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16 results for “Folklore”
A small collection of folklore recordings in Iraqi Turkman
<p>Recordings of Iraqi Turkman folklore recorded and transcribed for the following article:</p> <blockquote> <p>Bayatlı, Sevilay, Ilnar Salimzianov, and Jonathan N. Washington (2024). <em>Bayat, a variety of Iraq Turkic.</em></p> </blockquote> <p>The recordings are <strong>currently hosted online at <a href="https://selimcan.org/tur/read/folklore/index.tki.html">https://selimcan.org/tur/read/folklore/index.tki.html</a></strong>. Please access there.</p> <p>This repository functions as a hub with a DOI and also a backup of the data if the above-hosted site becomes unavailable.</p>
FIG. 6 in From folkloric belief to fishery bycatch: contrasting cryptozoological and euhemeristic interpretations of Australian sea serpents
FIG. 6. — String of A, fishing-net floats, which, if nonlethally entangled around an actively swimming animal and bobbing up and down on the water surface might be misinterpreted as the long tail of a presumed sea serpent, especially if the UMO was also pulling a "mane" of intertwined fishing-net and accumulations of seaweed or other natural or anthropogenic debris; B, cork pieces used to buoy a gillnet;C, wooden casks used to suspend a purse-seine. Photo credits: R. France (taken at Battle Harbour National Historic District, Battle Harbour, Newfoundland and Labrador [A]; Cape Ann Museum, Massachusetts [B]); nineteenth-century illustration reproduced from France 2019a [C].
FIG. 3 in From folkloric belief to fishery bycatch: contrasting cryptozoological and euhemeristic interpretations of Australian sea serpents
FIG. 3. — Illustrations of the many-humped, string-of-buoys Gloucester Sea Serpent observed by hundreds over a period of weeks in Massachusetts in the nineteenth century. Further details of these sightings as well as other illustrations are presented in France (2019a, b).
FIG. 2 in From folkloric belief to fishery bycatch: contrasting cryptozoological and euhemeristic interpretations of Australian sea serpents
FIG. 2. — Unidentified marine objects seen in waters around Australia in A, 1900 (anecdote 19, Wide World Magazine); B, 1913 (anecdote 28, Sunday Times); C, 1939 (anecdote 67, Cryptozoology); D, 1981 (Papua New Guinea waters; Smith 2020). Anecdote numbers correspond to those from Smith (2020). The illustration of the New Guinea UMO depicts the classic manyhumped, string-of-buoys "sea serpent" seen repeatedly around the world, which could, as has been suggested for other regions, be an actual string of entangled buoys from a fishing net. The 1913 Australian UMO was observed to sport a beard and dorsal crest, both traits which have been suggested to indicate presence of entangled fishing gear for other UMOs. Clearly the coils or loops elevated above the surface of the water that were observed for the 1900 and 1939 UMOs are biologically impossible and consequently represent a train of anthropogenic material.
FIG. 4 in From folkloric belief to fishery bycatch: contrasting cryptozoological and euhemeristic interpretations of Australian sea serpents
FIG. 4. — Pre-plastic maritime equipment forming the backbone of the long tails of putative sea serpents.A-F, early to mid twentieth-century fishing ropes and nets constructed of natural fibre (hemp); G, H, remarkably preserved hemp ropes retrieved from a 400 year-old sunken Basque whaling ship. Photo credits: R. France (taken at the Fisheries Museum of the Atlantic,Lunenburg, Nova Scotia [A, B]; the Maritime Museum of the Atlantic, Halifax, Nova Scotia [C, D]; Battle Harbour National Historic District, Battle Harbour, Newfoundland and Labrador [E, F] [see France 2019a for other, similar photos as well as nineteenth-century illustrations of the same]); Red Bay National Historic Site & UNESCO World Heritage Site, Red Bay, Newfoundland and Labrador (G, H).
FIG. 5 in From folkloric belief to fishery bycatch: contrasting cryptozoological and euhemeristic interpretations of Australian sea serpents
FIG. 5. — Pre-plastic maritime material forming the humps of the long tails of putative sea serpents. A, B, blown-glass balls used as floats from the nineteenth-century; C, D, nineteenth-century cork floats; E, F, wooden casks of the type often used as floats on fishing nets. Photos credits: R. France (taken at the Fisheries Museum of the Atlantic, Lunenburg, Nova Scotia [A, D]; the Battle Harbour National Historic District, Battle Harbour, Newfoundland and Labrador [E, F]); the Mystic Seaport Museum Archive and Collections, Mystic, Connecticut (B, C).
FIG. 1 in From folkloric belief to fishery bycatch: contrasting cryptozoological and euhemeristic interpretations of Australian sea serpents
FIG. 1. — Unidentified marine objects (UMOs) representing the "many-humped" or "string-of-buoys" typology of "sea serpents" observed in A, Géographe Bay, Australia, in 1879; B, the Great Barrier Reef, Australia, in 1934. Further details of these sightings and illustrations of other UMOs from the nearby Western Pacific are presented in France (2020a).
Scapegoating Mechanisms in Hungarian Commentary-Folklore During the Coronavirus Crisis – Database
<p>Database of commentary-folklore in Hungarian language collected during the first wave of coronavirus disease-19. </p> <p> </p>
SYMBOLIC ASPECTS IN UZBEK AND ENGLISH FOLKLORE
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FOLKLOR AN'ANALARI ASOSIDA BOLA SHAXSINI SHAKLLANISHINING PEDAGOGIK-PSIXOLOGIK XUSUSIYATLARI
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JAHON FOLKLORSHUNOSLIGIDA KULGIGA ASOSLANGAN FOLKLOR JANRLARINING O'RGANILISHI
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FORMATION AND DEVELOPMENT OF UZBEK FOLKLORE
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INTERPRETATION OF MOTIFS AND IMAGES CHARACTERISTIC OF FOLKLORE IN THE STORY
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ISSUES OF SPEECH ETIQUETTE IN UZBEK FOLKLORE PROVERBS
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FORMATION AND PERFORMANCE STYLES OF SURKHANDARYA CHILDREN'S FOLKLORE DANCE SCHOOL
<p><span>In this article, the history of Surkhandarya children's folk dances and dance schools, the ethnic composition of folklore ensembles, and their stages of development are studied.</span></p>
ETYMOLOGICAL FEATURES OF UZBEK FOLKLORE TERMS
<p><span>Folklore art, deeply rooted in human culture, emerged during the early stages of communal societies. The development of labor, collective experience, and consciousness paved the way for the evolution of oral literature. Humans began to utilize figurative language to express their experiences, thoughts, and understanding of nature and society. The growth of artistic expression, the refinement of aesthetic taste, and the pursuit of pleasure led to the diversification of artistic forms and literary genres. </span></p>
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