Officially in 1934, socialist realism emerged in Soviet society as the new cultural aesthetic, providing an artistic framework for all forms of cultural productionart, music, architecture and literature. In the realm of childrens writing, socialist realism had particularly interesting effects on the themes and formulas that were utilized by authors. Though once thought to represent the tsarist and peasant past, the Party encouraged the use of traditional folk elements to popularize the new overtly Soviet tales, despite the apparent unorthodoxy. Similarly, authors were encouraged to reintroduce the hero, also seemingly unorthodox in what was a theoretically collective society. Nonetheless, heroic themes and characters emerged to recognize achievements in industry and the drive for modernization, encourage vigilance against internal and external spies and saboteurs, propagandize the Soviet war effort against Germany, and honour Soviet soldiers for their sacrifices. Soviet childrens books demonstrated to youth the communist qualities of selflessness and devotion to the collective, and about the dangers of idleness. Children learned that the Soviet Union was to be the new Soviet family, replacing the bond of blood kinship. The leader cult filtered down to childrens books and Stalin made a significant appearance as the father of all heroes. This thesis argues that the Party recognized the value of childrens literature for shaping the character development of young readers. Popular in their own right, childrens books were not able to avoid the manipulation and control of the Party, which employed them as tools of propaganda. However, it is difficult to separate the extent of their genuine popularity from their appeal as propaganda.

Thesis (Ph.D.)--Indiana University, Dept. of Classical Studies, 2007. / Title from dissertation home page (viewed Sept. 25, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0602. Adviser: Eleanor W. Leach.

Texte remanié de: Diss.--Philosophische Fakultät--Bonn--Rheinische Friedrich-Wilhelms-Universität, 1999. / Contient en appendice la trad. allemande de légendes arabes relatant des rencontres avec Khidr. Bibliogr. p. 563-592. Index.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2009. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: . Adviser: Laurence J. Parker. Includes bibliographical references (leaves 309-328) Available on microfilm from Pro Quest Information and Learning.

Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2009. / Title from PDF t.p. (viewed on Feb. 8, 2010). Source: Dissertation Abstracts International, Volume: 70-05, Section: A, page: 1745. Adviser: Greg Schrempp.

Inaug.-diss.--Greifswald. / Lebenslauf. At head of title: Deutsche philologie. "Die deutschen märchensammler des 19. jahrhunderts" (bibliographical notices of 45 collectors): p. [15]-87. "Sammlungen": p. [ix]-xi; "Literatur": p.xi-xii.

Inaug.-diss.--Halle-Wittenberg. / Lebenslauf. Includes Aubrey's, Scott's and Blakeborough's versions of the poem, and a German translation. "Literatur": p. [7]-10.

The Hindi author Phanishwarnath Renu (1921-1977) is credited with initiating the “regional” literary genre in India—a form characterized in part by its use of village song and performance. Renu's work is unusual for the deep debt it owes to his village's performance community; he described himself as a product of folksong, and there are hundreds of textual examples of village song in his writing. Both the songs performed in Renu's village, and also those performed in his fiction, are products of sensibilities local to the folklore region of northeast Bihar. This dissertation draws on textual analysis and on fieldwork in Renu's village, Aurahi-Hingana, and uses a performative approach to explore this Hindi author's unusual station on the border of written and oral tradition. Renu was no passive reproducer of song, but a performer himself, and for certain individuals in his village Renu was a singer first and writer second. Some illiterate village singers even claim him as one of their own. He had a direct hand in shaping the life of his community's folklore as a singer and teacher, and his influence is such that he has become a character within the twenty-first-century village performance repertory. If Renu was a performer, then there is something to be gained from considering his writing as a performance category. The songs in his writing inhabit space, geography, and history—they are worldly—in the same way that live performances of village song inhabit the world. This dissertation proposes a contrapuntal method of reading both fiction and performance that demonstrates the multi-layered complexity of one of Hindi's much-loved authors, and affirms the many layers, the complexity, and the importance of the song tradition to which that author belonged. / text

Històricament el conreu de la vinya al Bages es fon en la nit dels temps i, tot i haver viscut pujades espectaculars, no han faltat baixades importants. Amb tot, el futur passa per una modernització de mètodes i tècniques de vitivinificació que trenquen amb tota una tradició mil·lenària i aporten un nou lèxic que duu implícit el risc de desaparició de tot un vocabulari associat a una manera de veure i explicar-se el món. Aquesta manera de veure i explicar-se el món és l'eix vertebrador i l'objecte d'estudi del present treball.Els resultats obtinguts són extrapolables a una àrea geogràfica que supera, de bon tros, els límits de la comarca de la D. O. Pla de Bages. És per això que, modestament, aquest diccionari voldria afegir-se als estudis lingüístics romànics sobre el món de la vinya i el vi, ja que un cop revisats els repertoris lèxics, específics o generals de la bibliografia, s'ha pogut constatar que pràcticament un 25 % de lèxic recollit no figura en cap d'ells. Partim d'una comunicació directa amb les persones que encara conserven el saber tradicional que donen generacions i generacions d'experiència, bo i fent convergir aquest saber ancestral amb el de diverses fonts culturals, encreuant així l'etnolingüística amb d'altres disciplines. La característica principal que defineix aquest diccionari és la multimodalitat. Amb això s'ha cregut fer una petita aportació metodològica a l'etnolingüística, especialment en l'aplicació de les noves tecnologies en els estudis d'aquest tipus, tant pel que fa al mètode de col·lecta (ús de gravadora de veu, vídeo i fotografia digitals) com al de la plasmació gràfica i sobretot audiovisual, que permet un grau més alt de fidelitat a les produccions lingüístiques dels informadors (ús d'escàner, programes informàtics de fotografia, vídeo, tractament de so o base de dades). El fet de poder veure una imatge fixa o en moviment i poder escoltar la veu directa de l'entrevistat amb la fidelitat que ens procuren els moderns mitjans digitals permet copsar directament l'abast de les produccions lingüístiques i, a la vegada també, fixar-les en el temps, al costat dels camps de diccionari tradicional (entrada, definició, etimologia, sinònims, traducció, transcripció fonètica o dites i refranys). Així, aquest treball no esgota totes les possibilitats d'estudi en si mateix: és un recull de material divers, classificat segons uns criteris concrets, però que es pot mirar, revisar, reclassificar i estudiar des d'innumerables punts de vista.Mai ens cansarem de valorar la importància i riquesa de la saviesa popular i de la memòria col·lectiva. Ni tampoc de recordar la necessitat de divulgar-les a les noves generacions. D'aquí aquest intent d'aproximar la cultura de la vinya i el vi (morfologia del cep, menes de ceps i raïms, malalties i plagues, vegetals i animals de vinya, vins i derivats), però també del món tradicional de pagès en general (eines i màquines, estris i atuells, feines, guarniments de l'animal, construccions, termes jurídics, mesures, meteorologia, creences i tradicions), de manera prou entenedora i que estalviï els esculls d'unes formes potser massa acadèmiques que puguin tancar a algú l'entrada a aquest celler de tradicions. Així, s'ha volgut establir una mena de pont, entre el rigor científic i el saber popular, pouant d'ambdós, mirant d'acostar-los, i de fer-los accessibles a qui hi pugui estar interessat, bo i pensant sobretot en les novelles generacions, oferint-los un registre de la memòria d'aquests dos centenars de savis bagencs, els nostres padrins, per edat, per experiència i per voluntat, que algun dia des d'aquestes pàgines, poden parlar-nos de nou i fer-nos de guia i de memòria de qui som i on anem. / The history of growing vines in Bages goes back a long way , and while there have been spectacular booms , there have also been important slumps. All in all, the future implies a modernization which will break with a thousand year old tradition and the use of a new vocabulary which implicitly threatens the existing one ,associated with a way and vision of life. This way and vision of life is the basis and object of study of the thesis.The results obtained can be extrapolated to a geographical area much larger than the area of D.O. Plain of Bages. For this reason , this dictionary would modestly like to be added to the Romanesque linguistic studies on the world of vines and wine, due to the fact that after having checked the lexical ,specific and general content of the bibliography,it can be seen that almost 25% of the lexis gathered does not appear in any of them.Our basis is direct communication with people that still conserve traditional know-how that comes of several generations of experience. At the same time we mix this ancestral knowledge with that of various cultural sources, thus the ethnolinguistic converges with other disciplines.The main defining characteristic of this dictionary is its multiple forms . In this sense, a small methodological contribution has been linked to the ethnolinguistic one ,especially in the use of new technology in this type of study, both for the method of collection ( use of voice recorder, video and digital photography) and also the graphic and especially audiovisual forms which allow a much higher degree of accuracy ( use of scanner, computer programmes of photography, sound and database ) .The fact that one is able to see a fixed or moving image and also listen to the voice of the interviewee live with the accuracy that modern digital means offer, allows us to grasp directly the range of the linguistic content , and especially , place it in time alongside the information found in a traditional dictionary ( entry, definition, etymology, synonyms, translation, phonetic transcription or sayings and proverbs ) . In this way, this project does not exhaust all the possibilities of study in itself : it is a collection of diverse material , classified according to specific criteria , but which can be viewed, checked, reclassified and studied from innumerable points of view.We can not stress enough the importance and wealth of popular wisdom and collective memory . Nor should we forget the need to pass them on to future generations. Hence this study which tries to bring us closer to the culture of vines and wine (morphology of vine, types of vine and grapes, illnesses and plagues, vegetables and animals associated with vines, wines and derivatives) as well as the traditional country world in general (tools and machines, receptacles, jobs ,attire for animals , buildings, legal terms, measures, weather, beliefs and traditions )in a way which can be easily understood, and which avoids the pitfalls of academia. Thus, a kind of bridge has been built between scientific and popular knowledge with the intention of bringing them closer together and making them more accessible, especially to the younger generations by offering a register of the memory of these two hundred wise men and women from Bages, our godparents in age and experience, who one day from these pages will be able to speak to us again, guide us and remind us of who we are and where we are going.

Esta tesis doctoral se interroga sobre las interrelaciones existentes entre el espacio construido de la ciudad y las personas que lo habitan. Se busca desvelar las reciprocidades entre el entorno material urbano y las personas que lo utilizan. Para ello se elige el espacio público de Barcelona en sus componentes materiales y sociales como lugar de estudio privilegiado para producir la información etnográfica. Como método de trabajo se propone la observación participante a lo largo de tres “itinerarios etnográficos” por el espacio público barcelonés. Estos itinerarios estructuran la delimitación del espacio objeto de estudio que el investigador recorrerá andando. Los tres recorridos arrancan del centro histórico de la ciudad y culminan en los bordes del municipio atravesando numerosos barrios bajo el criterio de acceder a una diversidad urbanística y social. A partir del pensamiento teórico del sociólogo y filósofo Henri Lefebvre, se plantea el espacio urbano como una producción social, asociado por tanto a un modo de producción y reproducción dominante. Como modelo de análisis aplicable a la información producida, también se toma de Lefebvre su teoría de los tres momentos del espacio o “trialéctica espacial”. Esta tríada conceptual propone que el espacio se puede analizar por sus prácticas espaciales, sus representaciones del espacio y sus espacios de representación; o lo que es lo mismo: el espacio percibido, el espacio concebido y el espacio vivido. El trabajo de campo etnográfico y las fuentes de documentación secundaria se analizan bajo estos conceptos mostrando las interacciones resultantes como elementos de una dramaturgia de actores, intérpretes, escenario y bambalinas. El espacio público de Barcelona en los itinerarios etnográficos estudiados es el resultado del proceso continuo de interacción de los tres momentos del espacio. Esta tesis los ha identificado a través de la observación de sus usos y actividades sociales, su urbanismo y su arquitectura, sus signos y sus normativas… / This thesis questions the interrelationships between the city’s built spaces and people who inhabit it. It seeks to uncover the reciprocity between the urban physical environment and the people who use it. Barcelona is chosen as a public privileged space for ethnographic information production in their material and social elements. As a working method we propose participant observation over three "ethnographic itineraries" in Barcelona’s public spaces. These itineraries limit our object of study and are structured by the researcher walking procedure. The three walks start in the historical center and culminate at the edges of the city going through many neighbourhoods which provide for direct access to urban and social diversity. From the theoretical thinking of the sociologist and philosopher Henri Lefebvre, urban space is understood as a social production, therefore related to a dominant production and reproduction mode. Also, Lefebvre’s theory of the three stages of space or "space trialectics" is applied in analysing produced information. This conceptual triad suggests that space can be analyzed by their spatial practices, representations of space and spaces of representation, or similarly: perceived space, conceived space and lived space. The result of ethnographic fieldwork and secondary documentation sources are analyzed under these concepts showing the resulting interactions as a drama of actors, performers, stage and backstage elements. The public space in Barcelona, studied by the ethnographic itineraries, is the result of a continuous interaction process of the three moments of the space. This thesis has identified them through the observation of their habits and social activities, its urbanism and its architecture, their signs and their regulations.