If you take myth and folklore, and these things that speak in symbols, they can be interpreted in so many ways that although the actual image is clear enough, the interpretation is infinitely blurred, a sort of enormous rainbow of every possible colour you could imagine.
What I find interesting about folklore is the dialogue it gives us with storytellers from centuries past.
Folklore is the perfect second skin. From under its hide, we can see all the shimmering, shadowy uncertainties of the world.
When fairy tales are written in the west, they're known as folklore. In the east, fairy tales are called religions.
Folklore used to be passed by word of mouth, from one generation to the next; thats what makes it folklore, as opposed to, say, history, which is written down and stored in an archive.
I have a great advantage over many of my colleagues inasmuch as my students bring with them to class their own personal knowledge of national, regional, religious, ethnic, occupational, and family folklore traditions.
I have a better internal and intuitive understanding of folklore and myth than science and technology, so in that way fantasy is easier.
My academic identity is that of a folklorist, and for many years I have taught only folklore courses.
When knowledge is scant or conflicting, folklore takes over.
I developed some unique software to public it on the web that I call the Folklore Project.
If a student takes the whole series of my folklore courses including the graduate seminars, he or she should learn something about fieldwork, something about bibliography, something about how to carry out library research, and something about how to publish that research.
In more recent years, I've become more and more fascinated with the indigenous folklore of this land, Native American folklore, and also Hispanic folklore now that I live in the Southwest.
In my introductory course, Anthropology 160, the Forms of Folklore, I try to show the students what the major and minor genres of folklore are, and how they can be analyzed.
When I was younger, I was in love with everything about the British Isles, from British folklore to Celtic music. That was always where my passions were as a young girl, and so I studied folklore as a college student in England and Ireland.
Folklore is artistic communication in small groups.
Folklore is the boiled-down juice, or pot-likker, of human living.
There are two kinds of truth; the truth that lights the way and the truth that warms the heart. The first of these is science, and the second is art. Without art science would be as useless as a pair of high forceps in the hands of a plumber. Without science art would become a crude mess of folklore and emotional quackery.
Rivers run through our history and folklore, and link us as a people.... We are a nation rich in rivers.
Folklore, legends, myths and fairy tales have followed childhood through the ages, for every healthy youngster has a wholesome and instinctive love for stories fantastic, marvelous and manifestly unreal. The winged fairies of Grimm and Andersen have brought more happiness to childish hearts than all other human creations.
I get a lot of inspiration from research in mythology and folklore, I find that stories people told each other thousands of years ago are still relevant now.
Common sense is the folklore of philosophy.
Folklore is always changing and evolving for new audiences.
I love studying folklore and legends. The stories that people passed down for a thousand years without any sort of marketing support are obviously saying something appealing about the basic human condition.
The Orenda is a powerful story from history, folklore and the imagination, based on the universality of human cruelty, superstition and perseverance. Wonderful writing.
Like legend and myth, magic fades when it is unused - hence all the old tales of elfin kingdoms moving further and further away from our world, or that magical beings require our faith, our belief in their existence, to survive. That is a lie. All they require is our recognition.
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