Hasil untuk "Folklore"

Paulina Rivero Wéber

El daoísmo es una tradición bastante antigua, que se remonta mucho más allá del momento en que se condensa como una filosofía. De ahí que suela confundirse el daoísmo propio del folklore chino con el daoísmo filosófico. La religiosidad y el misticismo de cada una de esas corrientes difieren mucho. En este trabajo, se ahonda en estas diferencias para resaltar los rasgos místicos propios del daoísmo filosófico.

Rina Listia, Noor Eka Chandra, Roaini Shaunaa et al.

This study investigates the development of an interactive e-module based on South Kalimantan folktales to enhance English language learning while internationalizing and preserving the local values of the Banjar tribe. Grounded in Hutchinson and Waters’ (1987) framework of needs analysis, data were collected through questionnaires distributed to high school students (n = 159). The analysis explored five dimensions: (1) the need for digital materials; (2) interest in folklore-based learning; (3) understanding of local wisdom; (4) the relevance of folktales to ELT; and (5) expectations for e-module design. Findings reveal that students strongly support the integration of folktales into digital materials, valuing interactive multimedia features, bilingual formats, and cultural reflections. The study highlights the potential of folklore-based digital resources not only to foster English proficiency but also to strengthen cultural identity and internationalize indigenous heritage. The implications suggest that digital pedagogy can serve as a bridge between global education and local wisdom, positioning cultural-based e-learning as a contemporary response to both educational and intercultural challenges.

Rachel Ltaif

Dans cet article, il s’agit d’aborder le folklore libanais à travers les dictons et de montrer comment, derrière des énoncés oraux et concis, le champ dynamique de l’imaginaire influe sur la société contemporaine et ancre, dans la pensée collective de plusieurs générations, les valeurs d’une communauté, qu’elles soient fondées ou pas. Bien que la société libanaise soit patriarcale, l’homme y est dépeint en bête, très souvent domestique, précisément en animal de trait. La parodie, la satire et l’humour qui caractérisent généralement le dicton alimentent les images qui circulent dans l’inconscient collectif. La symbolique thériomorphe de Durand et les ramifications qui en résultent tout en se référant à « la domination masculine » de Bourdieu, mettent en exergue les mœurs et les traditions qui dévalorisent la femme et la représentent comme un être inférieur, sinon l’incarnation du Mal sur la terre. Constituant l’une des facettes du folklore, ces expressions populaires ont parfois pour origine des histoires mythiques, bibliques ou traditionnelles qui sont le résultat de croyances et de rituels transmis à travers les siècles.

Oliver Janzer, Abhishek Methuku, Aleksa Milojević et al.

Power saving for the Brown-Erdős-Sós problem, Discrete Analysis 2025:5, 16 pp. It has long been known that there are important connections between extremal questions concerning hypergraphs and extremal questions in additive combinatorics. This realization dates back at least as far as the famous $(6,3)$-theorem of Ruzsa and Szemerédi, which has several equivalent formulations, including the equally famous triangle removal lemma. In its hypergraph formulation, the theorem states that if a 3-uniform hypergraph has $n$ vertices and no six of those vertices span three edges, then there are $o(n^2)$ edges. (Here an "edge" means a triple of vertices that belongs to the hypergraph.) A moment's reflection shows that if the hypergraph is linear -- that is, no two edges overlap in more than one vertex -- then the only way that six vertices can span three edges is for those three edges to form what is sometimes called a "triforce", which is a configuration of the form $xyu, yzv, xzw$. Thus, another way to state the theorem is to say that for every $\delta>0$ there exists $n$ such that every linear hypergraph with $n$ vertices and at least $\delta n^2$ edges (note that the number of edges of a linear hypergraph is trivially at most $\binom n2$) contains a triforce. To see how this is relevant to additive combinatorics, let $G$ be an Abelian group of odd order $n$ and let $A$ be a subset of $G$ of density $\delta$. Form a 6-partite linear hypergraph $H$ with vertex sets $X,Y,Z,U,V,W$ that are each copies of $G$, and let $xyu$ be an edge if $y-x=u$ and $u\in A$, let $yzv$ be an edge if $z-y=v$ and $v\in A$, and let $xzw$ be an edge if $z-x=2w$ and $w\in A$. Then $H$ has positive density (independent of $n$) so for large enough $n$ it must contain a triforce. It is a small exercise to check that that triforce must contain exactly one vertex in each vertex set, which therefore gives us three elements $x,y,z$ of $G$ such that $y-x$ and $z-y$ belong to $A$ and $z-x$ belongs to $2.A$ (the dilate of $A$ by a factor of 2). From this we obtain $u,v,w\in A$ with $2w=u+v$ -- that is, an arithmetic progression. This is not quite a proof, because the arithmetic progression can be degenerate, but a slightly more careful version of the argument yields that the number of triforces exceeds the number of degenerate arithmetic progressions. Motivated by this result, it is natural to formulate the following general problem: how many edges can a 3-uniform hypergraph on $n$ vertices have if no $v$ vertices span $e$ or more edges? In particular, the well-known Brown-Erdős-Sós question asks whether if $e$ is fixed and $v=e+3$, then this number is $o(n^2)$. A well-known result in this direction, due to Sárközy and Selkow in 2004, is that the number of edges is $o(n^2)$ if $v=e+\lfloor \log_2 e\rfloor+2$. Note that when $e=3$, $\lfloor\log_2e\rfloor=1$, so this result generalizes the Ruzsa-Szemerédi $(6,3)$-theorem. This result has been improved more recently: in 2017 Solymosi and Solymosi obtained the conclusion if $e=10$ and $v=14$, instead of the 15 that would be given by the Sárközy-Selkow theorem, and Conlon, Gishboliner, Levanzov and Shapira obtained the first asymptotic improvement by showing that the conclusion holds if $v=e+\lceil 26\log e/\log\log e\rceil$. This paper concerns a related question: how large does $v$ have to be (as a function of $e$) for the bound to be not just $o(n^2)$ but $O(n^{2-c})$ for some positive constant $c$ (depending on $e$)? The main result is that it suffices if $v=\lfloor \log_2 e\rfloor +38$. Thus, their bound matches the Sárközy-Selkow bound (but not the Conlon-Gishboliner-Levanzov-Shapira bound) up to an additive constant. A bound of $e+2\log_2e+C$ was previously known, but quite a lot easier to prove and therefore not formally published anywhere -- it could perhaps be described as folklore -- but to remove the factor of 2 the authors use tools such as the sunflower lemma that had not previously made an appearance in this circle of ideas. One reason to be interested in power savings in the Brown-Erdős-Sós problem is an observation of Gowers and Long that a power saving for the $(9,5)$ problem would yield a positive solution to the following stubbornly open problem in additive combinatorics. **Problem.** _Do there exist constants $c, C>0$ such that for every $n$, every subset of $\{1,2,\dots,n\}$ of size at least $Cn^{1-c}$ contains distinct elements $x,y,z,w$ such that $2(x+y)=z+3w$?_ A straightforward modification of the proof of Roth's theorem yields a bound of $o(n^2)$ for this problem, but what makes the question interesting is that in the other direction it is _not_ possible to modify the Behrend construction to give a lower bound of the form $n^{1-o(1)}$.

Malaya, Emma , Sputnitskaya, Nina

The article introduces into scholarly discourse valuable archival material – an album dedicated to the film On the Shore of Lake Sevan (The Secret of Mountain Lake) which is comprised of photos and reviews of the Soviet and foreign press. The authors analyze the content of the archival find, the plot structure and the pictorial treatment and determine the place of the film in the history of cinema. The children’s film about the exposure of magic shows the fairy tale codes and the specific features of Rou’s cinematography. The authors analyze the performance of the actors and the camera crew, the ways of representing the legend on the screen, and the role of the natural landscape and identify the most effective methods of working with an adventure story in the historical and cultural conditions of 1953-1954. They reveal the ways of including folklore motifs in the narrative and the techniques of self-citation used by the director. The authors come to the conclusion that the fantastic, ecological and didactic components are organically interwoven in the film. The published archival materials make it possible to reconstruct the historical and cultural context of the perception of Rou’s film and determine its significance for the development of Russian and Armenian cinema.

Sigrid Schottenius Cullhed

Theme: Motherhood and Mothering. Ill. ©Stina Wirsén This article analyzes the nightingale motif in Swedish author Astrid Lindgren’s short story “Spelar min lind, sjunger min näktergal” (“My Nightingale is Singing”), first published in her collection Sunnanäng (The Red Bird, 1959). The lineage of the motif is traced back to ancient Greek folklore, where the nightingale’s lament symbolizes maternal grief over the loss of a child. It is argued that Lindgren’s story can be interpreted as a modern reimagining of a specific strand in the mythological tradition surrounding the rape of Philomela and the infanticide committed by Procne to avenge her sister. Lindgren alludes to a version of the story found in fable collections, which centers on the reunion of the two sisters after their metamorphosis into birds. In the Greek myth, especially as it was interpreted by Romantic writers, a bereaved mother is transformed into the nightingale, eternally lamenting her loss and thereby transfiguring human suffering into beauty. In Lindgren’s story, Malin longs to bring beauty to the bleak world of the orphanage, first miraculously causing a linden tree to grow in its yard, but ultimately giving her spirit to the tree, where it is heard in the song of a nightingale among its branches. “Spelar min lind, sjunger min näktergal” thus represents Lindgren’s innovative culmination of a long fable tradition with pre-classical origins, where the child becomes the agent of transformation.

Sonia Kozıou

This article discusses the interaction between the dominant ideology of a society about gender and its musical and dancing practices. More precisely, the article relies on material compiled in the process of pursuing my doctoral dissertation. The research focused on the area of my hometown, Karditsa, a small town in central Greece, and a number of neighbouring villages. It is worth noting, however, that the interchange of expressive and cultural codes between the rural and urban culture of Greece, between the country and the city, between the traditional and more modern or professionally skilled performances has been continuous and indisputable. The analysis concerns certain female activities related to music and dance in the context of traditional community life but also the professional presence of women in the local music scene. Thus, although the transition from the analytic category women to this of gender has theoretically been accomplished long ago, Greek folklore and ethnomusicology have silenced female voices and have been indifferent to or deliberately ignored the manner in which women confirm and reproduce or question and subvert social gender stereotypes through their song and dance. Consequently, this text begins with women, not of course as a general, abstract and undifferentiated category, to approach the performance of gender and music.

Wiesław Puś

Artykuł omawia książkę historyka historiografii, profesora nauk humanistycznych Rafała Stobieckiego pt. Historiografia PRL. Zamiast podręcznika (Łódź 2020) oraz ustosunkowuje się do przedstawionych w niej tez.

V. S. Kuchko

The article deals with the history of tin usage in Russia. The most important fact about it is that tin was an imported metal which Russia did not produce commercially. Nevertheless, tin became an important item of domestic trade by the 17th century and was widely used by all classes of Russian society, including the peasantry. The main focus of the article is on the presence of tin and tin products in the Russian folk tradition. The article shows the breadth of the spheres of the use of tin in traditional culture (in addition to everyday life, there are the spheres of rituals and folk medicine). Historical and ethnographic information is used along with data from folk dialects and folklore to reconstruct the Russian cultural and linguistic “portrait” of tin by ethnolinguistic methods. The author makes an attempt to reveal the properties of tin that are most relevant for a naive native speaker and, accordingly, that are fixed in the secondary semantics of words formed from the name of this metal, and in contexts with their participation. The article also contains data on the history of the Russian and Slavic words for tin.

Mackenzie Finley

With Nigerian novelist Amos Tutuola as primary subject, this paper at[1]tempts to understand the construction of sociocultural identities in Nigeria in the wake of independence. Despite the international success of his literary publications, Tutuola was denied access to the most intimate discourses on the development of African literature by his Nigerian elite contemporaries, who emerged from University College, Ibadan, in the 1950s and early 1960s. Having completed only a few years of colonial schooling, Tutuola was differentiated from his elite literary contemporaries in terms of education. Yet if education represented a rather concrete, institutionalized divide between the elite and the everyday Nigerian, this paper will suggest that the resulting epistemological difference served as a more fluid, ideological divide. Both Western epistemology, rooted in Western academic spaces, and African epistemology, preserved from African traditions like proverbs and storytelling, informed the elite and Tutuola’s worldviews. The varying degrees to which one epistemology was privileged over the other reinforced the boundary between Tutuola and the elite. Furthermore, educational experiences and sociocultural identities informed the ways in which independent Nigeria was envisioned by both Tutuola and the elite writers. While the elites’ discourse on independence reflected their proximity to Nigeria’s political elite, Tutuola positioned himself as a distinctly Yoruba writer in the new Nigeria. He envisioned a state in which traditional knowledge remained central to the African identity. Ultimately, his life and work attest to the endurance of indigenous epistemology through years of European colonialism and into independence. 148 Mackenzie Finley During a lecture series at the University of Palermo, Italy, Nigerian novelist Amos Tutuola presented himself, his work, and his Yoruba heritage to an audience of Italian students and professors of English and Anglophone literatures. During his first lecture, the Yoruba elder asked his audience, “Why are we people afraid to go to the burial ground at night?” An audience member ventured a guess: “Perhaps we are afraid to know what we cannot know.” Tutuola replied, “But, you remember, we Africans believe that death is not the end of life. We know that when one dies, that is not the end of his life [. . .] So why are all people afraid to go to the burial ground at night? They’re afraid to meet the ghosts from the dead” (emphasis in original).1 Amos Tutuola (1920–1997) was recognized globally for his perpetuation of Yoruba folklore tradition via novels and short stories written in unconventional English. His works, especially The Palm-Wine Drinkard (1952) and My Life in the Bush of Ghosts (1954), were translated into numerous European languages, including Italian. Given the chance to speak directly with an Italian audience at Palermo, Tutuola elaborated on the elements of Yoruba culture that saturated his fiction. His lectures reflected the same sense of purpose that drove his writing. Tutuola explained, “As much as I could [in my novels], I tried my best to bring out for the people to see the secrets of my tribe—I mean, the Yoruba people—and of Nigerian people, and African people as a whole. I’m trying my best to bring out our traditional things for the people to know a little about us, about our beliefs, our character, and so on.”2 Tutuola’s didactics during the lecture at Palermo reflect his distinct intellectual and cultural commitment to a Yoruba cosmology, one that was not so much learned in his short years of schooling in the colonial education system as it was absorbed from his life of engagement with Yoruba oral tradition. With Tutuola as primary subject, this paper attempts to understand the construction of sociocultural identities in Nigeria in the wake of independence. The educated elite writers, such as Wole Soyinka and Chinua Achebe, who emerged from University College, Ibadan, during the same time period, will serve as a point of comparison. On October 1, 1960, when Nigeria gained independence from Britain, Tutuola occupied an unusual place relative to the university-educated elite, the semi-literate “average man,” the international 1 Alassandra di Maio, Tutuola at the University: The Italian Voice of a Yoruba Ancestor, with an Interview with the Author and an Afterword by Claudio Gorlier (Rome: Bulzoni, 2000), 38. The lecture’s transcriber utilized graphic devices (italicized and bolded words, brackets denoting pauses and movements) to preserve the dynamic oral experience of the lecture. However, so that the dialogue reads more easily in the context of this paper, I have removed the graphic devices but maintained what the transcriber presented as Tutuola’s emphasized words, simply italicizing what was originally in bold. 2 Di Maio, Tutuola at the University, 148. Constructing Identities 149 stage of literary criticism, and the emerging field of African literature. This position helped shape his sense of identity. Despite the success of his literary publications, Tutuola was not allowed to participate in the most intimate dis[1]courses on the development of African literature by his elite contemporaries. In addition to his lack of access to higher education, Tutuola was differentiated from his elite literary contemporaries on epistemological grounds. If education represented a rather concrete, institutionalized divide between the elite and the everyday Nigerian, an epistemological difference served as a more fluid, ideological divide. Both Western epistemology, rooted in Western academic spaces, and African epistemology, preserved from African traditions like proverbs and storytelling, informed the elite and Tutuola’s worldviews. The varying degrees to which one epistemology was privileged over the other reinforced the boundary between the elite and Tutuola. This paper draws largely on correspondence, conference reports, and the personal papers of Tutuola and his elite contemporaries housed at the Harry Ransom Center at the University of Texas at Austin, as well as on interviews transcribed by the Transcription Centre in London, the periodical Africa Report (1960–1970), and Robert M. Wren and Claudio Gorlier, concentrating on primary sources produced during the years immediately prior to and shortly after Nigerian independence in 1960. Tutuola’s ideas generally did not fit into the sociocultural objectives of his elite counterparts. Though they would come in contact with one another via the world of English-language literature, Tutuola usually remained absent from or relegated to the margins of elite discussions on African creative writing. Accordingly, the historical record has less to say about his intellectual ruminations than about those of his elite contemporaries. Nonetheless, his hand-written drafts, interviews, and correspondences with European agents offer a glimpse at the epistemology and sense of identity of an “average” Nigerian in the aftermath of colonialism and independence. Accessibility Summary: In accordance with Title II regulations this content meets all points of exemption as Archived web content and/or Preexisting conventional electronic documents.

Tatjana Vologdina

Lithuanian conjurations (zagovory) constitute a unique part of Lithuanian folklore. In the collection of conjurations’ manuscripts described in the publication of Daiva Vaitkevičienė (2008), we will find records of these archaic texts in various languages, including Polish. Polish-language conjurations constitute a separate subgroup in the Balto-Slavic context. Following the chronological criterion, we are dealing with texts of pre-Christian and after-Christ origins. Due to mutual cultural influences as well as functioning of different languages within Lithuania, it is usually not possible to determine the original language of conjuration. Only in a few cases we are able to state, which version of conjuration is its translation. This is indicated primarily by the structure of the text as well as its lexical features, adaptation or transliteration. The article presents an attempt to compare Polish and Lithuanian texts, identify and analyze Polish language threads, their motives and subject matter as well as the ways in which such conjurations function.

Maksym Anatolevich Pylypak

Purspose. The purpose of the article is to analyze the wedding folklore of Ukrainians in the Republic of Bashkortostan, as one of the indicators of ethnic identity. Methodology. The study used the method of outside observation, the survey method, the historical-comparative method. Results. It was revealed that the traditional wedding of Ukrainians in the Republic of Bashkortostan during their long stay in a multiethnic environment has significantly transformed. There is a direct dependence of the level of filling with folklore texts of each stage of the wedding on the level of preservation of its structure. The main reasons for the reduction in the duration of the wedding were the poor financial situation in the post-war period, the appearance of interethnic marriages, a change in the place of its celebration, and a number of innovations. At the present stage of the study, the existence of ritual, ridiculous songs, and majestic wedding songs has been sporadically recorded, which indicates the preservation of ethnic identity by Ukrainians. Practical implications. The research results can be applied in research work and educational process.

Vladyslav Kulchak

The article deals with the research of imagery of Danube River in the poems of Taras Shevchenko. The connection between Ukrainian folklore and the poet’s work is investigated as well.

Tikka, Katja

A book review of Klemettinen, Pasi. Karjalan räyhähenget. Helsinki: Suomalaisen Kirjallisuuden Seura. 2018. 256 s. ISBN 978-952-222-963-2.

Оleksandr Plakhotniuk

Main objective of the study is to comprehension of possible potential opportunities for presenting social dance in Ukrainian choreography; the identification of the main vectors of the historical conditions of its development as independent forms of choreographic art; to identify and define the key characteristics of social dance; form a definition of the term social dance. Methodology. The general scientific method of objectivity, historicism, comparison and system. The method of objectivity and historicism made it possible to trace the prerequisites, the main stages in the formation and development of social dance. The method of comparison was used in the analysis of sports-ballroom and social dance, makes it possible to identify the common and distinctive features. The system approach allowed a comprehensive approach to the problem. Important elements are the interconnection of its parts – the structural elements of everyday, ballroom, folklore dance. The method of observation is used for the analysis of social dance, has revealed its international character and at the same time the foundations of national and style parameters. Scientific novelty: the scientific researches on social dance in art history research of 20–21 centuries are generalized; specifies the specificity of social dance in the newest artistic and creative forms; the categorical apparatus of descriptions of social dance is specified. Conclusions. Social dance to originate from a ballroom and folk dance formed their respective forms, which nearly a hundred years of history have developed a simple and affordable, the canons of performance, manners, the position of performers in pairs and basic dance steps simplification, clarity of rhythm and dynamics of their implementation. According to the fact that they are performed both at balls, and at parties of rest, and at home. From the foregoing, we can formulate the following definition: social dance – dancing or dance styles of the different nations of the world, which are predominantly for leisure, communication between partners, their main goal is to achieve positive emotions rather than choreographic virtuosity. They are of Latin American and folklore origin. Social dance – a new perception of dance culture of the present, the main of which is easy and effortless execution of any type of dance, whose goal is the satisfaction of aesthetic, social and communication needs of the person, and not for professional performance or sporting achievements.

Valeriano Durán Manso

Educación, religión y folklore en la celebración de fin de curso del Colegio María Inmaculada de Zafra (Badajoz).

László Kürti

For a long time, Hungarian scholars debated the origin and structure of Hungarian folk religion and folk beliefs. This article considers the relevance of shamanism to Hungarian folk belief, especially the complex surrounding the táltos. This Hungarian magical practitioner reveals connections both with historical magical specialists and with recent ethnographical materials. There are, however, important questions that must be answered: for example, how does the táltos figure in Hungarian religion, magic, and folkloric practices appear? What are the specific connections with neighbouring South Slavic, Romanian and western magical practices? And, finally, how does the táltos belief relate to linguistic, symbolic and bodily expression in Hungarian traditional culture? This article attempts to answer some of these questions by focusing on body symbolism, the mythical horse symbolism, and possible altered states of consciousness phenomena.

Maarja Villandi

The article discusses pseudo-linguistic theories about the kinship of the Estonian language published since the 1920s. The author describes these theories, pointing to their characteristic features and causes of origin, and then proceeds to give an overview of the non-scientific theories of the kinship of the Estonian language devised by Henrik Juhankatti, Arthur Gleye, Edgar Valter Saks, Jüri Härmatare and Oskar-Adolf Põldemaa. All the authors, none of whom are linguists, attach great importance to the Estonian language (resp. Baltic-Finnic languages) in the past, about which there are no corresponding data. They also connect the Estonian language (resp. Baltic-Finnic languages) to the old languages of culture (e.g. Etruscan). These theories have deserved much criticism and they have even been regarded as adverse. The author reaches the conclusion that pseudo-linguistic theories are not necessarily detrimental, but should rather be treated as folkloric manifestations deserving to be studied.

A. Jain, P. Tiwari

Carol Passos, A. Braun, D. Cruzes et al.

Folklore and beliefs are strong in the software practitioners' community. Software engineering is a communication intensive activity. Software engineers are innovation driven and regularly use automated resources to share ideas, new paradigms and approaches to support and improve their practices. This information flow generates technical folklore and beliefs (that do not have a formal trial basis). Software engineers applying practices are influenced by these and they are inevitably taken on board in the adoption of a particular technology or practice. This paper presents an industrial case study, using a qualitative approach, to investigate the origins and impacts of beliefs on software development team practices. Its main contribution is on the understanding of creation and evolution of technical beliefs, and in studying its use for team practices improvement in the software engineering industry.