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The essays in this 1980 volume deal largely with medieval German heroic and epic poetry.
A powerful collection of essays from authors such as Mircea Eliade, Joan Halifax, Stanley Krippner, Brooke Medicine Eagle, Serge King, and Michael Harner on the mystifying phenomenon of shamanism around the world---what it is, how it works and why.
Originally published in 1992, Turkic Oral Poetry provides an expert introduction to the oral epic traditions of the Turkic peoples of central Asia. The book seeks to remedy the problem of non-specialists’ lack of access to information on the Turkic traditions, and in the process, it provides scholars in various disciplines with material for comparative investigation. The book focuses on "central traditions" of this region, specifically those of the Uzbeks, Kazakhs, Karakalpak’s, and Kirghiz and looks at the historical and linguistic background to a survey of the earliest documents, portraits of the singers and of performance considerations of genre, story-patterns, and formulaic diction, and discussions of "composition in performance", memory, rhetoric and diffusion.
In The Šabdan Baat?r Codex Daniel Prior presents the first complete edition, translation, and interpretation of a unique manuscript of early twentieth-century Kirghiz epic-like narrative and genealogical poems, analyzing their patronage and their context of oral and written historiography.
In the heart of Asia, straddling the western Tien Shan mountain range, lies the former Soviet republic Kyrgyzstan. The country prides itself in an age old oral epic tradition that recounts the mighty deeds of the hero Manas. When explorers first encountered Manas performers in the late nineteenth century, they hailed their art as a true representation of the heroic age, and compared it to masterpieces such as the Kalevala and the Iliad. Today there are still many excellent performers who can keep their audiences spellbound. They are believed to draw their inspiration from the spirit of Manas himself. This book portrays the meaning of this huge work of art in Kyrgyz society. Based on extended periods of anthropological fieldwork between 1996 and 2000, it explores the calling of its performers, describes the transformations of the oral tradition in printed media and other forms of art, and examines its use as a key symbol for identity politics. It deals extensively with the impact of the Soviet period, during which Kyrgyzstan became an autonomous republic for the first time in history. The tremendous changes initiated during these years had far-reaching consequences for the transmission and reception of the Manas epic. The specific Soviet approach to ethnicity was also elementary in the decisions to assign the Manas epic the role of national symbol after 1991, when Kyrzygstan was thrown into the turnoil of a post-socialist existence.
In Pagan Theology, Michael York situates Paganism—one of the fastest-growing spiritual orientations in the West—as a world religion. He provides an introduction to, and expansion of, the concept of Paganism and provides an overview of Paganism's theological perspective and practice. He demonstrates it to be a viable and distinguishable spiritual perspective found around the world today in such forms as Chinese folk religion, Shinto, tribal religions, and neo-Paganism in the West. While adherents to many of these traditions do not use the word “pagan” to describe their beliefs or practices, York contends that there is an identifiable position possessing characteristics and understandings in common for which the label “pagan” is appropriate. After outlining these characteristics, he examines many of the world's major religions to explore religious behaviors in other religions which are not themselves pagan, but which have pagan elements. In the course of examining such behavior, York provides rich and lively descriptions of religions in action, including Buddhism and Hinduism. Pagan Theology claims Paganism’s place as a world religion, situating it as a religion, a behavior, and a theology.
Simple Forms is a study of popular or folk literature in the medieval period. Focusing both on the vast body of oral literature that lies behind the written texts which have survived from the medieval period and on the popular literature provided by literate authors for audiences of hearers or readers with varying degrees of literacy, Douglas Gray leads new readers to a productively complicated understanding of the relationship between medieval popular culture and the culture of the learned. He argues that medieval society was stratified, in what seems to us a rigid way, but that culturally it was more flexible. Literary topics, themes, and forms moved; there was much borrowing, and a constant interaction. Popular tales, motifs, and ideas passed into learned or courtly works; learned forms and attitudes made their way in into popular culture. All in all this seems to have been a fruitful symbiosis. The book's twelve chapters are principally organised genre, covering epics, ballads, popular romances, folktales, the German sage, legends, animal tales and fables, proverbs, riddles, satires, songs, and drama.