Laughter, contemporary theory suggests, is often aggressive in some manner and may be prompted by a sudden perception of incongruity combined with memories of past emotional experience. Given this importance of the past to our recognition of the comic, it follows that some "traditions" dispose us to ludic responses. The studies in Of Corpse: Death and Humor in Folklore and Popular Culture examine specific interactions of text (jokes, poetry, epitaphs, iconography, film drama) and social context (wakes, festivals, disasters) that shape and generate laughter. Uniquely, however, the essays here peruse a remarkable paradox---the convergence of death and humor.

A collection of narratives, humorous stories, and songs from Mormon missionaries that has become a classic study of narrative folklore. The 64th annual Faculty Honor Lecture, in the Humanities, Utah State University.

The Lenape tribe, also known as the Delaware Nation, lived for centuries on the land that English colonists later called New Jersey. But once America gained its independence, they were forced to move further west: to Indiana, then Missouri, and finally to the territory that became Oklahoma. These reluctant migrants were not able to carry much from their ancestral homeland, but they managed to preserve the stories that had been passed down for generations. 
 
On the Turtle’s Back is the first collection of Lenape folklore, originally compiled by anthropologist M. R. Harrington over a century ago but never published until now. In it, the Delaware share their cherished tales about the world’s creation, epic heroes, and ordinary human foibles. It features stories told to Harrington by two Lenape couples, Julius and Minnie Fouts and Charles and Susan Elkhair, who sought to officially record their legends before their language and cultural traditions died out. More recent interviews with Lenape elders are also included, as their reflections on hearing these stories as children speak to the status of the tribe and its culture today. Together, they welcome you into their rich and wondrous imaginative world. 

 

"The Origin of Table Manners is the third volume of a tetralogy devoted to American Indian mythology. Unlike the first two volumes (The Raw and the Cooked, From Honey to Ashes), which are devoted to South American myths, the present one establishes relations with North America, which is the subject of the fourth (The Naked Man). . . . In the course of the analysis, the myths link up with ideas of more general interest. Thus, we find discussions of numeration, of morals, and of the origin of the novel. . . . The Origin of Table Manners is thus of special interest to students of American Indian mythology, although it contains ideas of interest to other fields and even to the general reader."—Daniel C. Raffalovich, American Anthropologist

"An immense anthropological erudition is here wielded by one of the world's finest minds, and the myths themselves have never been taken more seriously. . . . [Lévi-Strauss] raises issues and then resolves them with the suspenseful cunning of a mystery novelist."—John Updike, New Yorker

Russian Formalism is widely considered the foundation of modern literary theory. This book reevaluates the movement in light of the current commitment to rethink the concept of literary form in cultural-historical terms. Jessica Merrill provides a novel reconstruction of the intellectual historical context that enabled the emergence of Formalism in the 1910s. Formalists adopted a mode of thought Merrill calls the philological paradigm, a framework for thinking about language, literature, and folklore that lumped them together as verbal tradition. For those who thought in these terms, verbal tradition was understood to be inseparable from cultural history. Merrill situates early literary theories within this paradigm to reveal abandoned paths in the history of the discipline—ideas that were discounted by the structuralist and post-structuralist accounts that would emerge after World War II.

The Origins of Russian Literary Theory reconstructs lost Formalist theories of authorship, of the psychology of narrative structure, and of the social spread of poetic innovations. According to these theories, literary form is always a product of human psychology and cultural history. By recontextualizing Russian Formalism within this philological paradigm, the book highlights the aspects of Formalism’s legacy that speak to the priorities of twenty-first-century literary studies.

Sometimes things come to people out of the blue and seemingly for a reason. The Anishinaabe word for this is nigika. The stories contained in this collection reached Howard Webkamigad nearly eighty years after they were recorded, after first being kept in their original copper wire format by the American Philosophical Society and later being converted onto cassettes and held by Dr. James McClurken of Michigan State University. These rich tales, recorded by Anishinaabe people in the Harbor Springs area of Michigan, draw on the legends, fables, trickster stories, parables, and humor of Anishinaabe culture. Reaching back to the distant past but also delving into more recent events, this book contains a broad swath of the history of the Ojibwe/Chippewa, Ottawa, Pottawatomi, Algonkian, Abenaki, Saulteau, Mashkiigowok/Cree, and other groups that make up the broad range of the Anishinaabe-speaking peoples. Provided here are original stories transcribed from Anishinaabe-language recordings alongside Howard Webkamigad’s English translations. These stories not only provide a textured portrait of a complex people but also will help Anishinaabe-language learners see patterns in the language and get a sense of how it flows. Featuring side-by-side Anishinaabe/English translations.

This contributed volume explores the functions of belief and supernatural experience within an array of cultures, as well as the stance of academe toward the study of belief and the supernatural. The essays in this volume call into question the idea that supernatural experience is extraordinary.

Among the contributors are Shelley Adler, David Hufford, Barre Toelken, and Gillian Bennett.

Vance Randolph was perfectly constituted for his role as the chronicler of Ozark folkways. As a self-described “hack writer,” he was as much a figure of the margins as his chosen subjects, even as his essentially romantic identification with the region he first visited as the vacationing child of mainstream parents was encouraged by editors and tempered by his scientific training. In The Ozarks, originally published in 1931, we have Randolph’s first book-length portrait of the people he would spend the next half-century studying. The full range of Randolph’s interests—in language, in hunting and fishing, in folksongs and play parties, in moonshining—is on view in this book that made his name; forever after he was “Mr. Ozark,” the region’s preeminent expert who would, in collection after collection, enlarge and deepen his debut effort. With a new introduction by Robert Cochran, The Ozarks is the second entry in the Chronicles of the Ozarks series, a reprint series that will make available some of the Depression Era’s Ozarks books. An image shaper in its day, a cultural artifact for decades to come, this wonderful book is as entertaining as ever.