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| Acknowledgments | |
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| Preface | |
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| Folklore | |
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| What is folklore? | |
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| A working defintion | |
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| Scholarly definitions of folklore | |
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| Genres of folklore | |
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| Defining folklore beyond genre labels: texts and contexts | |
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| A brief history of folklore study | |
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| Groups | |
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| What is a folk group? | |
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| Definitions | |
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| How folk groups from | |
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| Self-identification and group membership | |
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| Family, school and occupational groups | |
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| Family | |
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| School groups | |
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| Occupational groups | |
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| Example: folklore in the music store | |
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| Groups and belief | |
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| Example: belief and contemporary legends | |
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| Tradition | |
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| What is tradition? | |
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| Tradition is both lore and process | |
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| Tradition helps to create and confirm a sense of identity | |
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| Identified as a tradition by the community | |
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| How do people learn and share traditions? | |
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| Example: tradition in our daily lives | |
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| Do traditions disappear? | |
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| Dynamic and conservative elements of tradition | |
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| Inventing tradition | |
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| The question of authenticity | |
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| Example: traditions in folk art | |
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| Ritual | |
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| What is ritual? | |
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| Low-context and high-context rituals | |
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| Invented ritual | |
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| The question of belief in sacred and secular rituals | |
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| Liminality and ritual space | |
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| Types of rituals | |
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| Rites of passage | |
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| Coming of age rituals | |
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| Initiation rituals | |
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| Naming rituals | |
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| Example: rituals and private and public identity | |
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| Performance | |
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| What is performance? | |
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| Example: a proverbial performance | |
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| The study of performance | |
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| Performance texts | |
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| Texture | |
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| Context | |
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| Physical context | |
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| Social context | |
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| Recognizing texts in context: performance markers/framing | |
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| Reflexivity | |
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| Emergence | |
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| Folklore that pushes the boundaries | |
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| Example: performance that transcends roles and rules | |
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| Aesthetics | |
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| Critic v. group consensus | |
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| Traditionality | |
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| Skill | |
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| Practicality | |
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| The nature of aesthetic response | |
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| Personal narrative in performance | |
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| Example: A Personal Narrative Emerges | |
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| Approaches to interpreting folklore | |
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| Functionalism | |
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| Structuralism | |
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| Psychoanalytic interpretation | |
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| Post-structuralist approaches | |
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| Feminist interpretations | |
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| Reciprocal ethnography | |
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| Intersectionality | |
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| Fieldwork and ethnography | |
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| Collecting data: the nuts and bolts of fieldwork | |
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| Finding Ideas | |
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| Getting started on fieldwork | |
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| Developing and asking good questions | |
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| Some types of questions | |
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| Example: using open-ended questions | |
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| Field notes | |
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| Example: write-up of field notes | |
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| Transcribing and transcripts | |
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| Returning from the field: follow-up research | |
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| The people factor: interpersonal and ethical concerns | |
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| Insider and outsider roles | |
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| Observation and participant-observation roles | |
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| Rapport: creating and understanding researcher-consultant relationships | |
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| Example: complex relationships and responsibilities | |
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| Ethics | |
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| Examples of folklore projects | |
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| One of the guys (Joe Ringler) | |
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| Gay rituals: outing, biking, and sewing (Mickey Weems) | |
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| Roadside memorials: material focus of love, devotion, and remembrance (Gary E. A. Saum) | |
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| The art of gunsmithing in central Ohio: Heritage Gunsmiths, Inc. (Kevin Eyster) | |
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| Suggestions for activities and projects | |
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| Group and classroom activities | |
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| Personal reflection | |
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| Library research | |
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| Fieldwork projects | |
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| Integrated projects-bringing it all together | |
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| Notes | |
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| References | |
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| Index | |