Magic Songs of the West Finns: The Pre and Proto Historic Finns (Complete)


Book Description

In this country the term Finn is generally restricted to the natives of Finland, with perhaps those of Esthonia thrown in. But besides these Western Finns there are other small nationalities in Central and Northern Russia, such as the Erza and Mok_a Mordvins, the _eremis, Votiaks, Permians, and Z_rians, to whom the term is very properly applied, though with the qualifying adjectiveÑEastern. Except by Folklorists, little attention is paid in Great Britain to these peoples, and much that is written of them abroad finds no response here, the 'silver streak' acting, it would seem, as a non-conductor to such unsensational and feeble vibrations. Although the languages of the Eastern and Western Finns differ as much perhaps among themselves as the various members of the Aryan group, the craniological and physical differences between any two Finnish groups is very much less than between the Latin and the Teutonic groups, for instance. All the Finns live nearly under the same latitudes, and in pre- and proto-historic times, which are not so very remote, the differences in customs, religious and other beliefs, could not have been very great. This is important; it allows us to supplement what is missing or defective in one Finnish group by what is more complete in another, with far greater certainty than when dealing under similar circumstances with the Aryan-speaking groups. In the first five chapters of the first volume I have tried, with the combined aid of craniology, arch¾ology, ethnography, and philology, brought up to date, to sketch as succinctly as possible the pre- and proto-historic history of the Eastern and Western Finns, showing the various stages of civilisation to which they successively advanced after contact with higher civilisations, at different periods of their evolution from neolithic times to the middle ages. Chapters six and seven contain an analysis of the beliefs of the Western Finns, so far as they can be gathered from the text of the Magic Songs in the second volume; and a perusal of them will facilitate the comprehension of the Magic Songs themselves. The second volume, containing 639 magic songs, some of considerable length, classed under 233 headings, is a translation of a very large portion of the Suomen kansan muinaisia Loitsurunoja, edited and published by the late Dr. Lšnnrot in 1880. As the translation was made for Folklorists it is as literal as possible, without additions, without subtractions, and the vocabulary employed is in conformity with the subject, with the humble social status and homely surroundings of the original composers. The metre of the original is the same as in the Kalevala, which cannot be reproduced in a language like English, where the ictus of the metre has to coincide with the natural stress-accent of the words. But where it could be done without loss of exactness a certain rhythm, generally three beats to a line, is given in the translation, though to save space the lines are printed in prose form.













The Pre- and Proto-Historic Finns, Both Eastern and Western, With the Magic Songs of the West Finns.; Volume II


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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.







Bulletin


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Contemporary Storytelling Performance


Book Description

This book focuses on a rising generation of female storytellers, analysing their innovation in interdisciplinary collaboration, and their creation of new multimedia platforms for story-led performance. It draws on an unprecedented series of in-depth interviews with artists including Jo Blake, Xanthe Gresham-Knight, Mara Menzies, Clare Murphy, Debs Newbold, Rachel Rose Reid, Sarah Liisa Wilkinson, and Vanessa Woolf, while Sally Pomme Clayton’s reflections on her extraordinary four-decade career provide long-term context for these cutting-edge conversations. Blending ethnographic research and performance analysis, this book documents the working lives of professional storytelling artists. It also sheds light on the practices, values, aspirations, and achievements of a generation actively redefining storytelling as a contemporary performance practice, taking on topics from ecology and maternity to griefwork and neuroscience, while working collaboratively with diverse creative partners to generate new, inclusive presences for a traditionally-inspired artform. This book will be of great interest to students, scholars, and practitioners in drama, theatre, performance, creative writing, education, and media.