Motif-Index of Southeast Asian Folk- Literature

Total Page:16

File Type:pdf, Size:1020Kb

Motif-Index of Southeast Asian Folk- Literature Motif-Index of Southeast Asian Folk- Literature according to the system of Stith Thompson: Motif-Index of Folk-Literature Kristina Lindell Lund University 1 In Commemoration Of Kristina Lindell (1928 – 2005) She opened the door To the treasury of sout-east Asian folklore and made the Kammu culture Known to scholars all over the world Damrong Tayanin Jan-Öjvind Swahn 2 A. MYTHOLOGICAL MOTIFS A32.2. Creator's daughter. China: Bäcker 1988: 1 (Manchu); A120.1. God as shape-shifter. Vietnam: Terada 1989 p. 50; *A123.3.3. God with 12 eyebrows. Laos: FTK 4: 7.c. (Kammu), 7.d. (Kammu), 7.f. (Kammu); A132. God in animal form.Vietnam: Dang 1992 (Dao), Terada 1989 p. 50; A132. God in animal form. China: Bäcker 1988: 3 (Manchu), Cf. 7 (Manchu); A132.5. Bear-god (goddess). China: Bäcker 1988: 29 (Nanay); *A132.6.3.1. God takes form of cock (to destroy man's house). Vietnam: Dang 1992 (Dao); A132.10. Tiger-god. China: Bäcker 1988: 3 (Manchu), 29 (Nanay); A151.1. Home of gods on high mountain. China: Bäcker 1988: 29 (Nanay); A151.1.2. Home of gods in cave. China: Bäcker 1988: 29 (Nanay); A151.2. Garden of the gods. Laos: FTK 4: 7.h. (Kammu); A157.1. Thunderweapon. Laos: FTK 3: 6.a. (Kammu); A159.1. Deity's special drum. Philippines: Wrigglesworth 1981: 13, 14 (Ilianen Manobo); A162. Conflicts of the gods. China: Eberhard 1965: A180. Gods in relation to mortals.Vietnam: Terada 1989 p. 42, p. 54 (Dao); A183.1. Male god invoked in east; female in west. China: Bäcker 1988: 13 (Manchu); A185. Deity cares for favourite individuals. Laos: FTK 3: 1.b. (Kammu); *A185.2.2.1. God mutilates thieving brother's fingers. Laos: FTK 3: 1.b. (Kammu); A185.13. God puts mortal to test. Vietnam: Terada 1989 p. 42; A185.16. God pities mortal. China: Bäcker 1988: 10 (Manchu); Laos: FTK 6: 7.h.(Kammu); 3 A189.1.1. Man as helper of thundergod. Vietnam: Dang 1992 (Dao); A189.2. God summoned by weeping. Laos: FTK 6: 7.h. (Kammu) A189.9. Early period when gods and men lived together, gods ruling men, ordaining how they should live and originating various customs. Laos: FTK 3: Cf. 1.b. (Kammu); A189.12. Goddess protects animals from hunters. China: Bäcker 1988: Cf. 18 (Manchu); Laos: FTK 3: Cf. 13.B.g. (Kammu); *A192.1.2.1. Man plans to kill and eat god. Vietnam: Terada 1989 p. 54 (Dao); *A192.1.3. Man catches god in form of cock and prepares to eat him. Vietnam: Dang 1992 (Dao); A194. Divinity's emotions. Vietnam: Dang 1992 (Tai); A194.2. God's vengeance. Laos: FTK 3: 1.b. (Kammu); *A194.2.1. God's vengeance: sends man to moon. Vietnam: Terada p. 54 (Dau); *A194.5. Divinity's anger as big as three buffaloes. Vietnam: Dang 1992 (Tai); *A194.5.1. Divinity's anger as big as seven elephants. Vietnam: Dang 1992 (Tai); A210. Sky-god. Laos: FTK 4: 7.d. (Kammu), FTK 6: 7.h. (Kammu); A211. God of Heaven. Laos: FTK 3: 1.b. (Kammu), 6.b. (Kammu), FTK 4: Cf. 2.a. (Kammu), FTK 6: 7.h. (Kammu); China: Bäcker 1988: 1 (Manchu),18 (Manchu); A282.0.1. Wind-goddess. China: Bäcker 1988: 5 (Manchu), 18 (Manchu); *A285.2. Why lightning strikes trees. Laos: FTK 3: 6.a. (Kammu); A287.1. Rain-goddess. China: Bäcker 1988: 5 (Manchu); A417.1. Beast guardians of the four quarters. China: Bäcker 1988: 23 (Daghur); A420. God of water. Vietnam: Terada 1989 p. 50; A421. Sea-god. Vietnam: Terada 1989 p. 50; A435. God of trees and forests. China: Bäcker 1988: 29 (Nanay); A468. The three Graces. China: Bäcker 1988: Cf. 23 (Daghur); A493. God of fire. China: Bäcker 1988: 20 (Daghur); 4 A493.1. Goddess of fire. China: Bäcker 1988: 26 (Daghur); A495. Mountain-god. China: Bäcker 1988: 29 (Nanay); *A511.3.3. Culture hero raises self. Philippines: Wrigglesworth 1981: 10 (Ilianen Manobo); A511.4.1. Miraculous growth of culture hero. China: Bäcker 1988: 3 (Manchu); A512.3. Culture hero as son of god. China: Bäcker 1988: 3 (Manchu); A515.1. Culture heroes brothers. China: Bäcker 1988: 3 (Manchu); Laos: FTK 3: 1.b. (Kammu), FTK 5: 1.a. (Kammu); A515.1.2. Sworn brothers as culture heroes. Philippines: Wrigglesworth 1981: 11 (Ilianen Manobo); A521. Culture hero as dupe or trickster. Philippines: Wrigglesworth 1981: 16 (Ilianen Manobo), Wrigglesworth 1993: 35 (Ilianen Manobo); A527.3.1. Culture hero can transform self. Philippines: Wrigglesworth 1981: 9 (Ilianen Manobo); A530. Culture hero establishes law and order. Philippines: Wrigglesworth 1981: 9 (Ilianen Manobo); Laos: FTK 6: 1.a. (Kammu); A531. Culture hero (demigod) overcomes monsters. China: Bäcker 1988: 3 (Manchu); A546. Culture hero establishes social system. China: Bäcker 1988: 3 (Manchu); A547. Culture hero dispenses food and hospitality. Philippines: Wrigglesworth 1981: 9 (Ilianen Manobo); *A563. Culture hero departs carrying away saltpits. Laos: FTK 5: 1.a. (Kammu); *A568. Culture hero killed. Laos: FTK 5: 1.a. (Kammu); *A568.1. Culture hero's body ripped open (to see whether he has eaten rice prematurely). Laos: FTK 5: 1.a. (Kammu); A605.1. Primeval darkness. China: Bäcker 1988: 1 (Manchu); A605.2. Primeval cold. China: Bäcker 1988: 1 (Manchu); A614. Universe from parts of creator's body. China: Bäcker 1988: 1 (Manchu); 5 A632. Succession of creations and caraclysms. Vietnam: Dang 1992 (Tai); *A634. Earlier conditions on earth. Vietnam: Dang 1992 (Sedang, Tai); *A634.1. Conditions on earth before world calamity. Vietnam: Dang 1992 (Sedang, Tai); A651. Hierarchy of worlds. China: Bäcker 1988: 23 (Daghur); A651.1.4. Seven heavens. Laos: FTK 4: 7.h. (Kammu); *A651.1.13. The world has three levels. Laos: FTK 3: 14.I.A.a. (Kammu); *A651.3.3. Men live on the lowest of world's three levels. Laos: FTK 3: 14.I.A.a. (Kammu); A665.2.0.1. Pillars supporting sky. Vietnam: Dang 1992 (Tai); Laos: FTK 6: 7.g. *A665.2.1.4. God gives culture heroes eight brass pillars to support the sky. Vietnam: Dang 1992 (Tai); *A665.2.2. Eight pillars support sky. Vietnam: Dang 1992 (Tai); *A665.7. Heaven has a foot. Laos: FTK 3: 14.I.A.a. (Kammu); *A666.3. Thread (as ladder) from heaven to earth: used by couple who wants to return to earth. Laos: FTK 4: 7.h. (Kammu); *A669.3. In upper world souls of the unborn are waiting to descend to earth. Laos: FTK 3: 1.b. (Kammu); *A669.3. Peep-hole in heaven's floor. Laos: FTK 4: 7.h. (Kammu); A671.2.11. Birds made of iron in hell. Burma: Esche 1982 p. 122 (Mon); A714.2. Sun and moon placed in top of tree. China: Bäcker 1988: 16 (Manchu); A714.7. Sun and moon as eyes of Rama. China: Bäcker 1988: 1 (Manchu); *A720.1.1. Formerly ten suns. China: Eberhard 1976: 18; A720.2. Formerly great heat of sun causes distress to mankind. Laos: FTK 6: 1.a. *A720.3. Two suns make it so hot that all people die. Laos: FTK 6: 1.a. (Kammu); 6 A721.3. Stolen sun restored to sky. Japan: Hammitzsch 1972: 107 (Ainu); *A733.6. Sun is redhot because Foot of Heaven is burning. Laos: FTK 3: 14.I.A.a. (Kammu); A736.1.3. Sun and moon as lovers. China: Eberhard 1976: 11; A736.1.4. Sun and moon married. Philippines: Wrigglesworth 1993: 37 (Tagabawa); *A736.3.4. Sun and moon once belonged to one another. Philippines: Wrigglesworth 1993: 37 (Tagabawa); A736.4. Sun and moon as sisters. China: Eberhard 1976: 13; *A736.12. Why the sun shines in daytime and the moon at night. Philippines: Wrigglesworth 1993: 37 (Tagabawa); A737. Causes of eclipses (sun or moon). Korea: Zaborowski 1975: 38; A737.0.1. Origin of eclipse of moon. Philippines: Wrigglesworth 1993: 37 (Tagabawa); A737.1. Eclipse caused by monster devouring sun or moon. Philippines: Wrigglesworth 1993: 37 (Tagabawa); A737.3. Toad causes eclipses of the sun. Laos: FTK 2: 14 (Kammu); A738.1.1. Moon is ball of feathers. Philippines: Wrigglesworth 1993: 9 (CalamianTagbanwa); A751. Man in the moon. Vietnam: Terada 1989 p. 54 (Dao); A751.1. Man in moon is person thrown or sent there as punishment. China: Eberhard 1976: 54; *A751.1.2. Man in the moon put there as punishment for threatening (to eat) god. Vietnam: Terada 1989 p. 54 (Dao); A751.8. Woman in the moon. China: Eberhard 1976: 52; *A751.9.1.1. Ficus tree in the moon. Laos: FTK 3: 14.i.A.b. (Kammu); *A753.0.1. The moon is male. Philippines: Wrigglesworth 1993: 37 (Tagabawa); A761. Ascent to stars. China: Bäcker 1988: 2 (Manchu); A761.3. Stars as transformed lovers. China: Eberhard 1976: 23; A761.6. Stars thought of as living beings. China: Bäcker 1988: 2 7 (Manchu), 31 (Nanay); A762.1. Star-husband. Japan: Hammitzsch 1973: 2; A763. Stars from objects thrown into sky. China: Bäcker 1988: 1 (Manchu); A771. Origin of the Great Bear (Ursa Major). China: Bäcker 1988: 30 (Nanay); A773. Origin of the Pleiades. Indonesia: Kratz 1973: 59 (Roti); Thailand: Velder 1974: 1; A774. Origin of the North Star. China: Bäcker 1988: 2 (Manchu); A778.3. Milky way as river. China: Eberhard 1965: 23; Bäcker 1988: 12 (Manchu); A791. Origin of the Rainbow. China: Bäcker 1988: 9 (Manchu); A791.9.1. Origin of rainbow: transformed bamboo stems (souls of lovers). China: Eberhard 1965: 15. (Kammu); A797. Origin of colors at sunrise and sunset. China: Bäcker 1988: 9 (Manchu); Indonesia: Kratz 1973: 36 (Sulawesi); Laos: FTK 3: 14.I.A.a.
Recommended publications
  • What the Riddle-Makers Have Hidden Behind the Fire of a Dragon
    Volume 38 Number 2 Article 7 5-15-2020 What the Riddle-Makers Have Hidden Behind the Fire of a Dragon Laurence Smith Independent Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Smith, Laurence (2020) "What the Riddle-Makers Have Hidden Behind the Fire of a Dragon," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 38 : No. 2 , Article 7. Available at: https://dc.swosu.edu/mythlore/vol38/iss2/7 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Classical mythology, folklore, and fairy tales are full of dragons which exhibit fantastic attributes such as breathing fire, hoarding treasure, or possessing more than one head. This study maintains that some of these puzzling phenomena may derive from riddles, and will focus particularly on some plausible answers that refer to a real creature that has for millennia been valued and hunted by man: the honeybee.
    [Show full text]
  • Swan Lake Audience Guide
    February 16 - 25, 2018 Benedum Center for the Performing Arts, Pittsburgh Choreography: Marius Petipa and Lev Ivanov ​ ​ Staging: Terrence S. Orr Music: Peter Ilyich Tchaikovsky Swan Lake Sponsors: The Benter Foundation, The Pittsburgh Foundation, Eden Hall Foundation, ​ Anonymous Donor February 16 - 25, 2018 Benedum Center for the Performing Arts | Pittsburgh, PA PBT gratefully acknowledges the following organizations for their commitment to our education programming: Allegheny Regional Asset District Henry C. Frick Educational Fund of The Buhl Anne L. and George H. Clapp Charitable Foundation Trust BNY Mellon Foundation Highmark Foundation Claude Worthington Benedum Foundation Peoples Natural Gas Eat ‘n Park Hospitality Group Pennsylvania Council on the Arts Edith L. Trees Charitable Trust Pennsylvania Department of Community ESB Bank and Economic Development Giant Eagle Foundation PNC Bank Grow up Great The Grable Foundation PPG Industries, Inc. Hefren-Tillotson, Inc. Richard King Mellon Foundation James M. The Heinz Endowments and Lucy K. Schoonmaker Cover Photo: Duane Rieder Artist: Amanda Cochrane 1 3 The Setting and Characters 3 The Synopsis 5 About Swan Lake ​ 6 The Origins of the Swan Lake Story ​ ​ 6 Swan Lake Timeline ​ 7 The Music 8 The Choreography 9 The Dual Role of Odette + Odile 9 Acts 1 & 3 10 Spotlight on the Black Swan Pas de Deux 10 The Grand Pas Explained 11 What’s a fouette? 11 Acts 2 & 4 12 Dance of the Little Swans 13 The White Act 13 Costumes and Scenic Design 13 Costumes By the Numbers 14 The Tutus 14 A Few Costume Tidbits! 15 Did You Know? Before She was the Black Swan 16 Programs at the Theater 17 Accessibility 2 The Setting The ballet takes place in and near the European castle of Prince Siegfried, long ago.
    [Show full text]
  • Kunapipi 32 (1&2) 2010 Full Version
    Kunapipi Volume 32 Issue 2 Article 1 2010 Kunapipi 32 (1&2) 2010 Full Version Anne Collett University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Collett, Anne, Kunapipi 32 (1&2) 2010 Full Version, Kunapipi, 32(2), 2010. Available at:https://ro.uow.edu.au/kunapipi/vol32/iss2/1 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Kunapipi 32 (1&2) 2010 Full Version Abstract Full text of issue. For individual articles see: ro.uow.edu.au/kunapipi/vol32/iss1/ This full issue is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol32/iss2/1 JournalKUNAPIPI of Postcolonial Writing & Culture VOLUME XXXII NUMBER 1–2 2010 ii Kunapipi is a biannual arts magazine with special but not exclusive emphasis on the new literatures written in English. It aims to fulfil the requirements T.S. Eliot believed a journal should have: to introduce the work of new or little known writers of talent, to provide critical evaluation of the work of living authors, both famous and unknown, and to be truly international. It publishes creative material and criticism. Articles and reviews on related historical and sociological topics plus film will also be included as well as graphics and photographs. The editor invites creative and scholarly contributions. The editorial board does not necessarily endorse any political views expressed by its contributors. Manuscripts should be double-spaced with notes gathered at the end, and should conform to the Harvard (author-date) system.
    [Show full text]
  • Vocabulary Can Be Reinforced by Using a Variety of Game Formats. Focus May Be Placed Upon Word Building, Spelling, Meaning, Soun
    ocabulary can be reinforced by using a variety of game formats. Focus may be placed upon word building, spelling, meaning, sound/symbol correspon­ Vdences, and words inferred from sentence context. Teaching Techniques. The full communicative potential of these games can be real ized through good spirited team competition. Working in pairs or in small groups, students try to be the first to correctly complete a task. These games can be used at the end of a lesson or before introducing new material as a “change of pace” activity. Teachers should allow sufficient time for class discussion after the game has been completed. word games 2 Letter Power Add a letter A. From each word below, make two new words by adding a letter (1) at the end; (2) at the beginning. B. Form new words as in A (above). In addition, form a third word by adding a letter at the beginning and the end of the word. 3 Change the first letter. Make one word into another by changing the first letter. Example: Change a possessive pronoun to not sweet. Answer: your, sour. 1. Change a past tense of BE to an adverb of place. 2. Change an adjective meaning not high to an adverb meaning at the present time. 3. Change a period of time to a term of affection. 4. Change was seated to have a meal. 5. Change a part of the head to international strife. 6. Change a respectful title to atmosphere. 7. Change to learn thoroughly to not as slow. 8. Change very warm to a negative adverb.
    [Show full text]
  • Exploring Kodiak Alutiiq Literature Through Core Values
    LIITUKUT SUGPIAT’STUN (WE ARE LEARNING HOW TO BE REAL PEOPLE): EXPLORING KODIAK ALUTIIQ LITERATURE THROUGH CORE VALUES A THESIS Presented to the Faculty of the University of Alaska Fairbanks in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY By Alisha Susana Drabek, BA., M.F.A. Fairbanks, Alaska December 2012 UMI Number: 3537832 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3537832 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 LIITUKUT SUGPIAT’ STUN (WE ARE LEARNING HOW TO BE REAL PEOPLE): EXPLORING KODIAK ALUTIIQ LITERATURE THROUGH CORE VALUES By Alisha Susana Drabek Abstract The decline of Kodiak Alutiiq oral tradition practices and limited awareness or understanding of archived stories has kept them from being integrated into school curriculum. This study catalogs an anthology of archived Alutiiq literature documented since 1804, and provides an historical and values-based analysis of Alutiiq literature, focused on the educational significance of stories as tools for individual and community wellbeing. The study offers an exploration of values, worldview and knowledge embedded in Alutiiq stories.
    [Show full text]
  • Neck-Riddles in Mimetic Theory
    NECK-RIDDLES IN MIMETIC THEORY Michael Elias Lexis Language Consultancy, Amsterdam 1 The riddles referred to in Ps. 78: 4 concern the praiseworthy acts of YHWH and the wonders he has done. 190 Michael Elias Neck-Riddles in Mimetic Theory 191 require an answer. When we investigate the conditions under which the speech event riddling takes place, it is also useful to undertake excursions into other languages and traditions to explore various riddle words, their uses, and etymologies. The Dutch historian Johan Huizinga provides an example of such an inquiry in his discussion of the taboos about riddling among the Toradja of Central Celebes (now the Indonesian island Sulawesi): The posing of riddles at their feasts is strictly limited as to time, and begins the moment the rice becomes "pregnant," lasting until the harvest. The "coming out" of the riddles naturally promotes the coming out of the rice-ears. As often as a riddle is solved the chorus chimes in: "Come out, rice! come out, you fat ears high up in the mountains or low down in the valleys!" During the season immediately preceding the above period all literary activities are forbidden, as they might endanger the growth of the rice. The same word wailo means both riddle and millet (i.e. all fruit of the fields) which staple was supplanted by rice. (108) In this article I will confine myself to remarks on "riddles in contest," giving a few examples from world literature of rivalry in riddling between kings, gods, and giants. I will then discuss the folk tradition of the so-called 'neck-riddle', which follows this pattern.
    [Show full text]
  • Evidence for the Indo-European Origin of Two Ancient Chinese Deities
    SINO-PLATONIC PAPERS Number 118 June, 2002 The Spider’s Web. Goddesses of Light and Loom: Examining the Evidence for the Indo-European Origin of Two Ancient Chinese Deities by Justine T. Snow Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino- Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered.
    [Show full text]
  • 200 Kid-Friendly Jokes for the Classroom
    A Joke-A-Day For The Classroom By Brandi Jordan, Managing Editor Of The Teachers’ Lounge, A Really Good Stuff® Blog A Joke-A-Day: 200 Kid-Friendly Jokes For The Classroom Happy, smiling children make for eager, engaged learners. With the myriad of testing and assessments that take place throughout the school year, it is nice to have a moment each day to make kids smile. Whether you start the morning off with a joke or fit it in between math and reading lessons, a kid-friendly joke, tongue twister, or riddle helps lighten the mood and gets your students thinking outside the box. Jokes and riddles offer a great segue into multiple word meanings, homophones, language manipulation, alliteration, and more. Need a new way to grab your ESL/ ELL students’ attention? Try telling them a joke. Want to challenge your students to use language in different ways? Ask them to write jokes and riddles. The inherent “fun factor” of jokes makes them an easy sell and much less intimidating than asking students to write a paragraph. If you think writing a joke is easy, think again. It requires students to not only understand the way words are put together, but encourages them to expand their vocabulary. With a strong emphasis in the Common Core State Standards on vocabulary, writing and telling jokes is the perfect, kid-friendly way to meet those standards. The 200 kid-friendly jokes in this book are great for classroom (or home) use. Encourage students to create a joke a day for your classroom and create a book that they can take home at the end of the year.
    [Show full text]
  • 'Fairy' in Middle English Romance
    'FAIRY' IN MIDDLE ENGLISH ROMANCE Chera A. Cole A Thesis Submitted for the Degree of PhD at the University of St Andrews 2014 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/6388 This item is protected by original copyright This item is licensed under a Creative Commons Licence ‘FAIRY’ IN MIDDLE ENGLISH ROMANCE Chera A. Cole A thesis submitted for the degree of Doctor of Philosophy at the School of English in the University of St Andrews 17 December 2013 i ABSTRACT My thesis, ‘Fairy in Middle English romance’, aims to contribute to the recent resurgence of interest in the literary medieval supernatural by studying the concept of ‘fairy’ as it is presented in fourteenth- and fifteenth-century Middle English romances. This thesis is particularly interested in how the use of ‘fairy’ in Middle English romances serves as an arena in which to play out ‘thought-experiments’ that test anxieties about faith, gender, power, and death. My first chapter considers the concept of fairy in its medieval Christian context by using the romance Melusine as a case study to examine fairies alongside medieval theological explorations of the nature of demons. I then examine the power dynamic of fairy/human relationships and the extent to which having one partner be a fairy affects these explorations of medieval attitudes toward gender relations and hierarchy. The third chapter investigates ‘fairy-like’ women enchantresses in romance and the extent to which fairy is ‘performed’ in romance.
    [Show full text]
  • Riddle Machines: the History and Nature of Interactive Fiction
    Riddle Machines: The History and Nature of Interactive Fiction The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Montfort, Nick. "Riddle Machines: The History and Nature of Interactive Fiction." A Companion to Digital Literary Studies, edited by Ray Siemens and Susan Schreibman, John Wiley & Sons Ltd, 2013, 267-282. © 2013 Ray Siemens and Susan Schreibman As Published http://dx.doi.org/10.1002/9781405177504.ch14 Publisher John Wiley & Sons, Ltd Version Author's final manuscript Citable link https://hdl.handle.net/1721.1/129076 Terms of Use Creative Commons Attribution-Noncommercial-Share Alike Detailed Terms http://creativecommons.org/licenses/by-nc-sa/4.0/ Nick Montfort Riddle Machines: The History and Nature of Interactive Fiction 14. Riddle Machines: The History and Nature of Interactive Fiction Nick Montfort Introduction The genre that has also been labeled "text adventure" and "text game" is stereotypically thought to offer dungeons, dragons, and the ability for readers to choose their own adventure. While there may be dragons here, interactive fiction (abbreviated "IF") also offers utopias, revenge plays, horrors, parables, intrigues, and codework, and pieces in this form resound with and rework Gilgamesh, Shakespeare, and Eliot as well as Tolkien. The reader types in phrases to participate in a dialogue with the system, commanding a character with writing. Beneath this surface conversation, and determining what the computer narrates, there is the machinery of a simulated world, capable of drawing the reader into imagining new perspectives and understanding strange systems. Interactive fiction works can be challenging for literary readers, even those interested in other sorts of electronic literature, because of the text-based interface and because of the way in which these works require detailed exploration, mapping, and solution.
    [Show full text]
  • CHAPTER I INTRODUCTION 1.1 Background of Study It Was
    CHAPTER I INTRODUCTION 1.1 Background of Study It was amazing and amusing when in my childhood listen the fable story of Sang Kancil and its series (the mouse deer) as the most popular children stories in my childhood. This story firstly was undocumented and it was told orally from the parents to their children. Such the traditional story shows the traditional setting of culture, custom, and nature as well. The jungle, the river and the farm field characterizes the setting of story. While the crocodile, snail, tiger, elephant, farmer, and the mouse deer itself became the characters in the story. It firmly depicts the influence of culture and nature to the traditional children stories. Being Sang Kancil (the mouse deer) is the well - known story for children, mostly it was told every day before the children were slept by the parents. Consequently, the following day, the children discussion in the school will talk of the abundance of this story, discussing the smartness of the mouse deer, laughing at the elephant’s silliness, crocodile’s confusion, and tiger stupidity, chatting how could the mouse deer cheat them and so forth. The simple discussion of the children dealing with the story is always about the amusement, funny, and entertaining simple topics. Attending the children to listen the stories will emerge two kinds of possibilities, first they will be laughing and happy and perhaps secondly, they will yawn as the reaction of their boredom. It is the natural response and honest expression from the children from the entire world in acquainted with the interesting and uninteresting of the stories that they have heard.
    [Show full text]
  • A Comparative Study of Japanese and Indonesian Folklores *
    Southeast Asian Studies, Vol. 33, No.3, December 1995 A Comparative Study of Japanese and Indonesian Folklores James DANANDJAJA * The History of Folklore Research in Japan and Indonesia As in Indonesia, folklore has long been collected and studied by Japanese scholars, especially those in the humanities. The difference is that, in .Japan. folklore was from the outset collected by the Japanese themselves, while in Indonesia it was mostly collected by European scholars, especially Dutch, in the initial stage. While, beginning in 1910, and particularly since 1930, Japanese folklore materials were collected by Japanese folklorists, in Indonesia such was not the case, since folklore materials were collected by scholars in other disciplines, such as philologists, musicologists, cultural anthropologists, theologists (Catholics as well as Protestant), Dutch civil servants etc. [Danandjaja 1994b: 9-10J. According to Ronald A. Morse, folklore in Japan began to be recorded in 1910 by folklorists or folklore lovers. and by 1930 folklore had become a discipline in its own right, since when it has grown into an independent and mature discipline [Morse 1990: xvJ. Officially the first folklore in Japan was collected in 1910, in which year Yanagita Kunio collected and published the first book of folklore, entitled Tono Monogatari (The Legend of Tono), a literal work that is now considered to be a classic [Zoe. cit.J. The year 1930 was also important, because it was then that folklore in Japan become a separate discipline, and folklore study was intensified. In that period there were three groups of folklorists in Japan. The first group led by Yanagita Kunio, emphasized the expressive aspect of folklore and tried to reconstruct the history of folk ideas.
    [Show full text]