Folklore And Book Culture

To many observers, folklore and book culture may appear to be opposites. Folklore, after all, involves orally circulated stories and traditions while book culture is concerned with the transmission of written texts. However, as Kevin J. Hayes points out, there are many instances where the two intersect, and exploring those intersections is the purpose of this fascinating and provocative study. Hayes shows that the acquisition of knowledge and the ownership of books have not displaced folklore but instead have given rise to new beliefs and superstitions. Some books have generated new proverbs; others have fostered their own legends. Occasionally the book has served as an important motif in folklore, and in one folk genre—the flyleaf rhyme—the book itself has become the place where folklore occurs, thus indicating a lively interaction between folk, print, and manuscript culture. The author begins by examining the tradition of the Volksbücher—cheaply printed books, often concerned with the occult, whose powers are said to transcend the written text. Hayes looks in depth at one particular Volksbuch—The Sixth and Seventh Books of Moses—and proceeds, in subsequent chapters, to discuss a variety of folktales and legends, placing them within the context of book culture and the history of education. He closes with an examination of flyleaf rhymes, the little verses that book owners have inscribed in their books, and considers what they reveal about the identity of the inscribers as well as about attitudes toward book lending, book borrowing, and the circulation of knowledge. Solidly researched and venturing into areas long neglected by scholars. Folklore and Book Culture is a work that will engage not only folklorists but historians and literary scholars as well.

"This volume introduces a new concept to explore the dynamic relationship between folklore and popular culture: the “folkloresque.” With “folkloresque,” Foster and Tolbert name the product created when popular culture appropriates or reinvents folkloric themes, characters, and images. Such manufactured tropes are traditionally considered outside the purview of academic folklore study, but the folkloresque offers a frame for understanding them that is grounded in the discourse and theory of the discipline.Fantasy fiction, comic books, anime, video games, literature, professional storytelling and comedy, and even popular science writing all commonly incorporate elements from tradition or draw on basic folklore genres to inform their structure. Through three primary modes—integration, portrayal, and parody—the collection offers a set of heuristic tools for analysis of how folklore is increasingly used in these commercial and mass-market contexts.The Folkloresque challenges disciplinary and genre boundaries; suggests productive new approaches for interpreting folklore, popular culture, literature, film, and contemporary media; and encourages a rethinking of traditional works and older interpretive paradigms."

The Modern Chinese Folklore Movement coalesced at National Peking University between 1918 and 1926. A group of academics, inspired by Western thought, tried to revitalize the study of folklore to stave off postwar disillusionment with Chinese elite culture. By documenting this phenomenon's origins and evolution, Jie Gao opens a new chapter in the world history of the Folklore Movement. Largely unknown in the West and underappreciated in China, the Chinese branch failed to achieve its goal of reinvigorating the nation. But it helped establish a modern discipline, promoting a spirit of academic independence that continues to influence Chinese intellectuals today.

This volume introduces a new concept to explore the dynamic relationship between folklore and popular culture: the “folkloresque.” With “folkloresque,” Foster and Tolbert name the product created when popular culture appropriates or reinvents folkloric themes, characters, and images. Such manufactured tropes are traditionally considered outside the purview of academic folklore study, but the folkloresque offers a frame for understanding them that is grounded in the discourse and theory of the discipline. Fantasy fiction, comic books, anime, video games, literature, professional storytelling and comedy, and even popular science writing all commonly incorporate elements from tradition or draw on basic folklore genres to inform their structure. Through three primary modes—integration, portrayal, and parody—the collection offers a set of heuristic tools for analysis of how folklore is increasingly used in these commercial and mass-market contexts. The Folkloresque challenges disciplinary and genre boundaries; suggests productive new approaches for interpreting folklore, popular culture, literature, film, and contemporary media; and encourages a rethinking of traditional works and older interpretive paradigms. Contributors: Trevor J. Blank, Chad Buterbaugh, Bill Ellis, Timothy H. Evans, Michael Dylan Foster, Carlea Holl-Jensen, Greg Kelley, Paul Manning, Daniel Peretti, Gregory Schrempp, Jeffrey A. Tolbert

This collection of thirty-seven entries selected from the more than 550 that make up the International Encyclopedia of Communications focuses on expressive forms and practices that are popular and participatory in nature: folklore forms such as folktale and riddle; cultural performances such as ritual and festival; and popular entertainments such as puppetry and mime. Cross-references within each individual entry facilitate exploration within the volume, while bibliographies appended to each entry direct the reader to related literature. Covering basic concepts, analytical perspectives, communicative media, expressive genres, and complex performance events, this concise yet comprehensive book is a handy reference for those interested in folklore and its growing role in drama, anthropology, and cultural studies.

The work folklorists do on the ground and in communities can make a concrete difference in quality of life. While the field is not immune to extractive, racist, colonial, heteronormative, and misogynistic practices, it can counter and combat these same forces in society. Culture Work presents case studies of public-oriented work that define the Wisconsin Idea of folklore in all its complexities, challenges, and potentialities. Thematically arranged chapters represent interconnected aspects of culture work, from amplifying local voices to galvanizing community from within to reflecting on how we might use folklore to build the world we want to live in.

First published in 1996. The need to write, particularly in pre-technological recording days, in order to preserve and to analyze, lies at the heart of folklore and yet to write means to change the medium in which much folk communication and art actually took and takes place. In Part I of the collection, the contributors address literary constructions of traditional and emergent cultures, those of Leslie Marmon Silko, Sandra Cisneros, Pat Mora, Carmen Tafolla, Julio Cortázar, Milan Kundera, Franz Kafka, Philip Roth, Thomas Hardy, and Dacia Maraini. The contributors to Part II of the collection offer readings of a variety of traditional, vernacular, and local performances.

Taking the reader into the heart of one of the fastest-growing religious movements in North America, Sabina Magliocco reveals how the disciplines of anthropology and folklore were fundamental to the early development of Neo-Paganism and the revival of witchcraft. Magliocco examines the roots that this religious movement has in a Western spiritual tradition of mysticism disavowed by the Enlightenment. She explores, too, how modern Pagans and Witches are imaginatively reclaiming discarded practices and beliefs to create religions more in keeping with their personal experience of the world as sacred and filled with meaning. Neo-Pagan religions focus on experience, rather than belief, and many contemporary practitioners have had mystical experiences. They seek a context that normalizes them and creates in them new spiritual dimensions that involve change in ordinary consciousness. Magliocco analyzes magical practices and rituals of Neo-Paganism as art forms that reanimate the cosmos and stimulate the imagination of its practitioners. She discusses rituals that are put together using materials from a variety of cultural and historical sources, and examines the cultural politics surrounding the movement—how the Neo-Pagan movement creates identity by contrasting itself against the dominant culture and how it can be understood in the context of early twenty-first-century identity politics. Witching Culture is the first ethnography of this religious movement to focus specifically on the role of anthropology and folklore in its formation, on experiences that are central to its practice, and on what it reveals about identity and belief in twenty-first-century North America.