The Musical Playground is a new and fascinating account of the musical play of school-aged children. Based on fifteen years of ethnomusicological field research in urban and rural school playgrounds around the globe, Kathryn Marsh provides unique insights into children's musical playground activities across a comprehensive scope of social, cultural, and national contexts.
With a sophisticated synthesis of ethnomusicological and music education approaches, Marsh examines sung and chanted games, singing and dance routines associated with popular music and sports chants, and more improvised and spontaneous chants, taunts, and rhythmic movements. The book's index of more than 300 game genres is a valuable reference to readers in the field of children's folklore, providing a unique map of game distribution across an array of cultures and geographical locations. On the companion website, readers will be able to view on streamed video, field recordings of children's musical play throughout the wide range of locations and cultures that form the core of Marsh's study, allowing them to better understand the music, movement, and textual characteristics of musical games and interactions. Copious notated musical examples throughout the book and the website demonstrate characteristics of game genres, children's generative practices, and reflections of cultural influences on game practice, and valuable, practical recommendations are made for developing pedagogies which reflect more child-centred and less Eurocentric views of children's play, musical learning, and musical creativity.
Marsh brings readers to playgrounds in Australia, Norway, the USA, the United Kingdom, and Korea, offering them an important and innovative study of how children transmit, maintain, and transform the games of the playground. The Musical Playground will appeal to practitioners and researchers in music education, ethnomusicology, and folklore.

Orature and Yoruba Riddles takes readers into the hitherto unexplored undercurrents of riddles in Africa. Because of its oral and all too often ephemeral nature, riddles have escaped close scrutiny from scholars. The strength of the Yoruba as the focus of this study is impressive indeed: a major ethnic group in Africa, with established connections with the black diaspora in North America and the Caribean; a rich oral and written culture; a large and diverse population; and an integrated rural-urban society. The book is divided into six chapters for readers' convenience. When read in sequence, the book provides a comprehensive, holistic sense of Yoruba creativity where riddles are concerned. At the same time, the book is conceived in a way that each chapter could be read individually. Therefore, those readers seeking understanding of a specific type of riddle may target a single chapter appearing most relevant to her/his curiosity.

People have been attracted to the lure of distant, exotic places throughout the ages, and over the centuries a vast store of legends and lore relating to travel have grown up. This encyclopedia represents a complilation of travel legends and lore of civilizations throughout the world.

This is a study of the manner in which certain mythical notions of the world become accepted as fact. Dathorne shows how particular European concepts such as El Dorado, the Fountain of Youth, a race of Amazons, and monster (including cannibal) images were first associated with the Orient. After the New World encounter they were repositioned to North and South America. The book examines the way in which Arabs and Africans are conscripted into the view of the world and takes an unusual, non-Eurocentric viewpoint of how Africans journeyed to the New World and Europe, participating in, what may be considered, an early stage of world exploration and discovery. The study concludes by looking at European travel literature from the early journeys of St. Brendan, through the Viking voyages and up to Marco Polo and Sir John Mandeville. In all these instances, the encounters seem to justify mythical belief. Dathorne's interest in the subject is both intellectual and passionate since, coming from Guyana, he was very much part of this malformed Weltschmerz.

This book entitled, Garden of Eden Found, is divided into three almost equal parts. Part I of the book is exactly what the title says. It reveals and explains the exact geographical location of the ancient site of the Garden of Eden. This is an absolutely new and a previously undiscovered site. People suppose that we must yet wait on a prophet of God to reveal its location, but this book explains that God through the prophet Moses said everything he could to explain the location of the Garden of Eden in the second chapter of Genesis. It is just that the names of the lands and rivers have changed. Garden of Eden was located upon the North American continent. Note that according to Genesis 1:10 each land was called earth. Thus, it could have been on any continent. There has never been one fact of evidence to show that the Garden of Eden was located in the Middle East anyway. This has only been a supposition of the so-called learned; even those who write the text books; and most of whom do not believe in God or in revelation. The author has simply put together the Genesis account of Eden with the latter-day revelations concerning Adam-ondi-Ahman in America. nights and Sabbath of the creation account in Genesis chapter one. No one has ever discovered nor understood their ultimate meaning before this work. The author submits that this concept is the greatest concept that can be conceived by the mind of man concerning ultimate reality. This concept ties together the law of eternal progression, the order of the universes of the cosmos, and the days and nights of creation as one and the same thing. So the author begins Part II of his book with the following paragraph. would name my address, The Number and Order of the Universes of the Cosmos. If I was a philosopher and was presenting this topic before my fellow philosophers, I would entitle my presentation, The Law of Eternal Progression to Ultimate Continuum. But if I happened to be a theologian, and was preaching a sermon to my parishioners, I would call my message, The Meaning of the Six Days and Six Nights and a Sabbath of Creation. This is because these three subjects concern the same ultimate reality. The first is scientific, the second is philosophical, and the third is religious. Actually, this is the concept of mankind at the present time. Most people, including scientists, the philosophers, and the theologians, consider that the universe is the cosmos and that the cosmos is the universe. However, this is simply not the true case of the matter, for the cosmos is the sum total of the series of the twelve universes of the cosmos. found in the first chapter of the Book of Genesis in the Bible? Who would have thought that God had hidden it in the simple account of the six days and the six nights and Sabbath of creation? I will attempt to show, in plainness and simplicity, that this is the true interpretation. Book of Revelation. The new truth to understand is that they represent only natural things and historical events of the past two-thousand years of Christian history. There are three general principles that we must accept in order to understand the symbolism of the Book of Revelation. Let me now list the general principles in this order. The first thing to understand is that the prophecy of the Book of Revelation covers the past two-thousand years of western history. The second thing to understand is that the prophecy is only about Christianity.

Wherever vampires existed in the imaginations of different peoples, they adapted themselves to the customs of the local culture. As a result, vampire lore is extremely diverse. So too, representations of the vampire in creative works have been marked by much originality. In "The Vampyre" (1819), John Polidori introduced Lord Ruthven and established the vampire craze of the 19th century that resulted in a flood of German vampire poetry, French vampire drama, and British vampire fiction. This tradition culminated in Bram Stoker's "Dracula" (1897), which fixed the character of the Transylvanian nobleman as the archetypal vampire firmly in the public imagination. Numerous films drew from Stoker's novel to varying degrees, with each emphasizing different elements of his vampire character. And more recent writers have created works in which vampirism is used to explore contemporary social concerns.

The contributors to this volume discuss representations of the vampire in fiction, folklore, film, and popular culture. The first section includes chapters on Stoker and his works, with attention to such figures as Oscar Wilde and Edvard Munch. The second section explores the vampire in film and popular culture from Bela Lugosi to "Blacula." The volume then looks at such modern writers as Anne Rice and Chelsea Quinn Yarbro who have adapted the vampire legend to meet their artistic needs. A final section studies contemporary issues, such as vampirism as a metaphor for AIDS in ""Killing Zoe."

This is a collection of 251 proverbs (91 of them illustrated) from Kannada - a South Indian language with 2000 years of literary history and cultural heritage.

Minos and the Moderns considers three mythological complexes that enjoyed a unique surge of interest in early twentieth-century European art and literature: Europa and the bull, the minotaur and the labyrinth, and Daedalus and Icarus. All three are situated on the island of Crete and are linked by the figure of King Minos. Drawing examples from fiction, poetry, drama, painting, sculpture, opera, and ballet, Minos and the Moderns is the first book of its kind to treat the role of the Cretan myths in the modern imagination.
Beginning with the resurgence of Crete in the modern consciousness in 1900 following the excavations of Sir Arthur Evans, Theodore Ziolkowski shows how the tale of Europa-in poetry, drama, and art, but also in cartoons, advertising, and currency-was initially seized upon as a story of sexual awakening, then as a vehicle for social and political satire, and finally as a symbol of European unity. In contast, the minotaur provided artists ranging from Picasso to Durrenmatt with an image of the artist's sense of alienation, while the labyrinth suggested to many writers the threatening sociopolitical world of the twentieth century. Ziolkowski also considers the roles of such modern figures as Marx, Nietzsche, and Freud; of travelers to Greece and Crete from Isadora Duncan to Henry Miller; and of the theorists and writers, including T. S. Eliot and Thomas Mann, who hailed the use of myth in modern literature.
Minos and the Moderns concludes with a summary of the manners in which the economic, aesthetic, psychological, and anthropological revisions enabled precisely these myths to be taken up as a mirror of modern consciousness. The book will appeal to all readersinterested in the classical tradition and its continuing relevance and especially to scholars of Classics and modern literatures.

Chart your way across continents and oceans built from the stuff of myths and legends and you will pass the winged Pegasus of Ancient Greece, come face to face with Anansi the Spider in West Africa and fly over the powerful Thunderbird of North America. Combining mythology and folklore from all across the globe, this 1000-piece jigsaw enables you to experience the fabled creatures in their places of creation, all from the comfort of your living room. 1000-PIECE PUZZLE: The 1000-piece fantastical jigsaw puzzle features the world as you've never seen it before: a magical place full of mythical creatures! FUN, COLOURFUL ILLUSTRATIONS: Feast your eyes on a the variety of colourful artwork across the mythical world map. Combining mythology and folklore from all across the globe. POSTER INCLUDED: Includes a keepsake fold out poster with a guide to the illustration. EASY HANDLING: The 1000 puzzle pieces are thick and sturdy, and the back sides are a white matte finish. The completed puzzle measures A2 in size and the jigsaw puzzle box measures 267 x 267 x 48mm. GIFTS: The perfect gift for anyone with the imagination and passion of the mythical world. Beautifully designed, The Mythical World Puzzle was created by Good Wives and Warriors, an internationally renowned duo of illustrators, and creator of Laurence King Publishing titles Myth Match and Mythopedia.

This is a golden treasury of over one hundred English folktales captured in the form they were first collected in past centuries. Read these classic tales as they would have been told when storytelling was a living art - when the audience believed in boggarts and hobgoblins, local witches and will-o'-the-wisps, ghosts and giants, cunning foxes and royal frogs. Find "Jack the Giantkiller", "Tom Tit Tot" and other quintessentially English favourites, alongside interesting borrowings, such as an English version of the Grimms' "Little Snow White" - as well as bedtime frighteners, including "Captain Murderer", as told to Charles Dickens by his childhood nurse. Neil Philip has provided a full introduction and source notes on each story that illustrate each tale's journey from mouth to page, and what has happened to them on the way. These tales rank among the finest English short stories of all time in their richness of metaphor and plot and their great verbal dash and daring.

Elves and elf-belief during the Anglo-Saxon period are reassessed in this lively and provocative study. Anglo-Saxon elves [Old English aelfe] are one of the best attested non-Christian beliefs in early medieval Europe, but current interpretations of the evidence derive directly from outdated nineteenth- and early twentieth-century scholarship. Integrating linguistic and textual approaches into an anthropologically-inspired framework, this book reassesses the full range of evidence. It traces continuities and changes in medieval non-Christian beliefs with a new degree of reliability, from pre-conversion times to the eleventh century and beyond, and uses comparative material from medieval Ireland and Scandinavia to argue for a dynamic relationship between beliefs and society. Inparticular, it interprets the cultural significance of elves as a cause of illness in medical texts, and provides new insights into the much-discussed Scandinavian magic of seidr. Elf-beliefs, moreover, were connected withAnglo-Saxon constructions of sex and gender; their changing nature provides a rare insight into a fascinating area of early medieval European culture. Shortlisted for the Katharine Briggs Folklore Award 2007 ALARIC HALL is a fellow of the Helsinki Collegium for Advanced Studies.

Dictionary of Chicano Folklore charts the rich religious, social, artistic, and cultural heritage of Mexican Americans, who continue to evolve the customs and rituals connected to their Spanish and indigenous roots and the Spanish language. Entries cover specific regions, genres of folk speech, folk narrative, cultural traditions, artifacts, foods, ceremonies, rites, and define contemporary Hispanic terms ranging from duendes, pintos, and las posadas to pachucos, low riders, and Zozobra. The Dictionary of Chicano Folklore is the perfect resource for high school and undergraduate students interested in Chicano culture or for scholars seeking bibliographic material. Over 200 A-Z entries defining historical and contemporary terms, customs, legends, and rituals 44 photos Extensive bibliography

Most of today's familiar fairy tales come from the stories of Charles Perrault, the Brothers Grimm, and Hans Christian Andersen, but this innovative study encourages us to explore the marvelous tales of authors from the early modern period Giovanni Straparola, Giambattista Basile, Madame Marie-Catherine D'Aulnoy, and others whose works enrich and expand the canon. As author Jo Eldridge Carney shows, the queen is omnipresent in these stories, as much a hallmark of the genre as other familiar characteristics such as the number three, magical objects, and happy endings. That queens occupy such space in early modern tales is not surprising given the profound influence of so many powerful queens in the political landscapes of early modern England and Europe. Carney makes a powerful argument for the historical relevance of fairy tales and, by exploring the dynamic intersection between fictional and actual queens, shows how history and folk literature mutually enrich our understanding of the period.

In this wide-ranging and insightful analysis, Stephen Benson proposes a poetics of narrative for postmodernism by placing new emphasis on the folktale. Postmodernist fictions have evidenced a return to narrative -- to storytelling centered on a sequence of events, rather than a "spiraling" of events as found in modernism -- and recent theorists have described narrative as a "central instance of the human mind." By characterizing the folktale as a prime embodiment of narrative, Benson relates folktales to many of the theoretical concerns of postmodernism and provides new insights into the works of major writers who have used this genre, which includes the subgenre of the fairy tale, in opening narrative up to new possibilities.

Benson begins by examining the key features of folktales: their emphasis on a chain of events rather than description or consciousness, their emphasis on a self-contained fictional environment rather than realism, the presence of a storyteller as a self-confessed fabricator, their oral and communal status, and their ever-changing state, which defies authoritative versions. He traces the interactions between the folktale and Italo Calvino's Fiabe Italiane, between selected fictions of John Barth and the Arabian Nights, between the work of Robert Coover and the subgenre of the fairy tale, and between the "Bluebeard" stories and recent feminist retellings by Angela Carter and Margaret Atwood. The arguments presented will interest not only folklorists and scholars of narrative but also readers in fields ranging from comparative literature to feminist theory.