Constituting Folklore: A Case for Critical Folklore Studies

Abstract

This article argues for the development of a critical folklore studies through an interweaving of folklore and rhetorical theory. Following paths set by Roger Abrahams, Kenneth Burke, and Antonio Gramsci decades ago, and drawing upon more recent contributions by Ernesto Laclau and rhetorical critics, it considers folklore as a constitutive rhetoric, the act of which establishes a “folk”—and their adversaries—as a political category. Identifying three articulations of critical folklore studies, it calls upon folklorists to intervene against (rather than strictly analyze) oppressive power formations through the production of overt criticism and related counterhegemonic practices.

Personal Citation, Rhetorical Practice and the Reinvention of <i>Oríkì</i> Tradition

“…In terms of content and mode of delivery, citation reflects much of the glamour that is associated with the notable, it is therefore no wonder that the subject of attraction are the rich politicians, musicians, affluent businessmen and high-ranking civil servants. As a rhetorical practice and oratorical text, word formation and choice in personal citation are skilfully done as "a way of carrying out audiences to ratify particular visions, collectivities, subjects and ideologies embodied in textual significance for those who experience them (Gencarella, 2009). "…”

The Coloniality of Folklore: Towards a Multi-Genealogical Practice of Folkloristics

“…161 These writers capture how Paredes' style of writing unravelled the constructions of culture as shared, harmonious and stable that emerge from and sustain the coloniality of folkloristics. This observation would suggest that as valuable as it might be to use rhetorical theory in critically rethinking folkloristics, 162 beyond keeping in mind past efforts in this regard, 163 Paredes' work would caution that rhetorical critiques can be embedded in textual experiments with how folklore scholarship is written and point to the limits of using purely intertextual approaches in producing a more politically engaged and critical folkloristics.…”