج سير ذاتية ثلاثة حرصا على التنوع الحکائي فيها، وهي: ( أيامي ) لأحمد السباعي، و(عشت سعيدا من الدراجة إلى الطائرة) لعبدالله السعدون، و(التحول) لمسعد عيد العطوي. Abstract The traditional story has a great presence in the narrative writing filed generally، and the autobiography specifically. That’s by employing a several Saudi history writer in this filed. Which it gives a beautiful mixture and semantic، and a tributary stream to the historical text. The research aims to display the role of the autobiography in the Saudi history، and display features that resembles these literature writers to write these stories. This what makes the traditional story an important component that contributes in production of the history text. Which it is evaluated by the Saudi biographer between the art of folk tale striking in the ancient Arab narrative and the genus of the biography. It is the mix relationship that generates a relationship or textual interaction through the biographer's invocation of multiple and varied texts of the folk tale inherited across time and place and transmitted orally through the novel in its individual and group forms. In order to approach this problem، I will envisage a constructive approach based on research upon how Saudi autobiographical writers employ models of folktales in the creation of their texts، by focusing on the function of folklore in establishing the story system for the biographical text and its discourse. In order to approach this problem procedurally، I will rely on three autobiographical models in order to ensure the diversity of narratives in them، namely: (My Days) Ahmed Al-Sebaei- (I lived happily from bike to plane) Abdullah Al-Saadoun - (Transformation) Massad Eid Al-Atwi.

A Folkloristic Analysis of Polish Immigrant Narratives in Western Canada

Abstract The large wave of Polish immigration to Canada during the years immediately following World War II also brought the production of written narratives that reflect upon the process of migration and settlement in the new place. Although these migrants included persons from all across Poland, of different age groups, backgrounds, and occupations, the migration narratives share certain distinctive formulas and patterns, particularly in terms of their plot lines and narrative structure. Each story highlights the journey and its difficulties, the arrival and culture shock, the struggle to adapt, and finally acceptance of life in the new world. This article focuses on the migration experiences of Józef Bauer (arriving in Canada in 1946), Helena Beznowska (arriving 1948), Marian Pawiński (arriving 1949), and Erika Wolf-May (arriving 1953). Explored from a folkloristic perspective, these four narratives fulfill the four functions of folklore: entertainment, education, validation and reinforcement of beliefs and conduct, and maintaining the stability, solidarity, cohesiveness, and continuity of a group within the larger mass culture. Moreover, as folkloric expressions of culture, the narratives not only reflect our very human culture, but also reinforce our shared humanity.

Role and Functions of Folklore and Mythological Elements in the Work of M. A. Sabir

The folklore and mythological traditions in the works of the outstanding poet-satirist of the late XIX — early XX centuries M. A. Sabir are considered in the article. It is noted that modern Sabirovology unites scientists from Azerbaijan, Russia and other countries who turn to the study of the poet’s works. The results of the analysis of a number of poetic works of Sabir, in which the author uses folklore and mythological elements as a technique that enhances the satirical sound of his texts are presented in the article. The author believes that Sabir, thanks to the inclusion of representatives of the demonic world (hortdan, damdabadzha, djinn, djann, Baba Yaga) among the characters, emphasizes the power of influence on people of belief in otherworldly forces, thus ridiculing inertness of thinking, unwillingness to develop, to keep up with progress. It is shown that Sabir creates realistic negative social types: money-grubbing, ignorant, etc. Special attention is paid to small folklore and mythological genres (curse, blessing, omen), which emphasize a person’s faith in the magical power of the word. It is noted that the study of folklore and mythological elements in the satirical works of Sabir has a perspective.

The Meaning of Tolaki, Minangkabau, and Timor Cultural Symbol in Three Nusantara Folklores: Oheo, Kaba Malin Deman, and Tujuh Bidadari

Indonesian are less aware of the function of folklore in the modern era. When examined more deeply, folklore is a manifestation of local cultural values ​​that are not widely known. This is the background for the research of this article which intends to introduce the uniqueness of the Nusantara folklore through an analysis of the eating of cultural symbols. The purpose of this research is to describe and introduce the meaning of cultural symbols in the Nusantara folklore. The method used is literature using semiotic theory. The results obtained in this study are as follows. 1) Folklore is part of a culture, therefore in the structure of folklore found cultural elements represented in the form of symbols. 2) Cultural symbols in folklore cannot be interpreted directly, with a semiotic and cultural approach symbols can be interpreted according to the cultural origin of the folklore. 3) Literature, culture, and art are three things that cannot be separated. Cultural symbols do not only show cultural elements but also provide a moral message and aesthetic side in reading literary works. 4) Folklore can become an identity in culture from that it can be drawn that cultural symbols can show the progress of civilization in a culture. 5) The three folklores of the archipelago that have been studied have their own characteristics. Oheo with the influence of the elements of marriage and social stratification, Kaba Malin Deman with a touch of matrilineality, and Tujuh Bidadari with the influence of religious elements

NILAI PENDIDIKAN KARAKTER DALAM CERITA RAKYAT KABUPATEN BANTUL “KI AGENG MANGIR” (KAJIAN FOLKLOR)

The problem in this study is how the structure of the folklore "Ki Ageng Mangir", the function of folklore from Bantul district "Ki Ageng Mangir", as well as any moral values contained in the folklore. This study aims to describe the structure, function and the moral value of the folklore "Ki Ageng Mangir" The research method used is descriptive, data collection techniques using reading and note-taking techniques, the data generated in this study are written data.The results of the study indicate that the Ki Ageng Mangir people's stories have a function as the source of reference for historical events in Bantul district, the values contained in this story are cultural, religious and moral values.

CATEGORIES, STRUCTURE, AND FUNCTION OF FOLKLORE IN LIMA PULUH DISTRICT COMMUNITIES

The purpose of this study is to determine the categories, structure, and functions of folklore in the MuaroPaitiNagari community. The method used in this research is descriptive method. The results showed that of the 12 folklore found in the Nagari community of MuaroPaiti, there are myths, myths, and fairy tales. The structure of folklore in the village of MuaroPaiti includes plot/plot, character/character, setting, language style, and theme. Meanwhile, the function contained in the folklore of the MuaroPaitiNagari community is as entertainment, projection systems, equipment validating institutions and cultural institutions, and educational tools.

MOTIF CERITA RAKYAT SEBAGAI SARANA PENJAGA INTEGRITAS SOSIAL MASYARAKAT ASEAN

Folklore is a traditional story to convey the noble values of a region to the future generations which are delivered using spoken language. The focus of this study are (1) the motifs and variations of folklore in various ASEAN countries, (2) the function of folklore as the guardian of ASEAN social integrity, and (3) educational value of folklore as the guardian of ASEAN social integrity. This study used a qualitative approach with ethnography of communication design. The main data in this study are the words and actions which are delivered by the speakers used in folklore. The data collection method used in this research is focused observation. The data were analyzed by sorting, selecting, and interpreting the data. Based on the results of data analysis can be concluded that (1) the motif of Malin Kundang and its versions are (a) a teenager from a poor family, (b) the teenager ventured into the land, (c) he /she became successful and married with the child of a rich merchant, (d) the young merchant traded to his/her hometown, (e) the mother got to hear the return of herchild, (f) the child was embarrassed to have old and poor mother , (g) the mother was sad and disappointed at her child, (h) the mother prayed to God, (i) the God granted the mother’s prayer, (j) the child realized his/her mistake, and (k) the child is punished by God as a rock; (2) the function of Malay folklore in maintaining integrity of ASEAN society are (a) assisting the education of young people, (b) increasing the feeling of group solidarity, and (c) giving social sanction that people have to well behave; and (3) the educational values developed from and the versions are (a) the Malay society should be obedient to the parents, (b) the Malay societyshould not be haughty, and (c) Malay community should be accept the God’s decision.

STRUKTUR DAN FUNGSI SOSIAL CERITA RAKYAT LEGENDA SETEMPAT BATU GALEH DI KENAGARIAN SUNGAI ANTUAN KECAMATAN MUNGKA KABUPATEN LIMA PULUH KOTA

The aims of this research are (a) to describe the structure of folklore of local legend Batu Galeh in Kenagarian Sungai Antuan Mungka, district Lima Puluh Kota. (b) todescribe the social function of folklore of local legend namely Batu Galeh in Kenagarian Sungai Antuan, Mungka Sub-district, Lima Puluh Kota. This research type is qualitative research with descriptive method. Data of this research is local folklore legend of Batu Galeh. The data technique collection is done in two stages. The first stage, the stage of recording the folklore of local legend Batu Galeh and then the result of recording is transcribed. Next, transcription results will be translated from local language Minangkabau in Kenagarian Sungai Antuan Mungka district Lima Puluh Kota into Indonesian language. The second stage, collecting data about the enviroment story. The result of this research is found that in the folklore of local legend Batu Galeh has 2 characters, advanced groove, and background of place of kampung, rantau, and place of rest, background of time happened in ancient time and some atmosphere background that is happy, sad, sorry. The social functions found are identity, education, social control and group identity.Keywords: Structure, Social Function, Batu Galeh

KABA MALIN DEMAN: MENYIASATI DAMPAK DUA FALSAFAH MINANGKABAU DALAM FOLKLOR

Indonesian folktale is transmitted from one generation to the next by word of mouth. The changes from verbal to written manuscript has in fact undergone a long process. Folktale consists of cultural values of folk/ a particular group of people. Research on folklore is one way to reveal the philosophy contain in the written manuscript. Two of Minangkabau philosophies, extinction philosophy and marriage philosophy, are found in kaba Malin Deman, if imbalance occurs it will create problem in their society. Harmonization is the srategy for the imbalance and also as the function of folklore itself.

The Chastushka on the Internet: The Problem of Genre Viability

The article attempts to contribute to solving the urgent problem of the viability and functions of folklore in the modern world. We study the modern chastushka represented at special websites designed for chastushka exchange. Such websites are a special communicative sphere which uses modern technology to realize folklore intentions. The chastushka is a popular modern folklore genre which has lived through the change of information reality. This is due to the features of the genre world modelling aimed at the comic reflection of reality. In the process of integration into the modern communicative space, these principles are preserved, yet the chastushka form demonstrates flexibility in relation to the needs of the modern information environment regulated by common postmodern tendencies of modern culture.

Functions of folklore in Afghan society

Functions of folklore in Afghan society

The Functions of Folklore in Charles Chesnutt's "The Conjure Women"

The Functions of Folklore in Charles Chesnutt's "The Conjure Women"

Three Functions of Folklore: Traditional Functionalism as Explanation in Folkloristics

Three Functions of Folklore: Traditional Functionalism as Explanation in Folkloristics

The Function of Folklore in ‘Jane Eyre’ and ‘Wuthering Heights’

(1974). The Function of Folklore in ‘Jane Eyre’ and ‘Wuthering Heights’. Folklore: Vol. 85, No. 1, pp. 47-61.

Four Functions of Folklore

N a paper given at the El Paso meetings last year I expressed the opinion that the most effective way to bridge the gap between the anthropological and the humanist points of view towards folklore is through a common concern with common problems, rather than relying as in the past on a common interest in a common body of subject matter. I also attempted to explain the anthropological approach to folklore, and extended the invitation for someone to present in a similar manner the viewpoint of the humanities.' I do not propose tonight2 to reverse my role completely and take up my own challenge. I believe that this job can be done far more competently by a non-anthropologist, although I am still convinced that if this underlying disagreement can be brought out into the open and discussed moderately and rationally, in the same spirit in which I attempted to do it, it will be for the ultimate good of our Society. This year, when we are meeting with the American Anthropological Association, I propose rather to expand on three of these common problems which are of especial concern to anthropologists, but which could only be mentioned in passing last year. These are: (i) the social context of folklore, (2) the relations of folklore to culture, which might be phrased as the cultural context of folklore, and (3) the functions of folklore. The most appropriate transition between what I said last year and what I have to say tonight is a quotation from Hallowell: