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Exploring a rich array of folk traditions that developed in the Ukrainian diaspora and in Ukraine during the twentieth century, Ukrainian Otherlands is an innovative exploration of modern ethnic identity and the deeply felt (but sometimes deeply different) understandings of ethnicity in homeland and diaspora.
While Canada is home to one of the largest Ukrainian diasporas in the world, little is known about the life and culture of Ukrainians living in the country’s rural areas and their impact on Canadian traditions. Drawing on more than ten years of interviews and fieldwork, Ukrainian Ritual on the Prairies describes the culture of Ukrainian Canadians living in the prairie provinces of Alberta and Saskatchewan. Despite powerful pressure to assimilate, these Ukrainians have managed both to preserve their sense of themselves as Ukrainian and to develop a culture sensitive to the realities of prairie life, creating their own uniquely Ukrainian Canadian traditions. The Ukrainian church, an iconic though now rapidly disappearing feature of the prairie landscape, takes centre stage as an instrument for the retention of Ukrainian identity and the development of a new culture. Natalie Kononenko explores the cultural elements of Ukrainian Canadian ritual practice, with an emphasis on family traditions surrounding marriage, birth, death, and religious holidays. Ukrainian Ritual on the Prairies gives voice to a group of everyday people who are too often overlooked, highlighting their accomplishments and their contributions to Canadian life.
Ukrainian epic, or dumy, were first recorded from blind mendicant minstrels in the nineteenth century, yet they reflect events dating back to as early as the 1300s. Ukrainian Epic and Historical Song provides new translations in contemporary English of these songs of family strife, war, and human dignity. It also explains the historical events celebrated in epic and other historical songs: fierce battles, rebellion against tyranny, the struggles of captivity, the joys of escape from slavery. Natalie Kononenko’s expert translation and analysis of Ukrainian epics provides a sweeping social history of folklore that is vital to Ukrainian identity. A translation of at least one variant of every known epic is included. Whereas earlier trends in folklore scholarship emphasized genre purity and compartmentalization, Kononenko critically examines the events about which songs were sung. Her emphasis on the lives of ordinary people rather than on leaders reshapes our understanding of how epics were composed and performed. Kononenko’s ground-breaking analysis also illuminates Ukrainian self-understanding and explains how songs preserve and perpetuate historical memory. Scholars interested in epic song, history, and general folklore will benefit from this work. Members of the Ukrainian diaspora will find new appreciation of Ukrainian folklore.
The Methodist Church met the challenge with a centralized polity and a cross-class, gender-variegated, evolving religious culture. It relied on wealthy laymen to raise special funds, while small gifts fed its regular funds. Young bachelors from Ontario and Britain filled the pastorate, although low pay, inexperience, and poor supervision caused many to quit. Membership growth was slow due to low population density and church-resistant elements in the Methodist population (bachelors, immigrant co-religionists, and transients), and missions to non-Anglo-Saxon immigrants in Winnipeg, Edmonton, and rural Alberta spread Methodist values but gained few members. In The Methodist Church on the Prairies, 1896-1914, the first scholarly study of church history in the prairie region, George Emery uses quantitative methods and social interpretation to show that the Methodist Church was a cross-class institution with a dynamic evangelical culture, not a middle-class institution whose culture was undergoing secularization. He demonstrates that the Methodist's achievement on the prairies was impressive and compared favourably with what Presbyterians and Anglicans achieved.
Fieldwork carried out during the summer of 1972 in the towns of Dickson, Dalum, Standard, and Markerville, Alberta; Redvers, Saskatchewan; and Ostenfeld, Manitoba revealed that viable Danish-Canadian oral tradition exists primarily in terms of local history and personal narrative.
This paper presents a survey of the Ukrainian-Canadian folk narrative corpus as recorded in Western Canada in the 1960s. The four introductory chapters discuss the various changes illustrated by the collected field materials. A total of seventy-four selected folk narratives and other samples of oral traditions appear in the appendices.
Approximately 1700 entries describe monographs, scholarly essays, and doctoral dissertations published in the Ukraine from 1990 to 1999. The material is arranged in chapters with an introduction oulining developments and important authors and their works.
The Concise Garland Encyclopedia of World Music comprises two volumes, and can only be purchased as the two-volume set.To purchase the set please go to: http://www.routledge.com/9780415972932.