First published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.

What is the role of folklore in the discussion of catastrophe and trauma? How do disaster survivors use language, ritual, and the material world to articulate their experiences? What insights and tools can the field of folkloristics offer survivors for navigating and narrating disaster and its aftermath? Can folklorists contribute to broader understandings of empathy and the roles of listening in ethnographic work? We Are All Survivors is a collection of essays exploring the role of folklore in the wake of disaster. Contributors include scholars from the United States and Japan who have long worked with disaster-stricken communities or are disaster survivors themselves; individual chapters address Hurricane Katrina, Hurricane Maria, and two earthquakes in Japan, including the earthquake, tsunami, and nuclear disaster of 2011. Adapted from a 2017 special issue of Fabula (from the International Society for Folk Narrative Research), the book includes a revised introduction, an additional chapter with original illustrations, and a new conclusion considering how folklorists are documenting the COVID-19 pandemic. We Are All Survivors bears witness to survivors' expressions of remembrance, grieving, and healing.

What is the role of folklore in the discussion of catastrophe and trauma? How do disaster survivors use language, ritual, and the material world to articulate their experiences? What insights and tools can the field of folkloristics offer survivors for navigating and narrating disaster and its aftermath? Can folklorists contribute to broader understandings of empathy and the roles of listening in ethnographic work? We Are All Survivors is a collection of essays exploring the role of folklore in the wake of disaster. Contributors include scholars from the United States and Japan who have long worked with disaster-stricken communities or are disaster survivors themselves; individual chapters address Hurricane Katrina, Hurricane Maria, and two earthquakes in Japan, including the earthquake, tsunami, and nuclear disaster of 2011. Adapted from a 2017 special issue of Fabula (from the International Society for Folk Narrative Research), the book includes a revised introduction, an additional chapter with original illustrations, and a new conclusion considering how folklorists are documenting the COVID-19 pandemic. We Are All Survivors bears witness to survivors' expressions of remembrance, grieving, and healing.

Over a decade in the making, Medieval Folklore is your A-to-Z guide to the mundane and supernatural lore of the Middle Ages. Definitive and lively articles focus on the great myths and legends of the age-daily and nightly customs and activities; religious beliefs of pagan, Christian, Muslim, and Jew; key works of oral and written literature; traditional music and art; holidays and feasts; food and drink; and plants and animals, both real and fantastic.

Especially remarkable are the surveys of the major medieval traditions, included among them Arab-Islamic (Ulrich Marzolph), Baltic (Thomas A. DuBois), English (John McNamara and Carl Lindahl), Finno-Ugric (Thomas A. DuBois), French (Francesca Canade Sautman), Hispanic (Samuel G. Armistead), Hungarian (Eva Pocs), Irish (Joseph Falaky Nagy), Italian (Giuseppe C. Di Scipio), Jewish (Eli Yassif), Scandinavian (Stephen A. Mitchell), Scottish (John McNamara), Slavic (Eve Levin), and Welsh (Elissa R. Henken and Brynley F. Roberts).

For anyone who has ever wanted a path through the tangle of Arthurian legends, or the real lowdown on St. Patrick, or the last word on wolf lore--this is the place.

Every winter a handful of Cajun Louisiana folk artists assembles unlikely mixtures of material to shape masks for their Cajun Mardi Gras celebrations. They use window screens, chicken feathers, yarn, hair, Magic Markers, and hot glue as they create fanciful, even bizarre masks that will be worn just one day in the year. Such creations transform their wearers into wild revelers who move through the countryside singing, dancing, and begging for money and food. As they generate merriment, they climb trees, chase chickens, and create a general and playful havoc. Cajun Mardi Gras celebrants are unlike their counterparts in New Orleans, where masked revelers ride through the streets on floats or parade serenely through ballrooms. The masked country Cajuns engage in rousing, physically energetic performances as they cavort through the countryside. Out of necessity their captivating masks combine the ingredients of durability, shock value, and allure with age-old folk patterns and innovations from contemporary culture. Here is a study of the Cajun Mardi Gras tradition and its manifestation in the work of six of the most creative and popular folk artists in two rural communities. Potic Rider and the Moreau and LeBlue families represent the male maskmaking traditions of Basile, Louisiana. Suson Launey, Renee Fruge, and Jackie Miller portray the female role in festivities held in the rural region of Tee Mamou. As the communities celebrate, their masks become an intrinsic component of the annual rites. This book introduces the artists, the performances, and processes of creating the fantastical masks. Carl Lindahl, co-editor of Swapping Stories: Folktales from Louisiana (University Press of Mississippi), is a professor of English at the University of Houston. Carolyn Ware is Coordinator of the Pine Hills Culture Program at the University of Southern Mississippi in Hattiesburg

This volume is about North American Marchen, a vernacular art form that is often strangely ignored or misconstrued. At the same time, the vitality and appeal of the genre are evidenced by its persistent presentation as written literature. The essays in this volume reexamine common assumptions about "magic" tales and their tellers, reconsidering the performance, collection, transcription, publication, and interpretation of narratives that continue to live orally especially in the private realm as one mechanism of intergenerational communication or as a symbolic expression of worldview.

In addition to four interpretive essays, six segments focus on storytellers and their transcribed narratives, accompanied by introductions that place them in context. Some segments compare editing practices or narrative styles; others represent the first publication of contemporary narratives or tales that have long lain in archives, unheard and unavailable. All attest to the skill of the tellers and the artistry of their creations."

Here are more than two hundred oral tales from some of Louisiana's finest storytellers. In this comprehensive volume of great range are transcriptions of narratives in many genres (ghost stories, tall tales, myths, magic tales, buried-treasure tales, and reminiscences of small-town life), from diverse voices (including Cajuns, Creoles, Native Americans, African Americans, and Louisianans of Hungarian, Italian, and Vietnamese descent), and from all regions of the state. Told in both intimate and public settings ranging from the front porch to the festival stage, these tales proclaim the great vitality and variety of Louisiana's oral narrative traditions. Given special focus are Harold Talbert, Lonnie Gray, Bel Abbey, Ben Guine, and Enola Matthews--whose wealth of imagination, memory, and artistry demonstrates the depth as well as the breadth of the storyteller's craft.

For tales told in Cajun and Creole French, Koasati, and Spanish, the editors have supplied both the original language and English translation. To the volume Maida Owens has contributed an overview of Louisiana's folk culture and a survey of folklife studies of various regions of the state. Carl Lindahl's introduction and notes discuss the various genres and styles of storytelling common in Louisiana and link them with the worldwide art of the folktale. This is a book that will have appeal both for scholars and for anyone who loves a well-told story.