How should we tell the histories of academic disciplines? All too often, the political and institutional dimensions of knowledge production are lost beneath the intellectual debates. This book redresses the balance. Written in a narrative style and drawing on archival sources and oral histories, it depicts the complex pattern of personal and administrative relationships that shape scholarly worlds. Focusing on the field of social anthropology in twentieth-century Britain, this book describes individual, departmental and institutional rivalries over funding and influence. It examines the efforts of scholars such as Bronislaw Malinowski, Edward Evans-Pritchard and Max Gluckman to further their own visions for social anthropology. Did the future lie with the humanities or the social sciences, with addressing social problems or developing scholarly autonomy? This new history situates the discipline's rise within the post-war expansion of British universities and the challenges created by the end of Empire.

How should we tell the histories of academic disciplines? All too often, the political and institutional dimensions of knowledge production are lost beneath the intellectual debates. This book redresses the balance. Written in a narrative style and drawing on archival sources and oral histories, it depicts the complex pattern of personal and administrative relationships that shape scholarly worlds. Focusing on the field of social anthropology in twentieth-century Britain, this book describes individual, departmental and institutional rivalries over funding and influence. It examines the efforts of scholars such as Bronislaw Malinowski, Edward Evans-Pritchard and Max Gluckman to further their own visions for social anthropology. Did the future lie with the humanities or the social sciences, with addressing social problems or developing scholarly autonomy? This new history situates the discipline's rise within the post-war expansion of British universities and the challenges created by the end of Empire.

Propp's essay in Russian Folk Lyrics extends beyond the formalistic analysis of folklore outlined in his classic The Morphology of the Folktale. In this study, newly translated by Roberta Reeder, Propp considers the Russian folk lyric in the social and historical context in which it was produced. Reeder supplements Propp's theoretical presentation with a comprehensive anthology of examples. Some songs were imitated by or appear in the works of Russia's major writers, such as Pushkin and Nekrasov. Here we find the customs of Russian peasant life expressed through the ritual of song. Whether the songs are about love, labor, or children's games; whether they are sad, humorous, or satiric in tone, Russian folk lyrics are rich in metaphor and symbolic meaning. In addition to the editor's notes to the text and songs, Reeder supplies a bibliography of Propp's sources as well as an extensive selected bibliography.

The British Folk Revival is the very first historical and theoretical work to consider the post-war folk revival in Britain from a popular music studies perspective. Michael Brocken provides a historical narrative of the folk revival from the 1940s up until the 1990s, beginning with the emergence of the revival from within and around the left-wing movements of the 1940s and 1950s. Key figures and organizations such as the Workers' Music Association, the BBC, the English Folk Dance and Song Society, A.L. Lloyd and Ewan MacColl are examined closely. By looking at the work of British Communist Party splinter groups it is possible to see the refraction of folk music as a political tool. Brocken openly challenges folk historicity and internal narrative by discussing the convergence of folk and pop during the 1950s and 1960s. The significant development of the folk/rock hybrid is considered alongside 'class', 'Americana', radio and the strength of pop culture. Brocken shows how the dichotomy of artistic (natural) versus industry (mass-produced) music since the 1970s has led to a fragmentation and constriction of the folk revival. The study concludes with a look at the upsurge of the folk music industry, the growth of festivals and the implications of the Internet for the British folk revival. Brocken suggests the way forward should involve an acknowledgement that folk music is not superior to but is, in fact, a form of popular music. The book will create lively debate among the folk music fraternity and popular music scholars, as well as folklorists and ethnomusicologists. A unique discography and history of the Topic Record label is also included.

The examination and evaluation of folk psychology and lay cognition has been carried out predominantly in two domains: personality and social psychology, and the philosophy of psychology. Yet, work in these two areas has largely proceeded independently. The assumption on which this volume is founded is that a proper comparison between scientific cognition and folk ways of thought rests on an adequate study of both science and folk psychology. With this in mind, the author provides an analysis of the intricate, and often hidden, links between these two spheres. In doing so, the book poses two related questions. First, what is the nature of folk psychology and how is it related to scientific psychology? Second, of what should the relationship between folk psychology and scientific psychology consist? In answering these two questions, the author draws extensively from research and arguments in social psychology and social cognition, cognitive science, and the philosophy of science. The interdisciplinary approach gives the book a unique perspective that will be of interest to scholars working in social psychology, cognitive science, and philosophy of science. Written in a concise and accessible style, this volume is suitable for undergraduate and graduate students as well as a general psychological audience.

Folk Music in the United States gives readers a broad overview of many kinds of folk music found in this country, from the songs of rural Appalachia an d New England through the indigenous music of the American Indians and the African music brought by slaves, to the folk songs of European minorities. It traces the way folk music lives in the modern city, in the academic world, and in the contemporary music of American composers. The book introduces readers to the study of folk music as a kind of music and as an aspect of human culture. It uses music as an index to understanding American culture while it introduces readers to various concepts in the field of ethnomusicology.

Wiggling a pencil so that it looks like it is made of rubber, "stealing" your niece's nose, and listening for the sounds of the ocean in a conch shell– these are examples of folk illusions, youthful play forms that trade on perceptual oddities. In this groundbreaking study, K. Brandon Barker and Claiborne Rice argue that these easily overlooked instances of children's folklore offer an important avenue for studying perception and cognition in the contexts of social and embodied development. Folk illusions are traditionalized verbal and/or physical actions that are performed with the intention of creating a phantasm for one or more participants. Using a cross-disciplinary approach that combines the ethnographic methods of folklore with the empirical data of neuroscience, cognitive science, and psychology, Barker and Rice catalogue over eighty discrete folk illusions while exploring the complexities of embodied perception. Taken together as a genre of folklore, folk illusions show that people, starting from a young age, possess an awareness of the illusory tendencies of perceptual processes as well as an awareness that the distinctions between illusion and reality are always communally formed.

A wide-ranging compilation on the materia medica of the ordinary people of Britain and North America, comparing practices in both places. Informative and engaging, yet authoritative and well researched, Encyclopedia of Folk Medicine reveals previously unexamined connections between folk medicine practices on either side of the Atlantic, as well as within different cultures (Celtic, Native American, etc.) in the United Kingdom and America. For students, school and public libraries, folklorists, anthropologists, or anyone interested in the history of medicine, it offers a unique way to explore the fascinating crossroads where social history, folk culture, and medical science meet. From the 17th century to the present, the encyclopedia covers remedies from animal, vegetable, and mineral sources, as well as practices combining natural materia medica with rituals. Its over 200 alphabetically organized, fully cross-referenced entries allow readers to look up information both by ailment and by healing agent. Entries present both British and North American traditions side by side for easy comparison and identify the surprising number of overlaps between folk and scientific medicine.

Interest in the ancient, the occult, and the "wyrd" is on the rise. The furrows of Robin Hardy (The Wicker Man), Piers Haggard (Blood on Satan's Claw), and Michael Reeves (Witchfinder General) have arisen again, most notably in the films of Ben Wheatley (Kill List), as has the Spirit of Dark of Lonely Water, Juganets, cursed Saxon crowns, spaceships hidden under ancient barrows, owls and flowers, time-warping stone circles, wicker men, the goat of Mendes, and malicious stone tapes. Folk Horror: Hours Dreadful And Things Strange charts the summoning of these esoteric arts within the latter half of the twentieth century and beyond, using theories of psychogeography, hauntology, and topography to delve into the genre's output in film, television, and multimedia as its "sacred demon of ungovernableness" rises yet again in the twenty-first century.