A distinctive subset of late medieval drama are those customs which involved an element of subversion or inversion on the occasion of a calendar feast. These customs, which may generically be labelled as misrule, have long been a source of interest to antiquarians, local historians and students of medieval drama and popular culture. One particular view which has dominated the discussion and interpretation of misrule is the approach which sees such practices as a conservative force in late medieval society, that is, by temporarily challenging authority these customs merely reaffirm it in the long run. It is the contention of this thesis that although this model has raised the important question of the relationship between misrule, politics and social structure in this period, it is inappropriate both as a metaphor and as a tool for the analysis of these themes. I review the scholarly literature on misrule over the past twenty-five years in Chapter One, drawing attention to the problems of previous approaches. In Chapter Two I put forward what I believe to be a more appropriate vocabulary and framework in which those calendar customs with a transgressive element can be discussed. I suggest that misrule is more constructively approached as an instance of symbolic inversion, which enables functionalist terms like 'safety-valve' to be replaced by a neutral language that does not prejudge the function of a custom. I use this new methodology to undertake a series of case-studies in Chapters Three to Six, each of which examines the function of a particular custom. I am able to show that misrule could have a variety of functions in the late medieval town, playing a part in local change as part of wider strategy of resistance, as well as being one means through which social status could be accumulated and articulated.

This diploma thesis is focused on the generation of committed teachers, regional eastern Bohemia patriotic activists that were interested in ethnography and folklore studies on the amateur level. The first part of the thesis introduces four profession-associates of the same generation, teachers from the end of 19th and the beginning of 20th Century. Subsequent chapters deal with wider cultural-historical context with the emphasis on the history of pedagogy and ethnology. In the thesis there is also the development of homeland studies depicted. These studies were introduced as compulsory at the beginning of 20th Century and were therefore suitable for deepening of the educational role of the school via ethnographical materials. The main focus of the thesis is on the intersection of homeland education and ethnographic activities of mentioned teachers (cooperation with professionals, interest in collecting…) as well as the analysis of their importance to the professional ethnography.

abstract: This project examines the intersections between sexual/cultural cross-dressing and un/documented immigration from the point of view of folklore and immigration studies using Sui Sin Far's short story collection Mrs. Spring Fragrance and Karen Tei Yamashita's novel Tropic of Orange. Using the lenses of folklore theory and cross-dressing highlights aspects of immigration (and its intersection with gender and race) that are otherwise missed; it is necessary to examine the evolving ways in which fictionalized cross-dressers re-craft and occupy the spaces from which they are barred in order to address and redress questions of immigration today. Incorporating anthropology, history, folkloristics, and gender studies, this project shows that historical forms of cross-dressing and immigration lead to the development of unstable identities and pressures to "re-dress" and return to one's original space. More recent studies about gender, however, reveal a historical change in how cross-dressers negotiate their identities and the space(s) they inhabit. Therefore, it is crucial to inspect cross-dressing and immigration as both historical and contemporary phenomena. While Mrs. Spring Fragrance (published in 1912) represents more conventional ideas of cross-dressing and immigration, Tropic of Orange (published in 1997) offers alternative ways to navigate borders, immigration, and identity by using these concepts more playfully and self-consciously. Although sexual/cultural cross-dressing and un/documented immigration are not the same in every case, there are enough similarities between the two to warrant investigating whether some of the solutions reached by modern cross-dressers and gender-ambiguous people might not also help un/documented immigrants to re-negotiate their status, identities, and spaces in the midst of an unstable and at times hostile environment. In fact, an examination of such intersections can address and redress immigration by changing the perceptions of how, and the contexts in which, people view immigration and borders. Thus, this project contends that it is the combination of folkloristics, gender and immigration studies, Mrs. Spring Fragrance, and Tropic of Orange together that precipitates such a reading. / Dissertation/Thesis / M.A. English 2013

有關於維吾爾族的「卡搭恰依」(ﻗاﺗﺎﺭچاي - qātār chāyi)，其實是一種近年來盛行於新疆各大維吾爾城市的娛樂活動。「恰依」(چاي - chāyi)在維吾爾語意思就是「茶」；而「卡搭」(ﻗاﺗﺎﺭماق – qātārmaq)則是動詞，意思就是「輪流」；因此「卡搭恰依」翻譯成漢語就是「輪流茶會」。會有這樣的稱呼是因為在活動開始時，大家都會先喝茶；乃至活動結束時，大家也會喝茶。「喝茶」在整個活動過程中，具有某種程度的象徵意義。特別一提的是，茶在歷史上有兩種叫法。一種是茶葉海路貿易時期，來自閩粵音的「tea」；另一種是絲綢之路的中亞陸路貿易時期，源自中國北方方言「茶葉」的譯音「chai」。蒙古文、突厥文、波斯文、印度文、葡萄牙文、希臘文、俄文皆稱茶為「chai」。因此維吾爾人才會稱「茶」為「恰依」。據聞，維吾爾族接觸茶大約是在唐朝前後，而如今「茶文化」對維吾爾族而言，更是伴隨商品經濟的出現和城市文化的形成孕育而生。隨著社會的不斷進步和人民生活水準的日益提高，「飲茶」也從最初的消暑解渴、強身健體，發展到現在已成為維吾爾文化中獨具特色的一部分。 根據筆者的田野調查經驗以及文獻資料顯示，在卡搭恰依的整個活動過程中，大多是充滿著維吾爾族的歌舞音樂；在享用過維吾爾族的傳統美食後，人們會開始競相表演，或者私下聊起生活話題。值得注意的是，卡搭恰依既然是「輪流茶會」的意思，代表著每次舉辦時都會有一位「東道主」做東來請大家吃飯喝茶。這樣的聚會通常都是一個月一次，規模可大可小，有十數人，也有數十人。對於這樣形式的聚會活動，筆者是充滿著好奇與興趣。因為維吾爾族傳統聚會的普遍方式就是聚在一起吃飯；而吃飯通常以茶開始，以茶結束，「喝茶」貫穿於始終。表面上看來這樣的聚會形式，只是維吾爾人聚在一起吃飯、喝茶， 但其中卻包含了很多實質性的內容，比如訂婚茶、和好茶、喬遷茶等。 做為新疆當代的民俗娛樂活動卡搭恰依承襲了這種聚會模式，卻又有別於維吾爾族的傳統聚會。按照筆者的說法，首先，它這一種「輪流做東」的玩法算是外來的活動模式，傳到南疆時經「在地化」後而成為富有維吾爾族文化特色的民俗娛樂。再來就是卡搭恰依出現的年代最早是一九八○年代，且直到近十幾年來才更廣為流傳，從社會歷史背景來看，是「文化大革命」期間「麥西萊甫」(مه شيرهپ - mashirap)的變體以及中國經濟「改革開放」後的社會產物。 較為特別的是，卡搭恰依的活動成員，不光只是男性為主的活動，女性皆有組織卡搭恰依的情況，且更佳的熱情與積極， 這在伊斯蘭文化濃郁的南疆是頗為奇特的。畢竟，信仰伊斯蘭教的女性在穆斯林社會中活耀的程度普遍較低，除了宗教活動之外的婦女聚會非常少見，更別提盛行了。而讓人覺得驚奇的是，卡搭恰依不僅僅是一個「綜合性」的民俗娛樂活動，它也可被歸類為「經濟組織」。 其組織的樣貌有點類似像台灣早期「民間互助會」的形式來運行，參與卡搭恰依的成員於每次定期聚會時都會繳交一筆金額給「東道主」，使每位東道主皆可以利用「做東」而先拿到一筆款項來做運用，儼然是「請客做東」的行為就類似於「標會」：筆者認為這樣的情況顯然是受到現代化生活的影響，是傳統農業社會轉變到以商品經濟為導向的現代化社會的表徵，可說它是一種文化變遷後的社會適應現象。 且根據筆者的田野調查顯示，作為此種現象的載體─新疆當代的娛樂活卡搭恰依，正扮演著多功能的角色。在家庭上，維吾爾人利用卡搭恰依定期見面維繫親情，四代同桌的畫面很常見；在交際上，朋友或同學間即使因工作分散各地，有了卡搭恰依的金錢制約後，再遠再忙也會趕回來參加聚會，無形的交流中也傳遞了各方面的訊息。在經濟上，伊斯蘭宗教思想對穆斯林金錢上的規範導致維吾爾人不喜歡向人借貸，此時，卡搭恰依的經濟互助性讓他們不用低下頭跟別人開口，而是冠冕堂皇的請客做東之餘，得到一筆款項來面對其產生的慾望或所面臨的危機，這對極好面子的維吾爾人來說非常重要，筆者認為這是卡搭恰依能迅速風靡維吾爾族中的關鍵。在娛樂上，做為一種綜合性的民俗活動，它承襲了「麥西萊甫」的歷史記憶。 中國大陸「文化大革命」期間，刀郎舞被批判為「野蠻落後」、「原始低級」，迫使麥西萊甫就此不敢再被舉辦。熱愛歌舞的維吾爾族人只好改成在家裡透過「恰依」的聚會方式，抒發人們心中對藝術、娛樂的追求。 因此筆者認為，卡搭恰依是以恰依為基礎來達到群體間的「經濟互助」，其娛樂內容自然與維吾爾族傳統民俗娛樂相結合。在民俗文化上，卡搭恰依就像是一個學校，學社會知識和生活經驗的學校，是一個沒有教材的學校。長輩們透過它把維吾爾族傳統道德觀念交給晚輩們；把生活經驗、相處禮節、家庭責任…等，在此交流之下，達到文化傳承的目的，凝聚了維吾爾族對自己傳統文化的認同。甚至於，這種由「擁有共同歷史記憶」構成的「我群意識」，經伊斯蘭宗教文化的催化下，型塑出一種類似於「哲瑪提」(Jamaat) 的社區概念， 使卡搭恰依的成員們在以經濟、娛樂為導向的人群互動下，彼此間關係變得更加緊密。

Cette étude est une analyse du rapport entre la poésie d’Auguste Brizeux et la chanson bretonne, inspirée par l’étrangeté de sa forme et de son style poétiques, semblables aux particularités de la chanson folklorique de Basse-Bretagne. Nous supposons donc que cette étrangeté résulte de l’adaptation de la forme de la chanson bretonne à la poésie française. Si tel est le cas, ceci nous amène à une nouvelle question : comme Brizeux était très proche de Théodore Hersart de La Villemarqué, auteur du Barzaz-Breiz, cet art poétique a-t-il quelque rapport avec ce fameux recueil de la chanson bretonne ? C’est ce qui a motivé nos recherches et nous amène à en présenter le résultat. / This study is an analysis of the relation between the poems of Auguste Brizeux and traditional Breton folksongs. It is inspired by the curious and unconventional poetic structure found in his poems, similar to the forms particular to the traditional song of Lower-Brittany. We suppose that this particularity comes from the adaptation of the poetic system found in Breton song to French poetry. If that is the case, this hypothesis would also lead to a new question: As Brizeux was close to Théodore Hersart de La Villemarqué, author of the Barzaz-Breiz, had there been a real influence between the poetic practice of our poet, Brizeux, and the production of the so-called “Breton folksongs" published in this La Villemarqué's famous book? This compelling question is the source of interest in our comparative study, its motivation and the thread that leads us to an intriguing conclusion.

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