Joseph Nagy

Bruno Bettelheim has spent his lifetime working on behalf of children and their secure upbringing. Having survived two concentration camps, he came to the United States and created a new therapeutic environment to help psychotic children survive their illnesses. He has frequently written about that experience; now he turns to a seemingly different subject, the fairy tale. He perceives an underlying continuity in his work, maintaining that the familiar fairy tale is, in fact, an art form, delineating the ultimate goal of child and man alike, a life with meaning. He indicates why other children's stories fail to attain this goal, and at the same time, why fairy tales themselves have fallen into disuse. In discussing their virtues, the author employs his extensive clinical experience, his engaging style, and, of course, the fairy tales themselves. Psychoanalytic assumptions constitute the organizing principle of his book, its consistency, and its occasional shortcomings;

This paper briefly reviews the index number approach to estimating the contribution made by crop development research and then discusses the use of on-farm yield constraint data to measure the rightward shift in the supply curve. Yield constraint data on wheat and maize from Pakistan are used as an illustration.

Terrestrial-atmospheric carbon balances are currently poorly understood and are vital for predicting future trends in the global carbon budget. Uncertainties in C exchange rates can best be reduced by realistic experiments to determine flux rates in managed and natural ecosystems. Such experiments must minimize any artificiality imposed by the apparatus and should be capable of economical and reliable operation over entire growing seasons or longer. Brookhaven National Laboratory (BNL) has developed a system for exposing field-grown plants to controlled elevated concentrations of atmospheric gases, including CO{sub 2}, without use of confining chambers that alter important atmospheric exchange processes. This system, called FACE for Free Air CO{sub 2} Enrichment, has been proven in over 15000 hours of testing at three locations. FACE uses a 15--27 m. diameter array of vertical ventpipes and offers significant improvements over previous attempts at chamber-free fumigation. BNL's FACE arrays have demonstrated these capabilities in experiment on field-grown cotton. This paper reviews the design concepts of FACE and presents operational results from several recent field campaigns involving seasonal fumigation of field-grown cotton with CO{sub 2} at concentrations ranging from 500--700 ppm. The use of chamber-free experiments in conjunction with mathematical models of plant growth is discussed asmore » a paradigm for assessing climate change effects on vegetation. 14 refs., 6 figs., 1 tab.« less

... Table 2 presents the trans-port and tariff charges that existed in 1974for the shipment of seed, oil, and meal from Canada to Japan through the port of Van-couver and from Canada to the EEC through Thunder Bay and Eastern ports. ... Total Trans-port and Tariff Tariff Cost ...

The literary, historical, and linguistic confluence that characterized the Irish Sea region in the pre-modern period is reflected in the interdisciplinarity of these new research essays, centered on the literatures, languages, and histories of the Irish-Sea communities of the Middle Ages, much of which is still evoked in contemporary culture. The contributors to this collection dive deep into the rich historical record, heroic literature, and story lore of the medieval communities ringing the Irish Sea, with case studies that encompass Manx, Irish, Scandinavian, Welsh, and English traditions. Manannán, the famous travelling Celtic divinity who supposedly claimed the Isle of Man as his home, mingles here with his mythical, legendary, and historical neighbors, whose impact on our image and understanding of the pre-modern cultures of the Northern Atlantic has persisted down through the centuries.

It is both an honor and a pleasure, not to mention a reassuring change of pace, to be invited to give a lecture named in honor of someone who not only is still very much alive but is a distinguished presence in the audience. I thank Katja, Alexandra, Ilona, and all the members of the Society for this opportunity and for all they have done to make Scandinavia a site of stimulating and ground-breaking Celtic studies. Returning to the scholar who is honored in this lecture, I am sure I speak for everyone in the profession in offering praise to Professor Emeritus Ahlqvist for all he has done for the study of Celtic languages and literatures, for all he has taught us, and for all the solutions he has offered to some of the most difficult problems one can encounter in the field. Compared to him, we are all, or at least I am, merely on the level of the white cat with the Welsh name chasing mice in the famous Old Irish poem that is the subject of Professor Ahlqvist’s contribution to a recen...

Eight Words for the Study of Expressive Culture. Edited by Burt Feintuch. (Urbana: University of Illinois Press, 2003. Pp. x + 237, acknowledgments, introduction, notes, bibliographies, index. $47.95 cloth, $19.95 paper) This reviewer writes a few days after the passing of Alan Dundes, and in the midst of preparations for a forthcoming conference at UCLA to be held in memory of Donald J. Ward, another recently deceased champion of folklore and mythology studies in the University of California system. As the readers of Western Folklore well know, both Don and Alan evinced an extraordinary range of folkloric interests and expertise, engaged in lively exchanges of information and ideas with folklorists throughout the world, and contributed mightily to the discipline. The careers and achievements of both men were informed by pietas toward the workers in the field who had gone before them, and by unflagging dedication to the nurturing of new ideas and new workers. Their deaths challenge ...

Indo-European Space: Vedic and Roman Cult. By Roger D. Woodard. (Urbana: University of Illinois Press, 2006. Pp. xiv + 298, preface, acknowledgments, figures, notes, bibliography, index. $50.00 cloth) According to ancient urban legend - as conveyed by Dionysus of Halicarnassus, Livy, St. Augustine, and others - in the days when Rome was still ruled by kings, a temple to Jupiter, king of the gods, was proposed for construction on the hill that would become known as the Capitoline (caput, head). The other gods expressed willingness to allow this reapportionment of sacred real estate - all except Terminus (god of boundaries) and Mars. For fear of offending the divine holdouts, the Romans incorporated altars to Terminus and Mars into the new temple's design. During construction, the legend goes, "deep in the ground the workmen uncovered a man's head, which appeared to have been freshly severed, with all features intact and warm blood still draining from it" (3). The import of the omen, that Rome "would become the head of all Italy" (3), was after much puzzlement explained by an Etruscan seer, representing a people who would in time be overwhelmed by the predicted Roman expansion. Roger D. Woodard's Indo-European Space: Vedic and Roman Cult employs the story of the Capitoline temple as a launching pad for exploration of the ideological substructure of Indo-European ritual and narrative treatments of space. Building on the work of Georges Dumezil, but settling for a bipod instead of the three-legged analogy that studies of Indo-European mythology typically erect, Woodard fashions a point-by-point comparison between classical accounts of Roman ceremonies that demarcate, celebrate, and hallow civic space (especially as marked out by termini and associated with Mars), and some of the prescriptions for sacrifice in which the brahmanic literature of ancient India abounds. He shows convincingly that these myth-ritual traditions are cognate, so that to understand one is to gain insight into the other. He presents a master narrative of pushing the boundaries of sacralized space farther and farther afield - in Roman terms, turning urbs (city) into orbis (world - a pun, the author points out, not unknown to the denizens of the Seven Hills) and transforming Rome into Empire. And he proposes a deeply political prehistoric myth-ritual engine that drove the migration of nomadic Indo-European peoples and later gave religious sanction to conquests radiating out from a sacred center or "head." In ventures spearheaded by gods of war and fire, the Indie yupa (ritual boundary marker) moves farther and farther out, and the Roman terminus becomes a focal point connected through ritual spokes in an ideological wheel to radiating circles staked out in successive generations of termini. Folklorista interested in the symbolic manipulation of space (including circumambulation and procession, foundation sacrifice, the lighting of sacred fires, and the reverencing of stones and other liminal landmarks), in the mining of ancient literary texts for ethnographic data, and in the interplay of myth and ritual will find much to learn from this book. …

... In Sages, Saints, and Storytellers: Celtic Studies in Honour of Professor James Carney, ed. Donnchadh Ó Corráin, Liam Breatnach, and Kim McCone, pp. 181–199, Maynooth: An Sagart.Ó Ceannabháin, Peadar, ed. 1983. Éamon a Búrc: Scéalta. Dublin: An Clóchomhar Tta. ...

IN this paper I will be examining a cluster of story motifs and ideas relating to music and poetry that appears in several European narrative traditions of both the preChristian past and recent times. This cluster-which I call the Singing Bone Pattern-is to be found in stories that have to do with the invention of a special musical instrument. In these narratives, the instrument-or music in general-functions as a means of taking revenge and gaining retribution for the instrument itself or the performer who plays upon it. Music serves to protect fundamental cultural realities (such as marriage and the family) or even to uphold the cosmogonic structure. Although music clearly has a cultural purpose in these stories (which include myths-stories about gods-as well as stories with more mundane characters), this powerful expression of human creativity also reveals a 'natural' side. Music, as it is represented in tales that feature the Singing Bone Pattern, proves to be an unclassifiable phenomenon, a sine qua non of human society that paradoxically transcends the distinctions between culture and nature, living and dead, animate and inanimate. The performance of music in these tales is in effect a shamanic journey undertaken by the musical performer and the musical instrument. In the course of examining these stories from various European traditions, we detect a fascinatirng ideology of music and musical performance which probably is not limited to one cultural area and may well be found, with further research, in traditions of ritual, story, and belief worldwide. The outstanding example of our narrative pattern is the mdrchen catalogued as Type 780, 'The Singing Bone,' in the Aarne-Thompson Folktale Index. But, while this mdrchen provides an excellent introduction to the pattern (as well as the name by which I designate it), in fact any of the narratives that I will be discussing could be used as a starting point for this analysis of a story pattern which appears in many different narrative traditions and genres. The numerous versions of the mdrchen that have been collected in Europe and elsewhere were studied by Lutz Mackensen, who published his findings in 1923.' Mackensen's study of 'The Singing Bone' was very much a product of the Finnish method of folktale scholarship. So, even though the monograph remains an invaluable bibliographical resource, it does not shed much light on the possible meanings and dynamics of the mdrchen's themes, or on the story pattern underlying it. In British and Scandinavian oral traditions there exists a ballad known as 'The Two Sisters,' which is a localized variant of Tale Type 780. Paul Brewster published a monograph on this ballad in 1953;2 like the Mackensen work, Brewster's is dominated by historical-geographical concerns and thus does not offer much insight into the thematic structure of the ballad. As we shall see later, the miirchen and the ballad not only are generated by the same story pattern but also present virtually identical stories. In the majority of collected versions, the marchen begins with two or three siblings

... doubled, will be tripled), is brought about by the enterprising Bhuvan (played by Khan), who graduates from minor acts of anti-colonial subversion such ... Moreover, the songs (by AR Rahman, one of the giants on the Bollywood scoring scene) not only suit the moods of the scenes ...