Through comparing the repertoires, presentational characteristics, and rehearsal procedures of Surinamese Maroon culture-based performance groups within Paramaribo, I outline the concept of personalizing tradition. This is based on the premise that differing social and performative practices lead to different understandings of the same performance genre, and that culture-based collectives, like those discussed here, mobilize tradition in order to fulfill a variety of social needs and aspirations. Their personalizing practices lead to embodied understandings of a variety of concepts, among them tradition, culture, professionalism, and cosmopolitanism. Through learning and presenting this composite of physical significations, performers generate visual and sonic representations of Maroon cosmopolitanism, thereby articulating aspects of the lived realities of Maroons whose life experiences diverge from the most commonly circulated characterizations of Maroon society—namely a population isolated from (or even incapable of comprehending) cosmopolitan and national technologies, aesthetic forms, and knowledge systems. Borrowing from jazz discourse, I posit that satisfaction and social poetic proficiencies arise from performers’ adeptness at playing the changes, in other words their capacities to understand the changing social circumstances in which they are acting and selecting expressive gestures that compliment those circumstances. The concept of playing the changes helps initiate a turn away from assessments of right or wrong ("real" or "made up") and focus instead on the ability to portray oneself to one’s best advantage, come what may. Finally, I demonstrate the advantages of pursuing an integrated approach to performance analysis, in which the study of musical and choreographic elements of performance are examined in combination. / Music

My Diploma Thesis has a theoretical character. I dealt with fairy tales as a genre. I worked only with the folkloric fairy tales that are different from the modern ones in the way of universality. In the first part I looked for characteristic features of these stories from the literary and psychological point of view. I focused on time and place expression and how the fairy tale deals with the identity of characters and typical phenomenon of the good and the bad. Through these principles children can easily identify with the heroes of stories and therefore they help to solve specific developmental crisis and also to reach individual autonomy and integrity. For me, the theoretical basis was psychoanalysis and thus I followed the fairy tales theory of Bruno Bettelheim. I used this theory in the second part of my thesis as well. The interpretation of four fairy tales: Litte Red Riding-hood (Červená Karkulka), Jack an Jill (Perníková chaloupka), The Snow White and the Seven Dwarfs (Sněhurka) and Hrnečku, vař! are given. It is about the determination of the main topic and the interpretation of individual motives. Besides the different options how to interpret it I also compared the different versions of these stories. At the end I tried to have a critical view on Bettelheim's approach and also to find...

TITLE: Children's Folkloric Groups in Prague ABSTRACT: This thesis focuses on children's folkloric groups in Prague. In my thesis I chart individual children's folkloric groups in Prague and identify ethnographic regions of the Czech Republic covered by these groups. Another aim of my thesis is to collect information concerning organization of these folkloric groups. I describe various motivations of their leaders and founders. Using interview method, I determine why they put efforts in folkloric groups, describe their opinions on what such groups can bring to children and difficulties they encounter. Finally, my aim is to determine children's motivation to take active part in folkloric groups and folklore itself. In my thesis I use research methods - qualitative and quantitative research. KEY WORDS: folklore, folklorism, children's folkloric group, motivation

We dated vernacular folk crafts (traditional snow shovels) made of beech wood (Fagus crenata Bl.) in north-central Japan. A raw chronology was constructed for the folk crafts, spanning the period from 1721 to 1953 (233 years). The raw chronology was crossdated using a reference chronology in central Japan. Eventually, tree-ring dates were confidently determined for 26 out of 44 samples. The final tree-ring dates of the folk crafts ranged between 1872 and 1953. We used oral folkloric records collected in a public survey for comparison and verification of our results. The time period of use of the folk crafts was supposed to range between the late Meiji Period and the beginning of the Pacific War (World War II), and the tree-ring dates were generally consistent with the date range. However, the final tree-ring dates were after the Pacific War for two youngest samples, showing better agreement with the historical change in industry of modern Japan. The tree-ring dates demonstrate the potential to describe the historical use of the artifacts more accurately than the folkloric records. In addition, the existing site chronology of Japanese beech has been better replicated using the folk craft samples. The chronology can possibly be further extended using archaeological wood from historical buildings.

This study explores the construction of regional identities through music performance and mediated forms of public culture in the urban Amazon of Peru, focusing on the city of Iquitos. A fast-developing metropolis, Iquitos's increasing industrial, ecological and economic importance on the national scale has driven a population explosion, drawing migrants from the surrounding jungle whose traditional communities are disintegrating. Urban musicians respond to these changes by attempting to create an inclusive, Amazonian regional community through public culture. A local folkloric genre called pandilla, which has morphed from a style associated mainly with native communities in another region of the Amazon to a distinctly mestizo music and dance from Iquitos, has been particularly central to this process. Shaped through forms of public culture in urban Amazonia that articulate cosmopolitanism and globalization to the local milieu, it connects a folkloric past -- molded by colonial dominance -- to the present, which is steeped in cosmopolitanism and regional pride. This project traces the region’s history beginning with an influential folkloric ensemble, Los Solteritos, which emerged in the early 1960s and came to epitomize local mestizo music, shaping iquiteño esthetics and repertoire, and establishing pandilla as a pan-Amazonian folkloric genre. It shows how this urban folkloric group claims deep ties to rural, indigenous Amazonia, even as it invests heavily in cosmopolitan esthetics and the mechanized reproduction of sound. Finally, this study demonstrates how Explosión, a pop group that performs tecno-cumbia music became the representative pop ensemble of Iquitos by bringing local symbols of cosmopolitanism and folklore into their performances. The ensemble re-packaged pandilla for consumption by various audiences locally and nationally, creating a unique music style at the juncture of community and cosmopolitanism, where industry and consumerism often shape musical trajectories. Overall, through the tecno-cumbiaization of pandilla, Iquitos is coming to terms with its position as an Amazonian city seeking admittance into the nation imaginary and radio, piracy, and public performance are the varied public cultural sites where regional identity is shaped as the Amazon grows in economic and political significance. / text

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The present study is a reading of the folkloric fairy-tale poem The Swain (Mólodets) (1924) by the Russian Modernist poet Marina Tsvetaeva (1892-1941). The poem represents a high point in Tsvetaeva’s experiments with Russian folk art, and it is thoroughly folkloric in its theme, forms of writing and poetic language. At the same time, the poem can be linked to the attraction to folk art as a locus of the Sublime in literary tradition, which originates in German Romanticism, and finds its echoes in Russian Modernism. This study seeks to show that Tsvetaeva’s exploration of folk art in the poem was inspired by a quandary linked to the Sublime; namely the paradoxical question how to present in art what is too great to be represented. The poem is read as an image and an illustration of the poet’s understanding of the means of presenting the unrepresentable. Tsvetaeva renders the tale as an uncanny story about a horrifying elemental force. She seeks to avoid representation by bringing out the story in a poetic performance, which has the character of a lyrical drama, where the voices of the characters speak and sing in a direct manner. Within the canvas of the folkloric performance, the poet explores poetic language to render the Sublime. She experiments with secondary meanings in order to bring out a language, which at the same time is “secret” and “literal”, and where the element can be made present in its sublimity.

Submitted by RAQUEL DE VASCONCELOS CANTARELLI null (kel.cantarelli@bol.com.br) on 2017-07-19T00:52:19Z No. of bitstreams: 1 Tese_Leituras celtas-mito e folclore em contos maravilhosos.pdf: 2204140 bytes, checksum: b811b164725b791febbc8c95b46a07c0 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-07-19T16:25:38Z (GMT) No. of bitstreams: 1 cantarelli_rv_dr_arafcl.pdf: 2204140 bytes, checksum: b811b164725b791febbc8c95b46a07c0 (MD5) / Made available in DSpace on 2017-07-19T16:25:38Z (GMT). No. of bitstreams: 1 cantarelli_rv_dr_arafcl.pdf: 2204140 bytes, checksum: b811b164725b791febbc8c95b46a07c0 (MD5) Previous issue date: 2017-05-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Nesta tese realizamos análises morfológicas e socioculturais de contos maravilhosos celtas, que à época de seus registros, encontravam-se em circulação nas tradições orais da Irlanda, Escócia e Ilha de Man. Aqui serão estudadas narrativas de diferentes organizações estruturais, com o objetivo de delimitarmos as principais diferenças formais e de conteúdo veiculados, seja pela presença de temas distintos, explícitos ou implícitos, ou nos modos de abordagem dos mesmos temas. Entretanto, procuramos também salientar as semelhanças mantidas por todas essas formas narrativas, as quais nem sempre são evidentes, principalmente quando relacionadas às funções proppianas e às práticas socioculturais nelas refletidas. A diferença estrutural entre os contos analisados exigiu uma combinação de diretrizes para que obtivéssemos maior precisão nas descrições morfológicas obtidas, assim, empregamos os modelos de Propp (2006), Bremond (2011) e Greimas (COURTÉS, 1979), os quais corroboraram a função de cada elemento, além de complementarem-se mutuamente, a partir de perspectivas diversas. A concepção proppiana torna-se essencial para o tipo de análise sociocultural proposta, ao remeter suas funções aos rituais tribais primais. Contudo, por ser específico aos contos de magia, certas organizações narrativas necessitaram ser delimitadas a partir dos outros dois modelos, de modo a conseguirmos remetê-las, posteriormente, às funções proppianas, ou mesmo a fragmentos delas que, de outro modo, passariam despercebidos. A partir dos resultados das análises morfológicas, partimos para as análises socioculturais, elucidando a origem de seus motivos e as formas de pensamento que engendraram os contos, isolando-os dos elementos regionalmente condicionados. Por último, esclarecemos os resultados obtidos por comparação com o conto de magia, enfatizando os fatores sociais envolvidos na composição das diferentes estruturas apresentadas, identificando suas diferenças e elementos que constituem padrões compartilhados por todos eles. Com isso, esperamos demonstrar a natureza interna desses contos, bem como as peculiaridades das narrativas populares gaélicas. Isso será realizado, nas análises morfológicas, identificando seus constituintes fundamentais, e nas análises socioculturais, com ênfase em seus aspectos míticos e folclóricos, tanto de caráter universal como específicos. O corpus é formado de dez narrativas, originalmente registradas na língua inglesa, uma vez que, à época, a língua gaélica já havia sido extirpada, em grande medida, dessas regiões. / This thesis develops morphological and sociocultural analyses of Celtic folk tales which were part of the oral traditions of Ireland, Scotland and Isle of Man by the time they were registered. We have studied narratives which feature diverse types of structural organizations to determine the main differences between them, considering both their form and contents and the manners they treat the same subjects or different ones, being them explicitly or implicitly expressed. We also intend to evince the similarities of narrative organization, which are not always so obvious, mainly when related to the Proppian functions and the social practices reflected by them. The structural deviances of such tales have demanded the use of three theoretical guidelines in order to provide a precise description of their morphology, which are the Proppian model (2006), the Bremondian model (2011) and the Greimasian model (COURTÉS, 1979), so that the elements are corroborated and complemented by considering different perspectives. The Proppian model is essential regarding the nature of the sociocultural analyses proposed here, related to tribal rituals and myths. However, being the Proppian model specific for the so called magic tales, the description of other kinds of narrative organization must be reached by means of the other two models. After that, we refer their results to the Proppian functions, or at least parts of them, so that they can be found even inside complex situations. From the obtained results, we proceed to the sociocultural analysis, elucidating the origin of motifs and ways of thinking which gave rise to the folk tale themes. Finally, we elucidate the results by means of comparisons to the magic tales, emphasizing the social factors involved in the composition of distinct types of tales, by identifying their differences and also the elements which are shared by all of them as a standard. Thereby, we intend to demonstrate the internal nature of those tales and their peculiarities originated inside the Goidelic culture. This is reached by means of the morphological analyses, where their fundamental elements are identified, and by the sociocultural analyses, where mythical and folkloric elements are emphasized, having them either universal or specific features. All narratives presented were originally registered in English, since the Goidelic language had already been extirpated from most of those regions.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-03-05T16:49:11Z No. of bitstreams: 6 Dissertação - Rodrigo Tiago Ribeiro - 2011.pdf: 1666204 bytes, checksum: f6c380f64a562ce755efecf91b7d0635 (MD5) Cururú 1.jpg: 1686666 bytes, checksum: c8fc9d97a984f97fbad60b7a20d497c7 (MD5) Cururú 2.jpg: 1435796 bytes, checksum: 28fc5de728e0962726576751c1dbbf4c (MD5) Quadrilha 1.jpg: 1714855 bytes, checksum: 0cb940e62cd3424c89e9b778ee685078 (MD5) Quadrilha 2.jpg: 1596601 bytes, checksum: bad3a75ec85aeb8cb1fb2d1290c8e5c7 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-03-05T16:49:26Z (GMT) No. of bitstreams: 6 Dissertação - Rodrigo Tiago Ribeiro - 2011.pdf: 1666204 bytes, checksum: f6c380f64a562ce755efecf91b7d0635 (MD5) Cururú 1.jpg: 1686666 bytes, checksum: c8fc9d97a984f97fbad60b7a20d497c7 (MD5) Cururú 2.jpg: 1435796 bytes, checksum: 28fc5de728e0962726576751c1dbbf4c (MD5) Quadrilha 1.jpg: 1714855 bytes, checksum: 0cb940e62cd3424c89e9b778ee685078 (MD5) Quadrilha 2.jpg: 1596601 bytes, checksum: bad3a75ec85aeb8cb1fb2d1290c8e5c7 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-03-05T16:49:26Z (GMT). No. of bitstreams: 6 Dissertação - Rodrigo Tiago Ribeiro - 2011.pdf: 1666204 bytes, checksum: f6c380f64a562ce755efecf91b7d0635 (MD5) Cururú 1.jpg: 1686666 bytes, checksum: c8fc9d97a984f97fbad60b7a20d497c7 (MD5) Cururú 2.jpg: 1435796 bytes, checksum: 28fc5de728e0962726576751c1dbbf4c (MD5) Quadrilha 1.jpg: 1714855 bytes, checksum: 0cb940e62cd3424c89e9b778ee685078 (MD5) Quadrilha 2.jpg: 1596601 bytes, checksum: bad3a75ec85aeb8cb1fb2d1290c8e5c7 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2011-03-28 / The current work addresses the pianistic adaptations of the folkloric elements used in “Brasiliana nº3” for the piano by composer Osvaldo Lacerda. Through the theoretical reference used, firstly approaching the pianistic technique by the prism of authors Keith Swanvick, Claudio Richerme and Jose Alberto Kaplan, and secondly the study on “musical gestures” by Robert. S. Hatten and Bernadete Zagonel, we propose sonorously adequacy suitable for the piano, of the folkloric elements contained in the respective primary instrumentations of the dances Cururú and Quadrilha. The discussion about performance possibilities presented in this study aims to contribute with a new approach and analytical perspective of the nacionalistic works for piano. In addition, it offers contributions for the universe of piano’s students and interpreters as well. Among the conclusions after the comparative analysis of the works, both in an “authentic” folkloric version and on the written author’s version, there is the relevance of the understanding of the technical aspects allied to the human physiology, and the importance of musical gestures in the moment of the performance as well. / O presente trabalho diz respeito às adaptações sonoro pianísticas dos elementos folclóricos empregados na Brasiliana nº 3 para piano do compositor Osvaldo Lacerda (1927). Por meio de fundamentação teórica sobre técnica pianística, pelo prisma dos autores Keith Swanvick (1994), Claudio Richerme (1997) e Jose Alberto Kaplan (1979), e sobre “gestos musicais”, discutidos por Robert. S. Hatten (2004) e Bernadete Zagonel (1992) propomos uma adequação de execução pianística para os elementos folclóricos contidos nas respectivas instrumentações originais das danças Cururú, e Quadrilha, movimentos da Brasiliana nº 3. A discussão sobre possibilidades performáticas apresentadas neste estudo tem como objetivo contribuir com uma nova abordagem e perspectiva analítica das obras nacionalistas para piano, além de oferecer para o universo dos estudantes de piano e intérpretes, material científico para pesquisa. Entre as conclusões obtidas após as análises comparativas das obras, tanto na versão “autêntica” folclórica como na escrita pelo compositor, está a relevância do entendimento dos aspectos técnicos aliados à fisiologia humana e a importância dos gestos musicais no momento da execução musical.

Orientador: José Roberto Zan / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T17:05:42Z (GMT). No. of bitstreams: 1 Carvalho_RuiManuelSenico_D.pdf: 8296623 bytes, checksum: 136dab90f71bed08912e18c6596ac5e9 (MD5) Previous issue date: 2014 / Resumo: O presente trabalho analisa as transformações operadas no Boi-Bumbá de Parintins, em particular o papel desempenhado pela toada, nos processos de apropriação e ressemantização de signos selecionados do auto-do-boi, explicitando a construção de sentido, no âmbito da produção de uma identidade regional. Ao dialogar com obras anteriormente publicadas sobre o tema, e apoiado em pesquisa de campo, objetiva-se colocar em perspectiva o papel desempenhado pela toada no Festival Folclórico de Parintins, analisando o certame sob um enfoque ainda pouco abordado: a substituição do arquétipo morte/renascimento pela chamada "celebração folclórica", acompanhada pela exaltação de personagens regionais, mediatizadas pelos signos "índio" e "caboclo", os quais operam como protótipos dos discursos e da configuração estética do evento / Abstract: The work presented analyzes the transformations that the Boi-Bumbá has undergone, and, particularly, the role of the "toada", as part of a process of appropriation and re-semantization of selected symbols from the auto-do-boi, emphasizing the construction of a particular sense of regional identity. Establishing a dialogue with previously published works on the theme, and drawing, as well, from field research, the work highlights the role of the toada in the Parintins Folkloric Festival, focusing on an aspect that has received very little discussion to date: the substitution of the archetypal death/rebirth by the so called "folkloric celebration", and the exaltation of regional characters mediated by such as the "indian" and the "caboclo", both operating as prototypes of the speeches inheret to the event¿s aesthetical configuration / Doutorado / Fundamentos Teoricos / Doutor em Música