Contro la valutazione, contro il conformismo

Against evaluation, against conformism Evaluation through peer review favours conformism, rewards those who follow the mainstream and penal- izes new and original works

Sono nato tardi

autobiografi

Cibo e struttura sociale

Presso i cacciatori-raccoglitori il perimetro della banda è costituito dalla spartizione della selvaggina, mentre il perimetro della famiglia è costituito dalla spartizione dei vegetali; la caccia (produzione della carne) ha il suo preciso corrispettivo nella riproduzione, e questa equivalenza cibo-sesso è la chiave per l'interpretazione delle categorie antropologiche di totem e tabù

Chanteurs et vagabonds

Folk literature (songs, fairytales) was created and spread by professionals who lived on the fringes of society and who earned their keep by presentations in town or village squares (storytellers) or who found board and lodging by telling stories by the fireside (vagrants and beggars). These forms of production and diffusion are reflected in the tradition itself. We do not have an uninterrupted series of variants produced by the oral tradition, as current Romantic or Neo-Romantic theory would claim. What we find by contrast is a series of different versions, arranged in random fashion, depending on the choice of each professional storyteller and on specific market strategies. The author proposes to distnguish three different categories : (a) redazioni (authorial remakes, characterized by innovations in form and in the narrative plot) ; (b) versioni (local handling of different versions by professionals or semi-professionals, characterized by slight but stable alterations) ; (c) varianti (variations explained by the mechanism of oral transmission). Popular culture is marked by Romantic taste, but it is probably the Baroque aesthetic that gives it its form. An uninterrupted chain of revivals and re-creations is one of the main characteristics of ballads and folktales. Their subject-matter is often of feudal origin, but their form belongs to the Renaissance and their music comes from the Baroque. This literary and musical reorganization of style and folk tradition shows a procedure which is basically similar to the one used by Romantic authors in their reconstruction of the Middle Ages.La littérature populaire (chansons, contes de fées) a été créée par des professionnels appartenant à la classe des marginaux, qui gagnaient de l’argent par des spectacles sur les places (chanteurs) ou obtenaient la nourriture et le logement en racontant des contes pendant les veillées (vagabonds et mendiants). Ces formes de production et diffusion se reflètent dans la forme de la tradition. On n’a pas une série ininterrompue de variantes qui se seraient différenciées par la dérive mécanique de la tradition orale, comme le voudrait la théorie courante, romantique et néo-romantique. On trouve au contraire une série de rédactions, distribuées dans des aires discontinues et dépendant du choix de chaque professionnel, qui sont très exactement des choix de marché. Par conséquent on distingue : a) rédactions : réelaborations par l’auteur (remake), caractérisées par des innovations dans la forme et dans la narration ; b) versions : spécialisations locales des rédactions, dues à des professionnels ou à des semi-professionnels, avec des modifications légères mais stables ; c) variantes : dégradations mécaniques, notamment de la forme, dues à la transmission orale. La culture populaire est marquée par le goût romantique, mais c’est probablement l’esthétique baroque qui lui donne sa forme. Les ballades et les contes de fées ont une caractéristique particulière : une matière médiévale (pseudo-médiévale, médiévalisante) exprimée par des formes baroques. Il s’agit vraisemblablement d’une chaîne ininterrompue non pas de transmissions mais de revivals et de réélaborations. Le thème des ballades appartient à l’âge féodal, l’allure à la Renaissance, la musique au baroque : en fait il s’agit d’une stylisation littéraire et musicale et d’un revival pseudo-féodal

Postille gergali al Nocentini

Analisi delle etimologie di parole gergali contenute nel vocabolario L'etimologico di Alberto Nocentini. Sono analizzati questi lemmi: cazzo, potta, pischella, pivello, testicoli, coglione, corbello, ruffiano per il campo semantico del sesso; bisca, biscazza, bischizzo, bisticcio, bisto, bischero, briscola, abbozzare, buscare, buscherare, bussare per il campo semantico del gioco

Introduzione

Introduzione al numero monografic

Voci di una valle

The voices of a valley Review of the dictionary of Valbrenta dialects, edited by Giuseppe Gheno; the wide presence of words of slang origin is highlighted

L’ethnographe impatient

Valutazione del significato della ricerca sul campo e della ricerca d'équipe per Ernesto de Martino, con riferimento particolare alla ricerca sul tarantismo pugliese

Biondelli e la lingua dei fiori

Bernardino Biondelli, nei suoi "Studii sulle lingue furbesche", inserisce tra i gerghi "di trastullo" (gerghi meccanici) la "lingua dei fiori" delle odalische rinchiuse negli harem dell'Impero Ottomano; gli esempi addotti da Biondelli mostrano che si tratta di una forma affine al "rhyming slang" diffuso in Gran Bretagna e negli USA, soprattutto (ma non solo) come gergo carcerario

Le metamorfosi de canti dei minatori

Parody is quite usual in folksongs, and marks their long history: old songs are continuously re-used, keeping the same music and changing the words, adapting them to new situations. If we trace back the links in the chain of parody, and track down the patterns of the songs, we can locate the anthropologically relevant infor- mation – namely the cultural environment from which they originated. We can thus show that the miners’ songs are parodies of earlier songs of war, of military songs, and of songs sung by outcasts, proving that mar- ginal culture is the historical background of the culture of the miners, and more generally of working culture