Publications of the American Folklore Society – serie

Women as Ritual Experts reveals how in gender segregated religions like Orthodox Judaism women develop their own autonomous religious sphere and activities that sacralize female roles. Until recently, this female world of religion has been all but invisible to both anthropologists and scholars of religion, who typically speak as though the male sphere of religion were the only definition of religion or the sacred. By exploring this separate sphere of women's religion and demonstrating its variety, depth, and dynamism, Susan Sered here attempts to expand the definition of religion, ritual and the sacred. Sered's research was conducted among uneducated, illiterate Kurdish women. She uncovers the strategies these women have used to circumvent the patriarchal institutions of Judaism, the techniques by which they have made their lives meaningful within an androcentric culture, and how they have developed their own `little tradition' within and parallel to the `great tradition' of Torah Judaism.

A paperback reprint of a title originally published by OUP in 1992, this ethnography explores the religious beliefs and rituals of a group of elderly Jewish women, originally from Kurdistan and Yemen, who now live in Jerusalem. By analysing their rituals, daily experiences, life-stories, and non-verbal gestures, Sered uncovers the strategies these women have developed to circumvent the patriarchal institutions of Judaism, and how they have developed their own 'little tradition' within and parallel to the 'great tradition' of Torah Judaism.

What prompts children to tell stories? What does the word "story" mean to a child at two or five years of age? The Folkstories of Children, first published in 1981, features nearly five hundred stories that were volunteered by fifty children between the ages of two and ten and transcribed word for word. The stories are organized chronologically by the age of the teller, revealing the progression of verbal competence and the gradual emergence of staging and plot organization. Many stories told by two-year-olds, for example, have only beginnings with no middle or end; the "narrative" is held together by rhyme or alliteration. After the age of three or four, the same children tell stories that feature a central character and a narrative arc. The stories also exhibit each child's growing awareness and management of his or her environment and life concerns. Some children see their stories as dialogues between teller and audience, others as monologues expressing concerns about fate and the forces of good and evil.Brian Sutton-Smith discusses the possible origins of the stories themselves: folktales, parent and teacher reading, media, required writing of stories in school, dreams, and play. The notes to each chapter draw on this context as well as folktale analysis and child development theory to consider why and how the stories take their particular forms. The Folkstories of Children provides valuable evidence and insight into the ways children actively and inventively engage language as they grow.

In the Andalusian communities throughout the olive-growing region of southeastern Spain men show themselves to be primarily concerned with two problems of identity: their place in the social hierarchy, and the maintenance of their masculinity in the context of their culture.In this study of projective behavior as found in the folklore of an Andalusian town, Stanley Brandes is careful to support psychological interpretations with ethnographic evidence. His emphasis on male folklore provides a timely complement to current research on women.

What prompts children to tell stories? What does the word "story" mean to a child at two or five years of age? The Folkstories of Children, first published in 1981, features nearly five hundred stories that were volunteered by fifty children between the ages of two and ten and transcribed word for word. The stories are organized chronologically by the age of the teller, revealing the progression of verbal competence and the gradual emergence of staging and plot organization. Many stories told by two-year-olds, for example, have only beginnings with no middle or end; the "narrative" is held together by rhyme or alliteration. After the age of three or four, the same children tell stories that feature a central character and a narrative arc. The stories also exhibit each child's growing awareness and management of his or her environment and life concerns. Some children see their stories as dialogues between teller and audience, others as monologues expressing concerns about fate and the forces of good and evil.Brian Sutton-Smith discusses the possible origins of the stories themselves: folktales, parent and teacher reading, media, required writing of stories in school, dreams, and play. The notes to each chapter draw on this context as well as folktale analysis and child development theory to consider why and how the stories take their particular forms. The Folkstories of Children provides valuable evidence and insight into the ways children actively and inventively engage language as they grow.

The essays in Women's Folklore, Women's Culture focus on women performers of folklore and on women's genre of folklore. Long ignored, women's folklore is often collaborative and frequently is enacted in the privacy of the domestic sphere. This book provides insights balancing traditional folklore scholarship. All of the authors also explore the relationship between make and female views and worlds.The book begins with the private world of women, performances within the intimacy of family and fields; it then studies women's folklore in the public arena; finally, the book looks at the interrelationships between public and private arenas and between male and female activities.By turning our attention to previously ignored women's realms, these essays provide a new perspective from which to view human culture as a whole and make Women's Folklore, Women's Culture a significant addition to folklore scholarship

Includes life histories of four women preachers, transcriptions of sermons, and analysis by Lawless of both life stories and sermons.

David Hufford's work exploring the experiential basis for belief in the supernatural, focusing here on the so-called Old Hag experience, a psychologically disturbing event in which a victim claims to have encountered some form of malign entity while dreaming (or awake). Sufferers report feeling suffocated, held down by some "force," paralyzed, and extremely afraid.The experience is surprisingly common: the author estimates that approximately 15 percent of people undergo this event at some point in their lives. Various cultures have their own name for the phenomenon and have constructed their own mythology around it; the supernatural tenor of many Old Hag stories is unavoidable. Hufford, as a folklorist, is well-placed to investigate this puzzling occurrence.

In the Andalusian communities throughout the olive-growing region of southeastern Spain men show themselves to be primarily concerned with two problems of identity: their place in the social hierarchy, and the maintenance of their masculinity in the context of their culture.In this study of projective behavior as found in the folklore of an Andalusian town, Stanley Brandes is careful to support psychological interpretations with ethnographic evidence. His emphasis on male folklore provides a timely complement to current research on women.

David Hufford's work exploring the experiential basis for belief in the supernatural, focusing here on the so-called Old Hag experience, a psychologically disturbing event in which a victim claims to have encountered some form of malign entity while dreaming (or awake). Sufferers report feeling suffocated, held down by some "force," paralyzed, and extremely afraid.The experience is surprisingly common: the author estimates that approximately 15 percent of people undergo this event at some point in their lives. Various cultures have their own name for the phenomenon and have constructed their own mythology around it; the supernatural tenor of many Old Hag stories is unavoidable. Hufford, as a folklorist, is well-placed to investigate this puzzling occurrence.

The essays in Women's Folklore, Women's Culture focus on women performers of folklore and on women's genre of folklore. Long ignored, women's folklore is often collaborative and frequently is enacted in the privacy of the domestic sphere. This book provides insights balancing traditional folklore scholarship. All of the authors also explore the relationship between make and female views and worlds.The book begins with the private world of women, performances within the intimacy of family and fields; it then studies women's folklore in the public arena; finally, the book looks at the interrelationships between public and private arenas and between male and female activities.By turning our attention to previously ignored women's realms, these essays provide a new perspective from which to view human culture as a whole and make Women's Folklore, Women's Culture a significant addition to folklore scholarship