History of Folklore Theory and Method

Amikor felmerült nyelv és folklór konferencia ötlete, elsőként a jel és jelentés, s utóbbi változékonyságának problémája jutott eszembe. Erről a szakterminológiára asszociáltam, egy szakterület alapvető fogalmainak képlékenysége, értelmi mezőjének elcsúszásai kezdtek érdekelni. Néhány évvel ezelőtt e konferencia egyik elődjén, a Folklór és történelem címmel megrendezett tanácskozáson, illetve az ott elhangzott előadásokból megjelent kötetben már írtam arról, amit itt vázolni szeretnék. 1 e problematika akkor csak egy bekezdés erejéig, egy konkrét eset kontextusában került terítékre, most azonban az ott elmondottakat részletesebben magyaráznám, elméleti keretbe ágyaznám, s más példákkal színesíteném. Napjaink folklorisztikájában nem teljesen egyértelmű az, hogy mit tekintünk a kutatás tulajdonképpeni tárgyának. Egymással párhuzamosan különféle vélemények léteznek, az egyes kutatók felfogása olykor egymásnak teljesen ellentmondó. Ezt a helyzetet nehezíti a már említett, az alapfogalmak használata körüli pontatlanság. Tudományszakunk keletkezése idején, a 19. században a cél a nép műveltségének megismerése volt, a romantikus szellemiségű literátorok, gondolkodók, akiket érdekelni kezdett a népi kultúra, az egyetemes emberi kultúra lényegét, esszenciáját vélték az "egyszerű nép" soraiban megtalálni. 2 Kutatásaik nem voltak hiábavalóak, hiszen nem csupán a nép műveltsége, hanem egy különleges világ, a folklór jelenség együttese tárult fel számukra. A folklorisztika azonban részben napjainkig sem tudott elszakadni attól a vágytól, hogy a folklór jelenségei mögött a nép, a népen keresztül pedig az "ősi", "eredeti" emberi kultúra váljék megismerhetővé.

The ningen, a giant, sub-Antarctic aquatic humanoid, is a mythical creature  created by Japanese Internet users in the mid:2000s. Since its inception it has crossed over  into  international  Internet  contexts  and  has  been  embellished  and  inflected  in  various  ways.  As  such  it  forms  an  element  within  modern  media:lore,  joining  a  host  of  pre: constituted  mythic/folkloric  creatures  and  more  modern  inventions.  One  of  the  most  notable aspects of ningen media-lore is that the creature was conceived as an inhabitant of  sub:Antarctic  waters,  which  have  not  traditionally  been  perceived  to  be  rich  in  crypto-zoological  entities.  Within  this  location  it  has  been  closely  associated  with  Japan’s  Southern Ocean whaling fleet and can, in this regard, be understood as a manifestation of  a  modern  aquapelagic  imaginary.  The  article  identifies  that  the  original  location  of  the  ningen’s  story  is  not  merely  incidental  to  its  circulation  and  elaboration  but  is,  rather,  a  key  element  of  its  emergence  as  a  Japanese  figure  and  a  continuing  aspect  of  its  significance in a broader, international arena.

Après avoir envisagé brièvement l'étude de la littérature comme objet de l'anthropologie et, plus particulièrement, de la littérature orale, nous étudierons le processus d'institutionnalisation des ces savoirs ethnographiques en Europe, en prenant soin de mettre en évidence les liens ambigus que ceux-ci ont noué, d'un point de vue historique, avec le Politique, notamment du point de vue de la construction des identités en Europe, au cours du XIX e siècle. À partir d'exemples concrets cet enseignement étudiera, par la suite, les principaux concepts, théories et méthodes d'analyse de ce terrain littéraire de l'ethnologie.

In this article psychological knowledge of the functioning of autobiographical me mory is confronted with folkloristic theories associated with the concept of memorat, which designates narrations of personal experiences with supernatural beings and phenomena. Human memory is not a vessel in which static information is deposited and later retrieved, rather it is a dynamic process of repeated construction and recon struction of memories, which is subject to outside influences. This knowledge corre sponds to folklorists' findings: that the elements of traditional ideas are already part of narratives about personal experiences and are not inevitably a mere result of the changes in stories during their further transmission. The author links the findings of the folklorist Lauri Honko (1964) with the present-day knowledge of psychology con cerning so-called false memories. Subsequently, using the results of his own research focused on memorats, he documents this connection.

В издание избранных трудов великого украинского филолога А.А. Потебни (1835–1891) включены его книги «Мысль и язык» и «О некоторых символах в славянской народной поэзии», цикл лекций «Психология поэтического и прозаического мышления», статьи и заметки, посвященные теории мифа и славянскому фольклору.

Humans have a propensity to generate, refine and pass on the knowledge from one generation to another, so that their tradition is conserved through several generations. One of the most important aspects of traditional knowledge is "folklore", which like other forms of traditional knowledge is under threat of exploitation as a result of too much of technological advancement and industrialization. T he whole scheme of research is based on the hypothesis that Folklore is required to be protected as an Intellectual property but doesn"t qualifies to be an Intellectual Property(IP) under the existing regime and altogether a suigeneris approach by way of legislation or amendment in the existing legislatio n is the need of the hour. T he existing Intellectual Property(IP) regime is an ineffective tool to protect the diverse folklore. Through research, an argument can be primed that whether Rajasthan"s Phad Painting, a folk art can be socially and legally protected in the form of folklore through a sui-generis protection system like T unisian Copyright model and African Music Project. Through this research on Folklore vis-à-vis the IPR regime the researcher aims to examine if the folklore fits into the definition of "intellectual works/s" as protected under the IPR regime in India and across the globe and to look into the vulnerability of folklores like Phad Painting the folk art of Rajasthan and the address the need for protection. T he research is primarily based on Doctrinal method of research wherein the researcher shall carry out the detailed study of primary sources as well as secondary sources. The scope of research is limited to only one Folklore i.e. Phad Painting, which is the famous folk art of Rajasthan.

Stoyan Dzhudzhev, rhythmic protozoa and ethnomusicological myths.
Stoyan Dzhudzhev (1902-1997) – Bulgarian ethnomusicologist and supporter of diachronic folkloristics – claimed the existence of rhythmic one-celled primitive-protozoa. He presented the example of a Bulgarian carol, whose structure is based on the exact repetition of an iambic rhythmic formula and therefore, according to him, is evidence of an elementary human creative capacity. This thesis is challenged by the author of the present article. Based on analysis of melodics of the same song and its connections with other genres and ethnic traditions with the same rhythmic formula, he claims the foundational absence of rhythmic protozoa. Musical primitive is a musicological myth: where there is art there is always complexity.
Key words: Stoyan Dzhudzhev, rhythmic one-celled pseudoprimitive, Bulgarian carol (“koledarska”), the initial complexity of the arts.

BLURB: Javanese shadow puppetry is a sophisticated dramatic form, often felt to be at the heart of Javanese culture, drawing on classic texts but with important contemporary resonance in fields like religion and politics. How to make sense of the shadow-play as a form of world-making? In Tall Tree, Nest of the Wind, Bernard Arps explores this question by considering an all-night performance of Dewa Ruci, a key play in the repertoire. Thrilling and profound, Dewa Ruci describes the mighty Bratasena’s quest for the ultimate mystical insight.
    The book presents  Dewa Ruci as rendered by the distinguished master puppeteer Ki Anom Soeroto in Amsterdam in 1987. The book’s unusual design presents the performance texts together with descriptions of the sounds and images that would remain obscure in conventional formats of presentation. Copious annotations probe beneath the surface and provide an understanding of the performance's cultural complexity. These annotations explain the meanings of puppet action, music, and shifts in language; how the puppeteer wove together into the drama the circumstances of the performance in Amsterdam, Islamic and other religious ideas, and references to contemporary Indonesian political ideology. Also revealed is the performance’s historical multilayering and the picture it paints of the Javanese past.
    Tall Tree, Nest of the Wind not only presents an unrivalled insight into the artistic depth of wayang kulit, it exemplifies a new field of study, the philology of performance.

This is the draft of chapter for 'Regionalism and Modern Europe: Identity Construction and Movements from 1890 to the Present Day' (Bloomsbury, 2019), edited by Xosé M. Núñez Seixas and Eric Storm.

In western Europe at least, the region has become the default unit for folklore investigation since the subject’s institutional foundations were laid in the 1870s.  Tales, songs, proverbs and legends are published in regional collections, albeit often under a national umbrella.  Over the same period folklore has provided regionalist activists with many recognisable symbols of their cause, as they adopted regional costume, music, dance and even folk cuisine to demonstrate cultural distinctions.  The connection is just as evident in the most politically fractious regionalisms as in those with barely a hint of separatist ambitions.  For right-wing regionalists, regional, usually rural, folk traditions imply an ethnically homogeneous and hierarchical community; for those on the left they exemplify resistance to state-led and capitalist homogenization.  And simultaneously they appear, without ideological claims, in the most banal objects of touristic consumption.  This chapter explains when and why regionalism and folklore became so intertwined.

Let us imagine the birth of a Jewish baby in a remote shtetl in Poland or Russia before the onslaught of modernity: a woman is in labor in her bedroom, sur rounded by a midwife and a few other women. No man is allowed in the room, not even the husband or a doctor. Fearful of the grave dangers of childbirth, shared by all people in the pre-modern world, the room is provided with protec tive amulets and other magical objects. The midwife or perhaps a member of the family slips a mysterious book under the pillow of the woman in labor. This book contains magical formulas against the murderous spirits and evil demons, such as Lilith, who threaten the newborn and his mother. Let us now shift our gaze to a similarly traditional Jewish household in an Is lamic town-be it Teheran, Baghdad, or Zakho in Iraqi Kurdistan. The scene is the night before circumcision-believed to be the most dangerous night for the newborn and his mother, because this is the last opportunity for the demons to attack the male child before the protective ceremony of circumcision would take place. As a measure of protection, the chair of Elijah-a chair with magical func tions among the Jews of Islam-stands in the center of the room. The chair is ornamented with Torah finials, hamsas, healing plants, and holy books-includ ing at times the book of magic formulas. Inscribed metal and paper amulets in the room are based on the formulas in this book, Sefer Raziel ha-MaVakh (Book of Raziel the Angel). It is thus clear that, side by side with the normative and written system of the halakhah, Judaism developed what we may call "folk religion." Although com prehensive codes such as Joseph Karo's Shulhan Arukh (The Prepared Table; Venice, 1565) set out to cover every aspect of the life of the Jew, there was suffi cient room for unofficial, often unwritten, beliefs and practices. The reality of daily life, the deep religious beliefs of the common people, and close contacts with the host societies and their varied cultures gave rise to popular beliefs, pat terns of behavior, customs and practices, and the production of religious arti facts that could not be always accounted for in the "official" halakhic sources.

SOMMAIRE
Divers encarts de George Henri Rivière
Emile VAN MOÉ ..... La technique agricole dans l'ancienne France d'après les enluminures des manuscrits ……..57
E. VIOLET ........... L'ancien et le nouveau vignerons maconnais ............ 64
Gabriel JEANTON . De quelques usages traditionnels concernant la répartition des terrains communaux dans la Bresse bourguignonne ..................... 68
Charles PARAIN  Survivances de servitudes collectives sur les prés à Gramat (Lot) .............. 69
.G.BORÉA  La vie dans les montagnes des  Alpes-Maritimes ...........71.
Le costume féminin dans l'ancien comté de Nice pendant le XIX• siècle ..............72.
Le costume masculin dans l'ancien comté de Nice pendant le XIX• siècle ......... . .... 73
La campagne niçoise ......... 74
J. MARGOT-DUCLOT  Chez les Vaudois des Alpes piémontaises .... . .... ... . . .. 76
J. BRULFER          Les grues, les roulées ou œufs de Pâques. - Une coutume qui existe encore à Thaas. 78
Dr BAUDOIN ......... Les œufs dans la construction des maisons paysannes. 78
P. IRIGOIN ...... Les oratoires des Alpes ...... 80
André CLÉMENT ..... Les ostensions de St-Junien .. 81
J. et J. MARTEL ..... Renaissance des danses folkloriques dans le marais vendéen ........................ 82
C. MARCEL-ROBILLARD. Jours gras en Beauce. Chartraine............... ,.. . . ... 84
C. MARCEL-DUBOIS  Les danses de mai . , ....... , .. 85

MUSEES DE TERROIR :
P. TOULGOUAT ....... La publicité au Musée Forestier d'Hossegor .............. 87
M. DRUHEN •••••••• Allocution aux écoliers Landais. 88:
S. PALAY ............ Le musée béarnais de Pau.... 90.
A. HUMBERT ........ Les collections du Musée National des Arts et Traditions Populaires
Ch. HALLO ........  Le Folklore au musée de la Vénerie

M,OUVEMENT FOLKLORIQUE :
Une crèche de Noël organisée par les paroissiens-maraîchers de Montpellier. -- Rallumons
les Feux de la Saint-Jean. – Tradition et Sociétés hippiques rurales : les Fêtes de la Bachellerie. -- Fêtes de Wissembourg. -Antibes. - A l'offices dies centres de culture.-- Hommage au  folkloriste Saintyves.-- Art sacré. -- Vanneurs de blé. – Le réveil de la Haute-Bretagne. -- A l'exposition
de New-York. -- Les chanteurs Limousins à Paris. -- Meaux. -- Fougères. -- Grenoble.
-- Un monument à J.-F. Bladé. – Congrès Jubilaire de la J.A.C. -- Tournus .......... 94•

BIBLIOGRAPHIE 101

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.

In recent years, the field of memory studies has emerged as a key approach in the humanities and social sciences, and has increasingly shown its ability to open new windows on Nordic studies as well. The entries in this book document the work-to-date of this approach on the pre-modern Nordic world (mainly the Viking Age and the Middle Ages, but including as well both earlier and later periods). Given that memory studies is an ever expanding critical strategy, the nearly eighty contributors in this volume also discuss the potential for future research in this area. Topics covered range from texts to performance to visual and other aspects of material culture, all approached from within an interdisciplinary framework. International specialists, coming from such relevant fields as archaeology, mythology, history of religion, folklore, history, law, art, literature, philology, language, and mediality, offer assessments on the relevance of memory studies to their disciplines and show it at work in case studies. Finally, this handbook demonstrates the various levels of culture where memory had a critical impact in the pre-modern North and how deeply embedded the role of memory is in the material itself.
  -Interdisciplinary volume on memory studies in Viking Age and medieval Scandinavia
  -Texts and images illustrating the awareness of memory in, and the role of memory studies for, the Old Norse world
  -Entries and case studies by nearly eighty specialists representing a wide variety of fields

Moravian Love Songs – an Unappreciated Milestone in Moravian Musical Folkloristics

The study sets out the first scientifically treated Czech edition of songs – Moravské písně milostné Moravian Love Songs prepared by the composer Leoš Janáček and the philologist Pavel Váša, and published in parts between 1930 and 1937. The authors assess the collection´s importance, explain the reasons why its publishing lasted for more than twenty years (and Janáček did not live to see it), set out an unusual structure of the edition as well as possible causes for the insufficient appreciation of the work. They state that within the Czech context, the publication is a unique event in publishing for more reasons: 1. it can justly be described as the first scientifically treated edition of one sort of songs in the Czech folkloristic research; 2. based on a peculiar conception, mainly by Leoš Janáček, the material is divided into groups of songs based on the relationship between the musical and the literary component as well as the psychic and the emotional effect; 3. it is the first scientific edition supplemented with a lot of registers, although that part of the work has not overcome initial difficulties yet and it has introduced many inaccuracies into the collection; as a collection of love songs from Moravia and Silesia, it represents an important stage of development on the way to a model edition of scientific type.

Testa A. & Isnart C., (2020) “Reconfiguring Tradition(s) in Europe: An Introduction to the Special Issue”, Ethnologia Europaea 50(1)

“Tradition” has been a key concept and object of European ethnology from the foundation of the discipline all the way to intangible cultural heritage policies today. A focus has been given to the cultural and social circulations and permutations affecting traditional facts and has shown the plasticity of “traditions” to (ever-)changing social conditions. Understood as “uses of the past”, these mainly political and sociological understandings of what “tradition” means today need to be complemented with a view on the emotional aspects of this peculiarly human way of imagining and experiencing the world. This text introduces three notions which highlight the experiential dimension of tradition: re-enchantment, ritualization, and heritage-making. We hope to forge new paths towards the exploration of all things “traditional” and their cultural dynamics.

AARNE-THOMPSON’S CLASSIFICATION SYSTEM
IN SERBIAN FOLKLORE
Summary
The paper gives an overview of Aarne-Thompson (since 2004: Aarne-Thompson-
Uther) system in Serbian folkloristics. In the first half of 20th century researchers
of folk tales like Pavle Popović and Veselin Čajkanović were familiar with Aarne’s
index (1910) and used it for classification of genres both in theory and in tale
collections. Still, folkloristics was dominated by research of epic poetry and AaTh
system was not given a full attention. For example, Thompson’s motif index
spurned Branislav Krstić to make index of motif of Balkan Slavic epic songs. From
1914 to 1940s ethnologist Ljubica Janković made her catallogization of folk tales
based not on AaTh but on her own system that remained in manuscript. Since
1950s and 1960s folkloristics in ex-Yugoslavia started working intensivelly on
collecting and indexing folk tales: institutes for folklore were established and that
was initial work for making indices (work of Croatian scholar Maja Bošković-
Stulli was especially influental). In Serbia through work of Nada MiloševićĐorđević
intensive application of tale types system was launched parallely with
newer methods, like structuralism, that appeared in confrotation with historicogeographical
method. This seemingly paradoxical situation was due to the wish to
compensate work on folk tales that in other academias was done in the first half of
the century and to introduce new method at the same time. In early 1990s Snežana
Samardžija in her PhD thesis (unpublished) applied AaTh (1961) on Serbian
collections of 19th century. Contemporary research has established the use of the
types, but there is still work to be done. ATU system can also be important indicator
of cultural contact on Balkans and in bilingual millieus. Special attention should be
paid to legends (Sagen): even early researchers tried to fit them into the system and
since 1960s on, when folkloristics in world started working intensivelly on them,
folkloristis in Serbia saw legends as category that should be classified under tale
type system but that at the same time challenges the very system.

The subject “Kitabi-Dede Gorgud” in the scientific heritage of academic Hamid Arasli
Summary
     
In the article the investigation of “Kitabi-Dede Gorgud” by Hamid Arasli and his scientific activity in the direction of repetition publication are looked through. The mistakes about the investigation of this art work and citations from the letter of Turkic scientist Orkhan Shaig Gokyay from the scientist are given. The comparison of words in the epos and the words and combinations of other Turk nations are investigated by Hamid Arasli. The comparison of different parts of the epos “Kitabi-dede Gorgud” with the works of Azerbaijan literature classics and different genres of national folklore are also looked through. The refutation of the scientist about the representation of the epos “Dede Gorgud” as a pan-Turkic and panislamic example is brought to notice.
Key words: Hamid Arasli, “Kitabi-Dede Gorgud”, epos, part, work, song, activity, publication.

This paper gives an overview of anthropological and folklorstic approaches to belief, and proposes its examination as a response to specific contextual factors. It approaches belief
as emerging from “participatory consciousness,” a state of mind that exists alongside rational consciousness in all human societies. Examples are drawn from the cultures of magico-religious healers in Italy and modern Pagans in North America and Western Europe.
KEYWORDS: belief, magic, history of folklore theory, folk healing, modern Pagans

László Arany (1844–1898) was the son of János Arany, one of most outstanding poets of Hungarian literature,  whose literary oeuvre was interpreted by the contemporaries as a perfect completion of introducing (and elevating) folklore tradition into national literature with unsurpassable artistic quality. László Arany was the collector and editor of one of the most influential Hungarian folktale collections (Eredeti népmesék, ’Authentic folktales’, 1862). The majority of the tales were recorded by his mother and sister in the 1850s, and with the comparison of the manuscript and published texts it is clearly visible that the editor heavily re-worked the manuscript texts (in many regards applying similar techniques than the Brothers Grimm did.)

The impact of this volume in Hungarian culture was similar to that of the Brothers Grimm: not only did it popularize certain tale types (reaching even illiterate or hardly educated tale-tellers via folklorization and elementary school readers), but its narrative style also has become standardized as the ‘authentic’/’real’/’natural’ way of oral narration. Besides collecting folktales, László Arany wrote a number of reviews about folktale collections in the 1860s criticizing inappropriate textualisation strategies and he was the first editor of the distinguished series Magyar Népköltési Gyűjtemény (‘Collection of Hungarian Folk Poetry’) between 1872–1882, in which he provided comparative notes to the published folktales paying attention to former Hungarian and international variants in folklore and literature (relying on Benfey’s, Köhler’s, Liebrecht’s and the Grimms’ works).  In 1867 he published a comprehensive treatise (Magyar népmeséinkről, ‘On Hungarian Folktales’) which, after Imre Henszlmann’s study (1847) was the second major endeavour to categorize and characterise Hungarian folktales. 

The article, with the investigation of all related publications of László Arany,  tries to reveal what concept he elaborated on folktale. Following Henszlmann’s categorisation, Arany defined three basic categories of Hungarian folktales: symbolic tales (equalling tales of magic), characterising tales (including animal tales), and comic tales. He differentiated five sub-categories between symbolic tales: (1) being fully poetical expressions with or without underlying (ancient) symbolic meaning, (2) containing traits of the Christian religion, (3) containing traits of pre-Christian pagan heroic epic, (4) containing Altaic heritage, (5) containing Indo-Germanic traits.

Arany drew special attention to formerly neglected or ignored genres, such as formula tales, animal  tales and tall tales. Besides highly acknowledging Wilhelm and Jacob Grimm’s scholarly achievements, he expressed his reservations as to the overgeneralizing attempt of Imre Henszlmann (and Albert Schott) to assign symbolical-mythological meaning to all tales of magic. László Arany paid special attention to the narrative style of folktale collections. He was a lawyer who contributed to the elaboration of the Copyright Act and claimed that the style of a folklore collection is the intellectual property of the collector and/or editor himself (this statement implies that the collectors/editors of folklore collections did shape the texts in an authorial way in this period). To his view the role of the collector was to find the appropriate taleteller (preferably peasants and not soldiers, who are more exposed to ‘artificial’ foreign influence), and to correct the shortcomings of the actual variants relying on his (the collector’s)  knowledge of oral narration and tale-telling competence, but in doing so, it is strictly forbidden to invent formulas, motifs, episodes or sujets that are unknown in oral tradition.

The ideal narrative style for him was the narrative mode of the Grimm tales, which he described as “containing everything that is necessary, and nothing that is redundant”, and he connected simplicity of narrative style with the authenticity of folktales.

Abstract
The terminology issue comes up during one of the anonymous folk narrations', the myths', collection in the field. Within this study, the word "myth/legend" is examined through various meanings attributed to it. The folklorist, on fieldwork in order to compile a "myth", faces the difficulties caused by the meanings attributed to the word "myth/legend" by the sources. In the study, to present the reasons of these difficulties, first of all, the various meanings attributed to the term "myth/legend" have been emphasized in Turkish among different centuries. Then, it's been studied to determine the meanings for the word "myth/legend" had been used in daily life since 16th century to this day from the data both by written works generated in the written culture and media organs and source contacts. Last, the meanings for the word, description and the characteristics of the myths after the word "myth/legend" is acknowledged as a science branch of folklore in Turkey have been mentioned.
Keywords: Folklore, Folk Literature, Term, Myth, Fieldwork .
Özet
Bu çalışmada anonim halk anlatılarından biri olan "efsane"lerin sahada derlenmesi esnasında karşılaşılan terim sorunu, farklı kültür ortamlarında geçmişten günümüze "efsane" kelimesine yüklenen anlamlar irdelenerek ele alınmıştır. "Efsane" derlemek amacıyla sahada çalışma yapan halk bilimci, kaynak kişilerin "efsane" kelimesine yüklediği anlamların sebep olduğu zorluklarla karşılaşmaktadır. Çalışmada bu zorlukların sebeplerini ortaya koymak amacıyla ilk olarak "efsane" terimine Türkçede farklı yüzyıllarda ne gibi anlamlar yüklendiği üzerinde durulmuştur. Daha sonra 16. yüzyıldan günümüze gelinceye kadar gerek yazılı kültür içerisinde oluşturulan yazma eserlerden gerek basın yayın organlarından gerekse kaynak kişilerden elde edilen verilerle günlük hayatta "efsane" kelimesinin hangi anlamlarda kullanıldığı tespit edilmeye çalışılmıştır. Son olarak da "efsane" kelimesinin Türkiye'de halk biliminin bir bilim dalı olarak kabul görmesinden sonra bu disiplin içerisinde hangi anlamda kullanıldığına tanımına ve efsanelerin özelliklerine değinilmiştir.
Anahtar Kelimeler: Halk Bilimi, Halk Edebiyatı, Terim, Efsane, Derleme.

PhD thesis in History of Science and Ideas at the University of Gothenburg in Sweden. Published by Gidlunds förlag, 2012 (372 pages).

This PhD thesis (doktorsavhandling) deals with the new view of landscapes, buildings and artefacts as significant, memory-bearing structures that emerged in the nineteenth century. It examines the new memory-bearing visibility, i.e. the human-shaped reality as a bearer of memory, and it also analyses the new notion of the people (folk) and its ways of seeing; in other words, a new subject that creates its own history and society. Finally, it examines the synthesis of a new kind of knowledge that became institutionalised in historical and ethnographical museums and subsequently in folk museums. At the beginning of the nineteenth century, the historical memorial was a new object that was to be researched and appraised from both an artistic and a scientific perspective. The people in its incarnation of folk life represented, in its turn, a new, higher phase of human development, in terms of a historical-idealistic concept of stages, one that made possible the new vision of the artist as well as of the museum curator and the scientist and their studies of the historical memorial. The folk museum, finally, was one of the new institutions in the second half of the nineteenth century, where the museum curator synthesised his observations and constructed knowledge of the historical memorial, and also employed this knowledge in folk educational, socio-moral museum activities in order to elevate the fragmented population to this new, harmonious and national-individual folk life.

The thesis consists of three main sections that reflect the above division. The purpose of the first section, ‘Historical memorials’, is to furnish an overarching description of how different nuances of nineteenth-century memory-bearing visibility arose and were transformed in Denmark, Norway and Sweden; more specifically, the aesthetic, scientific, historical, social and national dimensions of the historical memorial. The relationship that is described and analysed is primarily that between knowledge-acquiring subjects and objects of knowledge. The purpose of the second section, ‘Folk life’, is to analyse in detail the contemporary epistemological views with respect to memory-bearing visibility of reality, limited, however, to the closest ideational contexts of the folk museum; the relationship under study is thus the one between the knowledge-acquiring subject and notions of knowledge. The purpose of the third section, ‘Folk museums’, is to describe how the museum curators in actual practice made use of the historical memorial and the new artistic, scientific and economic approaches, in order to synthesise knowledge and apply it in their folk educational activities at the folk museums.

La antropología española del último tercio del siglo XIX a través de las revistas culturales de la época • Señalemos, por último, que la importancia de estas revistas, sobre todo de las tres principales, ha sido apreciada y resaltada en la mayor parte de las 4 Juan LóPEZ MORILLAS, El krausismo español (México: FCE, 1956), 9. s Iris M. ZAVALA, op. cit., 188. 6 LóPEz MORILLAS, op. cit., 190. 7 También se ha revisado la Revista Internacional, propiedad de los mismos editores de La España Moderna, que acaba refundiéndose en ésta tras un año de vida (1894). Los artículos que publica no interesan en nuestro trabajo.

Folklor ve Kapsamı İnsanın ilk ortaya çıkışından günümüze kadar insanı ve faaliyetlerini kültürel birikimlerini bilimsel olarak derleyen bir bilim dalı olan folklor maddi manevi bütün kültür ögelerini araştırmak, kurallarını belirlemek ve bilimsel sonuçlarını halka aktarmayı görev edinmiştir. Folklor İngilizcede halk anlamına gelen "folk" ve bilgi bilim anlamına gelen "lor" sözcüğünün birleşmesiyle oluşmuştur. Türkçe karşılığı ise "halkbilim"dir. Sadece insan grubu olmaktan öte bir kültürün taşıyıcısıdır. Sözü edilen kültür unsurları müzik, oyunu, el sanatları, gelenek görenekler ve milleti oluşturan ögelerin birleşimidir.

Contemporary scholarship on charms tends towards the analytic and synchronic, focusing upon the creation and refinement of universal typologies. Given the exceptionally multilingual and disparate nature of this particular branch of folklore scholarship, and the lack of crucial contextual information in many older folklore archives, it could hardly be otherwise.

Alexander Carmichael’s labyrinthine manuscript collection, the fruits of over fifty years of tireless recording now preserved in Edinburgh University Library, offers an opportunity to take an alternative approach, allowing us to situate and interpret original performances and investigate the actors involved.

Such an approach allows us not only to observe and investigate the process of gathering charm texts, but also to glean crucial details about the personae of the charmers themselves, their attitudes towards their charms, and indeed the wider functions of charms within particular communities.

Charms are formal performance narratives, but like all such narratives they need not always be employed in such a way, even though they maintain their affective weight as healing or protecting words. Within the complex, allusive web of oral culture binding a community together, with its different registers, different intentionalities, and different narrative authorities, charms can function not just in the context in which they are intended, but also in a wider social framework, as shared reference points or as particular social markers, as playful child lore, as curiosities to be debated and argued over. Sometimes charms don’t only heal or protect. Sometimes they don’t only charm.

Malgré des milliers de contes collectés
et publiés à travers le monde, il se niche dans cette grande constellation un objet fabuleux non identifié : le conte étiologique ou explicatif. Celui qui pose des questions parfois loufoques sur l’univers et l’humanité,
comme par exemple pourquoi le mariage du soleil fut-il annulé, et apporte des réponses inattendues. Il est là pour faire le lien entre le passé mythique et le présent prosaïque, pour donner à celui-ci du sens et de la poésie. Le livre est consacré en grande partie à l’exploration de
ces contes séculaires, car les contes sont aussi les traces de migrations très anciennes, à commencer par celles qui ont amené nos ancêtres en Europe et en Asie il y a des dizaines de milliers d’années avant J.-C. L’ouvrage se penche également sur les motifs qui traversent toute l’Europe : comment s’expriment les plantes dans les contes ? pourquoi l’homme
vit une « vie de chien » ? comment chaque peuple obtint-il son destin ? Une attention particulière est portée à l’est de l’Europe, où les contes font encore partie de la tradition orale. L’aventure dans le domaine russe rend presque inévitable la rencontre avec Baba Yaga, la sorcière mondialement connue. On partira à la recherche de ses origines, ce qui nous fera traverser le conte, l’imagerie populaire et les débuts de la littérature russe. On la croisera encore lorsqu’on s’intéressera aux mutations du conte russe au XXe siècle, aux périodes de disgrâce et de réhabilitation.