A "Who's Who" of fairyland, with entries by fairy name and additional legends, songs, and anecdotes within each entry.

A Who's Who of fairyland, with entries by fairy name and additional legends, songs, and anecdotes within each entry.

Fairies have been revered and feared, sometimes simultaneously, throughout recorded history. This encyclopedia of concise entries, from the A-senee-ki-waku of northeastern North America to the Zips of Central America and Mexico, includes more than 2,500 individual beings and species of fairy and nature spirits from a wide range of mythologies and religions from all over the globe.

In 1970 Katharine Briggs published in four volumes the vast and authoritative Dictionary of British Folktales and Legends to wide acclaim. This sampler comprises the very best of those tales and legends. Gathered within, readers will find an extravagance of beautiful princesses and stout stable boys, sour-faced witches and kings with hearts of gold. Each tale is a masterpiece of storytelling, from the hilarious 'Three Sillies' to the delightfully macabre 'Sammle's Ghost'.

(FAQ Pop Culture). Take a fast-paced survey of the ghosties, ghouls, and associated denizens of the country's haunted history with Haunted America FAQ . Tracing local ghost stories back to Native American legends and then forward through horror tales both ancient and modern, the book revisits some of the best known haunted locales, as well as some of the most obscure creepy places, in America. Delving deep into the cultural history of American hauntings, Haunted America FAQ includes chapters on ghostly books, movies, and television. Also included is an A-Z of reality-TV ghost hunts and a state-by-state gazetteer of haunted spots.

Winner of the 2020 Chicago Folklore Prize CHOICE Outstanding Academic Title for 2020 Despite predictions that commercial mass culture would displace customs of the past, traditions firmly abound, often characterized as folklore. In The Practice of Folklore: Essays toward a Theory of Tradition, author Simon J. Bronner works with theories of cultural practice to explain the social and psychological need for tradition in everyday life. Bronner proposes a distinctive “praxic” perspective that will answer the pressing philosophical as well as psychological question of why people enjoy repeating themselves. The significance of the keyword practice, he asserts, is the embodiment of a tension between repetition and variation in human behavior. Thinking with practice, particularly in a digital world, forces redefinitions of folklore and a reorientation toward interpreting everyday life. More than performance or enactment in social theory, practice connects localized culture with the vernacular idea that “this is the way we do things around here.” Practice refers to the way those things are analyzed as part of, rather than apart from, theory, thus inviting the study of studying. “The way we do things” invokes the social basis of “doing” in practice as cultural and instrumental. Building on previous studies of tradition in relation to creativity, Bronner presents an overview of practice theory and the ways it might be used in folklore and folklife studies. Demonstrating the application of this theory in folkloristic studies, Bronner offers four provocative case studies of psychocultural meanings that arise from traditional frames of action and address issues of our times: referring to the boogieman; connecting “wild child” beliefs to school shootings; deciphering the offensive chants of sports fans; and explicating male bravado in bawdy singing. Turning his analysis to the analysts of tradition, Bronner uses practice theory to evaluate the agenda of folklorists in shaping perceptions of tradition-centered “folk societies” such as the Amish. He further unpacks the culturally based rationale of public folklore programming. He interprets the evolving idea of folk museums in a digital world and assesses how the folklorists' terms and actions affect how people think about tradition.

Delve into a world of kelpies, mermaids, selkies, ghosts, warlords, and fairies. This collection gives you Celtic tales, previously unrecorded or only found in obscure compilations. Mostly collected by the author on her ancestral home of the Isle of Barra in the Hebrides, these lesser-known tales from Scotland, Ireland, and Wales are supported by a brief history of the Celts, a glossary of the Gaelic integrated in the stories, an appendix of superstitions about fairy protection, and bibliographies that reflect the author's extensive research. Seventeen ballads collected almost one hundred years ago and excerpts from the author's journal of travels in Scotland make this book a unique and valuable resource for anyone who tells stories.

Celeste is having the worst summer ever. Her parents are off on an adventure and she's stuck at Gran's house with her annoying little sister, Esme, and strict instructions to be responsible. Or, as Esme says, boring. So when their eccentric cousin Ferd crash-lands a flying bus in the yard, what choice does Celeste have but to follow Ferd back home to Seven Wherewithal Way? Wherewithal - the waypoint between the many magical realms unreachable from Earth - is bursting with magic and mystery and enchanting creatures. It's Celeste's favourite place in any world. But when something tries to break in through the portal in the pantry - the gateway to the mystical Realm of Forests - Celeste learns that both Wherewithal and her beloved cousin are under threat. If Celeste wants to save her cousin, their home, its inhabitants and possibly even all the realms, she is going to have to find her adventurous side. And she needs to find it fast.

Katharine Briggs made an indelible mark on the world of folklore with her compilation of the Dictionary of British Folktales in the English Languages, while her subsequent Dictionary of Fairies confirmed her already distinguished place among British Folklorists. Briggs's initial academic interest while at Oxford University was in seventeenth-century literature and the Civil War. Upon leaving Oxford she pursued amateur dramatics and worked for the Guide Movement, and during the Second World War she served in the Women's Auxiliary Air Force. It was here, perhaps, that her personality fully matured; among other activities she delighted her fellows with her remarkable gift for story-telling. After the war, her career as a folklorist began to blossom. As if to make up for lost time, she spent the last twenty years of her life writing and lecturing almost continually. As well as her books on folklore, she gained renown for her children's books Kate Crackernuts and Hobberdy Dick. She was responsible for revitalising the Folklore Society and as its President, she laid the foundations of the Society as it is today. Hilda Davidson's biography brings to life a remarkable woman whose combination of academic excellence and natural gift for narrative found her friends all over the world.