Abstract This piece is the first of a three-part forum published in this issue. Part I is the “Executive Summary” and “Introduction” of The Alliance for California Traditional Arts’ Tending the Taproot: Opportunities to Support Folk & Traditional Arts in the United States report by Amy Kitchener, Shweta Saraswat-Sullivan, and Lily Kharrazi, published in December 2022. Part II is a summary of the Living Cultural Heritage and the Traditional and Folk Arts in the Nonprofit Sector report by Carole Rosenstein, Mirae Kim, and Neville Vakharia commissioned by Alliance for California Traditional Arts. Part III is a forum of essays in response to the two reports by people with diverse engagement with and perspectives on the data and findings: Tayshu Bommelyn, Martha Gonzalez, Debora Kodish, Selina Morales, Elizabeth Peterson, Langston Collin Wilkins, and Andrew Zitcer.
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Pub Date : 2023-10-01DOI: 10.5406/15351882.136.542.09
Jens Lund
For almost 60 years, Vivian and Phil Williams of Seattle, Washington, distinguished themselves as musicians, authors, scholars, music promoters, festival organizers, publishers, music editors, teachers, historians, field-recordists, and recorded music producers. Each of these skills is significant itself, but all are part of a continuum that bears appreciation in entirety.Because Vivian and Phil did so much important work as a team, as well as the fact that no obituary for Phil appeared in the Journal of American Folklore after his 2017 passing, it seems appropriate to memorialize the two of them together.Beginning as early as 1960, Vivian and Phil Williams have had a profound effect on maintaining Anglo-American and other regional fiddle and string band traditions in the Pacific Northwest. That year, the Williamses began their lifelong project of recording thousands of hours of performances by traditional musicians, many of them older, in both the Pacific and the Intermountain Northwest. These efforts have preserved performance styles generally unknown outside these regions.Vivian Tomlinson Williams was born in Tacoma, Washington, in 1938, to a Jewish mother who had fled Germany ahead of the Nazi takeover and a Methodist-raised father from Minnesota. Phil Williams was born in Olympia, Washington, to a Jewish mother from Helena, Montana, and a Kentucky-born father raised near Missoula, Montana.Vivian traced her interest in traditional music to her mother's love of Roma violin and her father's harmonica playing. As a child, she took violin lessons, and one of her teachers gave her a book of fiddle tunes. She also remembered hearing Bill Monroe's “Footprints in the Snow” on a jukebox at Mount Rainier National Park, where her father had a summer job.Phil ascribed his interest in music to his father who taught him finger-style guitar. His father had played music professionally in a swing band aboard an ocean liner on the Seattle–Japan route before becoming an attorney and practicing law in Olympia, Washington. Growing up, Phil was known as a “science-fair wiz” with his various electronics projects, learning skills that likely led to his eventual mastery of audio-engineering skills.Phil and Vivian met each other as part of a nascent folk revival scene during their undergraduate years at Reed College in Portland, Oregon, in the mid1950s. Inspired by Pete Seeger's appearance on campus, a number of Reed students, including Phil and Vivian, took up the five-string banjo. After moving to Seattle, Vivian began to learn tunes from the old-time string-band repertoire. In Murphy Hicks Henry's 2013 book Pretty Good for a Girl: Women in Bluegrass, Vivian is quoted as having said she “took up fiddle in self-defense against the banjo.”In 1962, Vivian completed an MA in Anthropology with a specialty in ethnomusicology at University of Washington. Her thesis, an analysis of Skagit music, was based on her collaboration with Skagit/Swinomish elder Martin Sampson. Phil
{"title":"Vivian Williams (1938–2023) and Phil Williams (1936–2017)","authors":"Jens Lund","doi":"10.5406/15351882.136.542.09","DOIUrl":"https://doi.org/10.5406/15351882.136.542.09","url":null,"abstract":"For almost 60 years, Vivian and Phil Williams of Seattle, Washington, distinguished themselves as musicians, authors, scholars, music promoters, festival organizers, publishers, music editors, teachers, historians, field-recordists, and recorded music producers. Each of these skills is significant itself, but all are part of a continuum that bears appreciation in entirety.Because Vivian and Phil did so much important work as a team, as well as the fact that no obituary for Phil appeared in the Journal of American Folklore after his 2017 passing, it seems appropriate to memorialize the two of them together.Beginning as early as 1960, Vivian and Phil Williams have had a profound effect on maintaining Anglo-American and other regional fiddle and string band traditions in the Pacific Northwest. That year, the Williamses began their lifelong project of recording thousands of hours of performances by traditional musicians, many of them older, in both the Pacific and the Intermountain Northwest. These efforts have preserved performance styles generally unknown outside these regions.Vivian Tomlinson Williams was born in Tacoma, Washington, in 1938, to a Jewish mother who had fled Germany ahead of the Nazi takeover and a Methodist-raised father from Minnesota. Phil Williams was born in Olympia, Washington, to a Jewish mother from Helena, Montana, and a Kentucky-born father raised near Missoula, Montana.Vivian traced her interest in traditional music to her mother's love of Roma violin and her father's harmonica playing. As a child, she took violin lessons, and one of her teachers gave her a book of fiddle tunes. She also remembered hearing Bill Monroe's “Footprints in the Snow” on a jukebox at Mount Rainier National Park, where her father had a summer job.Phil ascribed his interest in music to his father who taught him finger-style guitar. His father had played music professionally in a swing band aboard an ocean liner on the Seattle–Japan route before becoming an attorney and practicing law in Olympia, Washington. Growing up, Phil was known as a “science-fair wiz” with his various electronics projects, learning skills that likely led to his eventual mastery of audio-engineering skills.Phil and Vivian met each other as part of a nascent folk revival scene during their undergraduate years at Reed College in Portland, Oregon, in the mid1950s. Inspired by Pete Seeger's appearance on campus, a number of Reed students, including Phil and Vivian, took up the five-string banjo. After moving to Seattle, Vivian began to learn tunes from the old-time string-band repertoire. In Murphy Hicks Henry's 2013 book Pretty Good for a Girl: Women in Bluegrass, Vivian is quoted as having said she “took up fiddle in self-defense against the banjo.”In 1962, Vivian completed an MA in Anthropology with a specialty in ethnomusicology at University of Washington. Her thesis, an analysis of Skagit music, was based on her collaboration with Skagit/Swinomish elder Martin Sampson. Phil","PeriodicalId":46681,"journal":{"name":"JOURNAL OF AMERICAN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136203785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-01DOI: 10.5406/15351882.136.542.13
Martin M. Winkler
The early history of ancient Rome is a fascinating mixture of fact and fiction. The Romans traced their legendary ancestry back to Troy, ultimately even to Mt. Olympus. The Trojan hero Aeneas, son of Venus and grandson of Jupiter, became the ancestor of the Romans; Romulus, another grandson of Jupiter, founded the city of Rome. In the 22 short chapters of his new book, Robert Garland retells a number of famous episodes in the Romans’ mythic-legendary story, ranging from the fall of Troy to the assassination of Julius Caesar. The book is a companion volume to Garland's Greek Mythology: Gods and Heroes Brought to Life (2020). Garland does not strictly distinguish between myth and legend. The ancient traditions about the past contain numerous and often irreconcilable variants, even contradictions, so Garland allows himself the freedom to include his own inventions. These will be immediately noticeable to readers who know the ancient sources.Garland's first chapter, “Aeneas’ Escape from Troy,” is representative of all that follows in both content and style and will serve as the basis of this review. The chapter's principal source is Virgil's account of the fall of Troy in Book 2 of the Aeneid. Here, it is stripped of Virgil's literary elegance, to say nothing of its tragic dignity. Garland's opening sets the entire book's faux-breezy tone: “Let's not make any bones about it. Rome's ancestors, the Trojans, were losers” (p. 1). The Greek winners, by contrast, were apparently even smarter than their ancient reputation made them out to be: they vote on Odysseus’ trick with the gigantic Wooden Horse with “all those in favour say[ing] aye” (p. 2), and they build it overnight because “next morning” (p. 3) there it is. Garland's additions are meant to infuse the story with You are there! vividness, but frequently add only vulgarity. For instance, redundant language describes Sinon, the Greek who hoodwinks the Trojans to move the Horse into Troy: “He produced a large gob of spit and spat on the ground” (p. 4).By contrast, Garland's condensations of source materials also cause distortions, as when two monstrous sea serpents kill the Trojan priest Laocoön, along with his two sons, almost immediately after Laocoön has warned his people against the Horse. Apparently it is of no significance to Garland that, in Virgil, Laocoön is at that time conducting a sacrifice. And the way Garland has Aeneas, antiquity's most famous model of a dutiful son, address his father is a travesty of everything in Virgil's portrayal of pius Aeneas.A level of carelessness about minor details is already in evidence in this chapter as well. Sinon calls Minerva “silver-footed” (p. 4), a Homeric epithet that characterizes only Achilles’ mother, the sea goddess Thetis. And so it goes, for another 195 pages. Hence caveat lector: much in the book is inauthentic.Although intended to bring Roman legends to life, Garland's colloquialisms—early ones like ‘‘Duh” or “Big problemo” (pp. 4, 6) are ra
古罗马的早期历史是真实与虚构的奇妙结合。罗马人把他们传说中的祖先追溯到特洛伊，最终甚至追溯到奥林匹斯山。特洛伊英雄埃涅阿斯，维纳斯的儿子，朱庇特的孙子，成为了罗马人的祖先;朱庇特的另一个孙子罗穆卢斯建立了罗马城。罗伯特·加兰在他的新书中用22个简短的章节重述了罗马神话传奇故事中的一些著名情节，从特洛伊的陷落到朱利叶斯·凯撒被暗杀。这本书是加兰的《希腊神话:神与英雄复活》(2020)的配套书。加兰没有严格区分神话和传说。关于过去的古老传统包含了许多不可调和的变体，甚至是矛盾，所以加兰允许自己自由地包括自己的发明。了解古代资料的读者会立即注意到这些。加兰的第一章“埃涅阿斯逃离特洛伊”在内容和风格上都具有代表性，并将作为本文的基础。这一章的主要来源是维吉尔在《埃涅伊德》第二卷中对特洛伊城陷落的描述。在这里，它被剥夺了维吉尔的文学优雅，更不用说它的悲剧尊严。加兰的开篇为整本书定下了矫情轻松的基调:“让我们不要对这件事有任何隐瞒。罗马的祖先，特洛伊人，是失败者”(第1页)。相比之下，希腊的胜利者，显然比他们古老的名声所表现出来的更聪明:他们投票决定奥德修斯用巨大的木马的把戏，“所有赞成的人说[ing] yes”(第2页)，他们在一夜之间建造它，因为“第二天早上”(第3页)它就在那里。加兰的添加是为了给故事注入“You are there!”生动活泼，但经常只添加粗俗。例如，多余的语言描述了希农，一个欺骗特洛伊人把马搬到特洛伊的希腊人:“他吐了一大口唾沫，吐在地上”(第4页)。相比之下，加兰对原始材料的浓缩也造成了扭曲，就像当两个巨大的海蛇杀死了特洛伊牧师Laocoön，以及他的两个儿子，几乎是在Laocoön警告他的人民提防这匹马之后。显然，这对加兰来说并不重要，在维吉尔的作品中Laocoön当时正在进行献祭。加兰笔下的埃涅阿斯，这位古代最著名的孝子典范，对父亲的讲话是对维吉尔笔下埃涅阿斯形象的一种嘲弄。在这一章中，对小细节的粗心程度也已经很明显了。西农称密涅瓦为“银脚”(第4页)，这是荷马史诗中的一个绰号，只描述了阿喀琉斯的母亲，海女神忒提斯。就这样，又写了195页。因此，警告读者:这本书中的许多内容都是不真实的。虽然是为了让罗马传说栩栩如生，但加兰的口语化——早期的“Duh”或“Big problem”(第4,6页)都是随机的例子——反而带来了一种单调乏味的感觉，最终令人讨厌。加兰感谢历史学家保罗·卡特利奇的“优雅和精神”(第2页)，但没有这些令人钦佩的品质的痕迹。书中的插图证实了这一结论。除一章外，所有章节都包含黑白图画，没有署名。夹克告诉读者，加兰是“一名职业艺术家”，所以这些照片可能是他的。它们与他的文本一致。很多都是漫画;没有一个具有吸引力。第一个是特洛伊的海伦，作为一个蛇形美人，她是赤裸上身的(第2页)。伟大的母亲，一位女神也是如此(第179页)。朱诺，作为众神的女王，戴着一顶中世纪的王冠，因此是不合时宜的(第15页)。迦太基女王杜尔·狄多(第26页)看起来不像是能让任何人爱上她，即使加兰在他对她和埃涅阿斯第一次做爱的软内核版本中赋予她“卡利皮臀”(同义重复)和“奶油大腿”(第27-8页)。罗穆卢斯和雷穆斯拿着剑，这也是不合时宜的，因为剑也是中世纪的(第61页)。一座建筑物，可能是一座寺庙，在正面有五根柱子(第168页);加兰似乎没有意识到，希腊和罗马建筑从来没有在前面有奇数根柱子，因为中间的那根会挡住入口。如果真实的克利奥帕特拉看起来像加兰的版本(第192页)，历史的进程无疑会有所不同。从Laocoön(第5页)到尤利乌斯·凯撒升天(第205页)，男性生殖器的味道都很明显。加兰的最后一幅画达到了最低点(第206页)，他的文字使任何评论都显得多余:“大神潘在厕所里。”这样的场景可能来自哪个传说?由于潘在任何地方都没有被提及，这张照片既没有必要，也没有味道。但是，读者早先看到的是塞克斯图斯·塔奎尼乌斯在强奸卢克丽霞的过程中(第102页)。因此，观众要注意:有些图片品位很差。
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Pub Date : 2023-10-01DOI: 10.5406/15351882.136.542.11
Wanda G. Addison
The title calls forth something promising, and the author does not disappoint. Anyone familiar with the image of the welfare queen might understand the hold it has on the US attitude regarding public assistance for individuals and families in need. For those unfamiliar with the legend, the author presents not only an insightful examination of its widespread deployment to create political and social advantages, but also an engaging and thoughtful case about the detriment the welfare queen legend has on those receiving public aid as well as those needing it but refusing to accept it because of the stigma attached. The book reminds readers of the humanity of all while acknowledging the ongoing political benefit of the welfare queen legend when wielded by politicians. This continued use for political gain perpetuates the negative image of those on public assistance and simultaneously creates a barrier for those who need the assistance but fear being stereotyped if they seek help. Although Americans might like to imagine they will never be on public assistance, in fact, many are only a few paychecks away from needing these vital yet maligned programs, which are designed to provide a bridge over hard times. Any course on storytelling, oral history, or in disciplines such as Black studies or sociology should assign sections from this book.The welfare queen is represented as an African American woman who has become a monster in the American consciousness, and the welfare queen legend has its roots in deep-seated anti-poor sentiment. She is trotted out regularly at private social events and in more public settings to disparage those who are economically poor and on public assistance. When the legend of the welfare queen is activated, all historical baggage of a lazy moocher who is gaming the government system is brought to bear in order to tap into societal angst and resentment and target two specific groups: Black women and the poor. The image is so powerful that mere reference to anyone in the “inner city” or “urban areas” who may not want to work immediately conjures up the stereotype without ever uttering the phrase.In Overthrowing the Queen: Telling Stories of Welfare in America, Tom Mould examines the stronghold of the welfare queen as a social and political stereotype whose beginnings precede Ronald Reagan's unsuccessful 1976 presidential bid. However, during this run for the presidency, Ronald Reagan's exaggeration of the story of a woman who was found to have defrauded the public aid system takes root as the well-known, unnamed figure. Reagan and mainstream media successfully craft her existence as the welfare queen, and she becomes further codified as an object in welfare reform legislation enacted under former President Bill Clinton's presidency several years after Reagan leaves office. The legend of the welfare queen lives on 40 years later, as Mould deftly explores, and is wielded by many for various reasons.Mould presents numerous points of
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Pub Date : 2023-10-01DOI: 10.5406/15351882.136.542.03
Enrique R. Lamadrid
Abstract Aurelio Macedonio Espinosa (1880–1958) studied Hispanic folklore in the American Southwest, Spain, and Spanish America. His research foregrounds Spanish language, verbal arts, and culture of the people of greater New Mexico (New Mexico and southern Colorado). Three decades into an energetic career of fieldwork, research, and teaching, Espinosa allied himself with Spanish Nationalism, largely motivated by his religious beliefs. His foundational work in linguistics and dialectology endures, but his contributions to US folklore studies have been largely erased. Critics condemn his insistent identification with Peninsular Spanish rather than Mexican cultural roots and his conservative politics. A more likely motivation for his quest for Spanishness is the Historic Geographic theory and methodology he clung to in the search for origins and dissemination of folktales. Peeling back layers of outdated theory and politics reveals decades of solid fieldwork and documentation, still relevant today. The American Folklore Society (AFS) Notable Folklorists of Color 2019 exhibition and 2022 website have rekindled interest in the career of Espinosa, a past president of AFS.
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{"title":"The Ubume Challenge: A Digital Environmental Humanities Project by Sam Risak (review)","authors":"Sam Risak","doi":"10.36837/chapman.000138","DOIUrl":"https://doi.org/10.36837/chapman.000138","url":null,"abstract":"","PeriodicalId":46681,"journal":{"name":"JOURNAL OF AMERICAN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42227154","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.5406/15351882.136.541.02
John Laudun
Abstract Making and remaking have long been intertwined. While there is a rich history of artisanal, craft, and industrial fabrication in folklore studies and history, histories and studies of repair have only recently begun to emerge as part of a larger effort to re-think the nature of creativity (and thus also of tradition). Dotting urban and rural landscapes around the world, repair shops occupy physical and mental spaces situated between maintaining things as they are and creating something entirely new. That is, repair is not just a matter of re-creating an object; rather, it is the product of an engagement with not only the object itself but also the environment in which it is found. Repair draws to it both simple fixes that re-integrate an artifact as well as more complex forms of disintegration and integration of seemingly disparate parts that lead to novel combinations and utility. Drawing on extensive ethnographic observation of a repair shop in the Louisiana prairies, the current study seeks to understand repair as a complex socio-technical system, a negotiation of the world as it is with the world as it should be.
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Pub Date : 2023-07-01DOI: 10.5406/15351882.136.541.18
Vyta Pivo
We are well aware that the humanities are in crisis. From disappearing tenure lines to low employment rates, students pursuing graduate education must now entertain alternative career possibilities (e.g., alt-ac), in the shape of public humanities, digital humanities, cultural resource management, consulting, and other adjacent professional tracks. Timothy Lloyd's edited collection What Folklorists Do: Professional Possibilities in Folklore Studies responds to this reality, showing how the field of folklore specifically participates in and contributes to broader conversations about social injustice, environment, science, place, culture, management, and other pressing topics.The book is a collection of short essays, written in a conversational and accessible language. It is organized into four thematic sections: research and teaching; leading and managing; communicating and curating; and advocating and partnering. Even though largely limited to the United States and acknowledging the limitations of this perspective, the book and its 76 contributors provide insight into a broad array of professional contexts that benefit from folkloric skill sets, from education (university, community college, and secondary school) to museums and archives, administration, and the public sphere. The mere collection of such a large number of contributions is a significant accomplishment in itself and a testament to the goals and ethics of folklore studies.Broadly, the authors argue that folklore, as a discipline rooted in active listening, has much to offer our tumultuous world. From social and environmental crises to science and policy, the skills that folklore promotes remain crucial to our survival in a post-pandemic world. The core reason is folklore's reliance upon fieldwork: professional folklorists do not merely extract information; they also develop relationships with communities, including friendship, trust and rapport, honesty about bias, and empathy. As Danille Christensen poignantly articulates, folklorists aim to “host and amplify rather than to bridge and translate” (p. 26). And this is the crucial distinction that separates folklore from other humanities fields that employ interviewing techniques. Folklorists, in other words, are honest and intentionally reflective about who they are, where they come from, and how they change as a result of their research encounters.As a newcomer to the field—I am an architectural historian who became exposed to folklore through the Archie Green Fellowship at the Library of Congress—What Folklorists Do brings some fresh questions and perspectives. The first section on research and teaching considers the ethics of fieldwork, pushing against the popular assumption that scholarship must always be objective and absent of any bias. Instead, the contributors to this volume argue that honest interpersonal relationships are the bread and butter of good folklore. Tom Mould, for example, offers a friendship model that does not g
本着这种精神，许多博物馆和机构一直在修改它们的使命宣言，以便清楚地确定它们的价值和目的。民俗策略显然可以帮助学术界以外的专业人士以有意义的方式应对这些挑战。本书的最后一部分介绍了最多样化的专业背景，其中民俗学方法蓬勃发展，从科学政策到历史保护。该部分是在倡导和合作这一更广泛的总括术语下收集的，对于那些有兴趣转换到另一个职业领域的研究生或人文专业人士来说，可能是最有帮助的。我自己也很惊讶地发现民俗学家所做的各种咨询工作，从采访社区关于他们对环境变化的经历，到记录特定编码工具的使用，以便未来的软件工程师了解技术是如何演变的。这项工作不仅仅是记录劳动，而且还塑造了一直被学术界边缘化的技术和政策专业举措。Diane E. Goldstein解释说“人文学者通常也不愿意参与政策制定，也许是觉得我们的角色是批评权力结构而不是支持他们”(第218页)。随着我们的职业和社会世界在未来几年发生巨大变化，想象民俗学家将如何批评和参与未来的政策是很重要的。作为任何发人深省的文本，《民俗学家做什么》提出了许多问题。首先，更多的跨国学者将如何讨论民俗学与研究和教学、领导和管理、交流和策划、倡导和合作的相关性?他们如何描述与民俗相关的技能和情感的价值?对于整个研究领域来说，同样重要的是询问民俗学家不做什么。民俗学作为一门学科可以在哪些领域和领域发展?它如何调整和适应就业部门对应届毕业生的不同要求?显然，民俗学家所做的确定了一个重要而紧迫的对话，无疑将吸引来自学术，公共和政府部门的大量研究人员。这是一个至关重要的主题，在我们发现自己处于大流行后生活和工作的新阶段时，需要重新构想。
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Pub Date : 2023-07-01DOI: 10.5406/15351882.136.541.22
Sam Risak
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Pub Date : 2023-07-01DOI: 10.5406/15351882.136.541.11
Shaoming Duan
context. The big categories of folklore include scholarship on verbal folklore, customary folklore, and material culture. Folklore genres— covering topics such as proverbs, myth, and ostension—is the book’s longest section. Women’s folklore, unilinear evolution, and the devolutionary premise are among the special topics covered in the final section. Folklore 101 is certainly useful in the right contexts. When taken on their own, the chapters are helpful, basic introductions. For example, students who wish to learn the history of folklore scholarship on superstition would do well to read Jorgensen’s chapter “Superstition & Folk Belief.” As its name suggests, Folklore 101 is perhaps best suited for introductory folklore classes. The short chapters serve as useful and accessible overviews of folklore concepts. For example, Jorgensen’s four-page chapter on legends would introduce new students to the core ideas. If this is the book’s true purpose, it achieves its goal. Because the book as a whole isn’t bound by a single thesis, it works well on a chapter-by-chapter basis. Although Folklore 101’s target audience is primarily students and academics interested in folklore studies, Jorgensen dislikes university gatekeeping and encourages non-academics not only to be aware of folklore theory, but also to stay up-to-date with the field. By providing a comprehensive overview of the field, Jorgensen has compiled in a single volume the main concepts of folklore that will benefit both academic and non-academic readers.
{"title":"Folklore Research on Chinese Opera and Festival","authors":"Shaoming Duan","doi":"10.5406/15351882.136.541.11","DOIUrl":"https://doi.org/10.5406/15351882.136.541.11","url":null,"abstract":"context. The big categories of folklore include scholarship on verbal folklore, customary folklore, and material culture. Folklore genres— covering topics such as proverbs, myth, and ostension—is the book’s longest section. Women’s folklore, unilinear evolution, and the devolutionary premise are among the special topics covered in the final section. Folklore 101 is certainly useful in the right contexts. When taken on their own, the chapters are helpful, basic introductions. For example, students who wish to learn the history of folklore scholarship on superstition would do well to read Jorgensen’s chapter “Superstition & Folk Belief.” As its name suggests, Folklore 101 is perhaps best suited for introductory folklore classes. The short chapters serve as useful and accessible overviews of folklore concepts. For example, Jorgensen’s four-page chapter on legends would introduce new students to the core ideas. If this is the book’s true purpose, it achieves its goal. Because the book as a whole isn’t bound by a single thesis, it works well on a chapter-by-chapter basis. Although Folklore 101’s target audience is primarily students and academics interested in folklore studies, Jorgensen dislikes university gatekeeping and encourages non-academics not only to be aware of folklore theory, but also to stay up-to-date with the field. By providing a comprehensive overview of the field, Jorgensen has compiled in a single volume the main concepts of folklore that will benefit both academic and non-academic readers.","PeriodicalId":46681,"journal":{"name":"JOURNAL OF AMERICAN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135855897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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