Oral Traditions

Debido al tiempo de lluvias y deslizamiento de las montañas, suspendí mis salidas para seguir buscando respuestas a mi trabajo de investigación. No obstante, evitando los tiempos fuera, hubo un momento en el que trabajé dentro de las aulas con jóvenes estudiantes del bachillerato General "Venustiano Carranza",

Resumo Llamamos escritura popular, ordinaria o cotidiana a las cartas, diarios, memorias, cuadernos y todo testimonio personal escrito al margen de la alta cultura y la oficialidad. La atención que estos materiales han merecido por parte de los investigadores no es nueva, si bien desde los años ochenta del siglo pasado ha experimentado un crecimiento exponencial. Han sido sobre todo las ciencias sociales las que han capitalizado el interés por estos documentos-convertidos en fuentes excepcionales para una investigación más atenta a los sujetos-, aunque los estudios literarios y lingüísticos, entre las humanidades, no han permanecido ajenos a su atractivo. Así, los teóricos de la literatura vienen mostrando un renovado interés por la escritura autobiográfica, y ya no sólo la producida por escritores afamados, sino también por la de personas desconocidas, alejadas de los circuitos de la edición comercial. Y no pocos lingüistas han dado un giro a sus estudios "regresando" a la escritura, en cierta forma maldita desde la constitución como ciencia de la lingüística moderna. La tarea investigadora promovida por el Archivo de la Escritura Popular se ha desplegado en estos años siguiendo fundamentalmente estas líneas: 1. Teórica y metodológica: Con planteamientos que parten de la cultura escrita como práctica, antropología de la escritura, políticas de conservación y divulgación, criterios de edición… se han elaborado y publicado distintos trabajos. En la actualidad se está profundizando en esta línea incorporando las aportaciones de la semiología y la lingüística, concretamente la pragmática de la lengua escrita. 2. Historia social de la cultura escrita: En este marco disciplinar se han realizado someros acercamientos a documentos depositados en el AEP, especialmente la correspondencia. Con el apoyo de la Universidad Nacional de Educación a Distancia se han iniciado investigaciones en el ámbito de la emigración a partir de los testimonios recabados en los premios de memorialismo, estando pendiente aún abordar un estudio de conjunto de los mismos. Otro de los proyectos en marcha, subvencionado por el Instituto de Estudios Zamoranos, se centra en las autobiografías de trabajadores. 3. Etnográfica: Tomando como base la documentación que forma una de las secciones más nutridas del AEP, que incluye poemas, refranes, relaciones de costumbres, parodias, villancicos, etc., se está comenzando el estudio del sustrato escrito de la tradición oral.

English Русский Tu Melikê ins û cinsî, You are the King of humans and jinn, Ты -Царь людей и джиннов, Te xuliqand gay û masî, You created the bull and the fish, Ты создал тельца и рыбу, Layqê E'rş û K'ursî. Worthy of the Throne and the Footstool. Достоин Престола и Подножия. S. 7 Kurmanji English Русский Tuyî xwedanê destûra, You are the Master of permissions (sacred law), Ты -Попечитель позволений, Misĥefa Reş, Mişûra, The Black Book (Mishaf Reş), Mishur, Масхафе Раш, Мишура, Celew, Încîl û Zembûra. Celew (Jelewa), the Gospel, and the Psalms. Джелевы, Евангелия и Псалтири. S. 8 Kurmanji English Русский Laliş ji nûra te ye, Lalish is from Your light, Лалеш -от Твоего сияния, K'abe ji heybeta te ye, The Kaaba is from Your awe (majesty), Кааба -от Твоего благоговения, Qudis ji k'erema te ye. Jerusalem (the Holy Place) is from Your generosity. Иерусалим (Святыня) -от Твоей щедрости.

Nazarin qagaggen labari ba sabon abu bane duba da nazarce-nazarce da aka gabatar a matakai daban-daban. Sai dai shi adabi kullum yaxo yake tare da cigaba da haska rayuwar al’umma ta baya da mai ci. Ma’ana hanya ce ta bayyana rayuwar al’umma ta jiya da yau. Haka ne ya sa wannan muqalar gudanar da nazari a kan adabin intanet da ya samu a qarni na ashirin da xaya. Muqalar ta bibiyi yadda mawallafa labaran intanet da aka fi kira marubutan onlayin ke saqa labarinsu da wasu manufofi da suke damun al’umma. An yi nazari a kan labarin ‘Ku Dube Mu” na Batul Mamman wanda ya bayyana irin qalubale da Sojoji da iyalansu ke fuskanta. Manufar wannan muqala ita ce ta bayyana yadda marubutan shafukan sada zumunta na zamani  ke fito da matsaloli da wasu rukunan al’umma ke fuskanta a cikin rubutunsu. An xora wannan nazari ne a kan “Ra’in Xangambo Jaddadar Qwalqwala: Gadon Fexe Rubutaccen Adabi.” An zavi wannan ra’i ne duba da dacewarsa da manufar muqalar ta nazarin jigo a cikin rubutaccen qagaggen labari, wanda ra’in ya fito da matakai da mai nazari ya kamata ya bi don nazari da fexe qagaggen labarinsa. Takardar ta gano babban jigon labarin shi ne don a bayyana qalubale da sojojin Nijeriya da iyalansu ke fuskanta musamman idan suka tafi fagen yaqi ko suka haxu da wata larura ko suka yi ritaya ko kuma idan sun mutu. Takardar ta gano lallai sojoji na shan wahala a qoqarinsu na kare qasarsu da al’ummarsu. Haka zalika binciken ya gano iyalan sojoji na shiga halin qaqa-ni-ka-yi musamman a lokacin da suka rasa mazajensu ko idan mazajen sun gamu da wata nakasa. An fahimci labarin na xauke da qananan jigogi na soyayya da sadaukarwa.

Kalmomin Bincike: Adabi, Qagaggen Labari, Intanet, labaran Onlayin, Jigo\.

The paper discusses the genre of historical song and the first Hungarian collection of poetry, the main work of Tinódi Sebestyén, Cronica (Kolozsvár/Cluj, 1554), and makes the following claims. 1. The opening parts of one of the dedications of the Cronica and Tinódi's letter of nobility are the same. 2. Tinódi described the events of his time not until 1552, but until 1553. 3. The first of the two parts of the Cronica does not follow chronological order, because Tinódi also took aspects of space into account for the relative unity of the plot. 4. In the second part of Cronica, the two works A hadnagyoknak tanúság and Sokféle részögösről separate not thematic blocks but countries from each other, namely Israel, the Turkish Empire, and Hungary. 5. In the case of historical songs, it should always be kept in mind that in the period it was customary to distinguish between biblical and nonbiblical stories, as seen by the frequent use of the term "external history" (historia externa) in sermons. 6. Based on the records of the RPHA, it seems that for several authors of the time it was a "taboo" to quote from a real biblical book, so we should also recognise the difference between a biblical story that is based on the Holy Scriptures and one that is "only" based on an apocrypha.

Bible translation into indigenous languages has a wider social impact beyond its religious significance for Christian communities. This article discusses how traditional written Bible translation projects can impact the social situation of their contexts in terms of literacy and education and the preservation of cultural identity. In some instances, Bible translation endeavours to even work toward preserving languages themselves. Oral Bible translation will be considered a viable methodology for Bible translation that can have a wide social impact beyond its religious significance. Indeed, in predominantly oral contexts, oral Bible translation can empower communities in ways that traditional written Bible translations cannot. Oral Bible translation will be shown to empower communities, by preserving cultural identity through the presentation of examples from a Mozambican oral Bible translation project that preserves knowledge of the traditional numbering system of the indigenous language in its translation. By demonstrating how oral Bible translation can contribute to language preservation and community empowerment, this article also offers valuable insights for stakeholders engaged in language planning and minority language advocacy.

Abstract
During the formative period of the ḥadīth tradition, the Companions were regarded as the most reliable and fundamental link in the chain of transmission. This is because they were individuals who directly witnessed both the process of revelation and the Prophet Muḥammad himself. Such direct witnessing gave rise to a strong presumption of trustworthiness and authenticity of the information they transmitted. However, in the modern period, historical-critical approaches directed at ḥadīth studies have questioned this assumption from various perspectives. Orientalist scholarship that developed from the nineteenth century onward tended to examine the historical formation of ḥadīths in conjunction with the religious, political, and social structures of early Islamic society. Consequently, the biographies of the Companions—particularly their transmitted reports and their positions within the tradition—became the subject of new analyses that went beyond traditional approaches. Within this framework, G. H. A. Juynboll (1935–2010) emerged as one of the scholars who focused extensively on the Companions. In many of his works, Juynboll examined the central role of prominent Companions in the ḥadīth transmission tradition from a historical-critical perspective. He also maintained this approach in the entries on Companions that he authored for the second (EI²) and third (EI³) editions of The Encyclopaedia of Islam. The present study focuses on Juynboll’s entries entitled ‘Ṣafwān b. al-Muʿaṭṭal’, ‘al-Miḳdād b. ʿAmr’, and ‘Saʿīd b. Zayd’ in the second edition of The Encyclopaedia of Islam, as well as his entries on ‘Abū Hurayra’ and ‘Anas b. Mālik’ in the third edition. Through an analysis of these entries, the study aims to demonstrate how Juynboll shaped the biographies of the Companions by means of his use of Islamic sources, his handling of transmitted reports, and his methodological preferences. To this end, the study first draws attention to Juynboll’s principal claims that stand out in his evaluations of the Companions, such as the theory of the muʿammerūn and the common-link theory. Subsequently, the information he provides concerning the Companions is presented within a chronological framework based on their dates of death. Particular effort is made to distinguish between sections in which Juynboll merely transmits reports at the level of narration and those in which he interpreted them in accordance with his methodological assumptions. Wherever possible, the transmitted information is compared with its counterparts in the rijāl literature. The study offers a critical evaluation of issues such as Juynboll’s selective transmission of reports, his detachment of reports from their original contexts, and the problem of encyclopedic neutrality. The analyses showed that the common-link theory is reflected in the entries on ‘Ṣafwān b. al-Muʿaṭṭal’, ‘al-Miḳdād b. ʿAmr’, ‘Abū Hurayra’, and ‘Anas b. Mālik’, whereas the muʿammerūn claim emerged distinctly prominent only in the entry on ‘Anas b. Mālik’, due to the determining role of the age factor. In the entry on ‘Saʿīd b. Zayd’, it is observed that Juynboll revised the article originally written by A. J. Wensinck (1882–1939) for the first edition of The Encyclopaedia of Islam. In addition to the two principal theories mentioned in his entries on the Companions, three methodological approaches are also found to have become apparent. Although they do not appear together or to the same extent in every entry, the first of these approaches is the evaluation of reports attributed to the Companions within a framework of skepticism. The second is the selective foregrounding of negative reports in the biographical portrayal of the Companions. The third approach concerns the bias that emerges from the use of certain early sources to substantiate specific theoretical assumptions. In conclusion, this study demonstrates that the entries on the Companions authored by Juynboll do not remain confined to the neutral transmission of information expected of encyclopedic writing, but also reflect his views on the historical formation of the ḥadīth tradition. In this respect, the research offers an original contribution by illustrating how Orientalist ḥadīth criticism is reflected at the encyclopedic level in the biographies of the Companions.
Öz
Hadis geleneğinin teşekkül sürecinde sahâbîler, rivayet zincirinin en güvenilir ve temel halkası olarak kabul edilmiştir. Çünkü onlar vahyin nüzûl sürecine ve Hz. Peygamber’e doğrudan tanıklık etmiş kimselerdir. Bu doğrudan tanıklık, onların rivayet ettikleri bilgilerin sahîhliğine dair güçlü bir güven telakkisinin oluşmasına yol açmıştır. Ne var ki modern dönemde hadis ilmine yöneltilen tarihsel-eleştirel yaklaşımlar, bu kabulü çeşitli açılardan sorgulamaya yönelmiştir. On dokuzuncu yüzyıldan itibaren gelişen Oryantalist araştırmalar, hadislerin tarihsel oluşum sürecini İslâm toplumunun erken dönemindeki dinî, siyasî ve toplumsal yapısıyla birlikte inceleme eğilimi göstermiştir. Böylelikle sahâbîlerin biyografileri bilhassa rivayetleri ve konumları geleneksel yaklaşımların ötesine geçen yeni analizlerin konusu hâline gelmiştir. Bu çerçevede G. H. A. Juynboll (1935-2010), sahâbîlerle yakından ilgilenmiş isimlerden biri olarak öne çıkmıştır. Pek çok eserinde Juynboll, önemli sahâbîlerin hadis rivayet geleneğindeki merkezi konumunu tarihsel-eleştirel bir perspektiften incelemiştir. Bu yaklaşımını eserlerinin dışında The Encyclopaedia of Islam’ın ikinci (EI²) ve üçüncü (EI³) edisyonlarında kaleme aldığı sahâbî maddelerinde de sürdürmüştür. Bu çalışma, Juynboll’un The Encyclopaedia of Islam’ın ikinci edisyonundaki ‘Ṣafwān b. al-Muʿaṭṭal’, ‘al-Miḳdād b. ʿAmr’ ve ‘Saʿīd b. Zayd’ adlı maddeleri ile üçüncü edisyonda kaleme aldığı ‘Abū Hurayra’ ve ‘Anas b. Mālik’ isimli sahâbî maddelerini merkeze almaktadır. Söz konusu maddeler üzerinden bu çalışma Juynboll’un İslâmî kaynakları kullanma biçimi, rivayet aktarımı ve metodolojik tercihleriyle sahâbî biyografilerini nasıl şekillendirdiğini ortaya koymayı amaçlamaktadır. Bu amaçla öncelikle Juynboll’un sahâbî değerlendirmelerinde öne çıkan muʿammerûn ve müşterek râvi teorisi gibi temel iddialarına dikkat çekilmiştir. Daha sonra vefat tarihleri esas alınarak kronolojik bir çerçevede sahâbîlerle ilgili verdiği bilgilere yer verilmiştir. Juynboll’un rivayetleri nakil düzeyinde aktardığı bölümler ile metodolojik kabuller doğrultusunda yorumladığı kısımlar özellikle ayrıştırılmaya çalışılmıştır. Aktarılan bilgilerin ricâl kaynaklarındaki karşılıkları mümkün olduğu ölçüde incelenmiştir. Çalışmada Juynboll’un seçici rivayet aktarımı, rivayeti bağlamdan koparma ve ansiklopedik tarafsızlık sorunu gibi hususlar eleştirel biçimde değerlendirilmiştir. Yapılan analizler müşterek râvi teorisinin ‘Ṣafwān b. al-Muʿaṭṭal’, ‘al-Miḳdād b. ʿAmr’, ‘Abū Hurayra’ ve ‘Anas b. Mālik’ maddelerine yansıdığını, buna karşılık muʿammerûn iddiasının yaş faktörünün belirleyici olması sebebiyle yalnızca ‘Anas b. Mālik’ maddesinde belirgin biçimde öne çıktığını göstermiştir. ‘Saʿīd b. Zayd’ maddesinde ise A. J. Wensinck’in (1882-1939) The Encyclopaedia of Islam’ın birinci edisyonunda kaleme aldığı maddeyi revize ettiği tespit edilmiştir. Juynboll’un sahâbîlere dair kaleme aldığı maddelerde zikredilen iki temel teorisinin yanı sıra üç metodolojik yaklaşımın da belirginleştiği anlaşılmıştır. Her maddede aynı ölçüde ve birlikte yer almamakla birlikte bu üç temel metodolojik yaklaşımın ilki, sahâbîlere nispet edilen rivayetlerin şüphecilik çerçevesinde değerlendirilmesidir. İkinci olarak sahâbî biyografilerinde olumsuz rivayetlerin seçici biçimde öne çıkarılmasıdır. Üçüncü yaklaşım ise erken dönem bazı kaynakların belirli teorik kabulleri doğrulamak amacıyla kullanılması sonucu ortaya çıkan taraflılıktır. Sonuç olarak bu çalışma, Juynboll’un kaleme aldığı sahâbî maddelerinde ansiklopedik yazımın nötr bir bilgi aktarımıyla sınırlı kalmadığını ve hadis geleneğinin tarihsel teşekkülüne ilişkin yaklaşımlarının da bu metinlere yansıdığını ortaya koymaktadır. Bu yönüyle araştırma, oryantalist hadis tenkidinin ansiklopedik düzeyde sahâbî biyografileri üzerindeki yansımalarını gösteren özgün bir katkı sunmaktadır.

The aim of the study is to identify the specific features of the representation of state and party-political holidays in Orenburg on the pages of the central Soviet press of the 1920s. Based on materials from the newspapers “Pravda”, “Izvestia”, and “Krasnaya Zvezda”, the article examines the narratives through which the official press shaped the image of a provincial city as a space for building communism. It is shown that mentions of Orenburg’s festive life (1920-1921) record the establishment of a local revolutionary calendar and solidify the image of a Civil War hero city, while publications from the mid-decade shift the focus to demonstrating socialist achievements. The central press appears as a mechanism for interaction between the country’s center and its periphery, setting normative models for mass rituals and transmitting the idea of an “exemplary” Soviet province. The scientific novelty of the work lies in its emphasis on the specific features of how the festive culture of the Soviet state’s provinces was reflected in the central press of 1920-1921: it analyzes not local sources, but rather how regional events were constructed for an all-union readership in the central print media. As a result, it is shown that Orenburg, on the pages of central newspapers, functions as an important city whose life reflects key socio-political processes, thereby forming a “red calendar”.

The Dative shift is observed in Brazilian Portuguese (BP), Mozambique Portuguese (MP), and San Tome Portuguese (STP). It comprises the alternation between a prepositional dative construction (PDC) and a double object construction (DOC) as complements of a ditransitive verb. DOCs are not detected in the Portuguese spoken in Portugal; however, we brought evidence of its presence in Old Portuguese, a pre-figured feature for the Contemporary varieties of Portuguese. The data showed that BP, MP, and STP converge by presenting the same structural possibilities to express the recipient. At least, for BP, as DOCs are detected among university speakers in different regional varieties, they can’t be attributed to the contact, due to slavery, with Bantu languages, whose grammars contain DOC. Since BP is also characterized as a Dominant Variety of Pluricentric Portuguese, we argue that specific linguistic features are not enough to establish the degree of submission to the original linguistic norms.

В данном исследовании анализируется переход евхаристической практики от её библейско-патристических основ к теологическим перестройкам, произошедшим в результате протестантской Реформации. Утверждается, что наблюдаемая в современных протестантских деноминациях фрагментация интерпретаций в основном проистекает из отказа от церковной традиции и принятия методологического принципа Sola Scriptura.

Digital video has become an important medium for shaping brand meaning within Integrated Marketing Communication (IMC). As desktop editing systems, multimedia authoring tools, streaming formats, and interactive distribution channels become more accessible, professional video production is no longer limited to broadcast institutions or large advertising agencies. This paper examines digital video storytelling as a strategic communication approach that integrates narrative structure, visual identity, media planning, and audience experience. The discussion positions digital video not merely as a technical product, but as a designed sequence of meaning in which image, sound, motion, typography, editing rhythm, and interface context work together to support brand consistency. The paper argues that effective digital video for IMC requires alignment between consumer insight, story objective, production aesthetics, compression decisions, and channel selection. By connecting marketing communication, multimedia design, digital video production, and visual communication design, this paper proposes a practical conceptual framework for creating persuasive, credible, and human-centered brand stories across emerging digital media environments.

Acest studiu analizează tranziția practicii euharistice de la fundamentul său biblico-patristic la reconfigurările teologice rezultate din Reforma protestantă. Se susține că fragmentarea interpretativă observată în denominațiunile protestante contemporane provine fundamental din respingerea Tradiției ecleziale și adoptarea principiului metodologic al Sola Scriptura.

There is a popular assumption that all oral poets and poetry say the same thing, may be in different ways which this present study expunges. We identify the signature tunes as one of the four components in literary works that do not only set aside a genre from another but also serve as emblem that identify a literary work, the situation of the text and oral artists. This study substantiates signature tunes as the unique identity of oral artists for indigenous criticism of oral performances. we do the survey of signature tune in selected six oral genres, ij àlá-o̩ de̩ , e̩ kún-ìyàwó, e ̩ s̩ à-egúngún, ìye ̩ re ̩-Ifá, èlè-orò and S̩ àngó-pípè which are all classified as chants and secondary data from recorded albums and printed works on Yorùbá oral genres were also instrumental. The work is guided by structuralism from Kerl Buhler (1934) and Roman Jacobson's (1960) perspectives as theoretical perspective to identify the concept from the pool of other constituents. And in the course of the work, we discover that the surveyed signature tunes have classes, though the classification is done through the kind of function they perform in the context where they are used. The said classes are artistic, contextual, textual, transitional and geographical signature tunes which according to the stylisticians are in tandem with style as a man, style as a situation, style as deviation, style as temporal phenomenon and style as idiolect respectively. Artistic signature tune cum style as a person reveals the identity of artists, their competency, origin and what they are capable of doing, which translates to the emotive function of language. This artistic signature tune is discovered to occur initially, medially and terminally across the stretch of Yorùbá oral performances. The study therefore recommends individual brand recognition contained in artistic signature tunes for the rhetorics, artistes and public speaker so as to have brand recognition and connect them to the audience emotionally.

The narrative scroll paintings across India, South and South-eastern Asia highlight an important aspect of socio-cultural and religious connectivity. These are revealed through the many stories which gave rise to the varied painting patterns of each region. This paper looks into this significant aspect of cross-cultural communication and historical relations down the course of the last thousand years.
Key words- Narrative scrolls, storytelling, religion, cultural conenctivity

This paper attempts to explore the storytelling aspects of graphic novels in English in India, using the Indian epic- The Ramayana. The paper focuses on how the genre of graphic novels utilised the story from the famous epic to reach out to the young audience across India through visual representation. The paper also explores the methods of communication and how both folk and urban culture-communications are interwoven through such visual representation. The paper also introduces the theory of Picture-panel Communication on the basis of the power of storytelling and communication of these graphic novels.
The world of comics and graphic novels has always exuded a wonder of its own- appealing to the young as well as the elderly. The history of English comics in India is relatively new as compared to its western counterparts in Europe or USA and dates only back to about six decades. The term graphic novel is also relatively new in India, especially evolving and finding a potential market only over the last one decade. Though the words ‘comics’ and ‘graphic novels’ often share similar bases in the various versions outside India, especially in USA and Europe, yet I believe, in India, the latter carries a more responsible duty on its shoulder as a storyteller as they attempt to maintain a closeness to the folk traditions of the nation. In its formats of telling stories, as well as depiction, portrayal of characters, themes and ideas, the Indian graphic novels have been immensely influenced by the various folk and oral traditions from across the nation- with the biggest and most prominent examples coming from the Indian epics- The Ramayana and The Mahabharata over the years. This paper attempts to study the effects of The Ramayana on the development of Indian English graphic novels over the years, especially influencing communication with and for young and the young-at-heart readers.

Kurmanji English Русский P'adşê min Ȓebê milyak'et e, My Sovereign is the Lord of angels, Повелитель мой -Господь анг Ȓebê her ĥeft suȓêt bi t'aqete, The Lord of all seven mysteries, with patience (power), Господь всех семи тайн, с терпе (мощью), Û her ĥeft mêrêt bi heybete. And of all seven righteous men, with awe (before God's majesty). И всех семи праведников, с тре (пред благоговением Бога). S. 6 Kurmanji English Русский Kurmanji English Русский P'adşê min Ȓebî jorî ye, My Sovereign is the Lord Most High, Повелитель мой -Господь Всевышний, Ȓebê k'eşîş, û qelender, û sofî ye, The Lord of priests, qalandars, and Sufis, Господь священников, калан суфиев, Ȓebê Şêxê minî Adî ye. The Lord of my Shaykh Adi. Господь моего Шейха Ади. S. 13 Kurmanji English Русский P'adşê minî mezin e, My Sovereign is Great, Повелитель мой -В Û P'adşayê ĥemû momin e, And the Sovereign of all believers, И Повелитель всех в Ȓebê dînê Ezdayê min e. The Lord of the religion of my Ezda (God). Господь веры Аздая S. 14 Kurmanji English Русский P'adşê min î Xefûr e, My Sovereign is the All-Forgiving, Повелитель мой -Всепрощающий, Û ew xaliqê agir û nûr e, And He is the creator of fire and light, Он -творец огня и сиян Herî bi Ĥeqe, û ewî Xefûr e. He is with the Truth, and He is the All-Forgiving. Он с Истиной, и Он -Всепрощающий. Kurmanji English Русский P'adşê minî adil e, My Sovereign is just, Повелитель мой -справедл Ji ĥemû aliya î k'amil e, From all sides He is perfect, Со всех сторон Он совершен Ew miraza ĥemû dila. He is the desire of all hearts. Он -возжелание всех серд

Signature tunes are memorable musical phrases associated with a particular artist, presenter or individual as his/her unique style. While signature tunes are identified as a result of deviation in the language and approach of the artists to his performance, there tends to be conformity in the language of the artists judging from how the similarity occurs in signature tunes of some oral artistes. The reason why this occurs, how it manifests and where it occurs constitute our quest in this study. This study, therefore, investigated the conformity in deviation of signature tunes in order to establish language interactionism from certain point in linguistic reservoirs. Data for this study are sourced from Yoruba chants of: Ijala-ode, ẹ ṣ-egengen, Ṣngn-ṕpp, ẹen-nỵwn, nyẹ rẹ-fa, plp-oro, and subjected to Roman Jacobson's approach to structuralism and principle of Transformational Generative Grammar. Findings revealed that signature tunes are actually maṛers of identity of artists which is commensurate with style as deviation in stylistics. Furthermore, conformity in the language of artists which suggests the interpolation or interactionism at the linguistic reservoir is inevitable across the variety of genres, therefore, signature tunes that are not supposed to conform to one artist/woṛ is now conforming. This indicates that though oral artists are unique in their respective renditions of signature tunes but there are places where uniqueness matches one another and it proves that signature tunes are both created and learnt. The study concluded that though signature tunes earnmaṛ deviation, the interactionism of genres in the linguistic lexicon causes conformity in the signature tunes of genres that are not of the same variant. The study recommended that signature tunes which project individualism rather than collectivism, be adopted as another critical paradigm for indigenous criticism of Yoruba oratures for it indicates language dexterity of the chanters. Conformity in presentation of idea and approach rather than only unit is recommended as well for objective indigenous criticism of Yoruba oral performance.

In the Büyükada of my childhood, the Orphanage occupied a space somewhere between reality and imagination. Forbidden, distant, and difficult to reach, it fascinated us precisely because it remained inaccessible. On summer evenings, we would try to sneak into its grounds to play hideand-seek, telling one another ghost stories and casting nervous glances at its windows, wondering whether a face might suddenly appear. That immense wooden structure gradually became a living presence in our childhood imagination. We knew very little about it, yet invented countless stories around it. Time passed. Nearly two years ago, as part of the preparations for the Büyükada Greek Orphanage Exhibition, we found ourselves gathered in a quiet room reminiscent of 206 Rooms of Silence, the landmark exhibition that first helped restore the Orphanage to public memory. Together with Yasemin Civelekoğlu, Ali Erkurt, and Halim Bulutoğlu, I began preliminary inventory work in a small "memory room" located in the Monastery of Aya Nikola. In doing so, I stepped once again into the mysterious world of my childhood-this time not through ghost stories, but through files, photographs, health records, student registers, maps, teaching materials, and countless fragments of everyday life.

Sa tomong ito, ang unang kabanata ay pinabigay ng maiksing
pagkakakilala ng mga kalahok. Ang ikalawang kabanata ay
tanging pinaguusapan ang mga kaalaman ng mga Iraya ng
Calomintao tungkol sa mga paniki noon panahon ng Covid-19.
May dinagdag na bahagi na inilagay pagkatapos sa paggawa
ng mga video kasama ng mga kalahok. Ang ikaatlong kabanata
ay tungkol sa mga pusa o musang na bihirang makikita nguni’t
maaaring magamit sa mga paggagamot. Ang ika-apat na
kabanata ay tungkol sa mga “tagapangalaga”, iyan hagap na
iyan ay sentral sa kosmolohiya ng mga Iraya ng Calomintao.
Ang ikalimang kabanata ay tungkol sa mga daga. Sila ay may
pakikitungo sa mga Iraya at sa mga paniki. Ang huling kabanata
naman ay tungkol sa mga ibon. Ang mga teksto na ito ay
mayroon madaming impormasyon tungkol sa mga kaalaman
ng mga Iraya. Ang librong ito ay ipinapakita ang kagandahan
at kailaliman ng kanilang kaalaman na isinasalin mula noong
unang panahon hanggang ngayon sa susunod na salinlahi na
sakasulukuyan ay sikat parin.

Esta episteme coloca los aprestos socioculturales del magosto ourensano como una celebración transcompleja donde convergen una red de significaciones experienciales antropológico cultural, patrimonial inmaterial y de ritualidad simbólica, que se imbrican a las antiguas prácticas del Samhain celta, la tradición agraria galaica. Visto transdisciplinarmente, el magosto representa un dispositivo cultural de memoria y liminalidad (Turner,1988) y de ritos de paso Van Gennep (2013) que abren un espacio transicional entre estaciones, por los vivos y muertos posteriores al día de los difuntos. El fuego, la castaña, el tizne, la música de gaita y el jolgorio comunitario son interpretados como símbolos que condensan estructuras míticas perdurables. Aunque en esencia no reproduce las expresiones de una teodicea celtica, ergo, se sostienen como los elementos continuistas de una cosmogonía-naturaleza que tributa el agradecimiento a los frutos de la tierra, y la ancestralidad en pos de una renovación estacional con sentido identitario gallego. Elementos que amalgaman un acervo, un patrimonio inmaterial que debe ser respetado, conservado en el tiempo y transmitido a las nuevas generaciones, enmarcándose en coherencia con la meta 11.4 de los Objetivos de Desarrollo Sostenible.

RUWATAN RITUAL RUWATAN Dalam masyarakat Jawa, ritual ruwat dibedakan dalam tiga golongan besar yaitu : 1. Ritual ruwat untuk diri sendiri. 2. Ritual ruwat untuk lingkungan. 2. Ritual ruwat untuk wilayah. Dalam masyarakat Jawa, ruwatan memiliki ketergantungan pada siapa yang akan melaksanakan. Jika ruwatan dilakukan oleh orang yang memang memiliki kemampuan ekonomi yang memadai, maka biasanya dilakukan secara besar-besaran yaitu dengan mengadakan pagelaran pewayangan. Pagelaran pewayangan ini berbeda dengan pagelaran yang pada umumnya dilakukan. Pagelaran pewayangan dilakukan pada siang hari dan khusus dilakukan oleh dalang ruwat. 1. Ruwatan Diri Sendiri ruwatan diri sendiri dilakukan dengan cara-cara tertentu seperti melakukan puasa (ajaran sinkretisme), melakukan selamatan, melakukan tapa brata. Dalam masyarakat Jawa, bertapa merupakan bentuk laku atau sering disebut lelaku. Lelaku sebagai wujud untuk membersihkan diri dari hal-hal yang bersifat gaib negatif (buruk) juga termasuk dalam ruwatan. Dengan memasukan kekuatan gaib dalam diri yang bersifat positif (baik), akan memberikan keseimbangan energi dalam tubuh. Hal ini sering dikemukakan oleh para spiritualis Jawa sebagai bentuk nasehat untuk mempelajari hal-hal yang bersifat baik. Pada saat ini, ruwatan yang dilakukan oleh sebagaian masyarakat Jawa jauh berbeda dengan kebudayaan peninggalan pada zaman Hindu-Budha. Ruwatan lebih cenderung dilakukan dengan tidak mengatasnamakan ruwatan, tetapi pada dasarnya memiliki tujuan yang sama. Lelaku sebagai wujud atau bentuk dari ruwatan bagi diri sendiri ini juga sering dilakukan oleh sebagian mansyarakat Jawa agar mendapatkan kebersihan jiwa.

Shamaran in Goran culture cannot be reduced to the common narrative of Shahmaran in other regions. In the Gorani account, Shamaran is not a half-woman and half-serpent being, and her destiny does not end in tragic death. Rather, she is a royal and immortal peri who is hidden in the qewa , or skin, of a snake and who, every year, at the beginning of Kurdish spring, rises from the lower layers of the soil. This article examines Shamaran in relation to the ritual of Danekulaneh, the black snake, seed, child, blessing, soil, and the ethical order of nature. On this basis, Shamaran is closer to the semantic field of Pir Benyamin than to that of Dawud Kosowar; this is a field connected to Pir-e Shart, Khak, covenant, protection, and the stabilization of sacred order. In this structure, Dawud Kosowar is the primordial Dalil, the force of wind, Shemal, opening, and the movement that begins spring; Shamaran, however, is the earthly and protective manifestation of shart within the world of nature. From this perspective, Danekulaneh is the edible and ritual form of the relation between wind, soil, and 2 | Shamaran in Goran Culture blessing in the Gorani calendar, while Shamaran is not merely a folkloric narrative, but part of the lived Gorani and Yarsani cosmology.

« Du Ṛgveda au Mahābhārata. La trifonctionnalité indo-européenne et la tradition "paravédique" », in C. Redard (éd.), L'Inde et l'Iran dans la théorie trifonctionnelle de Georges Dumézil (1898-1986), Strasbourg (coll. « Publications d'Études indo-iranniennes », vol. 3), 2025, p. 57-90.

During the Renaissance, in a wave of interest in antiquity, interest in the
past of states and peoples developed in territories outside the Roman Empire.
The work of Claudius Ptolemy and his division into European and
Asiatic Sarmatia was eagerly used. As late as the 16th century, thanks to the
writings of Polish historians, Sarmatia became synonymous with the
Polish-Lithuanian Commonwealth. However, the Sarmatian space was used
in foreign policy – mainly for the expansion of lands to the east, also intended
to unify the society of the huge Polish-Lithuanian state. The Lithuanian
or Ruthenian magnates quickly assimilated the Polish language, and
the great ducal Ruthenian families also made numerous conversions to
Catholicism, which could indicate their Polonisation. In reality, these were
political choices – a desire to belong to a political nation, i.e. the nobility.
This one developed its own culture, called Sarmatian, in which Poles had
the greatest influence. This resulted in a kind of Sarmatisation-
Polonisation of the entire nobility of the Polish-Lithuanian Commonwealth.

Temsula Ao (1945-2022), the seminal Naga poet-ethnographer, cultivated a six-decade poetic corpus that transcends aesthetic expression to become a biocultural manifesto for indigenous sustainability. Through ecocritical analysis of her complete poetic oeuvre-Songs That Tell (1988), Songs That Try to Say (1992), Songs of Many Moods (1995), Songs from Here and There (2003), Songs from the Other Life (2007), and Songs along the Way Home (2017)-this research establishes Ao as a pioneering voice in decolonial ecopoetics. Her work documents the violent disintegration of humannature reciprocity under extractive capitalism while preserving ancestral ecological knowledge as regenerative pathways. Her poetry demonstrates that cultural continuity is the bedrock of ecological resilience, positioning poetry as a vessel for biocultural preservation. Methodologically, this study employs frames of interdisciplinary ecocriticism, ecofeminism, and ethnopoetics to explore how Ao's poetry becomes both elegy for ecological loss and blueprint for regenerative futures. INTRODUCTION: The Poet as Ethnobiologist and the Naga Cosmos Temsula Ao (1945-2022) forged a revolutionary poetic idiom that transcended literary aesthetics to become an act of ecological and cultural stewardship. Her unique position as both an Ao Naga ethnographer and visionary poet enabled a synthesis of scientific precision and lyrical power, transforming her verse into living archives of indigenous environmental knowledge. Through six poetry collections spanning three decades, Ao documented Northeast India's biodiversity while interrogating the forces threatening its survival-from militarization to extractive capitalism. Her work constitutes a decolonial ecopoetics that centers Naga cosmological frameworks as sustainable paradigms for the Anthropocene. This paper also examines how Ao's ethnographic rigor, grounded in traditions like the Lijaba creation narrative shaped a poetic practice that functions simultaneously as ethnobiological discourse, cultural memoria, and ecological resistance. Ao's environmental vision emerged from her dual identity as scholar and cultural insider. As Director of North East Zone Cultural Centre, Ao worked toward preservation of Ao Naga oral traditions including the Lijaba cosmogony, according to which the creator deity designed Nagaland's rugged terrain. This cosmology perceives landscapes as intentional creations rather than accidental formations, establishing a framework of sacred geography that permeates Ao's poetry. Temsula Ao's poetic oeuvre is a resonant tapestry of cultural memory, ecological wisdom, and indigenous cosmology. Her works articulate an ardent engagement with the land and its vegetal, spiritual, and communal significance, often structured around ethnobotanical knowledge embedded in the Naga way of life. In the poems from her Book of Songs (2013), Ao foregrounds an ethnobiological framework that intertwines ecological sustainability with poetic expression, offering insights into the Naga people's relationship with nature. One of the foundational elements in this ethnobiological worldview is the figure of Lijaba, the Earth-Maker, whose mythic presence sanctifies the land. In the poem "My Hills", Ao invokes the spiritual geography of the Naga landscape, transforming hills and forests into sacred entities (Ao, 2013, p. 157). This sacred geography is not merely symbolic; it reflects a deep-seated ecological ethic in which the environment is seen as a living, spiritual force. Plants, trees, and topography are not passive resources but active participants in a shared ecological order. By poeticizing Lijaba's connection to the land, Ao articulates a form of environmental reverence that situates the earth as a sacred being deserving of care and restraint. In "Prayer of a Monolith", the oath stones-culturally significant stone markers-are depicted as silent witnesses to communal vows and moral obligations (Ao, 2013, p. 293). These stones symbolize ritual restraint in hunting, a principle that includes the protection of certain species and reverence for forest-dwelling spirits. The ecological wisdom embedded in this practice is inherently ethnobiological, as it informs how and when flora and fauna may be used without endangering their survival. Ao's poem gives voice to the monolith, blending vegetal stillness with moral agency, and foregrounding a tradition that ensures biodiversity through cultural discipline. Rooted in Naga tradition, the idea of reciprocity

Este estudio aplica técnicas de minería de texto a 4,138 relatos de la comunidad en línea "Relatos de Horror" para analizar las estructuras narrativas del terror contemporáneo en español. Mediante diversas paqueterías de RStudio se examinaron frecuencias léxicas, redes semánticas, patrones de sentimiento y distribución geográfica. El trabajo indaga la relevancia de temas y entes tradicionales de las historias de terror mexicanas y latinoamericanas. Los resultados develan estructuras lingüísticas recurrentes centradas en espacios domésticos y familiares, con fuertes conexiones entre experiencias sensoriales y entornos cotidianos. El análisis de sentimientos, aunque con una esperable orientación emocional negativa, más bien demuestra una rica ambigüedad contextual, y una serie de hallazgos sobre la densidad emocional entre figuras familiares. Finalmente, la extracción toponímica demuestra el alcance de la comunidad a escala nacional mexicana y continental hispanoamericana. El estudio evidencia cómo la combinación de métodos computacionales con análisis cualitativo puede identificar patrones culturales de grandes volúmenes de texto. Palabras clave: minería de texto, narrativas de terror, comunidades digitales, estudios del lugar.

Las tradiciones textiles de los pueblos originarios incluyen un conjunto de expresiones artísticas manufacturadas con fibras de origen vegetal, animal o sintético que se elaboran de manera tradicional, es decir, por un conocimiento que se transmite de generación en generación, que tienen fines utilitarios, decorativos y de vestimenta, pero también son objetos sagrados repletos de simbolismo que se ofrendan a los dioses y se usan, en ocasiones solemnes, como parafernalia ritual.
El arte textil es una expresión cultural que abarca distintas dimensiones que van desde la creación y producción colectiva de dichas expresiones de acuerdo a la costumbre, pero también a partir de su reconocimiento como Patrimonio Cultural se generan procesos de comercialización y consumo, por lo que se desencadenan problemáticas complejas sobre la apropiación simbólica e intelectual de un bien cultural colectivo creado por los grupos y comunidades.

En México actual, los pueblos originarios portadores de las distintas tradiciones textiles se enfrentan a procesos de patrimonialización que matizan y descontextualizan la producción textil, dando pie a la apropiación cultural y al plagio de diseños originales. Es por eso que es necesario recalcar que los objetos textiles son un aspecto muy importante de los sistemas de conocimiento de las comunidades que los crean, así como las técnicas, el manejo de fibras, el uso de tintes, la confección y los diseños de prendas hacen posible la existencia de estas tradiciones; su desplazamiento o desaparición impacta en la pérdida de otros sistemas culturales como la lengua, pues si las tradiciones ya no existen no es necesario nombrarlas.

La muestra fotográfica que presentamos corresponde a la diversidad de objetos textiles elaborados por artesanos y artesanas de distintas comunidades, con quienes hemos colaborado en el proyecto “Documentación histórica, etnográfica y lingüística del arte textil otopame: otomí-chichimeca (región centro)” que forma parte del Programa Nacional de Etnografía 2021-2023 (PRONE), a través de la Coordinación Nacional de Antropología del INAH. Parte de esta colección se incluyó en la exposición fotográfica Ya bit’u ar ts’ogi kwä. Tejidos para los dioses, que se presentó en el marco de la 34 Feria Internacional del Libro de Antropología e Historia.

A partir de la documentación de objetos textiles y los saberes lingüísticos hemos podido reunir el presente material que corresponde al trabajo de campo realizado en la comunidad de San Felipe de los Alzati, en el municipio de Zitácuaro, Michoacán, la comunidad de La Magdalena, y la cabecera municipal de Temascalcingo, Estado de México, la comunidad de Santiago Mexquititlán y cabecera municipal de Amealco de Bonfil, Querétaro, las comunidades de San Miguel, El Tule y Maguey Manso en el municipio de Tolimán, Querétaro y en las comunidades de Misión de Chichimecas, San Ignacio, Toreador de Abajo y cabecera municipal de San Luis de la Paz, Guanajuato, así como en el predio La Casona, en la colonia Roma de la Ciudad de México y en diferentes puntos de la ciudad de Santiago de Querétaro y la zona conurbada.

En dichas comunidades y asentamientos pudimos acercarnos a los y las artesanas que tejen, bordan y cosen distintas telas y fibras y que además se autoidentifican como ñatho (en Zitácuaro), jnatjo y ñható (en Temascalcingo), ñähño (en Santiago Mexquititlán, la Ciudad de México y la ciudad de Querétaro) ñöñhö (en Tolimán) y uza’ o chichimeco jonáz (en Misión de Chichimecas) quienes nos han compartido su tiempo y sus saberes con la finalidad de documentar, preservar y difundir su labor como portadores de la tradición.

Давање комплимената спада у рутинске говорне активности језичке
етикеције и представља својеврсни маркер друштвених односа за изражавање личне симпатије и позитиваног става према саговорнику. Облик и начин изрицања комплимената зависи од разноврсних социолингвистичких и прагматичних елемената попут друштвеног статуса и комуникативне улоге комуникатора, њиховог степена блискости и самог ситуационог контекста конверзације, тако да се распон њихове употребе протеже од протоколарне етикеције повезане са другим формулама језичке учтивости, преко зражавања емпатије, солидарности, искреног дивљења па све до ласкања и
неискрених хвалоспева. За руске лингвисте комплименти спадају у домен емотивне лингвистике познате као лингвистичка емпатија.
Свеприсутност комплимената у свакодневним говорним сиутацијама формалне и неформалне комуникације у српском јавном дискурсу, представља богату платформу за њихово класификовање према различитим критеријумима, што надаље даје основу за детаљнија истраживања овог, у прагматичком смислу, веома комплексног говорног чина.

Toutes les interprétations des guerres de Yougoslavie et principalement de la guerre de Bosnie- Herzégovine finissent toujours par buter sur une incompréhension qui se transforme en cri de révolte : que la tragédie cesse, que les belligérants enfin s'entendent ! M. Elie Wiesel lui même, prix Nobel de la paix, prêchait pour la "modération dans les 2 camps". Mais le concept de belligérants et celui de génocide étant trop incompatibles, (dans cette logique, les juifs du ghetto de Varsovie pourraient devenir des belligérants de la deuxième guerre mondiale) le cri est vite étouffé. La confusion et l'indifférence, gavées d'humanitarisme, triomphent.

Ainsi l'Europe de la fin du vingtième siècle est devenue le théâtre du premier "génocide spectacle", décrit minutieusement, jour après jour dans sa succession d'actes barbares : massacres, assassinats, viols, pillages, villages brûlés, villes assiégées... Au moins 200 000 bosniaques tués depuis le début de la guerre, principalement des civils de confession musulmane, presque 2 000 000 de réfugiés. Début juin 1994, le HCR rapportait l'existence de pratiques d'esclavage. L'ONU a chargé sa commission pour les droits de l'homme de nous décrire tout cela. De nombreux rapports ont été produits... Mais les "belligérants" continuent de s'affronter devant nous, et "nous", l'ONU, l'Union européenne, l'OTAN, essayons de faire en sorte qu'enfin ils s'entendent, tout en envoyant des montagnes d'aide humanitaire.


Difficile alors de comprendre l'articulation entre ce qui se passe : un génocide. Ce que l'on est censé défendre : les Droits de l'Homme. Ce que l'on fait : résolutions et sacs de riz.

Des morts par dizaines de milliers, des massacres, des tortures, des familles sciemment brûlées avec leur maison, des viols systématiques, des camps, des destructions de villes et de villages, un exode de masse, la famine : cette agression se déroule sur tout le territoire de la Bosnie-Herzégovine depuis plus d'un an. C'est toute une population civile et son histoire qui est victime d'une politique de purification ethnique. Face à cette agression, nous voulons tout d'abord dénoncer le principal agresseur, à savoir les nationalistes serbes de Bosnie-Herzégovine soutenus, moralement, économiquement et militairement, par le régime nationaliste de Serbie et sa politique de purification ethnique. Nous dénonçons aussi, dans une moindre mesure, les nationalistes croates de Bosnie-Herzégovine. Nous voulons ensuite reconnaître l'agressé comme étant le peuple pluriethnique, Croates, Musulmans et Serbes, de Bosnie-Herzégovine et son gouvernement démocratique. Nous affirmons notre solidarité envers ce peuple et son gouvernement. Nous exprimons particulièrement notre compassion envers les Musulmans de Bosnie-Herzégovine qui sont les principales victimes du nationalisme serbe et de sa politique de purification ethnique. Nous voulons rappeler que le vivre ensemble des Croates, des Musulmans et des Serbes de Bosnie-Herzégovine (qui sont tous des Slaves de langue Serbo-Croate) est toujours en acte, malgré les atrocités commises, tant dans le gouvernement et l'armée bosniaque que dans les principales villes encore sous contrôle bosniaque. À Sarajevo, assiégé depuis plus d'un an par les milices nationalistes serbes, on compte toujours plus de 70 000 Serbes sur une population d'environ 300 000 habitants qui, dans l'épreuve, continuent d'affirmer leur volonté de vivre ensemble. Contre toute idée de haine ancestrale et raciste, nous soutenons tous ceux qui en Bosnie-Herzégovine défendent le droit au choix du vivre ensemble. C'est pourquoi nous dénonçons les éléments suivants de la diplomatie ONUsienne : L'incohérence de la résolution 713 du conseil de sécurité ; en effet cette résolution, votée le 25 septembre 1991, décida d'appliquer un embargo sur les ventes d'armes à la fédération yougoslave ; or cette résolution fut suivie, dès décembre 1991, de la reconnaissance, par les principales nations qui avaient voté l'embargo, de l'indépendance des républiques de la fédération yougoslave, et donc de la dislocation de celle-ci ; la résolution 713 s'est alors appliquée, automatiquement et sans plus de débat, aux républiques nouvellement reconnues. Cette résolution et les reconnaissances ultérieures ont ainsi livré la Bosnie-Herzégovine, sans moyens pour se défendre, aux appétits barbares des nationalistes serbes ; Le plan de paix Vance-Owen de l'ONU et la CEE : basé sur la négation du peuple bosniaque (Croates, Musulmans et Serbes) et sur la négation d'un vivre ensemble possible et effectif, il propose comme solution de paix un déplacement massif des populations, c'est-à-dire la version diplomatique de la purification ethnique ; Le rôle de la FORPRONU, force de protection de l'ONU, qui s'avère être au mieux une force d'observation de la purification ethnique au pire un soutien à cette purification ; il est moralement inacceptable que le chef de cette FORPRONU participe aux festivités des nationalistes serbes lors de la Pâques orthodoxe ; boire et manger allégrement avec l'agresseur, pendant que l'agressé meurt de faim, ne peut pas être accepté comme un acte de diplomatie, mais bel et bien comme un acte de collaboration de la diplomatie ONUsiene avec l'agresseur. Nous dénonçons aussi la diplomatie française, tant la présidence que les gouvernements successifs de gauche et de droite, pour son rôle de soutien aux éléments dénoncés de la diplomatie ONUsienne, pour son absence d'expression de solidarité envers l'agressé qui va jusqu'à une politique d'accueil des réfugiés cautionnant la politique de purification ethnique, et pour les réticences qu'elle émet face à toutes sanctions contre l'agresseur. Nous déplorons que les médias, dans une très large majorité, n'assument pas leur devoir d'information et de pédagogie et se contentent d'osciller entre un rôle de porte-parole de la communauté internationale (la présentation du gouvernement bosniaque pluriethnique et démocratique comme "les Musulmans" n'est rien d'autre que la propagande médiatique de la purification ethnique) et entre une exploitation émotionnelle de l'horreur à objectif "audimatique". Nous mettons en garde les opinions publiques, européenne principalement, contre l'indifférence dont elles font preuve face au drame qui se déroule en Bosnie-Herzégovine. En effet la question posée par ce drame est d'abord celle de la nation. La réponse qui l'emporte est celle d'une conception ethnique de la nation, fondée sur le droit du sang et des principes racistes. La conception de la nation basée sur le choix des individus à vivre ensemble et le respect de l'identité de l'autre est totalement niée, tant par la pratique de l'agresseur que par les diplomaties ONUsiennes et européennes. La victoire de cette réponse s'avérera très dangereuse partout sur la planète où des sociétés pluriethniques tentent de coexister (en Serbie tout d'abord avec les Musulmans du Sandjak, les Albanais du Kosovo et les Hongrois de Voïvodine, mais aussi en Afrique du sud, en Israël, aux États-Unis, en ex-URSS, en Afrique noire, en France et dans bien d'autres pays). Le 7 mai 1993. Les signataires tiennent à ce que ces prises de position soient exprimées et défendues dans les débats politiques et médiatiques.

Abstract

The Pirahã of the Brazilian Amazon are often discussed in terms of what they appear to lack: writing, exact number words, monuments, centralized political authority, and many of the institutions commonly associated with complex civilizations. Yet despite centuries of external pressures, their language, identity, ecological knowledge, ritual life, and cosmological traditions continue to endure.

This paper proposes a different question.

Rather than asking what the Pirahã lack, it asks: How does a people remain a people?

Drawing upon the linguistic research of Daniel Everett, the ethnographic studies of Marco Antônio Gonçalves, the historical observations of Curt Nimuendajú, and scholarship in anthropology, memory studies, and Indigenous knowledge systems, the paper argues that Pirahã continuity emerges through a distributed architecture of living memory. Knowledge, identity, and social coherence are maintained through participation in ecological cycles, naming practices, kinship obligations, reciprocity, ritual performance, evidential witnessing, shamanic mediation, recurrence, and shared participation.

The study suggests that the Pirahã offer an important comparative model for understanding cultural persistence. While many societies preserve continuity through archives, monuments, institutions, and written records, the Pirahã demonstrate an alternative strategy in which memory remains active through enactment, relationship, and recurring participation. Their example challenges common assumptions about memory, civilization, social organization, and what is required for a culture to endure across generations.

Ultimately, this paper argues that the Pirahã are best understood not as a society defined by absence, but as a society organized around presence. Their greatest lesson may be that human continuity is sustained not only by what is preserved, but by what is continually carried forward.

Sacred scripture, when misread as literal doctrine, collapses the deeper intent of ancient wisdom traditions. These texts were not written as rigid commandments, but as vibrational maps of initiation-multi-dimensional instructions encoded in poetic sequence, resonance, and ritual. The figure of Karaisataousa-from Ka (breath/light), Ra (solar spirit), Isa (wisdom), Tao (way), and Usa (embodied resurrection)-emerges across cultures as a syncretic, mnemonic architecture that predates monotheistic abstraction.

Poetry usually constitutes the first genre in which an emerging language manifests itself. In the Aragonese case, this is evidenced by the first authors who wrote in this language. Numerous studies have highlighted the relevance of poetic production in Aragonese, especially that published in the initial moments when writing in the newly standardized language was beginning to consolidate thanks to the poems of its precursors. These pages will not address those foundational collections of poems, but rather the poetic work of those who continued the path initiated by them.

This booklet is not a comprehensive survey of all cultural features
found at the coast, but rather a selection of Seascapes of those
topics the Working Group on Coastal Culture&Maritime Heritage has presented and highlighted so far from various different angles. The intention is to increase the knowledge and interest in Maritime and Coastal Heritage and to promote the valuable work of the MG as an Intergovernmental Working-group of the Council of the Baltic Sea States CBSS.

At times of political catastrophe, what spaces remain for disenfranchised voices? This essay explores an early seventeenth-century compendium of urban folksongs, compiled by Feng Menglong (1574–1646), to explore a new kind of political action outside the institutions of the state—the act of transmission, that is, the recording of materials from the past or present for the moral cultivation of posterity. When Feng inserts non-elite voices into this process by recording and transmitting their poetry in a textual record that takes account of their regional and oral features, inflected by differences of class and gender, his act is both inclusive and meaningfully political. Feng’s act of transmission sustains voices—including those of the marginalized—whose circumstances otherwise render them precarious. Transmission thus draws attention to the forward-looking acts that can shape future practice and theory, on the basis of the very voices being obstructed by the mainstream realities of ...

This book presents the academic findings of a joint research project conducted at the Institute for Research on Humanities, Kyoto University, over a three-year period from April 2022 to March 2025. The project was entitled "Evolution of the Indian Ontology in the Cyclic Image: Focusing around the Development Process from Ritualistic Thoughts to Philosophical Views" (Publicly Offered Project [Type A1]). During this study, we examined Indian ideas about the existence of the world and living things, particularly those involving a cyclical image. Examples include the belief that "the world repeats its emersion and destruction forever" or that "all living things are in a continual cycle of birth and death". This analysis can be approached in many ways, ranging from religious rituals, which are closely linked to "temporal cycles" such as years and months, to philosophy, literature, art, law and ethics, and so on. This study brought together experts from a variety of relevant disciplines, and through in-depth discussion, a wealth of new insights has been yielded. This volume is the main outcome of the project, bringing together academic papers written by its members. Although nine members of the project contributed to this book, each individual paper is based on their accumulated academic exchanges with other colleagues within the research group. Most of the papers in this volume are based on presentations that the authors gave at monthly research sessions or annual symposia. The comments and information provided by participants at these events helped to improve the quality of the papers. Furthermore, each paper in this volume underwent a rigorous double-blind peer review process, and the reviews were conducted by members of this research project. Thus, this book was produced by making the most of the benefits of a collaborative research team. I would like to take this opportunity to express my deepest gratitude to the Institute for Research on Humanities at Kyoto University, which provided the infrastructure for this research, including financial support, venues and information resources. Lastly, I would like to acknowledge the names of all the colleagues who participated in this project and pay tribute to their contributions.

The late medieval Icelandic romance Samsons saga fagra (‘The Saga of Samson the Fair’) is one of very few texts in which Old Norse myth openly meets Arthurian legend. Previous scholarship has identified the saga’s clear borrowings from the French fabliau Le mantel mautaillié (‘The Ill-Fitting Mantle’) via the fabliau’s Norse translation, Möttuls saga (‘The Saga of the Mantle’), primarily with regard to the chastity-testing mantle. What has escaped scholars’ notice so far, however, is the fact that Samsons saga does not simply borrow the Arthurian chastity mantle with minor adaptation. In addition to repurposing the mantle for a non-Arthurian setting and retaining its chastity-testing function while turning it into the object of a retrieval quest, Samsons saga also notably embeds the motif within the narrative context of a prominent Norse myth, namely the wedding-feast of Þrymr, best known from the eddic poem Þrymskviða (‘The Lay of Þrymr’), but also attested in the fifteenth-century set of rímur known as Þrymlur, whose composition was roughly contemporary with that of the saga. This chapter examines the fusion of these two traditions – the giant’s wedding-feast and the chastity-testing mantle – to explore how the thematic resonances and confluences between the mythological tale and the Arthurian motif allow for the combinative reappropriation of both within a romance context. In so doing, it provides insight into the understudied question of the influence of Norse myth on later medieval Icelandic romance.

ÖZET
Bu çalışma, Mürşit Has’ın sanatsal kimliğini, bestelenmiş eserlerini ve Türk Halk Edebiyatı ile Türk Halk Müziği içerisindeki yerini incelemektedir. Çorum’un yetiştirdiği özgün sanatçılardan biri olan Mürşit Has, geleneksel halk müziği formlarını çağdaş bir duyarlılıkla yeniden yorumlayarak halk müziğinin yaşayan ve üretken bir kültür alanı olduğunu ortaya koymuştur. Çalışmada sanatçının yaşam öyküsü, konservatuvar eğitimi, sanat anlayışı, albüm çalışmaları ve eserleri değerlendirilmiş; ayrıca halk müziği ve halk edebiyatı bağlamında türküleri ayrıntılı biçimde analiz edilmiştir.
Araştırma sonucunda Has’ın eserlerinde gurbet, ayrılık, ölüm, yalnızlık, sevda, doğa ve bekleyiş gibi halk edebiyatının temel temalarının güçlü biçimde işlendiği görülmüştür. Sanatçının eserlerinde Karacaoğlan, Dadaloğlu, Âşık Veysel ve Neşet Ertaş gibi büyük ozanların etkileri doğrudan taklit düzeyinde değil; sezgisel ve estetik bir devamlılık biçiminde hissedilmektedir. Mürşit Has’ın şiir dili sade, anlaşılır ve sözlü kültür geleneğine uygun bir yapı taşımaktadır. Geleneksel hece ölçüsü, mani ve koşma biçimleri çağdaş bir anlatımla yeniden üretilmiştir.
Çalışmada ayrıca sanatçının eserlerinin farklı sanatçılar tarafından seslendirilmesi değerlendirilmiş; bu durumun Has’ın bestelerini bireysel üretim sınırının ötesine taşıyarak kolektif kültürel belleğe dahil ettiği sonucuna ulaşılmıştır. Sözsüz eserleri üzerinden yapılan incelemeler ise sanatçının bağlama icrasındaki teknik yetkinliğini ve müziği içsel bir ifade alanı olarak kullandığını göstermektedir. Sonuç olarak Mürşit Has, geleneksel halk şiiri ve halk müziği mirasını çağdaş insanın ruhsal ve toplumsal sorunlarıyla buluşturan önemli bir besteci-ozan olarak değerlendirilmektedir.

Anahtar Kelimeler: Mürşit Has, Türk Halk Müziği, Türk Halk Edebiyatı, Çağdaş Ozanlık, Çorum Kültürü, Bestelenmiş Türkü, Halk Şiiri








ABSTRACT
This study examines the artistic identity, composed folk songs, and the place of Mürşit Has within the context of Turkish Folk Literature and Turkish Folk Music. As one of the distinctive artists raised in Çorum, Mürşit Has reinterprets traditional folk music forms with a contemporary sensibility and demonstrates that folk music is a living and productive cultural field rather than a repetitive folkloric archive. The study evaluates the artist’s life story, conservatory education, artistic perspective, albums, and musical works, while also analyzing his folk songs in detail within the framework of folk literature and folk music traditions.
The research reveals that themes such as exile, separation, death, loneliness, love, nature, and longing — which constitute the fundamental subjects of Turkish folk literature — are strongly reflected in Has’s works. The influence of major folk poets such as Karacaoğlan, Dadaloğlu, Âşık Veysel, and Neşet Ertaş is not observed as direct imitation, but rather as an intuitive and aesthetic continuity. The poetic language of Mürşit Has is plain, comprehensible, and closely connected to the oral tradition of folk culture. Traditional syllabic meter, mani, and koşma forms are reconstructed through a contemporary expressive style.
The study also evaluates the interpretation of Has’s compositions by various folk music performers and concludes that this process has carried his works beyond individual production into the realm of collective cultural memory. Furthermore, the analysis of his instrumental compositions demonstrates the artist’s technical mastery of the bağlama and his use of music as an inner form of expression. As a result, Mürşit Has is identified as an important contemporary composer-poet who successfully combines the heritage of Turkish folk poetry and folk music with the psychological and social realities of modern individuals.

Keywords: Mürşit Has, Turkish Folk Music, Turkish Folk Literature, Contemporary Minstrelsy, Çorum Culture, Composed Folk Songs, Folk Poetry

In this article, I explore the clash between the conceptualization of borders of an environmental organization, the Tenkile Conservation Alliance, and that of the local Srenge population of the Torricelli Mountains in Papua New Guinea. While this organization uses exact measurements of altitude and distance and drone imagery to trace the borders between the lands of clans and the borders around the conservation area, the local population uses natural elements such as trees, rocks, creeks, and rivers and fictive motion language to trace borders. The entanglement of both practices brings about risks for Srenge people, including tensions between the various clans, lack of support for conservation activities, and trespassing on their own land.

How human societies preserve continuity across long periods of time remains a central question in archaeology, anthropology, cognitive science, and cultural memory research. Conventional archival models often emphasize textual storage and semantic replication as primary mechanisms of persistence. Yet many long-duration knowledge systemsincluding oral traditions, ritual systems, Indigenous knowledge practices, mnemonic landscapes, and distributed symbolic environments-have maintained remarkable continuity despite linguistic change, environmental disruption, migration, fragmentation, and the absence of centralized textual archives.