Folklore Final

Front 1

oring/dundes defines "folk" as

Back 1

people who have something in common

Front 2

oring/dundes list many things that can be lore, including

Back 2

bathroom graffiti

Front 3

oring concludes (lore def)

Back 3

the terms are elusive

Front 4

Oring explains that folkloristics began with nationalistic impulses to preserve traditions of a primitive nation. Whom does he point to as doing this.

Back 4

Grimm brothers

Front 5

Newell redefined folklore as

Back 5

oral tradition/beliefs

Front 6

who is newell

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the first editor of the Journal of American Folklore

Front 7

Oring states the differences in cultures and class between the US and Europe made American folkloristics

Back 7

focus on the lore more than the folk

Front 8

oring states (def)

Back 8

definition is second to experiencing

Front 9

Oring defines “Ethnic” in folkloristics to mean

Back 9

minority

Front 10

Oring states ethnic groups only exist

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after a claim is made for their existence

Front 11

Oring uses the Lumbee Indians to illustrate

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a group can be devoid of culture

Front 12

Oring states that ethnic identity

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depends on the situation

Front 13

Oring states folks who have common occupations

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might be a folk group

Front 14

Oring points out that US ethnic groups are largely made up of

Back 14

immigrants and their descendants

Front 15

Oring states one major force in the creation of ethnic groups in the US is

Back 15

colonialism

Front 16

Oring turns to ethnic foods and gives a folkstory about cholent. What is cholent?

Back 16

jewish dish

Front 17

Oring concludes (ethnicity)

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folklore can identify ethnic groups

Front 18

Oring tells Religious folklore is

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folklore that has to do with religion

Front 19

Oring uses an academic method in his description of his own religion

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to be non-biased

Front 20

Oring conveys a folk reference to putting out the light on an altar. What does the official Lutheran Church say about having a candel lit on the altar

Back 20

nothing

Front 21

Oring points out an excellent example of a Christian-American folk religion

Back 21

civil war slave church

Front 22

Burying a statue of St. Joseph, eating all of the transubstantiation host, are examples of folk practice from which religion

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roman catholic

Front 23

Oring points out a common religious folklore

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family prayers

Front 24

Oring feels an exploration of religious folklore needs to have

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A study of the location and practice of the religion

Front 25

Oring points out that religious tradition often

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involves ethnic identity

Front 26

Oring feels the study of the lore and skills of work reflect

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american environmental adaptation

Front 27

Oring feels Occupational Folklore is passed as part of

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work knowledge passed between workers

Front 28

With changing technology in work situations, Oring feels the folklorist is best off looking at

Back 28

oral communication

Front 29

Does Oring think folkloric performances happens on the job (yes or no)

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yes

Front 30

Oring sees much value in the way people use language as regards folkloric values found on the job. He sees this in

Back 30

metaphors

Front 31

Orings sees important folkloric values in (occupation)

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joking behavior

Front 32

Oring feels there are many expressions of (occupation)

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occupational storytelling

Front 33

Oring feels that workers develop

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Deference and respect earned through practicing the folk culture

Front 34

Oring States our impression of children or childhood contains

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idealogical bias

Front 35

Oring conveys that Darwinism (children)

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portrayed children as savages

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oring tells us that childhood

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was invented in the 16th century

Front 37

Oring says famous child psychologists like Freud, Piaget, Erikson, and Klein

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Are bound in cultural assumptions and bias

Front 38

Oring states we cannot use the transition from High School to College to distinguish the transition from childhood to adulthood because

Back 38

College students continue to engage in childish culture

Front 39

Oring states that our system of education

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extends childhood

Front 40

Oring states that marginal people

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have a better view of culture

Front 41

childrens folklore is often

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is often avant garde

Front 42

Oring points out that children’s mocking songs often

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contain real concerns about the present

Front 43

Oring says children’s concern with gender

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is present in their folklore often as symbols

Front 44

Oring discusses the dialectic between folklore and gender construction. This means

Back 44

conflict

Front 45

Children take power when

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Whey they establish themselves in a hierarchy

Front 46

The adolesecent male folk group

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use taunts/teases to bond

Front 47

Many psychologists and folklorists claim that children

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want to be part of a group

Front 48

oring tells us (children)

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often create their own play language

Front 49

according to oring a narrative is

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A story that transforms experience into a verbal account

Front 50

Oring distinguishes between language and narrative and compares sentences and clauses with a narrative. He concludes that a narrative is concerned with

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the whole

Front 51

According to Oring, in order for narrators to be comprehensible and meaningful to their audience they must

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draw upon past languages/symbols/etc

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Origin myth, Saint’p s legends, memorate, fabulat, novella, aetiological tale, magic tale, joke, jest, animal tale, catch tale, clock tale, formula tale, and life history are examples of

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folk narrative

Front 53

Oring conveys that myth, legend, and tale are examples of folkloric prose narrative. What is prose

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everyday language

Front 54

according to Oring, a myth is a tale regarded as

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true

Front 55

according to oring a legend is

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a tale focused on a single episode

Front 56

Oring tells us that folktales spend little time with character development. This means the folktale is often highly concerned with

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a plot of a sequence of events

Front 57

Oring concludes the final context in which a folk narrative may be analyzed is called

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comparative context

Front 58

according to Oring, how does a song become a folksong

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By conveying shared attitudes or group feelings as it is passed along and rephrased and used

Front 59

Unlike other types of songs, folksongs have to be ancient, or rural, or backward, or quaint

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false

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Oring says most of our music today comes from commercial enterprises with songs that

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resist change

Front 61

Oring tells us that folksongs are perpetuated by

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being constantly used and modified

Front 62

Oring tells us the American folksongs became very popular in the 1950’s through the efforts of folksingers like

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pete seeger and the weavers

Front 63

what is a ballad

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the narrative elements within a folksong

Front 64

An intimate part of the meaning of a folksong and its reason for being is

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history

Front 65

dorson tell us that the study of folklore emerged in

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the 19th century

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folklore used to be called

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popular antiquities

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theories of folklore include

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historical-geographical, reconstrunctional, etc

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elliot oring is author of

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folk groups and folklore genres: an intro

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orings book is

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edited essays from other authors

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orings book is published by

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university of utah

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ethnic ancient root meaning of

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nation/heathen/pagan

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dorsons book is

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folklore and folklife an into

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dorsons book is published by

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university of chicago