JOURNAL OF AMERICAN FOLKLORE最新文献

{"title":"Shakespeare and the Folktale: An Anthology of Stories","authors":"Kerry Kaleba","doi":"10.5406/15351882.136.541.15","DOIUrl":"https://doi.org/10.5406/15351882.136.541.15","url":null,"abstract":"Charlotte Artese's new anthology Shakespeare and the Folktale: An Anthology of Stories is a companion to her 2015 collection Shakespeare's Folktale Sources. As in her prior book, Artese points to folktale sources for several of Shakespeare's plays, noting how previous Shakespeare scholars have neglected the folktale. This volume encompasses eight plays: The Taming of the Shrew, The Comedy of Errors, Titus Andronicus, The Merchant of Venice, All's Well That Ends Well, King Lear, Cymbeline, and The Tempest.By focusing on folktales as inspirations and sources for the plays, Artese draws parallels between oral traditions and stories performed theatrically. In so doing, she engages with Shakespeare's texts as his audience might have—starting from a common knowledge of tales and tropes to establish a shared story language and to enter more deeply into the play world. Artese has curated a selection of tales to provide readers with a spectrum of stories, pushing beyond the Eurocentric into Asian, North American, and South American narratives. Providing a variety of tales subtly reinforces the frequently touted “universality” and endurance of Shakespeare's plays. Including tales collected and published after the plays’ own origins reinforces the fluidity of influences. There is no definite proof of origin or encounter, but rather an opportunity to explore beyond the texts.The introduction to the volume provides a reader's guide and answers the great question of how useful are folktales that were collected 300 years after the play's first performance. Although not absolute source texts, the folktales provide an intriguing way to approach both the plays and the oral traditions with which Shakespeare and his audiences might have been familiar. As Artese explains, “birds and alligators help us to imagine their ancestors the dinosaurs” (p. 2), and so, too, might we imagine the stories told in sixteenth-century England. With this in mind, Artese's book invites us to look backward and sideways for influences, and not to the future to inform those interpretations. To this end, she introduces each play in the collection with an overview of sources, demonstrating how each tale type is found in the plot.This is not a consistent approach, as not all of the plays allow for such robust readings; some plays have three or four potential folktale sources, while others have only one. There are also imbalances in the presence of folktales in both primary plot lines and subplots. Notable is the inclusion of the framing device at the top of The Taming of the Shrew, often excised from performance: Artese gives the “Lord for a Day” (ATU 1531) equal weight to “The Taming of the Shrew” (ATU 901) and “The Wicked Queen Reformed by Whipping” (ATU 905A). Similarly, The Merchant of Venice gives a small nod to the Three Caskets decision motif driving the subplot of the marriage of Portia, while giving heavier focus to the “Pound of Flesh” (ATU 890) tales that are obviously more connect","PeriodicalId":46681,"journal":{"name":"JOURNAL OF AMERICAN FOLKLORE","volume":"151 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135855900","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}

{"title":"The Food We Eat, the Stories We Tell: Contemporary Appalachian Tables","authors":"Hannah Davis","doi":"10.5406/15351882.136.541.09","DOIUrl":"https://doi.org/10.5406/15351882.136.541.09","url":null,"abstract":"Filled with thoughtful pieces by both folklorists and friends of the field, The Food We Eat, the Stories We Tell: Contemporary Appalachian Tables offers “new ways into understanding past, present, and future American food practices” (back cover). Entries in this collection of poetry, personal anecdotes, and more traditionally academic articles about Appalachian foodways range from whimsical to rueful.I'll admit to being first attracted to this book by its colorful, collage-style cover by Emily Wallace, who contributed other illustrations throughout (and authored chap. 9, “Best Pal: Big on Hot Dogs, Hamburgers, and Quick Service”). These fun images go a long way toward communicating the accessible, friendly nature of this book. The Food We Eat proves that serious scholarship isn't always stuffy—lest any potential readers be put off by pretty pictures.Engelhardt's introduction (“Two Walnuts, a Piece of Quartz, a Pencil, Dad's Pocketknife, and a Quarter: Things I Carry”) explains some unorthodox editorial decisions, like punctuating the book's 14 chapters with five explicitly creative pieces, four of which are poems. She describes this collection as “a carrier bag” in which “each essay is an object knocking around” (p. 7).Chapter 1, “The Household Searchlight Recipe Book” by Lora E. Smith, relays maternal family stories and recipes from an inherited diary and asserts that these kinds of accounts “provide us with new possibilities for creating the future traditions and knowledge our communities will need to survive” (p. 17). The poem that follows the chapter, “Clearing Your House,” by George Ella Lyon, reasserts the significance of family belongings—collections of both tangible and intangible artifacts. Chapter 2, “Setting Tobacco, Banquet-Style,” by Erica Abrams Locklear, and chapter 3, “Gardens of Eden,” by Karida L. Brown, discuss the authors’ families’ negotiation of food-related labor. Chapter 4, “A Preliminary Taxonomy of the Blue Ridge Taco,” by Daniel S. Margolies, provides “a first step to a comprehensive geography of the taco in Appalachia” and demonstrates “the evolving and transnational sensibilities of migrant culinary expression” (pp. 76–7).The poem “Chowchow,” by Jeff Mann also explores its titular food item, as does chapter 5, “An Education in Beans,” by Abigail Huggins. Chapter 6, “My Great-Grandmother Is a Cherokee . . . ,” by Annette Saunooke Clapsaddle, discusses cultural reverence for older generations—particularly while waiting in line for food. “Terrain,” by Crystal Wilkinson, Kentucky's 2021–2022 Poet Laureate, explores the author's corporeal embodiment of the place(s) she has called home. “I can't say the landscape of me is all honeysuckle and clover cause there have always been mines in these lily-covered valleys,” she writes (p. 97).Departing from previous themes, chapter 7, “Eating to Go,” by Courtney Balestier, shares the experiences of people who've traveled the so-called “Hillbilly Highway” while migrating from their Ap","PeriodicalId":46681,"journal":{"name":"JOURNAL OF AMERICAN FOLKLORE","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135855904","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}

{"title":"Roger Welsch (1936–2022)","authors":"Gwendolyn K. Meister","doi":"10.5406/15351882.136.541.06","DOIUrl":"https://doi.org/10.5406/15351882.136.541.06","url":null,"abstract":"Folklorist and author Roger Welsch died September 30, 2022, at the age of 85. Already beloved for years by other Nebraskans as the state's most famous living storyteller, Roger became a nationally known television personality in the mid-1970s by donning his signature striped overalls and affably telling stories of rural life on Charles Kuralt's CBS News series On the Road.Roger continued on CBS for 13 years with his Postcards from Nebraska, which often featured his own small community of Dannebrog that was founded in 1872 by Danish immigrants. Roger's wise humor, knowledge of the Great Plains, and genuine devotion to the people, wildlife, and land of our region enabled him to prosper by doing what he loved.He was a great example of that “can-do” adaptive spirit that he celebrated in his television appearances, public speaking engagements, films, and nearly 40 books.His earlier books were the expected scholarly works on Nebraska's pioneer history, such as A Treasury of Nebraska Pioneer Folklore (1966) and Sod Walls: The Story of the Nebraska Sod House (1968). Later, he wrote prolifically on Native American culture, as in Omaha Tribal Myths and Trickster Tales (1981), along with a broader variety of folkways on the plains. Wherever he went and whatever the topic or the medium, his unique brand of humor, combined with an obvious respect for the wisdom and common sense displayed by the folk, made him popular with both scholars and the public. In later years, Roger's books displayed his characteristic wisdom and humor on topics as diverse as repairing antique tractors, understanding Native American spiritual beliefs, and how to successfully live with dogs!Born on November 6, 1936, Roger grew up in Lincoln, Nebraska. He and his family were members of the city's substantial community of Germans from Russia, also known as Volga Germans. They were farmers who immigrated first to Russia in the 1700s at the invitation of Catherine the Great. Between the 1870s and World War I, they were forced to immigrate again to Canada, the United States, and South America in great numbers to escape both conscription and increasing Russian persecution.Roger attended the University of Nebraska and earned a Bachelor of Arts (1958) and a Master of Arts (1960) in German. He then pursued a growing interest in folklore by completing graduate work at the University of Colorado in 1962 and at the Folklore Institute, Indiana University, from 1963 to 1965.Roger was especially devoted to his students. He taught folklore and English at Dana College in Blair, Nebraska, from 1960 to 1964, at Nebraska Wesleyan University in Lincoln from 1964 to 1973, and at the University of Nebraska–Lincoln (UNL) from 1973 to 1988.I met Roger when I was an undergraduate in the UNL English Department and later visited him when he and the Pawnee Tribe jointly established the Pawnee Art Gallery in Dannebrog to support tribal artists. He had been formally adopted into the Omaha Tribe's Wind Clan by their e","PeriodicalId":46681,"journal":{"name":"JOURNAL OF AMERICAN FOLKLORE","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135855903","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}

{"title":"Dinjii Vadzaih Dhidlit: The Man Who Became a Caribou: Gwich'in Stories and Conversations from Alaska and the Yukon","authors":"Crystal Gail Fraser","doi":"10.5406/15351882.136.541.12","DOIUrl":"https://doi.org/10.5406/15351882.136.541.12","url":null,"abstract":"Dinjii Vadzaih Dhidlit: The Man Who Became a Caribou: Gwich'in Stories and Conversations from Alaska and the Yukon by Craig Mishler and Kenneth Frank is a gift. Indeed, the authors themselves write in the acknowledgments that the book is “the fulfillment of a collective dream” (p. 19). At the center of this work is vadzaih, or caribou, and the recognition that “the body of the caribou is a microcosm of Gwich'in culture” (p. 33). Readers learn about Dinjii Zhuh (Gwich'in) hunting methods, the practices of processing, using, and storing vadzaih products, and important beliefs and understandings about vadzaih in Yukon and Alaska. The authors’ research objective is “to discover what the Gwich'in, as a small-scale subarctic society, could teach us all through their language and world view about living in close harmony with the land and with the wild game animals they share it with” (p. 35). They sought to “find out not only what the Gwich'in know about caribou anatomy, but how they see caribou and what do they say and believe about caribou that defines themselves, their dietary and nutritional needs, and their subsistence way of life” (p. 35).Throughout the book, the authors take readers on a journey centered exclusively on vadzaih. Through the words of Dinjii Zhuh Elders, we learn about hunting methods (chaps. 1 and 2), subsistence activities (chap. 3), how to prepare and store meat (chap. 4), foodways and recipes (chaps. 5 and 6), resource sharing and potlatches (chap. 7), the importance of vadzaih skins and hides (chap. 8), beliefs and practices that are culturally governed (chap. 9), a worldview based on respect for vadzaih (chap. 10), historic and personal narratives (chap. 11), and ancient vadzaih stories (chap. 12).This book is primarily for Dinjii Zhuh communities, including harvesters, Land protectors, and scientists, but it is important also for Dinjii Zhuh Youth, Indian Residential School Survivors, and those who suffer from intergenerational colonial trauma who may have not learned these teachings or not had the opportunity to work with Land animals. The authors believe—rightly so—that their “research activities and broad participation allow the Gwich'in to have a louder and clearer voice in scientific research and in their own education” (p. 36). Dinjii Vadzaih Dhidlit is also a manual for younger generations; for instance, in the story “Butchering Large Game Animals,” Frank carefully outlines how to butcher caribou, step by step. Moreover, this monograph will be of interest to scholars of history, Indigenous studies, linguistics, anthropology, biological scientists, and Northern studies who are seeking to advance their knowledge about Indigenous Peoples in the Arctic, our special relationship with vadzaih, and animal husbandry and conservation.The depth and richness of Dinjii Zhuh culture is consistent in the book, from the cover photo, the Elders Gallery, and the 16-page full-color photo spread to the complex and intricate Dinjii Zhuh G","PeriodicalId":46681,"journal":{"name":"JOURNAL OF AMERICAN FOLKLORE","volume":"150 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135855892","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}

{"title":"Feminism and Folk Art: Case Studies in Mexico, New Zealand, Japan, and Brazil","authors":"Nica Serena Kousaleos","doi":"10.5406/15351882.136.541.16","DOIUrl":"https://doi.org/10.5406/15351882.136.541.16","url":null,"abstract":"Eli Bartra's book attempts to reveal a feminist method of analysis for folk art and to apply this method to folk arts of Mexico, New Zealand, Japan, and Brazil. The introduction provides a lens into feminizing the popular—the works of the people, of the “impoverished classes” that do not receive formal art education (p. 2). Bartra relies on Henry Glassie's definition of folk art, which does not distinguish between art and folk art. She attempts to decipher something that is uniquely “feminine” in creativity by exploring folk art and artists while defining folk arts as “the artistic production of individuals who are disadvantaged in their respective societies” (p. 3).Bartra uses various folk art objects as her starting point and then introduces us to their creators. She utilizes Kimberlé Crenshaw's feminist conceptualization of intersectionality to discover how gender is communicated through the arts the artists make. Although Bartra suggests that paying attention to gender in the art works is critical, she elaborates an essentialist view of gender in her description of women's “authentic creativity” in folk art (p. 7). She argues that this feminine creativity appears mainly in the realms of embroidery, weavings, and clay objects, and that it has close links with mothering and maternity, and often with the body. Overall, the goal is to reveal invisible and unseen female artists.For example, the first chapter, “Trees of Life,” focuses on the polychrome clay figures made in Izúcar de Matamoros, Puebla, Mexico, which represent the cultural heritage of the State of Puebla. This chapter explores the creativity of women in the artisan community. By listening to the women and their stories, Bartra hopes to construct a female picture of the art form from 2009–2010. The town is a center for sugarcane production and is alive with memories of colonial culture. There are 12 workshops with roughly 60 artisans who live and work in this community. Bartra follows the work of several female artists in this community. Her discussion focuses on the art itself and its specific elements and style. Although she portrays some details about the past history of each woman artist, there is little about the social role of women or the specific role each woman plays in her family and community. I find it difficult to see how the focus on the objects fully reveals the gendered or embodied experience of each woman; the account we get is a surface-level description of each woman's artistic style and rendering. Bartra describes the focus on death that appears in so many of the women's pieces, yet she says nothing about the high rate of femicide that is the backdrop for these images in Puebla.The second chapter, “Art Weavers: Maori Women of Aotearoa (New Zealand),” focuses on the resurgence of maoritanga in cities where the Maori have had to migrate to make a living. This chapter is rife with issues, from the subpar quality of the photos of the weavings to the descriptions of hyb","PeriodicalId":46681,"journal":{"name":"JOURNAL OF AMERICAN FOLKLORE","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135855895","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}

{"title":"Roberta (Bobbi) Louise Singer (1941–2022)","authors":"Hanna Griff-Sleven","doi":"10.5406/15351882.136.541.05","DOIUrl":"https://doi.org/10.5406/15351882.136.541.05","url":null,"abstract":"New York City, Puerto Rico, and the folklore/ethnomusicology world lost a major beat when Roberta (Bobbi) Singer passed away on June 12, 2022, at Portsmouth Regional Hospital in New Hampshire. Bobbi was a key mentor for many folklorists/ethnomusicologists and musicians in New York City and a relentless voice and presenter of Puerto Rican, Cuban, and Caribbean Culture. Her passion for Puerto Rican music and its roots and sharing it all with the world at large contributed greatly to the fields of folklore and ethnomusicology.Bobbi was born a “red diaper baby” in the Bronx, but she spent most of her early life on Staten Island, where being raised as a secular lefty Jew in a predominantly Italian-Catholic environment was not easy. Her father, Joseph, who worked in the shipyard as a tool maker, died when she was 8 years old. Her mother, Miriam, raised Bobbi and her sister, Liz, as a single mother while working at a luncheonette and as a substitute caretaker for the parish priest (who loved discussing literature and politics with Bobbi's mother). In 1955, Bobbi and her family moved back to the Bronx, which was a more welcoming environment. Puerto Rican culture was starting to fill the streets of the Bronx as the Jews and Italians fled the city, and Bobbi reveled in the music, food, and acceptance of her new friends and neighbors.Bobbi studied the flute and later the saxophone and cello and entered the Manhattan School of Music on a scholarship. When her scholarship didn't get renewed, she transferred to Hunter College (tuition was free) and earned her Bachelor of Science in Music Education in 1965, while continuing to study music at the Manhattan School of Music at night. She then took time off from studying and stayed with family and friends in Italy and Budapest. She later earned a Master's degree in Ethnomusicology at Hunter College and, later in 1982, a PhD in Ethnomusicology from Indiana University. Her dissertation was aptly titled, “My Music Is Who I Am and What I Do: Latin Popular Music and Identity in New York City.” Her research included interviews with some of salsa's and Latin jazz's cutting-edge Nuyorican musicians on the scene, and she chronicled the dynamic 1970s Latino cultural scene in New York City. She wrote about her friends and colleagues in the city and her experience with the Latin community, and in doing so, paved the way for other cultural researchers to study and write about this vibrant community as well.New York City was her classroom. In the years leading up to the founding of the arts organization City Lore, Bobbi organized the 1983 concert called Music from the Islands: Puerto Rico, Cuba, and Manhattan, which marked one of the first performances of the iconic bomba and plena group, Los Pleneros de la 21. In 1986, she became one of City Lore's first staff members, organizing a music festival in and around the Central Park bandshell. That concert was pivotal for Bobbi. Rejecting teaching in a classroom, she was always think","PeriodicalId":46681,"journal":{"name":"JOURNAL OF AMERICAN FOLKLORE","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135855898","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}

{"title":"Information About Contributors","authors":"","doi":"10.5406/15351882.136.541.23","DOIUrl":"https://doi.org/10.5406/15351882.136.541.23","url":null,"abstract":"Other| July 01 2023 Information About Contributors Journal of American Folklore (2023) 136 (541): 357–366. https://doi.org/10.5406/15351882.136.541.23 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Information About Contributors. Journal of American Folklore 1 July 2023; 136 (541): 357–366. doi: https://doi.org/10.5406/15351882.136.541.23 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressJournal of American Folklore Search Advanced Search Rodrigo Chocano is a Kluge Postdoctoral Fellow at the Library of Congress and a research associate at the Center for Folklife and Cultural Heritage at the Smithsonian Institution. He obtained a PhD in Ethnomusicology at Indiana University in 2020. His research analyzes the relationship between Andean and Afro-diasporic musical communities and cultural heritage policy in Peru. He authored the book ¿Habrá jarana en el cielo? Tradición y cambio en la marinera (2012) and coauthored the book Celajes, florestas y secretos: Una historia del vals popular limeño (2009). He has also published articles on music and heritage in Ethnomusicology Forum, the International Journal of Heritage Studies, and other journals and has edited volumes in English and Spanish. His prior experience as a heritage official in UNESCO and the Peruvian Ministry of Culture informs his scholarship, as does his decade-long engagement with grassroots practitioners and activists.John Laudun is Professor... You do not currently have access to this content.","PeriodicalId":46681,"journal":{"name":"JOURNAL OF AMERICAN FOLKLORE","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135855901","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}

{"title":"Snow Woman <i>Yukionna</i>: From Spirit of Snow to Icy Hot Female","authors":"Noriko Tsunoda Reider","doi":"10.5406/15351882.136.541.03","DOIUrl":"https://doi.org/10.5406/15351882.136.541.03","url":null,"abstract":"Abstract Yukionna (snow woman), a Japanese supernatural being that represents snow or wintry weather, is frequently described as a striking, ethereal female figure. Among the numerous legends of snow women, arguably the most famous one was written by Lafcadio Hearn. This article discusses the history of yukionna while considering how the symbolic role of snow relates to conceptions of the female and to female yōkai (weird or mysterious creatures), and it examines Hearn's rendition of yukionna and its influence on the character in subsequent tellings. It also considers why a snow woman is often portrayed as a stunningly beautiful female in both Japanese and Western traditions.","PeriodicalId":46681,"journal":{"name":"JOURNAL OF AMERICAN FOLKLORE","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135855902","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}

{"title":"Mountaineers Are Always Free: Heritage, Dissent, and a West Virginia Icon","authors":"Debra Lattanzi Shutika","doi":"10.5406/15351882.136.541.19","DOIUrl":"https://doi.org/10.5406/15351882.136.541.19","url":null,"abstract":"The Mountaineer statue has stood on the main campus of West Virginia University (WVU) for most of my life. Like most West Virginians, I view the Mountaineer not simply as a college mascot, but as an emblem of our state and the Appalachian region. For this reason, I was thrilled with Rosemary V. Hathaway's book-length examination of the iconic mountaineer. Much more than a social history of WVU's mascot, Hathaway's impressive multi-method study draws upon archival, historical, and ethnographic methods to create a text that explores the social history of the idea of the mountaineer since the late eighteenth century.The book begins by examining the evolution of the various representations of people in Appalachia, then moves toward the more West Virginia/WVU-specific examples. Chapter 1 emphasizes that historic images of Appalachian people lack nuance and tend toward polar extremes: mountain people were either presented as either rural rubes or self-reliant frontiersmen. Hathaway masterfully traces the roots of Appalachian stereotypes and their evolution. Thus, the nineteenth-century lazy, violent, drunkards were variously identified as “squatters,” “crackers,” “white trash,” or “hillbillies.” These images contrasted with the more palatable “backwoodsman” and “frontiersman” embodied in the personas of men like Davy Crockett, before finally evolving to the image of the mountaineer we know today. This chapter comprehensively examines Appalachian imagery to date and should be required reading for any course in Appalachian studies and folklore.By the early 1900s, as industrial development and expansion of the coal industry displaced the frontier lifestyle, the idea of a frontiersman mountaineer was already fading into the past as a source of nostalgia. Timber and coal companies purchased and clear-cut virgin forests and other wide swaths of land, making the frontier way of life a thing of the past. Within this context, chapter 2 takes on the mountaineer imagery in the state of West Virginia and WVU more specifically, when the moniker “West Virginia University Mountaineers” was adopted in 1915.In this chapter, we see a conscious shaping of Appalachian and West Virginia identity. As the antithesis of “white trash,” the mountaineer embodied the idea that mountain whites were descendants of pure Anglo-Saxons. However, this idea of the mountaineer differed from popular images of the hillbilly, as manifested in music genres, comics, and film. Drawing on those images, WVU students adopted hillbilly imagery—wearing slouch hats, bib overalls, and toting jugs of moonshine. Nevertheless, when the university selected the official Mountaineer mascot and costume in 1934, it was the frontiersman wearing buckskins and a coonskin cap. Still, students continued to don hillbilly garb at official university events like homecoming competitions. As Hathaway notes, the hillbilly image represented to students more than an uncouth or uncivilized symbol, but rather functioned as ","PeriodicalId":46681,"journal":{"name":"JOURNAL OF AMERICAN FOLKLORE","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135855905","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}

{"title":"Strategic Skepticism: The Politics of Grassroots Participation in an Afro-Andean Nomination to the UNESCO Intangible Cultural Heritage Representative List","authors":"Rodrigo Chocano","doi":"10.5406/15351882.136.541.01","DOIUrl":"https://doi.org/10.5406/15351882.136.541.01","url":null,"abstract":"Abstract This article analyzes the grassroots participation politics in the nomination of a set of Afro-Andean musical and dance practices—atajo de negritos and pallitas—to the UNESCO Representative List of Intangible Cultural Heritage. These are performed during the Catholic celebration of Christmas in the Ica region in Peru. I suggest that the participation of grassroots practitioners in this case study featured a behavior pattern I label “strategic skepticism.” This behavior is a critical but passive form of grassroots engagement, alternative to both compliance and resistance, which allows a form of local agency that clashes with the neoliberal logics of the UNESCO Intangible Cultural Heritage process. The article, based on fieldwork conducted in the region of Ica in Peru between 2017 and 2018, includes perspectives from grassroots practitioners and state Intangible Cultural Heritage officials.","PeriodicalId":46681,"journal":{"name":"JOURNAL OF AMERICAN FOLKLORE","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135855914","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}