Abstract
This chapter introduces folksongs and their characteristics from a Cultural Linguistic perspective. They are examined in several different contexts, namely, cultural, conceptual-cognitive, discourse-pragmatic, and historical contexts in which they are embedded. The folklore discourses are deeply grounded in cultural conceptualizations and represent them in a rather cohesive form. Within folk literature folksongs are unique artifacts, which are distinguished by their display of a relatively personalized, i.e., lyrical, form of communication. This aspect is perhaps even more punctuated in Hungarian songs than in songs found in other cultures. For example, the expression of personalized emotions through nature imagery in which spatial terms often have relevant metaphorical implications is unambiguously a major characteristic of Hungarian folksongs. An important claim made in the book is that folksongs reflect the underlying schema reservedness. Understanding folksongs in a holistic way requires extensive and in-depth empirical study (in this case it is done based on a rich collection, which includes over 2500 texts), so that the typical construal patterns recognized in the texts shape the frame of the methodology. The aim of the book is to show that the characteristics of folksongs related to the metaphors and construal schemas defined in subsequent chapters are culturally rooted and form a culture-specific system.
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Notes
- 1.
“[…] a meaning consists of both conceptual content and a particular way of construing content. The term construal refers to our manifest ability to conceive and portray the same situation in alternate ways” (Langacker 2008: 43).
- 2.
References to “the folksongs” in the remainder of the book refer to this collection.
- 3.
For ease, the reference numbers for the folksongs used will restart from 1 in every chapter.
- 4.
The extensive study undertaken on folksongs have so far included the classification of texts (Küllős 1970, 1976, 1988; Mona 1959), the study of stylistic devices, figures of speech (Katona 1974a, b, 2002) and symbols (Bernáth 1986, 1987; Erdélyi 1961; Lükő 1942/2001, 1957). Still the general opinion is that “up to present the basic questions of text typology and the historical-comparative study of folksongs have not been answered and the stylistic analysis is still in its prime” (Katona 1998b: 359). A noteworthy recent study on the conceptual system of Csango folksongs is Szelid’s dissertation from a cognitive and cultural linguistic point of view (Szelid 2007, see Chap. 2).
- 5.
Spinnery was a common place for social meeting in winter and spring where they amused themselves with playing games, gossiping, singing folksongs, etc. (Viski 1932: 148–161).
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Baranyiné Kóczy, J. (2018). Folksongs in Cultural Linguistics. In: Nature, Metaphor, Culture. Cultural Linguistics. Springer, Singapore. https://doi.org/10.1007/978-981-10-5753-3_1
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