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Genese einer kulturgeschichtlichen Formation

differentiates permissible roles for each of the sexes, only women can empathize with the bride äs she Stands on the threshold of marriage. The men, preoccupied with the very different roles assigned to them, are discouraged from such empathy. There may indeed be men capable of such empathy, but no self-respecting male in the Community would admit it publicly. Such a public identification with the bride on her wedding night, then, can come only from other women.6 The Satmar prayer-poem will be examined äs a folk piece of a bilingual woman, and äs a commentary on Hasidic ideas

D E X C U R S U S O N T H E E N T E R T A I N M E N T A T R E V E S B Y It has probably been noted that we have studiously avoided using the Revesby Play in our discussion of the English men's ceremonial. This is because there is still serious doubt as to the play's authenticity as a pure folk piece. The Revesby Play is a most curious phenomenon. In every survey of the genre, mention is sure to be made of the play, and that mention is apt to be peculiarly evasive. It is always a "strange" play, 1 or faintly "literary," 2 or simply "transitional." 3 When

the spirit of the mock-heroic Nun's Priest's Tale. Though Chaucer may have found his finest models, for both poems, in the Latin of the goliards or the sottes chansons of the French, yet each was already at home on English soil. The St George of that ancient folk-piece the Mummer's Play is a fustian Quixote, as willing to be bought off as to fight.32 There is a fine bourgeois 'romance of prys/ the Turnament of Totenham, where heavy-footed yokels en- gage in knightly tilt; as a prize, the reeve has offered his daughter, with a spotted sow thrown in.33 The word gesta

playing “El jarabe tapatío” (the Mexican Hat Dance) and then transitions to La tequilera. It is impor tant to mention that “El jarabe tapatío” is a classic folk piece that within Mexico rep- resents the state of Jalisco. Taken abroad, this song stands in for the nation. It is translated as “The Mexican Hat Dance” because the couple dances around the man’s sombrero. The song concludes with the female dancer picking up the hat from the ground and placing it on her own head, arguably signifying she has obtained her partner’s love and commitment. The instruments

that shared the same symptoms of poverty-high rates of unemploy- ment, female-headed households, crime and substance abuse-but differed from one another in terms of culture, skin color, and regional identification. In the Midwest, the collapse of heavy industry in the 1970s left in its wake the seeming paradox of impoverished homeowners and car owners, men and women now forced to seek out menial service jobs that carried no benefits or union card. In the depressed coal regions of Appalachia, and in the backwoods of rural New England, rural folk pieced together

in the Occitanizing corpus—one in which the Occitanizing corpus was held up as the most archaic and, for some crit- ics, one in which Occitan and French poetic histories have been intertwined since their inceptions. Writing in 1889, for instance, Alfred Jeanroy, though skeptical of the folkloric veneer of many songs, describes the Occitanizing “A l’entrade del tens clar” as the only truly “folkpiece preserved in French and Occitan songbooks: “dans tous les chansonniers, tant provençaux que français, il n’y a peut-être qu’une seule pièce vraiment populaire

, 16 - 3 4 2 Index 1 7 ; placed in English coffins, 17, 67 "Keys of Canterbury, T h e , " a chil- dren's singing-game, 207. See 0, Jan! " K e y s of Heaven," a medieval woo- ing dialogue, similar to modern children's singing-game and folk- piece, O, Jan!, 207 Kidlington Lamb, Feast of, Oxford- shire, 198 Ki fhauser , Friedrich Barbarossa sleeping at, 293 Kimberlins, Portland term for for- eigners, 283-84 "K in to a coach," 2 13 . See "Sib to siller" " K i n g Arthur Had Three Sons," tra- ditional ballad, 185 K i n g Fern, 2 1 9 ; Stone, one of Roll

he used it as the jumping off point for a remarkable para- graph in his Songbag Introduction: [Sowerby] took a favorite folk piece of American country fi ddlers, a famous tune of the pioneers, and made an interesting experiment and a daring adventure with it. He was a bandmaster during the World War. Th en later he is found doing a happy- go- lucky arrangement for Paul Whiteman’s orchestra; it may be an exploit in “jazz” or possibly a construction in “the new music.” . . . He is as ready for pioneer- ing and for originality as the new century of which he is a