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Although most studies of rural society in China deal with land villages, in fact very substantial numbers of Chinese people lived by the sea, on the rivers and the lakes. In land villages, mostly given to farming, people lived in permanent houses, whereas on the margins of the waterways many people lived in boats and sheds, and developed their own marked features, often being viewed as pariahs by the rest of Chinese society. This book examines these boat and shed living people. It takes an "historical anthropological" approach, combining research in official records with investigations among surviving boat and shed living people, their oral traditions and their personal records. Besides outlining the special features of the boat and shed living people, the book considers why pressures over time drove many to move to land villages, and how boat and shed living people were gradually marginalised, often losing their fishing rights to those who claimed imperial connections. The book covers the subject from Ming and Qing times up to the present.
Most vols. for 1890- contain list of members of the Folk-lore Society.
Some critics in England and France have long maintained that British director Terence Fisher, whose films dominated world markets in the 1950s and 60s, was one of the greatest directors of fantasy films in history. Since his death in 1980, Fisher's reputation has grown from relative obscurity and his influence on the development of the modern horror film has been widely recognized. However, Fisher's importance should not be limited to the context of the fantasy and horror film genres. His films should also be recognized as expressions of his generalizations about human spirituality. This critical study of Fisher's films begins with an introduction that provides biographical information on his film career, summaries of all of the films he directed and examples of his impact on contemporary cinema. All of Fisher's films are analyzed in terms of their Christian and religious themes as well as their mythical sources. Chapters are devoted to Fisher's work on the subjects of Frankenstein, Dracula, curses (The Devil Rides Out), the ancient goddess (The Gorgon), the divided self (The Man Who Could Cheat Death) and the redeemer hero (The Stranglers of Bombay). The concluding chapter analyzes the role and influence of Biblical narratives in Fisher's films. Also included is a filmography; the work is fully indexed.