Traditional Stories Research Articles

The Uniqueness of Gabrielė Petkevičaitė-Bitė’s World of Short Prose: A Search for a Meaningful Existence

Gabrielė Petkevičaitė-Bitė’s work is colourful and diverse in terms of content and genre. She strove to reveal the most prominent conflicts of the public life of the late nineteenth and the early twentieth centuries, the problems of the individual’s spiritual development and the discovery of one’s own identity, the reflections of the life of the intelligentsia and the rural people, the search for a meaningful life by different representatives of the ethnic community and to bring up the question of the individual’s self-esteem. To this end, the writer created distinctive examples of the genre of small prose, such as short stories, essays, sketches, reflections, and reminiscences, which enriched the world of Lithuanian prose. Petkevičaitė-Bitė’s creative space was strongly affected by the epoch of national revival. The author wrote a number of vivid traditional realistic short stories, which reflected the actual reality and in many cases were strongly autobiographical. In her prose, the writer often depicts a young person is striving for new ideals of the national community: a different model of life characteristic of the secular intelligentsia, responsible activity for the sake of the nation, and ideas of nation building. The hero of her short prose is a person capable of creating a sincere and spiritual relationship between the members of society that is based on mutual assistance and understanding. For Petkevičaitė-Bitė, a young person is perhaps most closely associated with a romantic hero’s burning love for the world, the pursuit of ideals, impetuous feelings, passionate and courageous quests, ethical maximalism, uncompromising nature, refusal to put up with the ills of life, and individual truth, i.e., the qualities that are most typical of young people. It is not careerism or the search for a more diverse existence, but the pursuit of a more enriching form of life, a meaningful foundation for it, and a quest for spiritual discovery that motivates these young seekers, dreamers, and altruists to open themselves wholeheartedly to life. This existential stance of the characters arises from the actual efforts of the intelligentsia to change the established moral, social, and cultural order of the nineteenth century and to oppose the constraining stereotypes of previous years. Petkevičaitė-Bitė’s works mostly reflect the process of the national revival movement and the colourful portraits of strong personalities whom she had met and remembered: book smugglers, rebels, and spiritually rich villagers, who made every effort to enlighten their children and pave the way for their education. She perceives and treats an individual’s meaningful activity, which is focused on helping others, as the pivotal factor of the nation’s spiritual rebirth that guaranteed its survival and the sustainability of its life. In her prose, the writer seeks to reveal both the dark and the light side of human nature, to show its beauty, power, and strength. Unconditional sacrifice for the sake of the other – book smuggling, secret teaching of children from forbidden books, care of orphans and the needy – were the fundamental existential imperatives and the foundation of the life and activities of Gabrielė Petkevičaitė-Bitė, who was an aristocrat of the spirit herself.

Dickens in Chol

AbstractThis study examines differences in gesture production in narrative contexts between American and Chol Mayan speakers at the narrative, metanarrative, and paranarrative levels of discourse, as well as differences in the production of linear temporal gestures. First, a comparison is made between the gestures produced by speakers of American English and Chol, a Western Maya language, as they tell the story of A Christmas Carol to an interviewer. The study shows a dire contrast between the American and Chol interpretation of this classic novel, and notable differences in the speech-accompanying gestures used by Americans and Chol Mayans respectively. American speakers’ temporal utterances are often accompanied by the well-documented lateral timeline gestures, where earlier events are located to the left of the gestural space, and later events are located to the right of the gestural space. By contrast, in Chol utterances no lateral, sagittal, or vertical timeline gestures accompany any form of temporal reference; the vast majority of gestures co-occur with metanarrative and paranarrative statements and have no explicit temporal content. The second part of the study analyzes the gestures made by a Chol speaker while telling a traditional story. A qualitative analysis of this traditional narrative shows that, when telling a story of the Chol tradition that is well known to the speaker, pragmatically-motivated gestures that occur at the metanarrative and paranarrative levels are much fewer than gestures occurring at the narrative level. In this traditional narrative, the gestures co-occurring with sequential, deictic temporal expressions and temporal metaphors did not reflect any kind of timeline that resembled those made by the American speakers in the Dickens in Chol task.

Knowledge Graphs: A Practical Review of the Research Landscape

Knowledge graphs (KGs) have rapidly emerged as an important area in AI over the last ten years. Building on a storied tradition of graphs in the AI community, a KG may be simply defined as a directed, labeled, multi-relational graph with some form of semantics. In part, this has been fueled by increased publication of structured datasets on the Web, and well-publicized successes of large-scale projects such as the Google Knowledge Graph and the Amazon Product Graph. However, another factor that is less discussed, but which has been equally instrumental in the success of KGs, is the cross-disciplinary nature of academic KG research. Arguably, because of the diversity of this research, a synthesis of how different KG research strands all tie together could serve a useful role in enabling more ‘moonshot’ research and large-scale collaborations. This review of the KG research landscape attempts to provide such a synthesis by first showing what the major strands of research are, and how those strands map to different communities, such as Natural Language Processing, Databases and Semantic Web. A unified framework is suggested in which to view the distinct, but overlapping, foci of KG research within these communities.

Proverbs in the Battle Against Covid 19 and Insecurity in the Niger Delta

It is difficult to see any correlation between proverbs, songs, chants and COVID 19. It will take only an avid researcher to observe the surreptitious and subtle correlation observed here. The world of science has produced various vaccines to tackle the menace that is COVID 19 and governments the world over are doggedly fighting insecurity. No sooner have we found a vaccine than mutation and difficult strands of the COVID are springing up here and there, telling us that the battle is only half won. From the medical point of view the solution remains in distancing, washing of hands, wearing masks and observing COVID 19 protocols. Another area that is most effective in curbing this dreaded disease is in creating sufficient awareness. The people that are enlightened will not fall prey to the dreaded monster. This is where proverbs, songs, chants, myths, folklore, folktales, legends, traditional stories, and received wisdom become very powerful tools for checking this global pandemic. In the first instance, there is no nation in Africa without this troika (proverbs, songs and folktales). All we need to do is deploy them in creating sufficient awareness in handling loved ones affected by this death. The western world is depending on the television, radio, newspaper, magazine, social media outlets and other means of mass communication to disseminate information on how to deal and relate with this hydra headed monster. But these are luxuries that we in the developing world cannot afford, and even the few that can afford them, there is no constant light to power the instruments and enable us to get the message. Illiteracy is another big hindrance, a lot of us cannot use English effectively, and a lot more cannot understand messages spread via the medium of English. The most reliable means of communication with the people remains their mother tongue. Therefore, this paper argues that governments and agencies of government must embark on translating their messages into songs, chants and proverbs. These will resonate with the rural populace more easily than radio or TV adverts. The data collected and analysed in this paper prove the claim that language is a powerful tool in tackling insecurity and generating sufficient awareness for COVID 19.

Unspoken assumptions, deep holes and boundless expectations

AbstractThis study examines the different institutional, disciplinary, and pedagogical factors that come into play when teaching literary works with the goal of fostering dialogue, understood in the sense of civic communication and tolerance. Drawing on anAction Researchapproach, the analysis probes a specific experience teaching the diverse English-language short story tradition in the Canadian and German university context. The results show that to maximize the potential of teaching literary works for nurturing dialogue, instructors must navigate among multiple and at times contradictory forces reflecting institutional and disciplinary teaching priorities, divergent conceptualisations of dialogue, theoretical incongruities, varied literary and critical traditions, and complex mediation techniques.

The Man Who Lived with a Giant: Stories from Johnny Neyelle, Dene Elder ed. by Alana Fletcher and Morris Neyelle

Reviewed by: The Man Who Lived with a Giant: Stories from Johnny Neyelle, Dene Elder ed. by Alana Fletcher and Morris Neyelle Glen Sean Coulthard (bio) The Man Who Lived with a Giant: Stories from Johnny Neyelle, Dene Elder edited by Alana Fletcher and Morris Neyelle University of Alberta Press, 2019 THE MAN WHO LIVED WITH A GIANT is a classic example of master storytelling in the tradition of late Dene Elders George Blondin (When the World Was New, Yamoria the Lawmaker, and Trail of the Spirit) and John Tetso (Trapping Is My Life). Skillfully edited by researcher Alana Fletcher in collaboration with Johnny Neyelle's son, Morris Neyelle, the book represents a lifetime of stories shared with his family by an Elder who lived through the transition from a self-reliant "way of life" on the land to one that became increasingly influenced by colonial dependency, missionary belligerence, and white encroachment in the latter half of the twentieth century. Recognizing the historical, cultural, and philosophical significance of his father's teachings, Morris began to first record and then painstakingly transcribe and translate his dad's stories in the 1980s. While completing her fieldwork in the Sahtu Dene community of Deline in 2014, Dr. Fletcher was recruited by Morris to help compile the stories into publishable form. The Man Who Lived with a Giant is the result of the web of working relationships that ensued. "[Like] any oral history collection," the editors write, "[this book] is the product of many important relationships: the relationship of the stories to all Sahtu Dene people, past and present; that of the storyteller and his son; the relationship of the two editors; and those among the editors and the support network that help make this book a reality" (vii). The book itself is structured into two parts, "Sacred and Traditional Stories" followed by "Oral Histories from the Life of Johnny Neyelle," bookended by a preface and introduction on the front end and an epilogue, afterword, genealogy, and glossary of North Slavey words on the back end. The first section draws from oral histories that depict "distant time" stories—what some have called "floating time"—representing a period in Dene history and cosmology when spiritually powerful humans and other-than human animals lived and communicated with one another on the land, sometimes in conflict and sometimes in harmony, learning and laboring together to better enable the mutual well-being of all over time. A classic figure in these [End Page 172] stories is that of Yamoria, known in many Dene regions as the "lawmaker," who traveled the world dedicated to establishing the laws that would best facilitate the Dene and animals sustainably living together in peace and reciprocity. Yamoria, like many other characters in these stories, existed at a time when the "world was new," prior to the rapid transformations that would be brought on by colonial development and eventual settlement. The second part deals with stories of life on the land. These stories follow Johnny Neyelle himself—an incredibly knowledgeable and skilled hunter, fisherman, craftsman, and musician—through his important experiences living a fulfilled but challenging life of unalienated labor harvesting the renewable resources that Creation provided. To my mind, the significance of this collection of stories registers on two interrelated levels. First, as someone who regularly works with Dene Elders in educational programming that is substantively shaped by them (and based in large part on the knowledge they have of the land and all that it culturally signifies), storytelling is a critical medium for knowledge production and dissemination. The problem, however, is that Elders who carry these stories are getting older, are passing away, or are sometimes taught by the colonizing society that their knowledge is not legitimate compared to approaches that saturate the classrooms and learning spaces of the dominant society. In such a context, any community-based project that seeks to document and hold up these stories for future generations is a critical project of epistemic decolonization. Second, and relatedly, these histories are meant to teach us things—teach us about politics, law, political economy, and community; they are supposed to inform us how to conduct ourselves safely and ethically in...

Translated Nation: Rewriting the Dakhóta Oyáte by Christopher Pexa

Reviewed by: Translated Nation: Rewriting the Dakhóta Oyáte by Christopher Pexa David J. Carlson (bio) Translated Nation: Rewriting the Dakhóta Oyáte by Christopher Pexa University of Minnesota Press, 2019 IN TRANSLATED NATION, Christopher Pexa makes a substantial contribution to the growing body of scholarship focused on the work of Indigenous intellectuals active during the late nineteenth and early twentieth centuries—a period when tribal communities were under extraordinary pressure from the settler-colonial state and consequently framed by many as the nadir of tribal nationhood in the United States. While certainly acknowledging the potency of U.S. colonial discourse and institutions at this time, Pexa's tribal-centric study instead emphasizes Dakhóta resistance, highlighting forms of that resistance generally overlooked by previous scholars. Pexa's specific focus is on the ethos of thióšpaye (extended family), the "core relational [philosophy]" that shapes Dakhóta life (xi). He explores the ways that figures ranging from Charles Eastman to Ella Deloria encoded and bore subtle witness to that ethos within works that might first seem (especially to non-Indigenous readers) to be essentially assimilationist. And while other scholars have emphasized the existence of various rhetorics of resistance in Indigenous writing from this period (including in the work of some of the authors treated here), Pexa's deeply informed readings and his explorations of a rich and coherent tradition of Dakhóta survivance set Translated Nation apart as an exceptionally valuable study in the field. Pexa dialogically structures his exploration of what he variously refers to as "cultural camouflage" or "rusing accommodation," weaving together literary analysis, autobiographical reflection, and conversational interludes with his own Dakhóta relations (1, 4). Perhaps it would be better to say that he organizes Translated Nation relationally, highlighting how Indigenous peoplehood, in a Dakhóta context, challenges artificial, colonial boundaries between ways of knowing, discursive contexts, periods, and physical space. Pexa finds evidence of the persistent assertion of thióšpaye ethics in such diverse locations as the carceral writings of Dakhóta citizens held at Fort Snelling after the 1862 U.S.-Dakhóta War, Charles Eastman's retellings of traditional stories in Red Hunters and the Animal People (1904), the horse [End Page 160] dance portion of Black Elk's great vision (as recorded in the original transcripts), Ella Deloria's ethnographic novel Waterlily (written in the 1940s), and contemporary family reflections on the deep links between place, narrative, and identity. In each of these examples, Pexa develops his central claim: while Dakhóta expression may at first seem co-opted and fully legible from a colonial perspective, it is in fact dual voiced, "translat[ing] and re-working settler state mandates" into Indigenous understandings of kinship and relation (148). Translated Nation thus becomes a chronicle of what Pexa calls "unheroic decolonialisms," a term intended not to diminish the significance of these subtle forms of resistance but rather to highlight the importance of appreciating nonindividualistic forms of revolt not typically privileged in the settler-colonial worldview (147). In his account, the endurance of the Dakhóta people becomes a function less of periodic instances of exceptional activism (valuable as those may be) but rather of steady and persistent "caretaking" (235). In summarizing Pexa's core argument as I have here, it is not my intention to imply that Translated Nation overlooks the more equivocal aspects of some of the performances of personal and collective identity by its principal objects of study. Pexa's readings are never one-sided, and his critical discussions are always well grounded in current Indigenous studies scholarship. There are many examples of this care throughout the book. Pexa thoughtfully marks places where the conventionality of Ella Deloria's gender politics potentially conflicts with other aspects of her encoding of thióšpaye ethics. Elsewhere, he engages with some of the problematic elements of Black Elk's iconicity and popular reception. Perhaps considering the tremendous scope (and tonal variation) of Eastman's writings, one might have hoped that Pexa would consider a broader range of texts in that particular chapter (though it seems clear why, in the context of his argument, he made his specific selections). Pushing such a quibble...

Introduction

Introduction

Stories 'with the Characters Reversed': Children's Opinions of Feminist Children's Stories in Early Education

The study presented investigates the understanding of feminist literature by preschool children in a Spanish school. To carry out the research, semi-structured interviews with 65 students were performed, in order to discuss the story, The Paper Bag Princess. The data analysis was conducted under a poststructuralist lens, using the cultural matrix of gender as a tool for analysis. This document collects the results obtained from the following categories of analysis: emphasis on female beauty, discourse of romantic love, comparison with traditional stories (category maintenance work) and alternative discourses of femininity. The findings of the study indicate that boys and girls use two different strategies when coming in contact with feminist tales: comparing the feminist story to the, hitherto, considered ‘correct’ or natural order and correcting every element that challenged the structures of the cultural matrix.

Development of an American Indian Diabetes Education Cultural Supplement: A Qualitative Approach.

ObjectiveThe purpose of this study was to culturally enhance a diabetes education program for Diné (Navajo) community members with Type 2 diabetes. Though the recommendation to culturally adapt health education curricula was meant to improve health education for American Indians and Alaskan Natives (AIANs), it has inadvertently created a “one size fits all” approach. This approach does not properly address the need for tribe-specific cultural health messaging, defined as incorporating cultural elements deemed relevant to the population. Tribe-specific health information and programming, such as integrating Diné worldviews and Indigenous knowledge among Diné people as described here, are essential to creating a culturally relevant and effective and meaningful approach to disease self-management.MethodsA conversation guide, based on the Hózhó Resilience Model—a Diné framework on healthy living, was used to engage key cultural experts in interviews about traditional stories and teachings regarding health and wellness. Three specific self-care behaviors relevant to Type 2 diabetes self-management were discussed: (1) healthy eating, (2) physical activity, and (3) healthy coping. Interviews were audio-recorded, transcribed and analyzed using a qualitative thematic analysis method.ResultsDiné healers and cultural experts informed the development of an educational tool called Diné Health. Key themes that emerged from the data included the importance of discipline, positivity and mindfulness in the context of Hózhó.ConclusionCulturally safe and meaningful engagement with cultural leaders and the use of qualitative research methods can inform deep-level cultural adaptations essential to developing tribe-specific diabetes education programs. The approaches used here can guide the development, implementation, and testing of culturally-informed health education for AIAN populations.

Kanniyamman Worship of Irulas

Irulas are identified by their dark bodies (Black). The word ‘Erular’ is the oldest form of them. In this word changed in to ‘Irula’ in the medial period. They are live in the Coimbatore area and also the neighboring states of Tamil Nadu. Irulas worshipped nature and their ancestors lived as nomads. The people of Irula community had their own beliefs, traditional stories, festivals and rituals even now they observe their believes. Tell the stories celebrate the festivals and perform rituals. They have several gods according to their community as family deity. However, the festival of Kanniyamman of the Irular tribes is celebrated on the beach in the month of Masi (Feb) that is full moon day celebration or Masimaham worship. All the Irula People from various parts of South India gather in the Mamallapuram beach. They believe Kanniyamman angers every year for their wrongs and goes to Mamallaburam beach. On the day of Masimaham and full moon day they celebrate and invite Kanniyamman to their homes. The same day night they celebrate with traditional folk songs, dances and awareness programmes. Next day early morning, they build seven steps and a small tent for Kanniyamman. Then, the Irulas arrange marriages and other ceremonies on the beach. This research paper is to document the Kanniyamman Masimaham ceremony.

Повесть Л. Н. Толстого «Детство» как претекст «Детства Люверс» Б. Пастернака

The theme of childhood, being of particular importance in the 20th century, was influenced by the tradition of describing the child’s worldview in the stories of growing up in the 19th century. This work considers the story “Childhood” written by L. N. Tolstoy as a pretext to another story “Luvers’s Childhood” by B. Pasternak. We analyze the echoes that arise between two stories. The method of defamiliarization (ostranenie) causes the world of childhood to be transformed into a world filled with things that exist in the space of memory and therefore undergo transformations. Although being almost imperceptible in Tolstoy’s story, this transformation of things in Pasternak’s story results in an enormous number of associations growing out of each image. While indicating the difference in using defamiliarization approach in the 19th and 20th centuries, we argue that the impressionistic perception caused by this method is already present in Leo Tolstoy’s text. Also, the analysis covers the theme of memories and the associated motifs of the border and its crossing and the themes of sleeping and awakening, vision through dreams. These themes and motifs arising in the story of growing up suggest the authors to have introduced borderline situations and states into the narrative. Such a tradition in the Russian story of childhood, already having been presented in Tolstoy’s “Childhood”, was preserved in the works of the 20th century.

Ghost in the Well: The Hidden History of Horror Films in Japan by Michael Crandol

Reviewed by: Ghost in the Well: The Hidden History of Horror Films in Japan by Michael Crandol Lindsay Nelson Ghost in the Well: The Hidden History of Horror Films in Japan. By Michael Crandol. London and New York: Bloomsbury Academic, 2021. 272 pages. ISBN: 9781350178748 (hardcover; also available as softcover and e-book). The J-horror genre peaked fairly quickly, beginning in the 1990s and mostly fading from prominence by the early 2000s, but it has left a lasting impact in the form [End Page 165] of aesthetics, character types, and international remakes. Films like Ringu (The Ring; 1998), Ju-on (The Grudge; 2002), and Kairo (Pulse; 2001) have spurred substantial English-language scholarship in film studies, Japanese cinema studies, media studies, and Japanese popular culture studies. Less attention, though, has been paid to the popular Japanese kaiki films from the 1920s to the 1960s, which were often inspired by traditional ghost stories (kaidan) and kabuki or bunraku plays. Michael Crandol's Ghost in the Well: The Hidden History of Horror Films in Japan seeks to fill that gap, presenting detailed historical research on how the changing shape of horror cinema in Japan would eventually lead to the development of J-horror in the late 1990s. In the early 2000s much was written in English on key J-horror films like The Ring and the films of Kurosawa Kiyoshi and Shimizu Takashi, as well as on the subject of "media horror" and the frightening nature of technology, a frequent focus of these films. But this scholarship rarely placed these films or the genre within the context of Japanese cinema history and scholarship, often overlooking the wealth of writing on J-horror by film critics and writer-director-scholars like Kurosawa and Takahashi Hiroshi. It also tended to define J-horror fairly broadly, including films that were never categorized as horror in Japan. In the past ten years, Mitsuyo Wada-Marciano, Baryon Tensor Posadas, Chika Kinoshita, and Steven T. Brown, among others, have sought to offer new historical and theoretical contexts for J-horror1 Crandol thus joins a group of scholars who are interested in how Japanese audiences and film critics have conceived of not only J-horror but the idea of horror films since the early twentieth century. While discussions of J-horror's influence on the non-Japanese film world are widespread, Crandol's book is one of the first to examine the influence of English-language horror, particularly early films, on Japanese horror cinema. Ghost in the Well traces the journey of horror cinema in Japan from the late 1910s to the J-horror boom of the 1990s, beginning with the juxtaposition of two images. The first is the familiar figure of Sadako, the vengeful spirit at the center of the Ring franchise, who emerges from a well and then through a television screen. The second is the ghost of Okiku from a fragment of a no longer extant version of the film Banchō sarayashiki (The Dish Mansion at Bancho), likely from the late 1910s, which was based on a famous kaidan tale of a woman who was thrown into a well and who rises every night to haunt her killers. Connecting these two images and their respective historical contexts, Crandol argues that Sadako and the motifs of J-horror films from the late 1990s and early 2000s reflect a wide variety of film, theater, and folk influences. In particular, he aims to "broaden the discussion of Japanese horror cinema via a positioning of American and European horror cinema in the discourse of kaiki" (p. 10). Crandol's focus is less "the history of Japanese horror films" and more "the history of horror films in Japan," examining audience and critical perceptions of the genre in Japan to reveal the "inherently transnational nature of popular commercial film in the global market" (p. 10). [End Page 166] The first chapter begins with an analysis of the many words associated with "horror" in Japanese, including kaiki, which usually means "strange, weird, or bizarre," but has frequently been translated as "horror" (hence, kaiki eiga: horror films). Crandol points out that kaiki eiga were very specific types of horror films, usually those...

Criminal Law in A World of States

In recent decades, a new school of criminal law theory has emerged. Its proponents reject the traditional story that criminal law ought to be justified on either retributivist or utilitarian grounds alone. Instead, they argue that justifications for criminal law must be rooted in a broader political theory of the state’s authority. While this political theory turn is becoming increasingly dominant in the literature, it gives rise to two significant challenges that scholars have thus far failed to recognize. These challenges emerge when we turn our attention from an internal, domestic view of the state to the world beyond its borders. First, the conception of the state at the heart of the leading political theory accounts of criminal law seems to sit in a vacuum. However, when we recognize that each political community exists in a world of states and persons beyond its boundaries, we begin to see that conditions external to the state might undermine the very possibility of the sort of state authority these accounts propose. Second, the political theory turn seems to pose an important challenge for international criminal law, which on the standard account is viewed to be unconnected to any particular political community. If the justification for criminal law must be anchored in a political theory of the state, it is unclear how we could ever justify instances of criminal law that seem to be untethered from a state. In this Article, I argue that these two challenges have a common solution, which comes into view when we rethink the standard picture of international criminal law. Far from being untethered from the state, international criminal law is deeply connected to the state; indeed, international criminal law functions to secure a particular form of the system of states. And in doing so, international criminal law upholds the global conditions necessary for the state as conceived by this new line of criminal law theorists to function. With this perspective, international criminal law no longer seems like an outlier to a political theory of criminal law, but rather a necessary precondition for it. And the vision of the state at the heart of the political theory accounts no longer seems detached from the world beyond its borders, but rather is a constituent part of a global system of states, each acting to maintain that system.

Le houblon ou les prix des céréales ? Expliquer la hausse de la consommation de bière en Brabant et en Flandre (1300-1500)

There is a consensus in international historiography that the arrival of hopped beer in Brabant and Flanders during the fourteenth and fifteenth centuries was the major technical innovation in the brewing sector at the end of the Middle Ages. This hopped beer is assumed to have been responsible not only for the rapid increase in beer consumption and the simultaneous decline of wine consumption, but also for the growth of a beer export industry. The purpose of this article is to critique this traditional story of product innovation that attributes the success of beer in the late Middle Ages only to technical factors and cultural preferences, and instead to present an alternative hypothesis. Here, it is argued that the success of beer consumption in these regions was due to declining grain prices and to the decreasing production costs of the brewers.

Building a bridge to the future: teacher perspectives on indigenous language education

This article addresses the histories of two Indigenous language immersion schools from the perspectives of teachers in the programs. The research questions, “What is the place of stories of our families, and communities? What does it mean to negotiate our place within the world of traditional stories told by our elders in the hogan and between worlds in the classroom?” draw on the histories of these programs to critique constructions of mainstream schooling and to frame the Dine epistemology as central to these narratives of teachers in the immersion classroom.

Understanding Theme and Rheme of Babu Solong (A Traditional Folktale fromMamasa, West Sulawesi)

Language was not fully transferred directly. Sometimes people used media to deliver their messages. One of the media that was widely used was stories. Traditional stories used theme and rheme in delivering the message and with their unique ways prompt a language that occasionally turns into values that can change children’s behavior. And it is assumed that stories are still an effective media both in teaching or in administering good values in our community folktale is one of cultural heritage that should be preserved. It has been told passed down verbally fromgeneration to generation. This study focused on the aspect of discourse used in a traditional folktale. The aspects that will be given underlined are theme and rheme. By analyzing the transcript of Babu Solong story a traditional folktale from Mamasa, West Sulawesi, there is some evidence that will give new information. The research used a qualitative descriptive study. The result of the study shows that this folktale used four kinds of theme and rheme patterns. They are: zig-zag pattern, reiteration pattern, combine theme pattern, and hierarchical pattern. Fromthe four patterns, the story mostly used hierarchical patterns. It is because each theme and rheme introduce several different pieces of information, then each is taken and the next clause is made. Another result fromthis study is the cultural aspects that immerse in the story. From this cultural aspect, readers will find some evidence that proved the folktale will absorb the culture of how the story told by the storyteller.

Образ мазура в славянской фольклорной языковой картине мира (на материале текстов польского, украинского и частично русского и белорусского фольклора)

The main thesis put forward in this article is the question of folk linguistic view of Mazur in the examples of Polish, Ukrainian, Belarusian and Russian folklore. The question are analyzed on the basis of folklore materials: anectodes, traditional oral folk stories, adages and fairy tales. The research method is based on Bartminski’s and J. Matskevichsconcept of linguistic worldview. Linguistic worldview is understood as a kind of interpretation of reality and group of ideas reflected in language. Folklore is understood as reflection of popular worldview, system of beliefs and ethnic stereotypes. This article focus on a reconstruction of Mazurs linguistic creation, and also try to define his role in Slavic folk linguistic view.

The Exordium of Adébáyọ̀ Fálétí’s Poetry

The background of Adébáyọ̀ Fálétí (1921 – 2017) was steeped in the Ọyọ̀ ́ Yorùbá culture. He had a princely connection to the throne of Ọyọ̀ ́ having been born by Dúrówadé Àyìnkẹ, a granddaughter of Prince Adé ́ ṣọ̀kàn, Bàbá Ìdódẹ, Aláàfin Àtìbà’s son, to Àkànbí Fálétí. Àkànbí Fálétí was a royal oral artist in the palace of Aláàfin Ṣiyanbọ́lá Oníkẹẹ̀ pé Ládìgbòlù (1911 – ́ 1944). He later practiced outside the palace, leading his own band, going about Ìlọrin and its environs and parts of Northern Yorùbáland. The late Pa David Adéníji of Ìwó, we reliably learnt, was one of his followers. Adébáyọ̀ Fálétí spent his early life in Ọyọ̀ ́ villages such as Àgbóóyè, Ọbanàǹkò and Kúrańgà (Ọlátúnji 1982a). Adébáyọ Fálétí learnt many Yorùbá tales and garnered other ̀ native wisdom from his father and other relations. Such relations include Jímọ̀ Ọládẹ̀jọ, who was adept in proverbs, and his childless aunt, an oríkì (charcterizational) poetry exponent. The western education he acquired and the Christianity he embraced were also part and parcel of his background. His primary school education was at Ọyọ̀ ́ (1939 – 1945), his secondary school education at Ìbàdàn Boys High school, Ìbàdàn, (1951 – 1955) and his University education at the University of Ìbàdàn (1965 – 1968). He took a bachelor’s degree in English with a subsidiary in French. There is no doubt that Adébáyọ̀ Fálétí would have been influenced by Yorùbá literary artists of his time, all of whom he studied in school. Among such Yorùbá literary precursors were A. K. Ajíṣafẹ, D. A. Ọbasá and D. ́ O. Fágúnwà. Adébáyọ Fálétí collected and transcribed oral poetic forms such ̀ as proverbs and oríkì following Obasá’s example before venturing into writing 110 Adedotun Ogundeji his own compositions. Though he had been writing before 1955, he did not come into the limelight until 1955, when his 719 lines long poem, “Ẹ̀dá Kò Láròpin” won the Festival of Arts award. This time may conveniently be considered the beginning of his poetic career. The poem also marked the direction which Adébáyọ̀ Fálétí’s important contributions to Yorùbá poetry was leaning. He adapted many traditional stories for his poetic compositions. There are 35 poems in the two collections of Adébáyọ̀ Fálétí’s Yorùbá poems (Ọlátúnjí 1984 b & 1984c), 13 in the first and 22 in the second. Adébáyọ̀ Fálétí’s poems, can conveniently be classified into two: the narrative and non-narrative. The narratives tell interesting stories, some of which are adapted from the Ifá corpus and other stories collected from his father, co-hunters and other sources. The non-narrative ones are made up of poetic discourses on various social and philosophical topics. There are eleven narrative poems in the two collections. The first contains ten, the second only one. It could therefore be safely concluded that the first is dedicated to narrative poems because only four of the thirteen poems in it are non-narrative. Since there is also only one narrative poem in the second, one could also assert that it is dedicated to non-narrative poems. Four of the eleven narrative poems, (‘Ẹ̀là Lọrọ̀ ’, ‘̀ Ṣàṣọrẹ’, ‘Alágbára Ilé àti Alágbára Oko’, and ‘Agbódóro ́ - gun’) are adapted from the Ifá corpus and there are strong evidences that ìjálá (Ogun poetry/hunter’s) is the original source of the story retold in ‘Adébímpé Ojẹ̀dòkun’. The poet was reported to have collected it from his father who informed him it was a true-life story (Ọlátúnjí 1982a). In our examination of the exordiums of Adébáyọ̀ Fálétí’s poems, we shall dwell more on his narrative poems than on his non-narrative poems and limit ourselves to the aforementioned two collections (Olatunji 1982b & 1982c).

Terminological Arsenal of Ukrainian Folkloristics: the Contribution of Oleksii Dei (On the Occasion of the 100th Anniversary of the Scholar’s Birthday)

The article is dedicated to the centenary of birthday of an outstanding Ukrainian scholar Oleksii Dei. His biography, contribution to the research of folklore are reflected. It is emphasized on the formation of a young scientist as a researcher of I. Franko’s folkloristic activity. The significance of O. Dei as an organizer of scientific studies, instructor of projects, head of the Folkloristics Department of IASFE, editor-in-chief of the journal Folk Art and Ethnography is described briefly. Such aspects of scientist’s activity are called, as participation in international symposiums, forums of slavists, conferences; training of scientific cadres, official opponing of theses, creation of Kyiv scientific academic school of folkloristic researches. O. Dei work as a member of Scientific and the Specialized Scientific Councils at the M. Rylskyi IASFE of the AS of Ukraine, T. Shevchenko KSU is shown. O. Dei as a compiler and editor has taken an active part in the preparation and publication of literary heritage and works of I. Franko in 50 volumes, Lesia Ukrainka in 12 volumes, M. Rylskyi in 20 volumes, Ukrainian Literary Encyclopedia in 5 volumes, publication of the series Folk Art of the Dnipro Publishing House in 15 volumes, the series Ukrainian Folk Songs Recorded by the Writers in 20 collections. He is the author of chapters and articles in the History of the Ukrainian SSR, Ukrainian Soviet Encyclopedia. O. Dei has promoted actively Ukrainian folklore in periodicals, on the radio, in a special program about Ukrainian folk songs Word – Song on Ukrainian TV. O. Dei has devoted many pages of his scientific works to the figure, literary and artistic heritage of T. Shevchenko, the image of the poet in folklore, the problem of folklore and literature. The scholar’s interpretation of folkloristic terms legend, traditional story, ballad is considered. Attention is paid to O. Dei views on the problems of classification of Ukrainian folklore, songs of Slavic peoples, history of Ukrainian Folkloristics. His contribution to the voluminous series Ukrainian Folk Art as the editorial board’s chairperson, editor-in-chief, compiler is analyzed. His monographic works Poetics of Ukrainian Folk Song, Ukrainian Folk Ballad, which are still relevant in the scientific folkloristic discourse, are mentioned.