WESTERN FOLKLORE最新文献

{"title":"A Measure of the Earth: The Cole-Ware Collection of American Baskets","authors":"C. Dewhurst","doi":"10.5860/choice.51-4234","DOIUrl":"https://doi.org/10.5860/choice.51-4234","url":null,"abstract":"A Measure of the Earth: The Cole-Ware Collection of American Baskets. By Nicholas R. Bell with foreword by Henry Glassie. (Washington, D.C.: Smithsonian American Art Museum, Renwick Gallery, 2013. Pp. 192, foreword, preface, essay, plates, checklist, further reading, artist index, photo credits. $50.00 hardbound.)Based on the gift to the Renwick Gallery of a collection of the work of sixty-three contemporary basketmakers assembled by collectors Steven R. Cole and Martha G. Ware, A Measure of the Earth offers keen insights into what Nicholas R. Bell views as a kind of revival of traditional basketry in America over the past fifty years. All collections (whether they are developed by professional curators or passionate individuals) are shaped by forces such as personal preferences, scholarly perspectives, and particular circumstances. The selection of baskets in this collection was based on the collectors' knowledge of particular forms or traditions, geography, and financial resources. Cole and Ware started building their collection in 1986 with a clearly stated interest in collecting only American baskets that they perceived to be both functional and made without dyes. Special attention was given to collecting the work of basketmakers who had a deep knowledge of the materials they harvested and used in their baskets. In short, the focus of the collection was to be American baskets made by basketmakers for whom the process of making the basket was as important as the final form. In contrast to the highly interpretive contemporary basketry of, for example, the studio craft movement or contemporary fiber arts world of today, this collection was to celebrate the individual revivalist basketmaker as master craftsperson of functional baskets. The collection was built by meeting basketmakers in their communities-not in art galleries.The donation of this collection prompted the author and curator, Nicolas R. Bell, the Fleur and Charles Bresler Curator of American Craft and Decorative Arts at the Renwick Gallery, to undertake oral histories with those basketmakers represented in the collection (those who agreed to be interviewed). The result is reflected in this handsomely produced book that features an essay by Bell, who builds a case for this group of baskets and basketmakers as representing a revivalist movement that he connects to the back-to-the-earth movement of the 1960s and 1970s. He argues that this revival has taken place outside the typical folk process in which family and community inform the passing on of tradition. Rather, he believes that these makers of \"proper baskets\" were influenced by earlier indigenous, African, and European traditions that were once active in the United States but which, in his view, have been on the wane. He stresses that the basketmakers included in this collection (and the related oral histories that he has assembled) represent a response to this trend by a small group of individuals who are swimming upstream again","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71145134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Fairy Tales Transformed? Twenty-First-Century Adaptations and the Politics of Wonder","authors":"Bonnie D. Irwin","doi":"10.5860/choice.51-4806","DOIUrl":"https://doi.org/10.5860/choice.51-4806","url":null,"abstract":"","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71145462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Formation of Candomblé: Vodun History and Ritual in Brazil","authors":"Jeffrey E. Anderson","doi":"10.5860/choice.52-0927","DOIUrl":"https://doi.org/10.5860/choice.52-0927","url":null,"abstract":"","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71147626","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Queer Enchantments: Gender, Sexuality, and Class in the Fairy-Tale Cinema of Jacques Demy","authors":"Kim Snowden","doi":"10.5860/choice.51-3731","DOIUrl":"https://doi.org/10.5860/choice.51-3731","url":null,"abstract":"Queer Enchantments: Gender, Sexuality, and Class in the Fairy-Tale Cinema of Jacques Demy. By Anne E. Duggan. (Detroit: Wayne State University Press, 2013.Pp. ix +195, acknowledgements, introduction, epilogue, notes, filmog- raphy, works cited, index. $29.95 paper.)Queer Enchantments: Gender, Sexuality, and Class in the Fairy-Tale Cinema of Jacques Demy is an engaging, interdisciplinary study of Jacques Demy's films and aesthetics that brings together scholarship in queer theory, film theory, fairytale studies, and fairy-tale film. Anne E. Duggan's intersectional approach to what she describes as Demy's \"queer reimaginings of gender, sexuality, and class\" (8) addresses two aspects of his work that Duggan believes have been overlooked: \"the importance of the genre of the fairy tale, on the one hand, and the queer sensibility of his films, on the other\" (1). Duggan frames this as a dialogue suggesting that fairy tales can tell us a lot about Demy's films and, in turn, much is revealed about the significance of fairy tales and fairy-tale film through his work. While Duggan is attentive to the ways in which Demy's own queer sexuality inscribes his work and has influenced many other queer filmmakers, \"queer\" is also defined here as an umbrella term to describe that which is seen as counter to normative constructions of gender, sexuality, and class and therefore potentially destabilizing. What Queer Enchantments does exceptionally well is reveal the ways that Demy's films disrupt and challenge the normalizing binaries inherent in many traditional tales \"which uphold a heterosexist, bourgeois order in which capitalists, men, and heterosexuals are privileged over the working class, women, and queers\" (7).The book includes detailed discussions of some of Demy's films including Lola, The Umbrellas of Cherbourg, Donkey Skin, The Pied Piper, and Lady Oscar. Duggan's analysis explores Demy's references to, and retellings of, fairy-tales such as \"Cinderella,\" \"Sleeping Beauty,\" and \"Donkey Skin.\" She examines Demy's use of fairy-tale archetypes such as the maiden warrior, as well as the influence of film genres such as the Hollywood musical and Disney's fairy-tale films on Demy's work. Through a challenging and subverting of fairy-tale paradigms, Demy destabilizes and denaturalizes categories of gender and sexuality and interrogates social issues related to class.While the subject matter of Queer Enchantments is certainly fascinating, especially for readers new to Demy's films, it is Duggan's complex analytical framework that makes this book a vital contribution to fairy-tale scholarship particularly. For example, Chapter One explores the integration of motifs from versions of \"Sleeping Beauty\" and \"Cinderella\" by Charles Perrault and Walt Disney in Demy's Lola (1961) and The Umbrellas of Cherbourg (1964). These motifs are presented within the context of melodrama, where happy endings are never attained and loss and disillusionment are central tropes. …","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71145043","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Burley: Kentucky Tobacco in a New Century","authors":"A. Howard","doi":"10.5860/choice.51-3838","DOIUrl":"https://doi.org/10.5860/choice.51-3838","url":null,"abstract":"Burley: Kentucky Tobacco in a New Century. By Ann K. Ferrell. (Lexington: The University Press of Kentucky, 2013. Pp. xv + 309, illustrations, foreword, a note on transcription, acknowledgments, introduction, conclusion, notes, bibliography, index. $50.00 cloth, $50 eBook.)During her fieldwork, Ann K. Ferrell set out to understand the tobacco farmer today in light of the huge shifts in public sentiment about tobacco in recent decades. Her goal was to document present-day farmers and their attitudes toward their crop during the transition away from tobacco production or towards diversification. The book blends ethnography, history, and rhetorical analysis, thereby placing current views on tobacco farming in their proper context. Ferrell, a folklorist, bases her presentation and analysis of the material on extensive ethnographic research, which she conducted from 2005 to 2008.After a summary of the history of tobacco in the United States and its beginnings in Kentucky, Ferrell divides her material into three sections. The first is an ethnography of tobacco production itself, including current practices and changes in those practices over time. Her description of each step of the process is thorough and rich, combining the story of her own field work experiences with a description of the typical burley tobacco year. Ferrell is careful to include her own perceptions as she began her fieldwork and her own role in the data she collected, in a conscious effort to emphasize her recognition that fieldwork cannot be objective. She also attempts to bring in a variety of voices and experiences in order to accurately depict the vast array of attitudes among tobacco farmers. In this section, the author includes helpful and illustrative photos; although at times more photos would facilitate the reader's comprehension of unfamiliar agricultural terms and concepts. Despite any slight weakness, this section is a valuable example of occupational folklore research and documentation.The second section of the book is a rhetorical history and analysis of attitudes towards tobacco and its shift from essential cash crop to symbol of heritage, followed by its disappearance altogether from public discourse and celebrations. In this section, Ferrell uses archived copies of the Kentucky Department of Agriculture newsletter. In the third section, she then combines the contexts of the first two sections of the book in order to analyze farmers' own responses to the changing meanings of tobacco in Kentucky. The message that tobacco production is still strong in Kentucky and that these farmers should not be forgotten or presumed gone dominates the last section. As Ferrell outlines farmers' struggles with media and mainstream folk perspectives on the evils of tobacco, the reader sympathizes and understands the tobacco farmers' plight as their world threatens to collapse and they struggle to adjust. …","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71145121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Divining the Self: A Study in Yoruba Myth and Human Consciousness","authors":"J. Schaefer","doi":"10.5860/choice.50-4947","DOIUrl":"https://doi.org/10.5860/choice.50-4947","url":null,"abstract":"Divining the Self: A Study in Yoruba Myth and Human Consciousness. By Velma E. Love. (University Park, PA: Penn State University Press, 2012. Pp. xii + 152, preface and acknowledgments, a note on the text, introduction, photographs, illustrations, note, bibliography, index. $52.95 hardcover.)What happens to sacred scripture when the emphasis shifts from an unchanging word to a dynamic performance? This shift is a central preoccupation in Velma Love's careful description and analysis of African-American Yoruba practitioners. Love works among communities primarily in New York City, Georgia, and South Carolina, where-at Oyotunji African Village-she encounters practitioners from across the country on pilgrimage to this major center of Yoruba religion and culture. Love's theoretical approach is informed by ethnography, performance studies, and critical pedagogy in the quest to encounter \"the dynamic, symbiotic nature of scripture as a religious and cultural phenomenon active in the lives of adherents\" (14). As an uninitiated but well-informed outsider, Love interviewed 21 practitioners over the course of four years.The first chapter introduces the idea that performing a scripture enacts it in the life of the practitioner. The enactment of scripture is particularly vital for those practitioners of Yoruba religion who are consciously avoiding many of the numerous African-derived spiritual traditions already practiced in the Americas (most often Lucumi [Santeria], but also Candomble, Umbanda, Vodun, et al.). Love has chosen to focus on a group whose founding members first encountered Yoruba religion through some of these heterodox Christian practices (most directly Lucumi, among Cuban immigrant communities in New York), and who then chose to reject such mediating forms in favor of a form that was \"more authentically African\" (78). This should not be taken as suggesting that the Yoruba practitioners are hostile to Christianity-indeed, as one priestess says, \"A large percentage of orisha worshippers in America are Christian . . . Baptist\" (40). Instead, this attitude toward the Caribbean forms speaks to the felt need for AfricanAmerican Yoruba practitioners to reinvent their selves from the ground up, to recreate their identities in a holistic fashion.The book effectively doubles as an introduction to Yoruba religion, which has a complex pantheon of \"gods\" or orisha, whom Love also presents as archetypal energies or divine principles. These include: Esu/Elegba, the interpreter deity who \"opens the way\"; Ogun, the deity of iron, metal, and war; Oshun, the deity of water, dawn, and hope; and Oya, the deity of the wind, change, and progress. These deities become known through odu, the sacred scripture. But there is no authoritative canon of odu; instead, the scriptures are retold through an apataki, a story or saying that expresses the meaning of the odu within a performed situational context, usually of healing or self-discovery. Love cites the scholars who ","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2014-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71141893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Encyclopedia of Jewish Folklore and Traditions","authors":"A. Fromm","doi":"10.5860/choice.51-1247","DOIUrl":"https://doi.org/10.5860/choice.51-1247","url":null,"abstract":"","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71143082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Beautiful Music All around Us: Field Recordings and the American Experience","authors":"Jessica A. Schwartz","doi":"10.5860/choice.50-3184","DOIUrl":"https://doi.org/10.5860/choice.50-3184","url":null,"abstract":"The Beautiful Music All Around Us: Field Recordings and the American Experience. By Stephen Wade. (Urbana: University of Illinois Press, 2012. Music in American Life Series. Pp. xvii + 477, preface, acknowledgments, introduction, photographs, music examples, notes, works cited, a note on the recording, index. 13-track CD included. $24.95 cloth.)Stephen Wade's The Beautiful Music All Around Us is a collection of musical histories that animates thirteen field recordings made for the Library of Congress between 1934 and 1942. These field recordings, collected by such folklorists as John and Alan Lomax, are included on the accompanying CD. Combining multisited ethnographic work, archival research, and oral histories from surviving musicians, family members, friends, and community members, Wade details his investigative process that led him to places such as Appalachia, Huntsville, and the Mississippi Delta in pursuit of the backstories of the recordings. He shares with readers the diverse life stories of the individual performers whose unique iterations of folk songs have shaped American musical culture, from the local to national level. The musicians (seven black and five white) featured in this book span a wide range of personalities and include a \"charismatic\" convict, Mississippi schoolchildren, housewives and mothers.The book is organized into twelve chapters that bear the names of \"the twelve singers and instrumentalists,\" who, according to Wade, \"show us the irrepressible admixture of music in America\" (4). He notes, \"Their stories are metaphors for how this country has lived\" (4). Their stories, it seems, are metaphors for perseverance amidst adversity, often relying on creative methods of \"getting by,\" such as using song as support, archive, and a performance of renewal. We hear these themes in the uncovering of often-silent histories of familiar songs, both as sonorous texts and cultural productions. While these stories resound the striking diversity and talent of the folk, Wade is careful to contextualize the songs within America's complex socio-economic milieu. He draws from the musical textures strands of concrete historical issues that find resonance today, such as slavery, racism, poverty, hunger, unsafe working conditions, and lack of access to education.In Chapter 3, for example, Wade explores the racial past of \"Shortenin' Bread,\" performed by Ora Dell Graham and her classmates as a call and response style playground song in 1940. The song, known to many Americans as a nursery rhyme or lullaby, is posited to have its roots in blackface minstrelsy when performers would often mock the diets of slaves. While there is no historical documentation of this origin from the early nineteenth century, \"Shortenin' Bread\" audibly extends back to minstrelsy with lyrics in an exaggerated style of black vernacular that have become softened over time given commercial pressures. Wade traces the song's evolution as \"community lore\" and as \"a commercia","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2013-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71140734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Baggy Pants Comedy: Burlesque and the Oral Tradition","authors":"C. Stout","doi":"10.5860/choice.49-6165","DOIUrl":"https://doi.org/10.5860/choice.49-6165","url":null,"abstract":"Baggy Pants Comedy: Burlesque and the Oral Tradition. By Andrew Davis. (New York: Palgrave Macmillan, 2011. Pp. xiii + 288, illustrations, preface, notes, bibliography, index. $95.00 cloth.)Andrew Davis in his book flaggy Pants Comedy: Burlesque and the Oral Tradition works to classify American burlesque comedy as part of the oral narrative tradition. He explains that despite the written tradition of the sketches, comedians never actually performed the sketches as written; they would improvise the scene on the spot based on all their previous performances of the sketch and their knowledge of what worked or failed in past performances. Davis links the working practices of burlesque comedians to the \"composition in performance\" of other oral narrative performance, like the Yugoslavian epic singers studied by Albert Lord and Milman Parry. Davis includes multiple written variants of sketches with the handwritten notes from the performers, which indicate alternate sections of the sketches or alternate endings.The book is loosely organized into sections outlined by the author in the preface. The first three chapters present the theoretical approach, chapters four through seven explore the craft of the performances, chapters eight and nine present the scenes themselves and the final chapter wraps everything up and explains that the lasting appeal of burlesque style humor is rooted in its ability to connect with a working class sensibility.In the interest of full disclosure, I am actively engaged in theater and identify as a playwright before identifying as a scholar. I have been involved in theater since grade school and have an intimate knowledge of the social norms and group practices of theater. With that in mind, I found flaggy Pants Comedy both incredibly entertaining-I guffawed, giggled and plain laughed out loud while reading-and very informative, especially because it provided answers to the origins of modem social quirks and jargon of theater performers.Davis' primary audience is performers and potential performers, with the hope that this book will facilitate the revival of burlesque sketches. His secondary audience is folklorists, for whom he hopes this book will open up a new realm of study that could also potentially lead to the expansion of non-textually based theater scholarship.Although Davis is targeting modern comic performers as his audience, he needs to take into consideration other readers who are not familiar with the colloquialisms of modem performers. …","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2013-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71138103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Companion to Folklore","authors":"Diane Tye","doi":"10.5860/choice.50-1530","DOIUrl":"https://doi.org/10.5860/choice.50-1530","url":null,"abstract":"A Companion to Folklore. Edited by Regina F. Bendix and Galit Hasan-Rokem. (Malden, M.A.: Blackwell Publishing Ltd., 2012. Pp. xv +660, introduction, photographs, notes, index. $207.95 cloth.)A Companion to Folklore is a collection of thirty-one essays, contributed by an impressive group of international folklore scholars, that \"seeks to represent the state of the art for readers intrigued with the field's theoretical potential and international scope\" (2). In an effort to present organizing principles for bodies of knowledge comprising the field of folklore studies and concentrate on overarching concepts that problematize the field rather than describe it (3), editors Regina F. Bendix and Galit Hasan-Rokem bring together articles that examine the development of folkloristics. They explore central disciplinary concepts such as tradition and social base, trace its history in countries around the world, investigate its interconnections to fields like film, cultural heritage and law, and reflect on folklorists' work in both public and academic contexts.The editors organize essays into four sections: Concepts and Phenomena, Location, Reflection, and Practice. The first section contains nine articles: Dorothy Noyes on the social base of folklore, Francisco Vaz da Silva on tradition, Amy Shuman and Galit Hasan-Rokem on the poetics of folklore, Peter Seitel on oral textuality, Richard Bauman on performance, Hagar Salamon and Harvey E. Goldberg on myth-ritual-symbol, Sabina Magliocco on religion, Gertraud Koch on work and professions, and Orvar Lofgren on material culture. Each article traces the development of a concept in a way that contextualizes contemporary approaches and several, such as Bauman's discussion of performance, provide masterful overviews of topics central to the discipline. Importantly, even as they tackle the large development of theoretical concepts, authors consistently root their discussions in concrete cultural examples. Peter Seitel actually includes directions so that readers can listen to his field recordings online.Whereas the first section situates key concepts in a timeframe, the editors see the second section as one that \"pays full tribute to the weight of local specificity and 'local knowledge' in the field of folklore studies\" (3). The book's truly international character takes shape through thirteen articles that trace the histories of folklore studies in locations around the world: China (Lydia H. Liu), Japan (Akiko Mori), India (Sadhana Naithani), Oceania (Phillip H. McArthur), Latin America (Femando Fischman), United States (Lee Haring and Regina F. Bendix), Turkey (Arzu Ozturkmen), Israel (Dani Schrire and Galit HasanRokem), the Sudan-Sahel region (Ursula Baumgardt), German-speaking Europe (Regina F. Bendix), Finland (Lauri Harvilahti), Ireland (Diarmud O'Giollain) and Russia (Alexander Panchenko). It is hard not to read this list, let alone the essays, without raising questions about selection. Although as a Canadia","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2013-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71139222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}