In this paper I explore Gorakhnath as a trickster hero in the North Indian folklore of Raja Bharthari and Gopi Chand. Gorakhnath—a popular yogi figure in many folklores—creates, through his traversal of rigid structural boundaries between social and religious delimitations, a new idiom of social and religious acceptance that results in an acceptance of a higher metaphysical positioning. He holds a unique space in folk imagination as a figure who combines an earthly existence with a saintly core, unveiling nets of illusion and revealing essential unity in dichotomous divisions between entities such as body/soul, sacred/ profane and animate/inanimate
For nearly two centuries the English theatrical tradition of Christmas pantomime has served as a sig...
Carmen Sylva’s autobiographical adaptation of the Balkan folktale of “The Walled-up Wife” as the dra...
In this paper, I present an analysis of Neal Stephenson’s 1995 novel, The Diamond Age: Or, A Young G...
20th-century Persian-language oral storytelling in Afghanistan and Islamicate popular literature pro...
The reader is invited to imagine one performance, as transcribed and reported by an ethnographer-fol...
The anarchic trickster spider Anansi, whose origins can be traced back to West Africa, is predominan...
“Grandfather Rat” is a künstmärchen with comedic and macabre elements of resistance to authority. T...
Introduced by the essay on Ḥannā Diyāb in vol. 32, no. 1, we present the second part of our translat...
Introduced by the essay on Hannā Diyāb in this issue, our translation from the French presents six o...
The study of masculinity in fairy tales lags behind the study of femininity, a lack this article add...
Hannā Diyāb is the internationally most influential early modern storyteller known by name. Originat...
Despite its global success, the animated Disney film Mulan (1998) did not win the hearts of many Chi...
The article examines the Druze feminine oral versions of “The Maiden without Hands” (ATU 706), focus...
This article examines the filmic fairy-tale adaptations Mirror Mirror (2012) and Snow White and the ...
Though fairy-tale retellings by women writers are noted for their usefulness in reinventing feminini...
For nearly two centuries the English theatrical tradition of Christmas pantomime has served as a sig...
Carmen Sylva’s autobiographical adaptation of the Balkan folktale of “The Walled-up Wife” as the dra...
In this paper, I present an analysis of Neal Stephenson’s 1995 novel, The Diamond Age: Or, A Young G...
20th-century Persian-language oral storytelling in Afghanistan and Islamicate popular literature pro...
The reader is invited to imagine one performance, as transcribed and reported by an ethnographer-fol...
The anarchic trickster spider Anansi, whose origins can be traced back to West Africa, is predominan...
“Grandfather Rat” is a künstmärchen with comedic and macabre elements of resistance to authority. T...
Introduced by the essay on Ḥannā Diyāb in vol. 32, no. 1, we present the second part of our translat...
Introduced by the essay on Hannā Diyāb in this issue, our translation from the French presents six o...
The study of masculinity in fairy tales lags behind the study of femininity, a lack this article add...
Hannā Diyāb is the internationally most influential early modern storyteller known by name. Originat...
Despite its global success, the animated Disney film Mulan (1998) did not win the hearts of many Chi...
The article examines the Druze feminine oral versions of “The Maiden without Hands” (ATU 706), focus...
This article examines the filmic fairy-tale adaptations Mirror Mirror (2012) and Snow White and the ...
Though fairy-tale retellings by women writers are noted for their usefulness in reinventing feminini...
For nearly two centuries the English theatrical tradition of Christmas pantomime has served as a sig...
Carmen Sylva’s autobiographical adaptation of the Balkan folktale of “The Walled-up Wife” as the dra...
In this paper, I present an analysis of Neal Stephenson’s 1995 novel, The Diamond Age: Or, A Young G...