Leticia Vlasak Un Official Fan Site Tribute

Leticia Vlasak : This Is An Un Official Fan Site Tribute
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In an effort to understand and explain the similarities found in tales from different locations, the Finnish folklorists Julius and Kaarle Krohne developed the Historical-Geographical method, also called the Finnish method.[35] Using multiple variants of a tale, this investigative method attempted to work backwards in time and location to compile the original version from what they considered the incomplete fragments still in existence. This was the search for the "Urform,"[36] which by definition was more complete and more "authentic" then the newer, more scattered versions. The historic-geographic method has been succinctly described as a "quantitative mining of the resulting archive, and extraction of distribution patterns in time and space". It is based on the assumption that every text artifact is a variant of the original text. As a proponent of this method, Walter Anderson proposed additionally a Law of Self-Correction, i.e. a feedback mechanism which would keep the variants closer to the original form.[37][note 4] It was during the first decades of the 20th century that Folklore Studies in Europe and America began to diverge. The Europeans continued with their emphasis on oral traditions of the pre-literate peasant, and remained connected to literary scholarship within the universities. By this definition, folklore was completely based in the European cultural sphere; any social group that did not originate in Europe was to be studied by ethnologists and cultural anthropologists. In this light, some twenty-first century scholars have interpreted European folkloristics as an instrument of internal colonialism, in parallel with the imperialistic dimensions of early 20th century cultural anthropology and Orientalism.[38] Unlike contemporary anthropology, however, many early European folklorists were themselves members of the prioritized groups that folkloristics was intended to study; for instance, Andrew Lang and James George Frazer were both themselves Scotsmen and studied rural folktales from towns near where they grew up.[39]

In contrast to this, American folklorists, under the influence of the German-American Franz Boas and Ruth Benedict, sought to incorporate other cultural groups living in their region into the study of folklore. This included not only customs brought over by northern European immigrants, but also African Americans, Acadians of eastern Canada, Cajuns of Louisiana, Hispanics of the American southwest, and Native Americans. Not only were these distinct cultural groups all living in the same regions, but their proximity to each other caused their traditions and customs to intermingle. The lore of these distinct social groups, all of them Americans, was considered the bailiwick of American folklorists, and aligned American folklore studies more with ethnology than with literary studies.[40] Federal Writers Project Great Depression and the Federal Writers' Project Then came the 1930s and the worldwide Great Depression. In the United States the Federal Writers' Project was established as part of the WPA. Its goal was to offer paid employment to thousands of unemployed writers by engaging them in various cultural projects around the country. These white collar workers were sent out as field workers to collect the oral folklore of their regions, including stories, songs, idioms and dialects. The most famous of these collections is the Slave Narrative Collection. The folklore collected under the auspices of the Federal Writers Project during these years continues to offer a goldmine of primary source materials for folklorists and other cultural historians.[41] As chairman of the Federal Writers' Project between 1938 and 1942, Benjamin A. Botkin supervised the work of these folklore field workers. Both Botkin and John Lomax were particularly influential during this time in expanding folklore collection techniques to include more detailing of the interview context.[42] This was a significant move away from viewing the collected artifacts as isolated fragments, broken remnants of an incomplete pre-historic whole. Using these new interviewing techniques, the collected lore became embedded in and imbued with meaning within the framework of its contemporary practice. The emphasis moved from the lore to the folk, i.e. the groups and the people who gave this lore meaning within contemporary daily living. German folklore in the Third Reich In Europe during these same decades, folklore studies were drifting in a different direction. Throughout the 19th century folklore had been naively tied to romantic ideals of the soul of the people, in which folk tales and folksongs recounted the lives and exploits of ethnic folk heroes. Folklore chronicled the mythical origins of different peoples across Europe and established the beginnings of national pride (read: nationalism). By the first decade of the 20th century there were scholarly societies as well as individual folklore positions within universities, academies and museums, however the study of German Volkskunde had yet to be defined as an academic discipline. Greater Germanic Reich In the 1920s this originally innocent movement was usurped by nationalistic political forces in several European countries, first and foremost in Germany.[43][44] It was during this decade that an unfortunate congruence with national socialist ideology was seen to take place; the vocabulary of German Volkskunde, words such as Volk (folk), Rasse (race), Stamm (tribe) and Erbe (heritage) mapped neatly into the political dogmas of Adolf Hitler and the Nazi party. The expressed goal of the National Socialists was to re-establish the purity of the Germanic, i.e. Nordic, tribes in Europe. The German philosopher Ernst Bloch was one of the main apologists for this ideology.[note 5] “Nazi ideology presented racial purity as the means to heal the wounds of the suffering German state following World War I. Hitler painted the ethnic heterogeneity of Germany as a major reason for the country’s economic and political weakness, and he promised to restore a German realm based on a cleansed, and hence strong, German people. Racial or ethnic purity” was the goal of the Nazis, intent on forging a Greater Germanic Reich.[45] In the decades immediately following the Second World War, departments of Folklore were being established in multiple German universities. However an analysis of just what part folklore studies played in justifying and supporting the criminal abuses during the Third Reich did not begin until 20 years after World War II in West Germany. The scholarship, in particular the works of Hermann Bausinger and Wolfgang Emmerich in the 1960s, pointed out that the vocabulary current in Volkskunde was ideally suited for the kind of ideology that the National Socialists had built up.[46] It was then another 20 years before convening the 1986 Munich conference on Folklore and National Socialism. This continues to be a difficult and painful discussion within the German folklore community.[47] After World War II Following World War II, the discussion continued about whether to align folklore studies with literature or ethnology. Within this discussion, many voices were actively trying to identify the optimal approach to take in the analysis of folklore artifacts. One major change had already been initiated by Franz Boas. Culture was no longer viewed in evolutionary terms; each culture has its own integrity and completeness, and was not progressing either toward wholeness or toward fragmentation. Individual artifacts must have meaning within the culture and for individuals themselves in order to assume cultural relevance and assure continued transmission. Because the European folklore movement had been primarily oriented toward oral traditions, a new term, folklife, was introduced to represent the full range of traditional culture. This included music, dance, storytelling, crafts, costume, foodways and more. Folklore became more than just stuff, it became a verb. Folklore was the event of doing within a given context, for a specific audience, using artifacts as necessary props in the communication of traditions between individuals and within groups.[48] Beginning in the 1970s, these new areas of folklore studies became articulated in performance studies, where traditional behaviors are evaluated and understood within the context of their performance. It is the meaning within the social group that becomes the focus for these folklorists, foremost among them Richard Baumann[49] and Barbara Kirshenblatt-Gimblett.[50] Enclosing any performance is a framework which signals that the following is something outside of ordinary communication. For example, "So, have you heard the one…" automatically flags the following as a joke. A performance can take place either within a cultural group, re-iterating and re-enforcing the customs and beliefs of the group. Or it can be performance for an outside group, in which the first goal is to set the performers apart from the audience.[51] This analysis then goes beyond the artifact itself, be it dance, music or story-telling. It goes beyond the performers and their message. As part of performance studies, the audience becomes part of the performance. If any folklore performance strays too far from audience expectations, it will likely be brought back by means of a negative feedback loop at the next iteration.[52] Both performer and audience are acting within the "Twin Laws" of folklore transmission, in which novelty and innovation is balanced by the conservative forces of the familiar.[53] Even further, the presence of a folklore observer at a performance of any kind will influence the performance itself in subtle and not-so-subtle ways. Because folklore is firstly an act of communication between parties, it is incomplete without inclusion of the reception in its analysis. The understanding of folklore performance as communication leads directly into modern linguistic theory and communication studies. Words both reflect and shape our worldview. Oral traditions, particularly in their stability over generations and even centuries, provide significant insight into the ways in which insiders of a culture see, understand, and express their responses to the world around them.[54][note 6] 2015 Smithsonian Folklife Festival Three major approaches to folklore interpretation were developed during the second half of the 20th century. Structuralism in folklore studies attempts to define the structures underlying oral and customary folklore.[note 7] Once classified, it was easy for structural folklorists to lose sight of the overarching issue: what are the characteristics which keep a form constant and relevant over multiple generations? Functionalism in folklore studies also came to the fore following World War II; as spokesman, William Bascom formulated the 4 functions of folklore. This approach takes a more top-down approach to understand how a specific form fits into and expresses meaning within the culture as a whole.[note 8] A third method of folklore analysis, popular in the late 20th century, is the Psychoanalytic Interpretation,[55] championed by Alan Dundes. His monographs, including a study of homoerotic subtext in American football[56] and anal-erotic elements in German folklore,[57] were not always appreciated and involved Dundes in several major folklore studies controversies during his career. True to each of these approaches, and any others one might want to employ (political, women's issues, material culture, urban contexts, non-verbal text, ad infinitum), whichever perspective is chosen will spotlight some features and leave other characteristics in the shadows. With the passage in 1976 of the American Folklife Preservation Act, folklore studies in the United States came of age. This legislation follows in the footsteps of other legislation designed to safeguard more tangible aspects of our national heritage worthy of protection. This law also marks a shift in our national awareness; it gives voice to the national understanding that diversity within the country is a unifying feature, not something that separates us.[58] "We no longer view cultural difference as a problem to be solved, but as a tremendous opportunity. In the diversity of American folklife we find a marketplace teeming with the exchange of traditional forms and cultural ideas, a rich resource for Americans".[59] This diversity is celebrated annually at the Smithsonian Folklife Festival and many other folklife festivals around the country. Global folklore studies Folklore studies and nationalism in Turkey Sinasi Bozalti Folklore interest sparked in Turkey around the second half of the nineteenth century when the need to determine a national language came about. Their writings consisted of vocabulary and grammatical rule from the Arabic and Persian language. Although the Ottoman intellectuals were not affected by the communication gap, in 1839, the Tanzimat reform introduced a change to Ottoman literature. A new generation of writers with contact to the West, especially France, noticed the importance of literature and its role in the development of institutions. Following the models set by Westerners, the new generation of writers returned to Turkey bringing the ideologies of novels, short stories, plays and journalism with them. These new forms of literature were set to enlighten the people of Turkey, influencing political and social change within the country. However, the lack of understanding for the language of their writings limited their success in enacting change. Using the language of the "common people" to create literature, influenced the Tanzimat writers to gain interest in folklore and folk literature. In 1859, writer Sinasi Bozalti, wrote a play in simple enough language that it could be understood by the masses. He later produced a collection of four thousand proverbs. Many other poets and writers throughout the Turkish nation began to join in on the movement including Ahmet Midhat Efendi who composed short stories based on the proverbs written by Sinasi. These short stories, like many folk stories today, were intended to teach moral lessons to its readers

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