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Introduction: The Individual and Tradition | |
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Entering Tradition: Kim Ellington, Catawba Valley Potter | |
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Delight in Skill: The Scone Carvers' Art | |
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The "Talking Machine Story Teller": Cal Stewart and the Remediation of Storytelling | |
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Chief Ovia Idah: Bricoleur of Benin City and a Star for All Times | |
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Place Matters: A Wooden Boat Builder in the Twenty-First Century | |
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A Backdoor into Performance | |
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The Maintenance of Heritage: Kersti Jobs-Bj�rkl�f and Swedish Folk Costume | |
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The World of Ogre-Tile Makers: The Onihyaku Line in Hekinan, japan | |
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Bringing Them Back: Wanda Aragon and the Revival of Historic Pottery Designs at Acoma | |
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Artistic Courage in Small Groups: Identity, Intermediality, and Indian Country | |
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Navigating the Legends of Treasure Island: Narrative, Maps, and the Material | |
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Fluid Identities: Madame d'Aulnoy, Mother Bunch, and Fairy-Tale History | |
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Counting the Stars: The Study of Creativity on a Human Scale, or How a Bunch of Cajun and German Farmers and Fabricators in Louisiana Invented a Traditional Amphibious Boat | |
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On Middle-Range Structures in Heroic Epic | |
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The Role of Tradition in the Individual: At Work in Donegal with Packy Jim McGrath | |
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Customizing Myth: The Personal in the Public | |
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David Drake: Potter, Poet, Rebel | |
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The Mother's Voice: An Analysis of the Content of Turkish Lullabies | |
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Contested Performance and Joke Aesthetics | |
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Vernacular Interpretation in a Public Folklore Event: Listening to the Call of Florida Fiddlers, Three | |
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Georgia Decoy Maker Ernie Mills: A Folk Artist Defines His Work | |
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Rapid Transportation | |
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Working Through Tradition: Rug Farming In Anatolia | |
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A Few of My Favorite Things about North Carolina Pottery | |
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That's Where I Came In: Henry and His Teachers | |
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At the Black Pig's Dyke and Other Writing: Crossing Borders of Art and Tradition | |
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A Folklorist's Work: Henry Glassie's Life in the Field | |
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Acknowledgments | |
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Tabula Gratulatoda | |
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Contributors | |
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Index | |