Cuisiner la thèse

Cette contribution offre un regard heuristique et réflexif sur la préparation conjointe, en candidat libre et de manière autofinancée, de deux diplômes aux symboliques aussi fortes qu’apparemment opposées : un certificat d’aptitude professionnel…

Des vaches et des hommes

Certaines maladies transmises via le lait de vache, comme la tuberculose et la diphtérie, suscitent l’inquiétude des médecins. Dans cet article nos questionnements sont à la croisée de la médecine humaine, de la médecine vétérinaire, de la micro…

“Get Yourself a Fire Body”

This article explores the intersections of clairvoyance, mediumship and gender in early-twentieth-century art through the case of the Finnish artist and occultist Meri Genetz (1885–1943). While esotericism has played a pivotal role in moder…

Marvellous Ecologies

In this article I examine how ecological and esoteric knowledge intersects in the works of the contemporary Icelandic artist Gabríela Friðriksdóttir. Drawing from diverse traditions and practices, such as alchemy, Neopaganism, tarot, numero…

The Seeker as Weaver

The essay considers the seeker as weaver and positions relationality as central to the experiences of many at the intersections of esotericism and modern art. It invokes the metaphor of weaving to envision a non-static, dislocated and limin…

The Interplay of Art, Occultism and Emancipation

In the early 1900s, the Swedish noblewoman Tyra Kleen (1874–1951) was a highly productive artist, author, suffragette and occult seeker. Although Kleen’s esoteric and feminist interests have to a limited extent been considered in previous r…

Embodying the Great Mother

This article examines the trans-disciplinary œuvre and hosting activities of the Swiss-based artist and archivist, Olga Fröbe-Kapteyn (1881–1962), founder of the Eranos Conferences and creator of the Eranos Archive. Drawn from my doctoral p…

“The Cabbage is a Rose”

This essay revisits art as an alternative epistemology that probes the parameters of the real and the complicated entanglements between humans and non-humans from an eco-feminist perspective. It builds upon the work of Leonora Carrington an…

Everything She Touches, Changes Remix

This article explores a group of contemporary magical artists who are inspired by feminist new materialist thought. In the work of these contemporary artists, magic is defined less by the transmission of traditions and initiatory wisdom or …

Repicturing the Past

Seeking to establish “psychical history” as a category of Victorian occult science, this paper explores the consequences that emerge when belief in spirit phenomena converges on the historical imagination. To do so, a study of the Bygone Da…

Editor’s Column

I am deeply grateful to the readers of Oral Tradition—and even more to the authors of thearticles in these pages—for their patience in awaiting the appearance of this long-overduevolume. Rather than an excuse, I offer an assurance that the journal is taking steps to increase ourefficiency and improve our ability to review and publish work […]

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“A True Pioneer”

Oral Tradition, 37 (2025):197–220 This article1 looks at the relationship between Matija Murko (1861-1952)2 and the two well known Harvard scholars, Milman Parry (1902-35) and Albert Lord (1912-91). Much connects these researchers: they were interested in South Slavic oral tradition, recorded guslari, used similar fieldwork methods, and all three compared South Slavic epic poetry to […]

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Fragments of the Utopia of Contestation in South Slavic Oral Lyric Poetry

Oral Tradition, 37 (2025):175–96 Introduction South Slavic oral lyric songs are characterized by subjectivity and emotionality. They follow human life from birth to death—from lullabies to laments. When they sing about love, longing, desire, departing to a distant land for work or to war; when they are sung during work, during rituals (most of all […]

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Bringing Back Bakonja

Oral Tradition, 37 (2025):139-74 This song would be good if it were not so unnecessarily long. Although about 200 verse lines have been excised, this is the longest of all songs known to date. I could forgive him all the repetition and all the stretching out with nice language and diction, but I cannot forgive […]

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Postscript

Oral Tradition, 37 (2025):19–21 Some years after completing the preceding article, the author came across what is so far the closest parallel to “What Do You Want Money For?” outside northwestern Africa: a Galician Yiddish nursery rhyme (Pipe 1971:200–201), which goes as follows (author’s rough translation, ignoring diminutives): Ele, bele, Yoske,You have a black bride.She […]

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Orality, Literacy, and the Psychology of Babylonian-Assyrian Orthography1

Oral Tradition, 37 (2025):97–137 1. Introduction What happens at the interface of Orality and Literacy? The societies of Ancient Mesopotamia (modern Iraq and environs) provide abundant evidence for exploring this question. The present paper argues that the system of spelling used for Babylonian and Assyrian (“Akkadian”), in the second and first millennia BCE, reflects the […]

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Urbanization and Folklorization of the Ashiq Tradition in Contemporary Iran1

Oral Tradition, 37 (2025):71–92 Introduction A hat, a mustache, an archaic costume. In the central square of Zanjān city—a hub where the city’s main streets converge—a group of ashiqs sings, each holding a stringed instrument close to their heart.2 Their aim is to stop passers-by, pull them in, and hold them just a little longer […]

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Vocal Delivery and Ritual Epic Performance in Central Himalayan Pandava Stories

Oral Tradition, 37 (2025):49–74 Paṇḍwāṇī is a term used in some parts of India to refer to the oral rendition of Mahābhārata stories. There are particularly well-known traditions of Paṇḍwāṇī performance in the states of Chhattisgarh and Uttarakhand, and scholarship and documentation are well  developed for these regions.1 The term Paṇḍwāṇī is related to the […]

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Tandaning

Oral Tradition, 37/1 (2023):23–47 The tandaning is one of the song genres of the Wide Bay Mengen living in East Pomio, Papua New Guinea (PNG). Tandaning is derived from the North Mengen verb tandan, “to cry,” also referred to as singsing krai in Tok Pisin, the lingua franca of PNG. The tandaning songs are composed […]

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