Sir James G. Frazer (1854-1941) is famous as the author of The Golden Bough, but his work ranged widely across classics, cultural history, folklore and literary criticism as well as anthropology. A Fellow of Trinity College, Cambridge, for 62 years, Sir James G. Frazer devoted his life to research. This volume was first published in 1930.

Folktales in India have been told, heard, read and celebrated for many centuries. In breaking new ground, Indian folktales have been reread and examined in the light of the Mother Earth discourse as it manifests in the lifeworlds of women, nature and language. The book introduces ecofeminist criticism and situates it within an innovative folktale t

..". splendid and innovative ethnography ... highly topical, well written, intellectually highly interesting, and often avant-garde ... sophisticated and honest discussions ..." . Joanna Overing, London School of Economics The Arakmbut are an indigenous people who live in the Madre de Dios region of thesoutheastern Peruvian rain forest. Since their first encounters with missionaries in the 1950s, they have shown resilience and a determination to affirm their identity in the face of many difficulties. During the last fifteen years, Arakmbut survival has been under threat from a goldrush that has attracted hundreds of colonists onto their territories. This trilogy of books traces the ways in which the Arakmbut overcome the dangers that surround them: their mythology and cultural strength; their social flexibility; and their capacity to incorporate non-indigenous concepts and activities into their defence strategies. Each area is punctuated by the constant presence of the invisible spirit, which provides a seamless theme connecting the books to each other. Following the Arakmbuts' recommendation, the author uses their three greatest myths to introduce social, cultural and historical aspects of their lives. He ends with a discussion of the relationship between myth and history showing how the Arakmbut recreate their myths at the dramatic moments of their history.

Of all the different sub-genres of oral prose fiction developed by the Yoruba of Nigeria, the trickster tale is the most popular, especially among the nonruling stratum of society. Sekoni describes and explains literally what makes the trickster tale a trickster tale. The focus is to establish the phenomenology of the trickster tale discourse from a sociosemiotic perspective. More specifically, Sekoni attempts to investigate the sociological and narratological conditions that govern the formation, transformation, and persistence of the trickster tale primarily among the Yoruba common people.

At the same time Sekoni shows the uses made of the trickster among such contemporary writers as Soyinka, Achebe, Osofisan, and others. This study will be of particular interest to students and scholars of African folklore and literature, cultural semiotics, anthropology, and African-American literature.

NAMED A BEST BOOK OF 2022 BY PUBLISHERS WEEKLY After a few billion years of bearing witness to life on Earth, of watching one hundred billion humans go about their day-to-day lives, of feeling unbelievably lonely, and of hearing its own story told by others, The Milky Way would like a chance to speak for itself. All one hundred billion stars and fifty undecillion tons of gas of it. It all began some thirteen billion years ago, when clouds of gas scattered through the universe's primordial plasma just could not keep their metaphorical hands off each other. They succumbed to their gravitational attraction, and the galaxy we know as the Milky Way was born. Since then, the galaxy has watched as dark energy pushed away its first friends, as humans mythologized its name and purpose, and as galactic archaeologists have worked to determine its true age (rude). The Milky Way has absorbed supermassive (an actual technical term) black holes, made enemies of a few galactic neighbors, and mourned the deaths of countless stars. Our home galaxy has even fallen in love. After all this time, the Milky Way finally feels that it's amassed enough experience for the juicy tell-all we've all been waiting for. Its fascinating autobiography recounts the history and future of the universe in accessible but scientific detail, presenting a summary of human astronomical knowledge thus far that is unquestionably out of this world.

German scholars were early pioneers in folklore and historical linguistics. As the Nazis rose to power, however, these disciplines were distorted into racist pseudoscience. Under the direction of Heinrich Himmler's SS-Ahnenerbe (Ancestral Inheritance), folklore became a tool for constructing a unified German realm and a manufactured lineage from ancient and ""pure"" Germanic and Nordic blood. Drawing on extensive research in public and private archives and interviews with family members of fieldworkers, James R. Dow uncovers both details of the SS cultural commissions' work and the continuing vestiges of the materials they assembled. Teams of poorly qualified and ideologically motivated collectors were sent to South Tyrol in Italy and Gottschee in Slovenian Yugoslavia, from which ethnically German communities were to be resettled in the German Reich. Although a mass of information on narratives, songs and dances, beliefs, customs, local clothing and architecture, and folk speech was collected, the research was deeply tainted and skewed by racialist and nationalist preconditions. Dow sharply critiques the continued use of these ersatz archives.

'A magnificent small book to read urgently' Liberation Once upon a time in an enormous forest there lived a poor woodcutter and his wife. Around them a war wages, and hunger is a constant companion. Yet every night, the woodcutter's wife prays for a child. On a train crossing the forest, a Jewish father holds his twin children. His wife no longer has enough milk to feed them. In hopes of saving both their lives, he wraps his daughter in a shawl and gently throws her from the train. While foraging for food, the woodcutter's wife finds a bundle, a baby girl wrapped in a shawl. She knows that this little girl will be pursued, but she cannot ignore this gift: she will accept the precious cargo, and raise her as her own. . . Set against the horrors of the Holocaust and told with a fairytale-like lyricism, The Most Precious of Cargoes, translated from French by Frank Wynne, is a deeply moving fable about family and redemption, a story that reminds us that humanity can be found in the most inhumane of places.

Chile had long forgotten about the existence of the country's Black population when, in 2003, the music and dance called the tumbe carnaval appeared on the streets of the city of Arica. Featuring turbaned dancers accompanied by a lively rhythm played on hide-head drums, the tumbe resonated with cosmopolitan images of what the African Diaspora looks like, and so helped bring attention to a community seeking legal recognition from the Chilean government which denied its existence. Tumbe carnaval, however, was not the only type of music and dance that Afro-Chileans have participated in and identified with over the years. In Styling Blackness in Chile, Juan Eduardo Wolf explores the multiple ways that Black individuals in Arica have performed music and dance to frame their Blackness in relationship to other groups of performers-a process he calls styling. Combining ethnography and semiotic analysis, Wolf illustrates how styling Blackness as Criollo, Moreno, and Indigena through genres like the baile de tierra, morenos de paso, and caporales simultaneously offered individuals alternative ways of identifying and contributed to the invisibility of Afro-descendants in Chilean society. While the styling of the tumbe as Afro-descendant helped make Chile's Black community visible once again, Wolf also notes that its success raises issues of representation as more people begin to perform the genre in ways that resonate less with local cultural memory and Afro-Chilean activists' goals. At a moment when Chile's government continues to discuss whether to recognize the Afro-Chilean population and Chilean society struggles to come to terms with an increase in Latin American Afro-descendant immigrants, Wolf's book raises awareness of Blackness in Chile and the variety of Black music-dance throughout the African Diaspora, while also providing tools that ethnomusicologists and other scholars of expressive culture can use to study the role of music-dance in other cultural contexts.

Wiggling a pencil so that it looks like it is made of rubber, "stealing" your niece's nose, and listening for the sounds of the ocean in a conch shell- these are examples of folk illusions, youthful play forms that trade on perceptual oddities. In this groundbreaking study, K. Brandon Barker and Claiborne Rice argue that these easily overlooked instances of children's folklore offer an important avenue for studying perception and cognition in the contexts of social and embodied development. Folk illusions are traditionalized verbal and/or physical actions that are performed with the intention of creating a phantasm for one or more participants. Using a cross-disciplinary approach that combines the ethnographic methods of folklore with the empirical data of neuroscience, cognitive science, and psychology, Barker and Rice catalogue over eighty discrete folk illusions while exploring the complexities of embodied perception. Taken together as a genre of folklore, folk illusions show that people, starting from a young age, possess an awareness of the illusory tendencies of perceptual processes as well as an awareness that the distinctions between illusion and reality are always communally formed.

A delightful selection from one of Europe's richest folk literatures, "The Golden Apple "will appeal to a wide range of readers, including children. Admirers of Vasko Popa's poetry will find it rewarding for the insight it gives into his sources. Illustrated with traditional Serbian rug-motifs.

Every Tongue Got to Confess is an extensive volume of African American folklore that Zora Neale Hurston collected on her travels through the Gulf States in the late 1920s.

The bittersweet and often hilarious tales -- which range from longer narratives about God, the Devil, white folk, and mistaken identity to witty one-liners -- reveal attitudes about faith, love, family, slavery, race, and community. Together, this collection of nearly 500 folktales weaves a vibrant tapestry that celebrates African American life in the rural South and represents a major part of Zora Neale Hurston's literary legacy.