The Centennial Index: One Hundred Years of the Journal of American Folklore (2025)

The American Folklore Society

2016

The Centennial Index was edited and set with WordPerfect 5.0. Ventura Publisher 1.1 was used to compose the title and contents pages. Pages were printed on a Hewlett-Packard LaserJet II using the Bitstream Charter type family. All fonts were generated with SoftCraft SFIP and installed with Softcraft WPIP. Data sheets were prepared in dBase III Plus in a format designed by Michael Taft and modified by Bruce Jackson and Harvey Axlerod. Data processing and the four sorts were done on an IBM 3081 mainframe using a program written specifically for this project by Harvey Axlerod. Published simultaneously as Journal of American Folklore 101:402 and, in book form, as a Centennial Publication of the American Folklore Society. Authorization to photocopy items for internal or personal usc, or the internal or personal usc of specific clients, beyond copying permitted by scccions 107 or 108 of the U.S. Copyright Law, is granted by t~c American Folklore Society to users who register with the Copy...

Australian Aboriginal Dreaming Stories: A Chronological Bibliography of Published Works 1789-1991

Academic Services Division-Papers, 1994

The bibliography lists published works relating to Aboriginal stories which have been labelled by non-Aboriginal Australians with a variety of terms: myths or mythology, legends, fairy tales, superstitions, fables, traditions, stories, dreamtime stories, narratives or even ghost stories. Preference is now given to the use of the term 'dreaming stories'. For a discussion of the various definitions and classifications of such material by Australian anthropologists and ethnologists refer Hiatt (1975). Interpretation by local and overseas ...

Australian Aboriginal Dreaming Stories: A Chronological Bibliography

Aboriginal History, 2011

Encyclopedia of Literature

Good

Au Sud-Liban, la Blue Line comme marqueur du post-conflit?

L’Espace Politique, 2018

American Folklore consists of traditional knowledge and cultural practices engaged by inhabitants of the United States below Canada and above Mexico. American folklorists were influenced by nineteenth-century European humanistic scholarship that identified in traditional stories, songs, and speech among lower class peasants an artistic quality and claim to cultural nationalism. The United States, however, appeared to lack a peasant class and shared racial and ethnic stock associated in European perceptions with the production of folklore. The United States was a relatively young nation, compared to the ancient legacies of European kingdoms, and geographically the country's boundaries had moved since its inception to include an assortment of landscapes and peoples. Popularly, folklore in the United States is rhetorically used to refer to the veracity, and significance, of cultural knowledge in an uncertain, rapidly changing, individualistic society. It frequently refers to the expressions of this knowledge in story, song, speech, custom, and craft as meaningful for what it conveys and enacts about tradition in a future-oriented country. The essay provides the argument that folklore studies in the United States challenge Euro-centered humanistic legacies by emphasizing patterns associated with the American experience that are (1) democratic, (2) vernacular, and (3) incipient.

Bibliography and abbreviations

Teresa of Avila, 1991

BL820.J8 C7 Corpus Poeticum Boreale: The Poetry of the Old Northern Tongue from the Earliest Times to the Thirteenth Century. Ed. Guðbrandur Vigfússon and F.York Powell. 2 vols. Oxford, 1883. Cosquin, Emmanuel. Contes populaires de Lorraine comparés avec les contes des autres provinces de France et des pays étrangers, et precedes d'un essai sur l'origine et la propagation des contes populaires européens. 2 vols. Paris: F. Vieweg, 1886. (NOTE: Original index has publication date as 1887.) GR162.L8 C8 _______. Études folkloriques, recherches sur les migrations des contes populaires et leur point de départ.

Groves Ethnomusicology

Fairies and Folklore: The History of Fairies in the Folklore Society 1878-1945 by Francesca Bihet

PhD Thesis, 2020

This thesis charts the shift in the scholarly treatment of fairies within the work of the Folklore Society (FLS) and its members, from its foundation in 1878 until World War Two. During this period the fairies' cultural position shifted from being a subject of intense interest in Victorian adult art and literature to becoming a whimsical being which dominated children's fairy-tale illustrations. During this era the FLS itself also experienced a waning cultural influence. A prominent Society before 1900, the FLS increasingly dwindled as folklore failed to gain a foothold in universities, key founding members died and the Society faced financial pressures. Concurrently folklore scholars became disinterested in children's book fairies. Both the FLS and fairies experienced a correlating, and somewhat mutually causal, decline in cultural prestige by the early twentieth century. The FLS's fairy scholarship provides the perfect space for exploring the changing cultural position of fairies and folkloristics in Britain during this era.

Eastern European Modernism: Works on Paper at the Columbia University Libraries and the Cornell University Library

2021

This compendium of works on paper documents the rich collections of Eastern European modernism held by the Columbia and Cornell University Libraries. In depth and range it constitutes one of the great research resources for the study of modern art and culture, only rivaled perhaps by a similar compendium documenting the East Slavic titles at the New York Public Library (NYPL) and Columbia University Library. Moreover, the various entries attest to the acute bibliographical scholarship that informed the selection, analyses, and scope of these two University Libraries' collections, each mutually reinforcing. Although the comparative strength lies within the Czech holdings, the breadth of genres, topics, and categories is striking, and communally reflects the rich engagement of modernist creators in the full array of the literary and especially in the visual arts, inclusive of architecture, theater, poetry, and advertising, and, unique in its expansiveness, in the study of sexuality. The entries presented in this volume thus constitute far more than an aggregation of individual itemswhether of visual and literary, "biotic" and sexual, or industrial and instructional invention. Rather, they point to and creatively engage the most essentialand most overlookedaspect of the modernist enterprise generally: the priority of a visual "poetics" manifested through the design of book covers, broadsides, and illustrated avant-garde booklets of decisively modern subjects and interests. This was frequently communicated through the most progressive visual styles and employed a "new typography." Indeed, it was the very centrality of "works on paper" that fundamentally determined the nature, course, and impact of modern culture generally, and of the Eastern European avant-garde in particular. It is arguable that advanced visual artists and their apologists, and especially the European avant-gardists from the Estonian northeast to the Balkan lands in the southwest, produced as many texts as paintings, as many theoretical tracts as sculptures, and even more essays and illustrated articles than architecture. In hundreds of broadsides, manifestos, novellas, and periodicalsmany of them documented in this compendiumthe makers and advocates of a new culture proved to be as adept with the pen as they were original with the brush, the chisel, or v the straightedge. And this was true whether creating original works or illustrating the products of others. All were inspired to embrace the word as a visual medium. Of course, painters and sculptors and other practitioners of the visual arts had often written to explain or to justify what they sought to achieve with the customary tools of their craft. From the Italian Renaissance through the nineteenth century, visual artists had expressed themselves eloquently in words, often to explain their intentions or to persuade potential patrons of their talents. But never before the first half of the twentieth centurythe focus of the present compendiumdid artists seize upon the written word with such prolixity, passion, and purpose. It was as if the modernists aspired to make the word potently visible or, conversely, to empower the visual to be "read" as if a text. This convergence of communicationa type of conjunction of image and text, or at least an interdependence of one with the otheris powerfully demonstrated in a plurality of the items documented in this volume. This compendium rightly adduces the originality and variability of the works on paper produced by modern artists, poets, advertisers, and their advocates in a host of disciplines from aeronautics (No. 389) and "biotics" (No. 398) to Surrealist performances and social revolution. Although differing in their emphases and departing from one another in the methods of application, the major protagonists in the advanced cultural movements represented here sought, in Karel Teige's memorable words, to constitute a humanistic poetics for a modern era, which is "...to pose a new problem for poetry and redefine its mission: poetry for the five senses, poetry for all the senses." Teige, whose manifold creativity is well documented in this book's Czech section, advocated a potent coincidence of the visual and the poetic through which to fashion a "new people, who will create the new society." The Czech's belief system, which was widely embraced throughout Eastern Europe just as it was frequently imitated to the West, was advanced under the rubric of "Poetism." Poetics was both the objective and the modus operandi of many of those authors, artists, and publishers of the works contained in this volume. It served all progressive formations as an aesthetic, social and political motor force, one that was singularly versatile and could be expressed in a medley of visual languages with what was assumed to be a universal resonance. Although it was inflected differently in each of this volume's geographic sections, and despite functioning under different names, the poetics of Eastern Europe asserted an authority that garnered support from artists across nationalities, backgrounds, and personal characteristics. For vi Ljubomir Micić (No. 1009) [Figure 1, below] and his "Zenitist" confederates in Zagreb, Ljubljana, and Belgrade, "poetry is the most liberated art and where our greatest hopes lie." Likewise, for Lajos Kassák, the great Hungarian impresario and modernist artist well represented in the entries below, an authentic modernism must give rise to a poetics as much visual as textual. Similar views were emphatically advanced in Poland, Romania, Bulgaria, Serbia, and in the Balticsall of which have examples to be noted in the following entries. What united these disparate stylistic expressions was a universal affirmation of poetics as uniquely modern transcendence of traditional aesthetic categories and practices in a heroic endeavor "not to decorate life but to organize it" along new, more humane principles (to quote a Hungarian contemporary of Kassák, Ernő Kállai, who likely borrowed the phrase from his Russian modernist collaborators Ilya Ehrenburg and Lazar El Lissitzky).

Etnomusicología, Jaap Kunst

Este pequeño libro apenas necesita un prefacio; su contenido, creo, habla por sí mismo. Contiene un resumen breve y cuidadosamente actualizado de todo lo que, como profesor universitario en Amsterdam, he intentado enseñar a mis alumnos. Pretende ser una introducción general a la etnomusicología, antes de pasar al estudio de las formas de las distintas culturas musicales. Espero sinceramente que aquellos que deseen aprender por sí mismos y capacitarse en esta rama del conocimiento, encuentren una base satisfactoria para su autoaprendizaje en la materia aquí reunida. En cuanto a la posibilidad de una nueva edición, cualquier comentario crítico o información sobre posibles desideratas será muy bien recibida. J. K.