{"id":26,"date":"2022-03-29T09:30:31","date_gmt":"2022-03-29T07:30:31","guid":{"rendered":"http:\/\/isfnr.org\/isfnr-online-lectures\/previous-lectures\/"},"modified":"2025-11-05T13:22:29","modified_gmt":"2025-11-05T12:22:29","slug":"previous-lectures","status":"publish","type":"page","link":"https:\/\/isfnr.org\/isfnr-online-lectures\/previous-lectures\/","title":{"rendered":"Previous Lectures"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"26\" class=\"elementor elementor-26\" data-elementor-post-type=\"page\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-38b9139b elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"38b9139b\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-7f2cb4ae\" data-id=\"7f2cb4ae\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-217c4aa0 elementor-widget elementor-widget-heading\" data-id=\"217c4aa0\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.21.0 - 15-04-2024 *\/\n.elementor-heading-title{padding:0;margin:0;line-height:1}.elementor-widget-heading .elementor-heading-title[class*=elementor-size-]>a{color:inherit;font-size:inherit;line-height:inherit}.elementor-widget-heading .elementor-heading-title.elementor-size-small{font-size:15px}.elementor-widget-heading .elementor-heading-title.elementor-size-medium{font-size:19px}.elementor-widget-heading .elementor-heading-title.elementor-size-large{font-size:29px}.elementor-widget-heading .elementor-heading-title.elementor-size-xl{font-size:39px}.elementor-widget-heading .elementor-heading-title.elementor-size-xxl{font-size:59px}<\/style><h4 class=\"elementor-heading-title elementor-size-default\">Terry Gunnell <\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-2d9cb2f3 elementor-widget elementor-widget-heading\" data-id=\"2d9cb2f3\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">The Revenge of the Rejected: The Rise, Fall and Background Context of Icelandic Beliefs in Family Ghosts<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-35c7e75e elementor-widget elementor-widget-text-editor\" data-id=\"35c7e75e\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.21.0 - 15-04-2024 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<p>September 17, 2025.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-4f4c669a elementor-widget elementor-widget-heading\" data-id=\"4f4c669a\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8fcd7f1 elementor-widget elementor-widget-button\" data-id=\"8fcd7f1\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/vimeo.com\/1119720626\/bbd26528f5?share=copy&#038;fl=sv&#038;fe=ci\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View lecture recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-143fd13a elementor-widget elementor-widget-text-editor\" data-id=\"143fd13a\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><strong>Terry Gunnell<\/strong> is Professor emeritus in Folkloristics at the University of Iceland. Author of <em>The Origins of Drama in Scandinavia <\/em>(1995), he is editor of <em>Masks and Mumming in the Nordic Area <\/em>(2007), <em>Legends and Landscape<\/em> (2008), and <em>Grimm Ripples: The Legacy of the Grimms\u2019 <\/em>Deutsche Sagen<em> in Northern Europe<\/em> (2022), and co-editor of <em>The Nordic Apocalypse: Approaches to V\u00f6lusp\u00e1 and Nordic Days of Judgement<\/em> (2013); <em>M\u00e1larinn og menningarsk\u00f6pun: Sigur\u00f0ur Gu\u00f0mundsson og Kv\u00f6ldf\u00e9lagi\u00f0 1858\u20131874,<\/em> which was nominated for the Icelandic Literature Award in 2017; and the forthcoming <em>The Old Norse God Freyr New Perspectives in Mythology and Religion<\/em>. He has also written numerous articles and chapters on Old Nordic religions, folk legends and belief, festivals, folk drama and performance, and is behind the creation of the Icelandic folk legend database <em>Sagnagrunnur<\/em>, and two other digital databases on the creation of national identity and the early collection of folklore in Iceland in the late nineteenth century.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-177b1dc3\" data-id=\"177b1dc3\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-4b5ac48d elementor-widget elementor-widget-heading\" data-id=\"4b5ac48d\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6eb7d777 elementor-widget elementor-widget-text-editor\" data-id=\"6eb7d777\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>\u00a0<\/p><p>Buildings in Iceland in the past tended to have a limited lifespan, something that resulted in the fact that beliefs in ghosts or spirits associated with buildings used to also be limited. Instead of such beliefs, Iceland has numerous legends about spirits that attach themselves to particular families, causing a wide range of problems over a number of generations. Interestingly enough, such beliefs do not seem to be encountered in neighbouring countries. This lecture will present an overview of the legends concerning these spirits, commonly referred to as <em>m\u00f3rar<\/em> (peat-reds: male) and <em>skottar<\/em> (tassled hats: female), which commonly have a background in the mistreatment of the poor by the more wealthy. Attention will be paid to their features, their distribution, the potential reasons for their apparent uniqueness, and why these beliefs seem to be dwindling (but not totally disappearing) in modern Icelandic society.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-a002fbe elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"a002fbe\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-98ad62c\" data-id=\"98ad62c\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-f30a979 elementor-widget elementor-widget-heading\" data-id=\"f30a979\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">\nAna Mar\u00eda Dupey, Fernando Fischman, Maria Palleiro<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1ce76ee elementor-widget elementor-widget-heading\" data-id=\"1ce76ee\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">The 1970s as a Turning Point of Folklore Studies in Latin America<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0b87fdc elementor-widget elementor-widget-text-editor\" data-id=\"0b87fdc\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>June 18, 2025.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-93d51f0 elementor-widget elementor-widget-heading\" data-id=\"93d51f0\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e3cacaf elementor-widget elementor-widget-button\" data-id=\"e3cacaf\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/vimeo.com\/1076050137\/58cdc6fc0e\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View lecture recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c36e256 elementor-widget elementor-widget-text-editor\" data-id=\"c36e256\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><em><strong>Ana Mar\u00eda Dupey<\/strong><\/em>\u00a0works at the National Institute of Anthropology and Latin American Thought, National Academy of Folklore. She holds a PhD in sociology from the Argentine Catholic University, and a MA in anthropological sciences from the University of Buenos Aires. She is an associate professor of folklore general at the University of Buenos Aires, and a consultant researcher in the National Institute of Anthropology and Latin American Thought. She is the author of books, chapters of books and articles in refereed journals, as well as the editor of several journals and books on folklore.<\/p><p><em><strong>Fernando Fischman<\/strong><\/em>\u00a0holds a PhD in anthropology from the University of Buenos Aires and a MA from the Folklore Institute, Indiana University. He is a researcher at CONICET (Consejo Nacional de Investigaciones Cient\u00edficas y T\u00e9cnicas) and a professor at the University of Buenos Aires He serves as a coordinator of the PEACSO (Program of Advanced Studies in Social Sciences, Humanities, and the Arts) at FLACSO, Argentina. In 2023, he was elected Fellow of the American Folklore Society.<\/p><p><em><strong>Maria Palleiro<\/strong><\/em>\u00a0has a PhD in philosophy and letters from the University of Buenos Aires (doctoral thesis in folk narrative). She is a senior researcher in folk narrative at the National Scientific and Technical Research Council, Argentina and Vice President for Latin America of the International Society for Folk Narrative Research (ISFNR). She is a professor of the postgraduate seminar \u201cOrality and Discourse Analysis\u201d at the University of Buenos Aires. She has been a full professor of methodology of folklore research at the National University of Arts, Buenos Aires and a visiting professor at Salerno University (Italy), Ljubljana University (Slovenia), University of Tartu (Estonia), and the Ethnology Institute of the Slovenian Academy of Sciences and Arts (SASA). She is the author of books, proceedings and articles in indexed publications dealing with her research areas: folk narrative, social beliefs and discourse analysis.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-abdceb1\" data-id=\"abdceb1\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-8e3cfbc elementor-widget elementor-widget-heading\" data-id=\"8e3cfbc\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-04c38a4 elementor-widget elementor-widget-text-editor\" data-id=\"04c38a4\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>This lecture deals with the 1970s as a turning point of folklore studies in Latin America, focused on two outstanding folklorists, ex Vice Presidents for Latin America of the ISFNR: the Chilean Manuel Dannemann and the Argentinian Martha Blache.<\/p><p>To begin with, Maria Palleiro will deal with \u201cArgentinian Folk Narrative Studies in the Latin American Context\u201d, providing a panoramic overview of Latin American folk narrative studies. She will offer a quick diachronic itinerary of the most relevant Argentinian folk narrative collections, noting the trends in Folklore Studies in each period. This diachronic overview will be aimed at pointing out how collecting, classifying and archiving folk narrative can change, by considering the interweaving between folktales and belief narratives that erase boundaries between different narrative genres. In this sense, she will underline the contribution of Manuel Dannemann and Martha Blache to this turning point, regarding classification and interpretation of folk narrative.<\/p><p>Fernando Fischman will deal with \u201cThe Uncoupling of \u201cIdentity\u201d from \u201cFolklore\u201d. Confrontations and Reformulations\u201d, pointing out that, beginning in the 1970s, a series of reformulations took place in the academic production of the Latin American folklore studies. One of these, arising from the work of Martha Blache, revisited the relationship between folklore and identity, generating controversies over this naturalized connection. His presentation will put forward some of the arguments brought about by her work in different spheres of the region\u2019s intellectual field and the consequences for subsequent scholarship production.<\/p><p>Finally, Ana Mar\u00eda Dupey will deal with \u201cTheoretical Milestone in the Folklore Studies in Argentina: Contributions from Martha Blache\u201d. Her presentation will be aimed at outlining the guidelines of her own contribution to a book that will be published in honor of Dr. Blache. In this regard, she will display the argumentation through which she considers the substantiate the contributions of Dr. Martha Blache to the innovation of folklore studies in Argentina and other countries of Latin America at the end of the 20th century.<\/p><p>These contributions will be oriented to underline how this turning point of the 1970s still guides the researches in folk narrative studies nowadays, in the Latin American context.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-a1a5dc4 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"a1a5dc4\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-d439ffc\" data-id=\"d439ffc\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-7bdff81 elementor-widget elementor-widget-heading\" data-id=\"7bdff81\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\"><span style=\"font-size: 1.5rem; white-space-collapse: collapse;\">Malay Bera<\/span><\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-de271ae elementor-widget elementor-widget-heading\" data-id=\"de271ae\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\"><span style=\"color: var( --e-global-color-primary ); font-size: 2rem; white-space-collapse: collapse;\">Queering Rupkatha: Tracing Queerness in Fairy Tales from 19-20th Century Bengal to Contemporary India<\/span><\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-514ff5e elementor-widget elementor-widget-text-editor\" data-id=\"514ff5e\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>February 19, 2025.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5d46f3a elementor-widget elementor-widget-heading\" data-id=\"5d46f3a\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-acce574 elementor-widget elementor-widget-button\" data-id=\"acce574\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/vimeo.com\/1062776647\/82a3baf9f9?ts=0&#038;share=copy\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View lecture recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-d9cbd85 elementor-widget elementor-widget-text-editor\" data-id=\"d9cbd85\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><strong>Malay Bera<\/strong>\u00a0is a Doctoral Candidate in English at Ashoka University, India where he is writing his dissertation on gender and nationalism in Bengali fairy tales. He holds a BA (Honours) in English, and an MA in Linguistics. He also studied Comparative Folkloristics as a Dora Plus Visiting Doctoral Fellow at the University of Tartu, Estonia. His research centres on fairy tales and belief narratives. His articles have appeared in\u00a0<em>Cultural Analysis<\/em>\u00a0and\u00a0<em>The Literary Encyclopedia<\/em>, and his forthcoming works will be featured in\u00a0<em>Voices: The Journal of New York Folklore<\/em>,\u00a0<em>Indigenous Religious Traditions<\/em>, and several scholarly edited volumes. Beyond academia, he has also collaborated with TED-Ed as an educator to create animated contents based on Bengali fairy tales, which are set to be released soon as part of TED-Ed\u2019s ongoing folklore and mythology series.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-347fb48\" data-id=\"347fb48\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-b59928b elementor-widget elementor-widget-heading\" data-id=\"b59928b\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-214c314 elementor-widget elementor-widget-text-editor\" data-id=\"214c314\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Is there a place for queerness in Indian fairy tales? This lecture will explore the tropes of queerness in late 19<sup>th<\/sup>\u00a0and early 20<sup>th<\/sup>\u00a0century Bengali\u00a0<em>rupkatha<\/em>\u00a0(fairy tales) alongside contemporary Indian queer fairy tales to trace how depictions of queerness in Indian fairy tales have evolved over time. While 19-20<sup>th<\/sup>\u00a0century Bengali\u00a0<em>rupkathas<\/em>\u00a0do not offer explicitly queer resolutions, they contain queer possibilities in transgressive elements (e.g., non-normative relationships, gender fluidity, and queer desire) that challenge heteronormative social structures. Although the majority of these tales portray queerness as deviance from the norm which warrants punishment, some also employ queerness as an enabling tool for subverting heteronormative expectations with complex, liminal, queer characters. In contrast to 19-20<sup>th<\/sup>\u00a0century\u00a0<em>rupkathas<\/em>\u00a0which require interpretative queering of the tales to uncover their latent elements of queerness, contemporary Indian queer fairy tales, however, explicitly feature queer characters and resolutions. Furthermore, with their subversion of the fairy-tale formula with magical realist tropes, and the queer treatment of the concept of \u201creproductive future\u201d in traditional fairy tales, these modern tales queer the genre of fairy tale itself, indicating a shift in how fairy tale as a narrative category is understood and reimagined by the queer folk in contemporary India.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-9652df5 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"9652df5\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-8e532cb\" data-id=\"8e532cb\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-d94d538 elementor-widget elementor-widget-heading\" data-id=\"d94d538\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Kristiana Willsey<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b8a8b1d elementor-widget elementor-widget-heading\" data-id=\"b8a8b1d\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Stone Soup: Fairy Tale Studies and Controversies over Authenticity<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-93056de elementor-widget elementor-widget-text-editor\" data-id=\"93056de\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>November 15, 2024.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1bc00c6 elementor-widget elementor-widget-heading\" data-id=\"1bc00c6\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f72666f elementor-widget elementor-widget-button\" data-id=\"f72666f\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-size-sm\" role=\"button\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View lecture recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8bdea2c elementor-widget elementor-widget-text-editor\" data-id=\"8bdea2c\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><strong>Kristiana Willsey<\/strong>\u00a0is a lecturer in the Anthropology Department of the University of Southern California. She received a PhD in Folklore from Indiana University in 2014, and completed a postdoctoral fellowship at the American Academy of Arts and Sciences. She has published research articles in the\u00a0<em>Journal of American Folklore, Poetics Today, Humanities,\u00a0<\/em>and various edited scholarly volumes.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-00a748f\" data-id=\"00a748f\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-c3ff689 elementor-widget elementor-widget-heading\" data-id=\"c3ff689\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-db18e43 elementor-widget elementor-widget-text-editor\" data-id=\"db18e43\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Questions over authenticity strike at the core of generic definitions: what \u201ccounts\u201d as a fairy tale? If folk narratives do not \u201cbelong\u201d to genres but are rather\u00a0<em>uses<\/em>\u00a0of them, scholars are storytellers too, and debates over our object of study are fundamentally disputes over how fairy tales should be\u00a0<em>used<\/em>: are fairy tales best understood as evidence of cultural continuity over time, and thus of\u00a0national identity? Are they\u00a0political science, tools for powerless people to imagine better worlds, or (conversely) culturally conservative texts that prove the folk\u2019s own acceptance of hierarchies of class and gender? Are fairy tales the forgotten\u00a0philosophies\u00a0of oral cultures, or exaggerated fragments of lost\u00a0history, or\u00a0psychology, necessary for the development of children\u2019s minds?\u00a0This talk will review the history of controversies over authenticity in fairy tale studies, tracing the way these debates have continually driven the study of fairy tales away from claims of purity (of origin, of medium, of function), towards an understanding of the genre as hybrid, transnational, transmedial, and transformative.\u00a0Like the \u201cstone soup\u201d of ATU 1548, authenticity is a social process, not a magic stone at the bottom of the pot.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-49c69dd elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"49c69dd\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-2025fee\" data-id=\"2025fee\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-87aa1bd elementor-widget elementor-widget-heading\" data-id=\"87aa1bd\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Sandis Laime<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f74dd8a elementor-widget elementor-widget-heading\" data-id=\"f74dd8a\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Latvian Witchcraft Narratives Over Time: Sources, Research Methodologies, and Key Findings<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-32766e8 elementor-widget elementor-widget-text-editor\" data-id=\"32766e8\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>September 2024.\u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-2e314fd elementor-widget elementor-widget-heading\" data-id=\"2e314fd\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-53e1969 elementor-widget elementor-widget-button\" data-id=\"53e1969\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/vimeo.com\/1011946543\/fbf15b7bf6?ts=0&#038;share=copy\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View lecture recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-37605a9 elementor-widget elementor-widget-text-editor\" data-id=\"37605a9\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Sandis Laime, PhD, is a senior researcher at the Institute of Literature, Folklore, and Art at the University of Latvia. Since 2021, he has been the head of the digital archive of the Archives of Latvian Folklore (garamantas.lv). His scholarly interests have included the Latvian diaspora in Siberia, Medieval and Early Modern Latvian sandstone carvings, and place lore, particularly folklore associated with Latvia\u2019s sacred sites (see his monographs The Sacred Underworld: Cave Folklore in Latvia* (2009) and *Sv\u0113tupe Livs\u2019 Offering Cave* (2016; co-authored with archaeologist Juris Urt\u0101ns)). Following the defense of his doctoral dissertation, *The Ragana Tradition of Northeastern Latvia* (University of Latvia, 2011), and the publication of his monograph *Witches in Latvian Folk Belief: Night Witches* (2013), he has continued to study the historical typology of Latvian witch beliefs. During his postdoctoral project (2017\u20132020), he compiled a corpus of 2,000 folklore texts on witches in the digital archive, which was used to develop type and motif indexes of witch legends and other folklore genres, soon to be published in a forthcoming book. He also chaired the organizing committee of the 19th ISFNR Congress, held in Riga, Latvia.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-6d5ce01\" data-id=\"6d5ce01\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-5812c80 elementor-widget elementor-widget-heading\" data-id=\"5812c80\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-d08f03c elementor-widget elementor-widget-text-editor\" data-id=\"d08f03c\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>The goal of my presentation is twofold: while introducing my research on the historical typology of Latvian witch beliefs and presenting my latest book <em>Latvian Legend Type and Motif Index: Witches<\/em>, I would also like to familiarize the audience with the Archives of Latvian Folklore (ALF) and its digital archive, garamantas.lv. The year 2024 is special for ALF as the archive celebrates its 100th anniversary, while the digital archive marks its 10th anniversary. Thus, I will begin my talk with a brief overview of the history of ALF and its digital archive. In the second part of the presentation, I will focus on my recent research into the history of Latvian witch beliefs. Latvians use three words to denote witches: <em>ragana<\/em>, <em>lauma<\/em>, and <em>sp\u012bgana<\/em>. Each of these terms is associated with chronologically different traditions, which can be broadly divided into the layers of night witches, milk witches, and demonic witches. The study of witch legends offers folklorists the opportunity to work with a variety of research sources and methodologies. In addition to the 19th- and 20th-century folklore sources, there are also older historical records, primarily from the 16th to 18th centuries, such as chronicles, witch trial records, and religious texts. The research methodology provides various approaches, of which I will further detail the use of linguistic analysis, place valency, mapping, and comparative methods. I will also introduce the type and motif indexes of witch legends developed for the purposes of comparative research.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-5fbab5a elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"5fbab5a\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-b434cbf\" data-id=\"b434cbf\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-0f0be3c elementor-widget elementor-widget-heading\" data-id=\"0f0be3c\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Mar\u00eda In\u00e9s Palleiro et al.<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c9d0f8e elementor-widget elementor-widget-heading\" data-id=\"c9d0f8e\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">\"Trends and Topics of Latin American Folk Narrative during the last two centuries: tradition and social changes\u201d<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-88a41e9 elementor-widget elementor-widget-text-editor\" data-id=\"88a41e9\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>June 2024.\u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-263916c elementor-widget elementor-widget-heading\" data-id=\"263916c\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-804bce5 elementor-widget elementor-widget-button\" data-id=\"804bce5\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/vimeo.com\/952872241\/2dea856896?ts=0&#038;share=copy\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View lecture recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-7922d1b elementor-widget elementor-widget-text-editor\" data-id=\"7922d1b\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><strong>Daniel Orlando D\u00edaz Benavides<\/strong>\u00a0is an Anthropologist with doctoral studies in Social Sciences from the National University of San Marcos in Lima, Per\u00fa, with a Master\u203as degree in Andean Anthropology and in Gender, Sexuality and Public Policies.<\/p><p><strong>Ana Mar\u00eda Dupey<\/strong>\u00a0is an Anthropologist and PhD in Sociology. Professor and researcher at the University of Buenos Aires. Professor of the Postgraduate Diploma in Folklore, Identity and Society (National University of Tucum\u00e1n, Argentina).<\/p><p><strong>\u00a0Fernando Fischman<\/strong>\u00a0(PhD in Anthropology, Buenos Aires University) teaches at Buenos Aires University. He is a researcher for CONICET (National Scientific and Technical Research Council) at the Institute of Research in Latin American Social Sciences of the Latin American Faculty of Social Sciences.<\/p><p><strong>\u00a0Luciana Hartmann<\/strong>, PhD in Social Anthropology (Federal University of Santa Catarina, Brazil), is a Professor at University of Brasilia, Brazil; visiting scholar at Paris Nanterre Univeristy (2014) and University of Lisbon (2020).\u00a0<\/p><p><strong>Renata de Lima Silva (Kabilaewatala),<\/strong>\u00a0PhD in Arts (State University of Campinas, S\u00e3o Paulo, Brazil), is a Professor at Federal University of Goi\u00e1s, Goi\u00e2nia, Goi\u00e1s, Brazil. S<\/p><p><strong>\u00a0Barbara Ivan\u010di\u010d Kutin<\/strong>\u00a0is Research Fellow (PhD) at the Institute of Slovenian Ethnology at the Scientific Research Centre of the Slovenian Academy of Sciences and Arts, Ljubljana, Slovenia.<\/p><p>\u00a0<strong>Maria Ines Palleiro<\/strong>\u00a0(PhD) is Vice President for Latin America of the International Society for Folk Narrative Research (ISFNR).Senior researcher of the National Council for Scientific and Technical Research, professor at Buenos Aires University She is an author of more than two hundred chapters in books, proceedings and articles in indexed publications, and twenty books dealing with Folk Narrative, Social Beliefs and Discourse Analysis.<\/p><p><strong>Alejandra Vidal<\/strong>\u00a0(PhD, University of Oregon) is a linguist, full professor of Linguistics at the National University of Formosa and Independent Researcher for the National Scientific and Technical Research Council (CONICET) since 2004.<\/p><p><strong>Sabrina Maciel<\/strong>\u00a0is an advanced student of Letters at the National University of Formosa, Argentina. She has a scholarship from the Interuniversitary National Council (Consejo Interuniversitario Nacional) under the supervision of Prof. Dr. Alejandra Vidal.<\/p><p>\u00a0<strong>Cristian Y\u00e1\u00f1ez Aguilar<\/strong>\u00a0holds a PhD in Human Sciences, in the field of Discourse and Culture, from the Austral University of Chile (scholarship holder of National Commission of Science and Technology of Chile).<\/p><p>\u00a0<strong>Mercedes Zavala G\u00f3mez del Campo<\/strong>\u00a0holds a PhD in Hispanic Literature from The College of Mexico A.C. (Colmex). She is a full professor-researcher, since 2006, at the Literature Studies Department at College of San Louis, Mexico \u2012 CONACYT (San Luis Potos\u00ed, Mexico).<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-c6fda07\" data-id=\"c6fda07\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-c2d984f elementor-widget elementor-widget-heading\" data-id=\"c2d984f\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-01c0960 elementor-widget elementor-widget-text-editor\" data-id=\"01c0960\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>The aim of this lecture is to offer a polyphonic panorama of Latin American folk narrative, through the voices of different researchers from Chile, Per\u00fa, Brazil, M\u00e9xico and Argentina, connected with an overview of\u00a0 Latin American folk narrative studies in the last two centuries. This panorama comprises an overview of paradigms, collections, studies and Folk narrative archives in Argentina and Chile; an approach to Latin American indigenous narratives from M\u00e9xico, Peruvian Amazonia, Northeastern and Southern Brazil and Northeastern Argentina, as well a study of narratives and performances of migrant groups such as Jewish and Slovenians collected in Argentina. Some\u00a0 contributions highlight the European\u00a0 cultural heritage, while others show the relevance of indigenous narratives.\u00a0 Folk narrative expressions here addressed were both \u00a0collected in the fieldwork,\u00a0 registered in folk narrative collections\u00a0 and archives, or\u00a0 retrieved from virtual sources. Some contributions focus the attention on development of folk narrative studies, offering overview of the different trends and topics of folk narrative research in Latin America. Others include narrative texts\u00a0 and narrative analysis dealing with contemporary global epidemics such as AIDS and Covid. \u00a0All of them reflect different verbal aesthetic expressions of local identities framed in narrative forms, either displayed in narrative performances or stored in archives and written collections.<\/p><p>In the first part of this lecture, \u201cParadigms in Folk Narrative Studies, Collections, Archives\u201d, I will deal with \u201cArgentinian Folktales in the Latin American Context: Collections and\u00a0 Belief Narratives\u201d, while Ana Dupey will focus her short dissertation in \u201cFolklore Disciplinary Narratives Produced by Scholarly\u00a0 Community in Argentina. Social Dimension in Focus\u201d and Cristian Y\u00e1\u00f1ez Aguilar, who sent an abstract of his work, will focus the attention in \u201cTraditional Culture and Folklore Science: Two Approaches in the\u00a0 Discursive Construction of the Cultural Field of Folklore in Chile\u201d. In the second part, regarding \u201cIndigenous narratives\u201d, Daniel D\u00edaz Benavides will speak about \u201cFolkloric Narratives of the Peruvian Amazon\u201d, and Mercedes Zavala G\u00f3mez del Campo will \u00a0deal with \u201cHow to Study Folktales and Legends\u00a0 From Oral Indigenous Heritage of M\u00e9xico\u201d. Luciana Hartmann and Renata de Lima Silva, from Brazil, sent an abstract of their research about \u201cBetween Borders and Crossroads: the\u00a0 Performance of Orality in Different Brazilian Bodies and Contexts\u201d, while Alejandra Vidal and Sabrina Maciel sent as well a summary of their work dealing with \u201cNarratives of Pilag\u00e1 Native Societies in the Argentinian\u00a0 Context\u201d. In the last part of this lecture, dealing with \u201c Migration narratives\u201d, Fernando Fischman will speak about \u201cJewish Traditions in a Latin American Background. Enacting an\u00a0 Intercultural Diaspora in the Context of Argentine Identity Politics\u201d and Barbara Ivan\u010di\u010d Kutin, about \u00a0\u201cElements of Latin American Culture in the (Folk) Narratives of\u00a0 Slovenes in Argentina\u201d<\/p><p>The goal of \u00a0drawing a multicultural map of Latin American communities through folk narrative expressions, whose distinctive feature is the coexistence of vernacular and indigenous narratives with narrative folk expressions from migrant and Cr\u00e9ole groups, will be be reached thanks to the collaboration of Latin American colleagues, with some of which I have the pleasure of sharing this lecture. Since others cannot be present, I will offer a short abstract of their research work and their research interests. All the contributions show \u00a0the \u00a0richness and complexity of Latin American folk narrative.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-ebda60a elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"ebda60a\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-af2edbc\" data-id=\"af2edbc\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-7e2ba67 elementor-widget elementor-widget-heading\" data-id=\"7e2ba67\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Kwesi Yankah<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0d060db elementor-widget elementor-widget-heading\" data-id=\"0d060db\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Ghana\u2019s Presidents and the Rhetoric of Heritage<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6926a23 elementor-widget elementor-widget-text-editor\" data-id=\"6926a23\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>April 2024.\u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3d1600b elementor-widget elementor-widget-button\" data-id=\"3d1600b\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/vimeo.com\/934142984\/431685f648?share=copy\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View lecture recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-94d7018 elementor-widget elementor-widget-heading\" data-id=\"94d7018\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-9f069c6 elementor-widget elementor-widget-text-editor\" data-id=\"9f069c6\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Kwesi Yankah is a Ghanaian scholar in ethnography of communication, and a product of University of Ghana and Indiana University (USA). An academic, administrator, and author of several books, Yankah has been Vice-Chancellor of Central University, Ghana; and Deputy Vice-Chancellor of University of Ghana. He was between 2017 and 2021 Ghana\u2019s Minister of State for tertiary education. Yankah is a Fellow of the Ghana Academy of Arts and Sciences; Fellow, the American Academy of Arts and Sciences, and Honorary Fellow, American Folklore Society<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-f08a83f\" data-id=\"f08a83f\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-66a2b21 elementor-widget elementor-widget-heading\" data-id=\"66a2b21\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3f3d175 elementor-widget elementor-widget-text-editor\" data-id=\"3f3d175\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>The paper puts in a broad context the general exploitation of ethno-poetic resources by Ghana\u2019s presidents to drive public policy and boost political charisma. Here icons of group identity derived from heritage are prioritized as quintessential, since they also celebrate a leader\u2019s affinity with the masses. This has been optimally expressed in moments of stress where public sympathy is needed to drive policy or cope with a raging crisis. From the time of Ghana\u2019s independence to date, Ghana\u2019s leaders have actively deployed heritage to legitimize power and effectively convey policy positions. This was climaxed during the COVID-19 pandemic, when the President set the pace depicting policy responses to the crisis through proverb icons in fabric wear. Ghana\u2019s leader saw in the tragedy an opportunity to reinvent tradition, and wipe the nation\u2019s tears through proverb lore.<\/p><p>The entire exercise is seen as a collective appeal to tradition to cope with contemporary crises, and as well demonstrate the healing power of heritage.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-275b813 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"275b813\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-9d09e6f\" data-id=\"9d09e6f\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-54bc15d elementor-widget elementor-widget-heading\" data-id=\"54bc15d\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Mayako Murai<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5b333b2 elementor-widget elementor-widget-heading\" data-id=\"5b333b2\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Multispecies Fairy-Tale Library Project: Designing a Public Library Exhibition in Rural Japan<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f05c07f elementor-widget elementor-widget-text-editor\" data-id=\"f05c07f\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>February 2024.\u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-50063ff elementor-widget elementor-widget-button\" data-id=\"50063ff\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/vimeo.com\/914349796\/99a2b69b72?share=copy\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View lecture recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-77c19ba elementor-widget elementor-widget-heading\" data-id=\"77c19ba\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-2b5a081 elementor-widget elementor-widget-text-editor\" data-id=\"2b5a081\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Mayako Murai is professor of English and comparative literature at Kanagawa University, Japan. She is the author of\u00a0<em>From Dog Bridegroom to Wolf Girl: Contemporary Japanese Fairy-Tale Adaptations in Conversation with the West<\/em>\u00a0and co-editor of\u00a0<em>Re-Orienting the Fairy Tale: Contemporary Adaptations across Cultures<\/em>, both published by Wayne State University Press. She curated the exhibitions\u00a0<em>Fur Story<\/em>\u00a0at Leeds Arts University and\u00a0<em>Storymakers in Contemporary Japanese Art<\/em>\u00a0at Japan Foundation Sydney Gallery. She is currently writing a book on fairy-tale animals in contemporary art and picturebook illustration.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-15d78c9\" data-id=\"15d78c9\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-7e7e568 elementor-widget elementor-widget-heading\" data-id=\"7e7e568\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f87c6f2 elementor-widget elementor-widget-text-editor\" data-id=\"f87c6f2\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>\u201cMultispecies Fairy-Tale Library,\u201d which I have started recently, is a project whose aim is to rethink human beings\u2019 relationship with other species through a reclassification of tale types. Instead of separating Animal Tales from the rest of the folktales as the ATU index does, this project proposes to create a new category Multispecies Tales in which more than two species, including humans, play important roles in the development of narrative and to classify them into six groups according to the kinds of relations between characters belonging to different species. This new classification is only tentative, and I intend to develop this idea by using different methods. One of them is to organise a series of Multispecies Fairy-Tale Library exhibitions and workshops to discuss multispecies fairy tales with people with various social and cultural backgrounds. In this talk, I will give an outline of my plan to hold a picturebook exhibition and a workshop at a public library in rural Japan in March 2024. It will be my first attempt at holding such an exhibition, and I would very much appreciate your comments and suggestions for this project!<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-3502b0f elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"3502b0f\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-c50e412\" data-id=\"c50e412\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-fc69421 elementor-widget elementor-widget-heading\" data-id=\"fc69421\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Amy Shuman<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3963ac0 elementor-widget elementor-widget-heading\" data-id=\"3963ac0\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Narrative and the Promise of Empathy<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-14cfa5a elementor-widget elementor-widget-text-editor\" data-id=\"14cfa5a\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>November 2023<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-99f32d6 elementor-widget elementor-widget-button\" data-id=\"99f32d6\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/vimeo.com\/891825344\/f1d7c8c47a?share=copy\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View lecture recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-93f3ec3 elementor-widget elementor-widget-heading\" data-id=\"93f3ec3\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-ed8275c elementor-widget elementor-widget-text-editor\" data-id=\"ed8275c\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><strong>Amy Shuman<\/strong> is Professor Emerita at the Ohio State University. She has received the American Folklore Lifetime Achievement Award, a Guggenheim Fellowship, and other honors. She is the author of two books on narrative, edited collections on political aslyum and disability, and more than 70 articles and book chapters.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-8708c7f\" data-id=\"8708c7f\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-c969d94 elementor-widget elementor-widget-heading\" data-id=\"c969d94\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-710b107 elementor-widget elementor-widget-text-editor\" data-id=\"710b107\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p class=\"xxxmsonormal\">One of the hopes, even expectations, of telling stories to others about our experiences is the possibility of empathy, the idea that someone who has not shared those stories will be a witness. Telling about painful, stigmatized or traumatic experiences is difficult by itself, and often our stories are fragmented and insufficient to truly account for what happened. Empathy, then, is triply encumbered, not only because the listener may be unfamiliar with the experiences, and not only because the subject is difficult, but also because the story may be partial, even unfinished. In this talk, I\u2019ll describe some of the tools that folklorists bring to understanding narrative and empathy, including: identity and alignment, tellability, the genres and categories of available narratives, dialogism (multiple voices), and story ownership (including ethical considerations). I will briefly review some of my work on political asylum narratives and then turn to an in-depth discussion of the stories my aunt tells as a hidden child during the Holocaust.\u00a0<span class=\"xxxcontentpasted1\">My aunt\u2019s story carries a positive message.\u00a0<\/span>Empathy is about more than listening; it carries responsibilities. As painful as it is to tell her story, she does it (weekly) to remind people to stay informed and to speak up.\u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-33388cc elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"33388cc\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-90599c1\" data-id=\"90599c1\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-c72bb6c elementor-widget elementor-widget-heading\" data-id=\"c72bb6c\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Nemanja Radulovi\u0107 & Smiljana \u0110or\u0111evi\u0107 Beli\u0107<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-90d1bf8 elementor-widget elementor-widget-heading\" data-id=\"90d1bf8\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">\"Discussing Disenchantment \/ Re-enchantment Argument: Folkloristics\"<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-914e3b8 elementor-widget elementor-widget-text-editor\" data-id=\"914e3b8\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>September 2023<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1f155e3 elementor-widget elementor-widget-button\" data-id=\"1f155e3\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/vimeo.com\/862150260?share=copy\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View lecture recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-86376c1 elementor-widget elementor-widget-heading\" data-id=\"86376c1\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-964aa01 elementor-widget elementor-widget-text-editor\" data-id=\"964aa01\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><strong>Nemanja Radulovi\u0107<\/strong>\u00a0is professor of Folk Literature at the Department of Serbian Literature and South Slavic Literatures, Faculty of Philology, University of Belgrade. His research is focused on fairy tales and belief narratives, urban folklore, history of folkloristics\u00a0 and esotericism. He is a member of ESSWE board, of BNN board, a member of folklor committee of the International Committee of Slavists, and of the folk literature committee of Serbian Academy of Sciences. Edited volumes:\u00a0<em>Esotericism, Literature and Culture in Central and Eastern Europe<\/em>\u00a0(2018),\u00a0<em>Study of Eestern Esotericism in Central and Eastern Europe<\/em>\u00a0(2019; with Karolina Maria Hess).<\/p><p><strong>Smiljana \u0110or\u0111evi\u0107 Beli\u0107<\/strong>\u00a0(b. 1978) is senior research associate at the Institute for Literature and Arts, Belgrade. Her research interests are focused on belief narratives, oral epics, theory and methodology in folkloristic research. Her publications include\u00a0<em>The Post-folk Epic Chronicle: A Genre on the Border and the Borders of the Genre\u00a0<\/em>(2016);\u00a0<em>The Figure of the Gusl\u0435 Player: A Heroicized Biography and an Invisible Tradition<\/em>\u00a0(2017). She has been the co-editor (with Sonja Petrovi\u0107) of\u00a0<em>Folkloristika<\/em>, journal of the Association of Serbian Folklorists and the volume\u00a0<em>Disenchantment, Re-enchantment and Folklore Genres<\/em>\u00a0(with Nemanja Radulovi\u0107). She is vice president of the Association of Serbian Folklorists, and a member of the Committee for Folkloristics of the International Committee of Slavists (ICS).<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-b0b3c54\" data-id=\"b0b3c54\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-65e1528 elementor-widget elementor-widget-heading\" data-id=\"65e1528\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5d37ef1 elementor-widget elementor-widget-text-editor\" data-id=\"5d37ef1\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Max Weber\u2019s disenchantment (Entzauberung) (1917) proved to be one of the most influential concepts in the 20<sup>th<\/sup>-century humanities and social sciences. Weber\u2019s idea that the world has come to be viewed as a place from which magic has withdrawn (which is not identical with secularization) and in which the supernatural does not exert influence in everyday life helped in articulating new views not only in sociology but also in anthropology, ethnology, religious studies, political sciences, art history. Common to all of them is the notion of the world of modernity as the world\u00a0devoid of the supernatural. Disenchantment has been criticized, to be sure, but such criticism is also part of the concept\u2019s history in different fields. Among alternative views is the idea of re-enchantment which, contrary to Weber, claims not only that the world has never become fully disenchanted but, conversely, that it experiences strong revival of modern magical forms, not confined to some closed or alternative groups but precisely in popular culture and mass market. The polemics about disenchantment and re-enchantment has continued up to our days, more than a century after Weber\u2019s lecture. Some important recent studies, recognized as defining contemporary fields of anthropology or religious studies, are tackling precisely the disenchantment\u2013re-enchantment relation.<\/p><p>In spite of this far-reaching influence, disenchantment and re-enchantment have not exercised influence on folkloristics. That is striking since the topics folkloristics deals with overlap not only with the abovementioned fields but precisely with\u00a0the questions addressed in Weberian and post-Weberian ideas. What happens with belief legends in the contemporary world, to what extent are beliefs retained and to what extent lost (or transformed)? Is contemporary legend an example of a rationalized legend where the supernatural disappears, or does this genre interact with the modern forms of supernatural belief, as expressed in New Age or popular occultism? What is the place of disenchantment anxiety at the very birth of the field in Romanticism? These are only some examples. Our aim is to see if the entire polemical dialogue between disenchantment (in various definitions) and re-enchantment can help us, as folklorists, to understand our materials, our methodological tools, and our own intellectual background better.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-3b0b310 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"3b0b310\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-b595620\" data-id=\"b595620\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-f061e2f elementor-widget elementor-widget-heading\" data-id=\"f061e2f\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Maria Ines Palleiro<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3d3612f elementor-widget elementor-widget-heading\" data-id=\"3d3612f\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Argentinian M\u00e4rchen: from Folktales to Belief Narratives<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-862b389 elementor-widget elementor-widget-text-editor\" data-id=\"862b389\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>June 2023<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a0f27c3 elementor-widget elementor-widget-button\" data-id=\"a0f27c3\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/vimeo.com\/835244301\/c5cffb00c4\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View lecture recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-41b344c elementor-widget elementor-widget-heading\" data-id=\"41b344c\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-db6e6a7 elementor-widget elementor-widget-text-editor\" data-id=\"db6e6a7\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Dr. Maria Ines Palleiro is Professor of Orality and Genetic Criticism at Buenos Aires University, a retired Senior Researcher in Folk Narrative at the National Scientific and Technical Research Council of Argentina (CONICET), and vice-president for South America in the ISFNR Executive Committee.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-1b95e70\" data-id=\"1b95e70\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-e35c344 elementor-widget elementor-widget-heading\" data-id=\"e35c344\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-dee4324 elementor-widget elementor-widget-text-editor\" data-id=\"dee4324\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Marvelous tales provide a gateway to a magic world that offers an alternative gaze at our daily life, which makes our existence more bearable. This wonderful world is rooted in a historic place and time, which, in the examples I will deal with, corresponds to the Argentinian context of the late 20<sup>th<\/sup>\u00a0and early 21<sup>st<\/sup>\u00a0centuries. Real times and places are in tension with this marvelous world, without specific spatial nor temporal location. The tension between fiction and history is the distinctive feature of the narratives that mirror different aspects of Argentinian cultural identity. Beyond the fictional world of kings and princesses, each narrator opens a window to local lifestyles, telling tell us something about who Argentinian people are and how do they manage to overcome different obstacles in the day-to-day struggle.<\/p><p>In this presentation, I will provide some examples of Argentinian marvelous tales, collected during more than thirty years of field research.\u00a0\u00a0<strong>\u00a0<\/strong>The classification criterion is based on the concept of \u201cnarrative matrix\u201d, conceived as a set of thematic, structural and rhetoric features, identified through the intertextual comparison of different narratives. Such criterion is aimed to highlight the flexible boundaries between different folklore genres, presented in international catalogues as\u00a0<em>a priori<\/em>\u00a0fixed patterns. This concept adds to the thematic narrative types described in the ATU universal Index, valid for folktales of all times and places, structural and stylistic issues. Such classification tends to underline the influence of social beliefs that erase boundaries between folk narrative genres.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-44f5bdf elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"44f5bdf\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-1f6dcdb\" data-id=\"1f6dcdb\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-ae723de elementor-widget elementor-widget-heading\" data-id=\"ae723de\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Esi Sutherland-Addy, Sarah Dorgbadzi, Sela Adjei<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1b63a35 elementor-widget elementor-widget-heading\" data-id=\"1b63a35\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Roots and Contemporary Continuities in Ghanaian Storytelling <\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5df1d7d elementor-widget elementor-widget-text-editor\" data-id=\"5df1d7d\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>April 2023<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-9b3a83b elementor-widget elementor-widget-button\" data-id=\"9b3a83b\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/vimeo.com\/820238999\/3b33366108\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View lecture recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-917f2aa elementor-widget elementor-widget-heading\" data-id=\"917f2aa\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0ca8440 elementor-widget elementor-widget-text-editor\" data-id=\"0ca8440\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>University of Ghana<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-75d60fd\" data-id=\"75d60fd\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-0bf3eee elementor-widget elementor-widget-heading\" data-id=\"0bf3eee\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-23e21cb elementor-widget elementor-widget-text-editor\" data-id=\"23e21cb\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><strong>Assoc. Prof. Esi Sutherland-Addy: <\/strong><\/p><p><em>The Structure and Aesthetic of Selected Storytelling Performance Traditions in \/n Ghana<\/em><\/p><p><strong>Dr. Sarah Dorgbadzi: <\/strong><\/p><p><em>Neo-Traditional Storytelling Performance for Multi-Ethnic Audiences<\/em><\/p><p><strong>Dr. Sela Adjei<\/strong>:<\/p><p><em>\u201cDotokpo\u201d and Soak the Ancestral Logic in Yom the Poet\u2019s ALTER NATIVE EP<\/em><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-13928a8 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"13928a8\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-cb89c47\" data-id=\"cb89c47\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-09d8e7a elementor-widget elementor-widget-heading\" data-id=\"09d8e7a\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Dani Schrire<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-39d42ff elementor-widget elementor-widget-heading\" data-id=\"39d42ff\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Wish you were here: Narrating the Holy Land in Postcards<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-44b82ae elementor-widget elementor-widget-text-editor\" data-id=\"44b82ae\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>February 2023<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f941c70 elementor-widget elementor-widget-button\" data-id=\"f941c70\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/vimeo.com\/798695872\/db0a3b9dce\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View lecture recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-29a5052 elementor-widget elementor-widget-heading\" data-id=\"29a5052\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e8db967 elementor-widget elementor-widget-text-editor\" data-id=\"e8db967\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Dr. Dani Schrire a lecturer at the Hebrew University in Jerusalem affiliated with two graduate programs: the Program for Folklore and Folk-Culture Studies (head) and the Program in Cultural Studies.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-e86ffc5\" data-id=\"e86ffc5\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-797d76f elementor-widget elementor-widget-heading\" data-id=\"797d76f\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-ab85b27 elementor-widget elementor-widget-text-editor\" data-id=\"ab85b27\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Postcards are emblematic objects of modernity and although they were invented in Europe in 1869 they spread rapidly across the globe . The \u201crediscovery\u201d of the Holy Land in the West parallels the emergence of the postcard and various publishers produced full sets of postcards that were distributed also among people who never visited the sacred places. Based on research carried out in the David Pearlman Holy Land postcard collection of ca. 200,000 cards (donated in 2019 to the Folklore Research Center at the Hebrew University), I deliberately focus my talk on postcards from the 1960s and beyond when postcards lost their urgency and became mundane objects with writing conventions and postal practices that were already taken for granted. Narrating the Holy Land in this modern short folk-genre negotiates Biblical myths, political turmoils and everyday life, often in surprising and peculiar manners\u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-cc8062e elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"cc8062e\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-6f28381\" data-id=\"6f28381\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-4f236dd elementor-widget elementor-widget-heading\" data-id=\"4f236dd\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Cristina Bacchilega<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-abf3a51 elementor-widget elementor-widget-heading\" data-id=\"abf3a51\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Learning and Unlearning Folklore: Questions of Recognition, Transcoding, Genre, and Justice Revisited<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6fb2eb1 elementor-widget elementor-widget-text-editor\" data-id=\"6fb2eb1\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>November 2022<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8d0c4e9 elementor-widget elementor-widget-button\" data-id=\"8d0c4e9\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/vimeo.com\/766513008\/9353acc5e7\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View lecture recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e066500 elementor-widget elementor-widget-heading\" data-id=\"e066500\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0e6102c elementor-widget elementor-widget-text-editor\" data-id=\"0e6102c\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Cristina Bacchilega coedits\u00a0<em>Marvels &amp; Tales: Journal of Fairy-Tale Studies\u00a0<\/em>and is Professor Emerita of English at the University of Hawai\u2018i-M\u0101noa where she taught fairy tales and their adaptations, folklore and literature, and cultural studies. She is the author of\u00a0<em>Postmodern Fairy Tales: Gender and Narrative Strategies<\/em>\u00a0(1997),\u00a0<em>Legendary Hawai\u2018i and the Politics of Place: Tradition, Translation, and Tourism<\/em>\u00a0(2007), and\u00a0<em>Fairy Tales Transformed? 21<sup>st<\/sup>-Century Adaptations and the Politics of Wonder<\/em>\u00a0(2013). And the coeditor of two recent collections,\u00a0<em>The Penguin Book of Mermaids<\/em>\u00a0with Marie Alohalani Brown (2019) and\u00a0<em>Inviting Interruptions: Wonder Tales in the 21<sup>st<\/sup>\u00a0Century<\/em>\u00a0with Jennifer Orme (2021). Her current projects are collaborations that continue to pursue situated understandings of folklore and the fantastic.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-46f41b5\" data-id=\"46f41b5\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-a6a659d elementor-widget elementor-widget-heading\" data-id=\"a6a659d\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-dc7f807 elementor-widget elementor-widget-text-editor\" data-id=\"dc7f807\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>My trajectory as a folklorist and fairy-tale scholar has been shaped by the experience of being a woman and settler of color in Hawai\u02bbi for close to forty years, a settler who seeks to be an active ally for Hawaiian sovereignty and social justice. Learning from Hawaiian mo\u02bbolelo and Hawaiian scholars has played a role in this trajectory solidifying my recognition of multiple traditions of wonder and why that matters. While raising questions of translation or transcoding, genre, disciplinary boundaries, and justice, this talk explores the relationship between Indigenous wonderworks and the fairy tale as one of several wonder genres.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-00c15f8 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"00c15f8\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-e54f1c4\" data-id=\"e54f1c4\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-b1c1dca elementor-widget elementor-widget-heading\" data-id=\"b1c1dca\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Asta Skujyt\u0117-Razmien\u0117, Lithuania<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-aee817f elementor-widget elementor-widget-heading\" data-id=\"aee817f\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">\"Folklore in the Digital Realm: The Case of \u201cThe Witcher III: Wild Hunt\u201d\"<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-064b6e3 elementor-widget elementor-widget-text-editor\" data-id=\"064b6e3\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>September 2022<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-9763327 elementor-widget elementor-widget-button\" data-id=\"9763327\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/vimeo.com\/757223560\/946dc6f87a\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View lecture recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c64138a elementor-widget elementor-widget-heading\" data-id=\"c64138a\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-04a02aa elementor-widget elementor-widget-text-editor\" data-id=\"04a02aa\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Asta Skujyt\u0117-Razmien\u0117 is a Lithuanian folklorist. In 2014 she started working at The Institute of Lithuanian Literature and Folklore, in the Department of Folklore Archives. In 2019 she defended her PhD thesis \u201cConception of Contagious and Infectious Diseases in Lithuanian Folklore from the 19th to the First Half of the 20th Century\u201d. Currently she is working as the head of the Department of Folklore Archives and preparing her monograph on the perception of diseases and illnesses in Lithuanian folklore.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-1ec48fb\" data-id=\"1ec48fb\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-2c83c46 elementor-widget elementor-widget-heading\" data-id=\"2c83c46\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e83c05b elementor-widget elementor-widget-text-editor\" data-id=\"e83c05b\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Choosing folklore material as a source of inspiration for computer games is quite an old practice. Creators decide either to closely follow and recreate various legends and myths in the virtual world or just leave some hints at the material used. In my lecture I will concentrate on \u201cThe Witcher 3: Wild Hunt\u201d from \u201cThe Witcher\u201d (2007-2015) game series, created by a Polish video game company \u201cCD Projekt Red\u201d. As the third instalment is often described as \u201cFolkloric RPG\u201d by the fans and the critics alike, my goal is to take a closer look at the game, while attempting to answer the question, what makes this particular game to feel \u201cauthentically folkloric\u201d? So, by focusing on \u201cThe Witcher 3: Wild Hunt\u201d, I will argue that the creative team of \u201cCD Projekt Red\u201d might found a quite unexpected way to (re)construct and represent the possible mythological worldview of the times past in the virtual surroundings.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-ee5ce39 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"ee5ce39\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-8027a21\" data-id=\"8027a21\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-b87011a elementor-widget elementor-widget-heading\" data-id=\"b87011a\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Ercilia Moreno Ch\u00e1, Argentina<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8d7c2d6 elementor-widget elementor-widget-heading\" data-id=\"8d7c2d6\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">\"The payada: an improvised oral poetic duel in Latin American contexts\"<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-43eb1ee elementor-widget elementor-widget-text-editor\" data-id=\"43eb1ee\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>June 2022<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-fd1bba6 elementor-widget elementor-widget-button\" data-id=\"fd1bba6\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/youtu.be\/TKMdjTJKRb0\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View introduction<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-596a69c elementor-widget elementor-widget-button\" data-id=\"596a69c\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/youtu.be\/fXoPUtnU64E\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View lecture recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-718951a elementor-widget elementor-widget-heading\" data-id=\"718951a\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0711865 elementor-widget elementor-widget-text-editor\" data-id=\"0711865\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>ERCILIA\u00a0MORENO CH\u00c1. Argentine ethnomusicologist. She was a researcher at the Universidad de Chile (University of Chile) and the Instituto Nacional de Antropolog\u00eda y Pensamiento Latinoamericano<br \/>(National Institute of Anthropology and Latin American Thought ) of Argentina. She served as Director of the Argentine Instituto Nacional de Musicolog\u00eda \u201cCarlos Vega\u201d (National Institute of Musicology \u201cCarlos Vega\u201d) and she collaborated with the Smithsonian Institution and the UNESCO, as advisor for Latin American traditions. Author of books and articles dealing with Latin American improvised oral poetry (payada) , being her most recent book \u201cAqu\u00ed me pongo a cantar\u2026\u201d El arte payadoresco de Argentina y Uruguay. (2016) Here I come to sing. The art of the payada (oral poetic duel) in Argentina and Uruguay.\u00a0<\/p><p><a href=\"http:\/\/isfnr.org\/isfnr-online-lectures\/wp-content\/uploads\/2022\/04\/Aqui_me_pongo_a_cantar_El_arte_payadores_Ercilia-Moreno-Cha.pdf\" target=\"_blank\" rel=\"noopener\">Aqu\u00ed me pongo a cantar\u2026\u201d \u2013 PDF book<\/a><\/p><p>El arte payadoresco<br \/>de Argentina y Uruguay<\/p><p><a href=\"http:\/\/isfnr.org\/isfnr-online-lectures\/wp-content\/uploads\/2022\/06\/Folkloristika-6-2-2021.pdf\" target=\"_blank\" rel=\"noopener\">Folkloristika 6-2-2021<\/a><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-46a5886\" data-id=\"46a5886\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-7e172c7 elementor-widget elementor-widget-heading\" data-id=\"7e172c7\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c64cedf elementor-widget elementor-widget-text-editor\" data-id=\"c64cedf\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>The improvised poetic duel is an ancient world tradition that is still present today in Latin America where it takes various forms. One of these forms is the \u201cPayada\u201d, which is performed by two minstrels (payadores) singing and playing guitar. It has become a ritual performance with a special structure and inherent symbolism. Both of these aspects are drawn on in both the private context and during shows, festivities and Cultural Performances (Singer 1972).<\/p><p>The Payada phenomenon is performed with firm respect for traditional gender conventions. Its main objective is to compete by means of drawing on a variety of resources and types of poetic license, in order to prove which performer has the best skills in the art of poetic improvisation within the musical genres of each region.\u00a0 Expression varies is accordance with the audience and the context in which the performance takes place. Generally, it involves not only poetic art but also rhetorical and argumentative skill. The Payada has a three-part structure: the beginning iin which the payador introduces himself and\/or greets the audience; the confrontation of ideas itself, and then finally a farewell. In performative terms, the art of Payada echoes the various phases of perfomance described by Richard Schechner (1994) in his studies of theatrical performances from the East and West: training, workshops, rehearsals, warm-ups, performance, relaxation and consequences. Improvised duels of this kind involving contests by two or more poets are a widely accepted global phenomenon. Payada as a particular kind of musical poetic confrontation is nonetheless an important part of an Iberoamerican tradition and involves a very unique genre of discourse. Case studies of the art from Argentina, Chile and Uruguay will be presented.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-19dcc87 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"19dcc87\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-wide\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-e47e6f1\" data-id=\"e47e6f1\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-145d3fd elementor-widget elementor-widget-heading\" data-id=\"145d3fd\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h4 class=\"elementor-heading-title elementor-size-default\">Sadhana Naithani, India<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-4b5cad7 elementor-widget elementor-widget-heading\" data-id=\"4b5cad7\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">\"Wildly Ours 4.0: Colonial Narratives of Non-Human Animals\"<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0982c6a elementor-widget elementor-widget-text-editor\" data-id=\"0982c6a\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>April 2022<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-bbdc01f elementor-widget elementor-widget-button\" data-id=\"bbdc01f\" data-element_type=\"widget\" data-widget_type=\"button.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-button-wrapper\">\n\t\t\t<a class=\"elementor-button elementor-button-link elementor-size-sm\" href=\"https:\/\/www.youtube.com\/watch?v=rYc-GK-YMV4\" target=\"_blank\">\n\t\t\t\t\t\t<span class=\"elementor-button-content-wrapper\">\n\t\t\t\t\t\t\t\t\t<span class=\"elementor-button-text\">View recording<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3a31b91 elementor-widget elementor-widget-heading\" data-id=\"3a31b91\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Speaker's Biography: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-4d8c659 elementor-widget elementor-widget-text-editor\" data-id=\"4d8c659\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Sadhana Naithani is professor at Centre of German Studies and Coordinator of Folklore Unit, SLL&amp;CS, Jawaharlal Nehru University, New Delhi. She is the current president of the International Society for Folk Narrative Research and Honorary Fellow of the American Folklore Society. Her research interests span European and Indian, folklore and folkloristics. She has written on the disciplinary history of folkloristics in the contexts of British colonialism, on German folklore theory after WWII and on folkloristics in the Baltic countries under Soviet rule. Currently she is documenting narratives of time in German villages and researching folklore about wild life in colonial India.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-5b48005\" data-id=\"5b48005\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-bf0e395 elementor-widget elementor-widget-heading\" data-id=\"bf0e395\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">Abstract: <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5c01bd7 elementor-widget elementor-widget-text-editor\" data-id=\"5c01bd7\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Non-human animals have been conceptualized in human mind through narratives. Arguably, the oldest genre of folk narrative \u2013 the fable \u2013 resolved conundrums of human life and society through tales of non-human animals. Its impact was such that the fictional images of certain animals determined their real identity, for better or worse. Human beings construct their world narratively, but the narratives grow, change, renew and experience the displacement of old and emplacement of new narratives.<\/p><p>Colonial history is one such period of large-scale narrative change. In the postcolonial discourse on colonialism the focus has remained on human-human conflict\/relationship for a long time, yet research on the exploitation of the wild life in colonies has been gaining ground.<\/p><p>The focus of this paper will be on the narratives about wild life generated and circulated in colonial contexts that determined the fate of several species who lived in the wild.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-bbf16e5 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"bbf16e5\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-95d3341\" data-id=\"95d3341\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-c7d5978 elementor-widget elementor-widget-image\" data-id=\"c7d5978\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.21.0 - 15-04-2024 *\/\n.elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=\".svg\"]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block}<\/style>\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/isfnr.org\/isfnr-online-lectures\/wp-content\/plugins\/elementor\/assets\/images\/placeholder.png\" title=\"\" alt=\"\" loading=\"lazy\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Terry Gunnell The Revenge of the Rejected: The Rise, Fall and Background Context of Icelandic Beliefs in Family Ghosts September 17, 2025. Speaker&#8217;s Biography: View lecture recording Terry Gunnell is Professor emeritus in Folkloristics at the University of Iceland. Author of The Origins of Drama in Scandinavia (1995), he is editor of Masks and Mumming [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-26","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/isfnr.org\/isfnr-online-lectures\/wp-json\/wp\/v2\/pages\/26","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/isfnr.org\/isfnr-online-lectures\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/isfnr.org\/isfnr-online-lectures\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/isfnr.org\/isfnr-online-lectures\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/isfnr.org\/isfnr-online-lectures\/wp-json\/wp\/v2\/comments?post=26"}],"version-history":[{"count":153,"href":"https:\/\/isfnr.org\/isfnr-online-lectures\/wp-json\/wp\/v2\/pages\/26\/revisions"}],"predecessor-version":[{"id":1038,"href":"https:\/\/isfnr.org\/isfnr-online-lectures\/wp-json\/wp\/v2\/pages\/26\/revisions\/1038"}],"wp:attachment":[{"href":"https:\/\/isfnr.org\/isfnr-online-lectures\/wp-json\/wp\/v2\/media?parent=26"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}