Memoria conducente al título de Periodista / No hay en el mundo un instrumento como el guitarrón chileno. Es único. Producto de una misteriosa conjunción de elementos, se forjó solo en la zona central de Chile. Ahí ha permanecido por siglos, casi esfumándose y ahora creciendo hasta llevar su irrepetible sonido por paisajes que parecían inimaginables. Hablar solo del guitarrón es hacerlo de una herramienta que no tiene con qué trabajar. No se concibe en forma aislada. Lleva impregnadas las marcas del canto a lo poeta, las incontables décimas a lo humano y a lo divino que se cantan con las melodías que de sus cuerdas brotan. Esas que sonaron en tantos campos chilenos, pero de pronto parecieron apagarse en casi todos ellos. Fue Pirque el lugar donde lo siguieron cultivando cuando el guitarrón pudo callar para siempre. Apenas unos kilómetros al sur de nuestro Santiago natal. Ahí a unos pasos. Solo bastaba acercarse para encontrarlo. Para querer hacerlo nuestro. Todo el peso y riqueza de una tradición como el canto a lo poeta son motivo suficiente para emprender una investigación. Es un océano donde sumergirse. Una y otra vez, encontrando en cada ocasión paisajes nuevos. Pero así como lo hace el mar con los pescadores o la montaña con los arrieros, hay también en el guitarrón un motivo inefable para acercarse. Un llamado. Algo parece esconderse en el sonido de esas 25 cuerdas y, sinceridad de por medio, sigue siendo inasible. Qué es, es una interrogante que acompañó toda nuestra investigación. Hasta ahora se cultiva mejor en el terreno de la búsqueda antes que en el de la certeza. Y no es incapacidad nuestra. Se lo pregunta a sí mismo uno de los guitarroneros que habitan en las páginas que siguen a continuación. ¿Qué es lo que me inquieta de este sonido? Hay un trecho que otros ya han recorrido. Afortunadamente, en algún momento hubo quienes pusieron su mirada sobre el instrumento y el fértil mundo que gira a su alrededor. Lo quisieron conocer, lo registraron, intentaron explicarlo. Gran parte de ese material se ha vuelto imprescindible por escasez. La falta de archivos sobre el origen y la evolución del guitarrón y el canto a lo poeta, considerando su carácter singularmente chileno, es asombrosa. Por lo mismo, cada señal, por fugaz que sea, se convierte en una guía útil.

No description available.

This work focuses on Western Kentucky University’s Folklife Archives located in Bowling Green, Kentucky. Western Kentucky University has a rich history of folklore scholarship, dating back to at least the early 20th century and the work of Gordon Wilson. Folklore archives across the nation have long been repositories for the fieldwork of folklorists and a place to look to supplement future studies both of folklorists and other disciplines. Western Kentucky’s Folklife Archives are no exception, housing thousands of impressive pieces donated from many generations of folklore scholars. Yet very little has been written about the Western Kentucky Folklife Archives. Through oral history and primary documentation, I have attempted to capture this history from the earliest days of Gordon Wilson, D.K. Wilgus, and Lynwood Montell to the present day. vi

Thesis (Ph. D.)--Åbo akademi, 2004. / Includes bibliographical references (p. 286-300).

Master of Arts / Department of English / Kimball Smith / This thesis stands as the first part of the earliest novel in a series that will appeal to the mass public, utilizing well-celebrated fairy tale elements and introducing old elements of courtly romance from the medieval literature period. In doing so, I have worked to create a fantastical world with obvious parallels to historical and present notions of society, culture, and human interactions, but with a new and interesting twist on concepts readers are familiar with. The universe I’ve created is able to be introduced in this first installment and gradually broadened as the series progresses to prevent exhaustive detail which may distract the reader. Also, it is restricted by specific laws in terms of magical abilities and power in order to give the reader boundaries to react within and prevent the unhelpful limitlessness that causes a loss of interest. The main character, Emily Fenhorn, is a thirteen-year-old girl who is fairly average in her adolescence. She’s neither the weakest nor the strongest character, leaving room for both growth and human frailty. The conflicts that affect Emily in this first installment center primarily on problems that teenagers deal with on a regular basis such as the need for acceptance, making new friends, making and dealing with enemies, popularity, and academic concerns. Unlike other thirteen-year-olds, Emily is plagued by a horrifying ‘gift’ that she doesn’t know how to control; a gift which ends up earning her place at Grimm’s Reformatory.

Thesis advisor: Susan Michalczyk / This thesis explores crow and wolf symbolism within the mythology of Western Tradition, focusing on the Bible, Greek and Roman mythology, Native American folklore, Shakespeare, and Aesop's fables. Much of the animal imagery in literature is negative and does not truthfully represent the animals symbolized. This thesis investigates why these negative associations are formed, how they relate to the biological lives of wolves and crows, and explores their ambiguity in relation to the positive symbolism that exists. Negative symbols acquire strength as cultures grow further away from the land they live on and focus on industry and humanity instead of the world around them. The behavior of both wolves and crows is secretive, causing people to create stories to explain their actions. Furthermore, humans use these animals as a "shadow" to themselves, bestowing characteristics upon them which are found in human nature but are generally considered unacceptable. / Thesis (BA) — Boston College, 2004. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program.

Many individuals develop strong bonds with their pets, viewing them as close “furry” friends or family. When these beloved companions die, both their relational and physical absences are deeply felt. Lacking socially recognized rituals to mourn and memorialize their pets, owners turn to and adapt traditional “human practices,” primarily that of keeping meaningful or significant items of the deceased. Using both personal experiences and perspectives from multiple fields, this thesis discusses the life-cycle of the human-animal bond, examines the types of items owners keep or create, and how these are used to facilitate both mourning (the outward expression of grief) and memorialization (the practice of remembering). I argue that because they allow owners to both literally and symbolically recreate the sensory experiences of pet ownership, material items such as hair, impressions, collars, cremains, and models are ideal ways to remember deceased pets. As a result, this study adds to and deepens the understandings of the complexities surrounding the human-animal bond, in addition to how owners use and extend folkloric behaviors and principles, such as tradition and the material culture genre to include experiences and relationships with pets.

Thesis (Ph.D.)--University of Hawai'i, 1993. / Chairperson: C.T. Lo. Includes bibliographical references (p. 217-224)

Thesis--Helsingfors. / "Bücherverzeichnis": 4th-5th prelim. leaves.

A wealth of East Slavic folklore has been collected throughout Russia, Ukraine, and Belorussia over a period of more than a hundred years. Among the many examinations that have been conducted on the massive corpus of legends, fabulates, memorates, and charms is an attempt to gain some understanding of indigenous East Slavic religion. Unfortunately, such examination of these materials has been overwhelmingly guided by political agenda and cultural bias. As early as 1938, Yuri Sokolov suggested in his book, Russian Folklore, that some of Russia’s folk practices bore a remarkable resemblance to shamanic practices, commenting specifically on a trance like state which some women induced in themselves by means of an whirling dance. This thesis explains the historical bias against a comparison of East Slavic folklore with shamanism; offers a brief anthropological review of shamanism and conducts a minimal comparison of elements of Russian folklore with the sine qua non definitions of two experts on the subject of shamanism. / text