The series of biannual conferences devoted to Finnic runo-song tradition in Tartu, Estonia had its ninth event “Seven skins of runo-song: various views on Finnic song tradition” on November 30 and December 1, 2016 at the Estonian Literary Museum. The aim of the conference series that started in 2000 is to offer a regular forum to all the researchers studying Finnic oral song tradition in broadest sense, and is open to the researchers of other older singing traditions. From many aspects runo-song has remained an enigma for the researchers. Runo-songs have been noted down already in the rapidly modernizing and more and more literate society, and the focus has been mostly on the recording of texts. Therefore our knowledge on the meaning and use of runo-song as a phenomenon of oral tradition is quite fragmentary. Folklorists have made efforts to analyse the body of knowledge and the pieces of tradition again and again and from different angles, to reach the better understanding of the functioning of runo-song in the traditional society, but also on the reasons and ideas underneath the collection process as well as on the function of archival collections in the contemporary society. The participants were encouraged to discuss various aspects of runo-song, and to propose new hypotheses on the evolvement, functioning and changes in the tradition. Conference was organized by the Estonian Folklore Archives, organizers Mari Sarv and Liina Saarlo, and it was supported by institutional research grant IUT 22-4 by the Estonian Ministry of Education and Research, and by the European Union through the European Regional Development Fund (Centre of Excellence in Estonian Studies). Lotte Tarkka (University of Helsinki, Finland) addressed the methodological and conceptual potential of imagination in the study of verbal art and performance, with special emphasis on the runo-song tradition. In the history of research, the creativity of individual subjects and imagination were long seen diametrically opposed and even detrimental to collective tradition. The role of imagination in creation of songs and myths has been severely overlooked in runo-song research tradition. Vernacular imagination is related to language, culture, and genre. The paper discussed imaginary processes as a “pervasive structuring activity by means of which we achieve coherent, patterned, unified representations” (Johnson 1987). Tarkka highlighted how in mythic poems, Studia Metrica et Poetica 4.1, 2017, 154–161

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Finnic符文歌曲传统会议

于爱沙尼亚塔尔图举行的每两年一次的针对芬兰尼古拉歌曲传统的会议于2016年11月30日至12月1日在爱沙尼亚文学博物馆举行了第九次活动“尼古拉斯皮的七种皮肤：对芬兰尼加歌曲传统的各种看法”。从2000年开始的系列会议的目的是为所有研究广义上的Finnic口头歌曲传统的研究人员提供定期论坛，并向其他较早的唱歌传统的研究人员开放。从许多方面来看，符文之歌一直是研究人员的谜。在快速现代化和越来越多文化的社会中，人们已经注意到了鲁诺歌曲，并且重点主要放在文本的记录上。因此，我们对将符文歌曲作为一种口头传统现象的含义和使用的知识是零碎的。民俗主义者努力从不同的角度一次又一次地分析知识体系和传统知识，以更好地理解传统社会中符文之歌的功能，并进一步了解其背后的原因和思想。过程以及档案馆藏在当代社会中的作用。鼓励参与者讨论符文歌曲的各个方面，并就传统的演变，功能和变化提出新的假设。会议由爱沙尼亚民俗档案馆，组织者Mari Sarv和Liina Saarlo组织，并得到爱沙尼亚教育和研究部IUT 22-4机构研究资助的支持，并由欧洲联盟通过欧洲区域发展基金（爱沙尼亚研究卓越中心）。乐天塔卡（Lotte Tarkka）（芬兰赫尔辛基大学）谈到了语言艺术和表演研究中想象力的方法论和概念潜能，并特别强调了古韵歌曲的传统。在研究的历史上，长期以来一直看到个体主题的创造力和想象力是完全对立的，甚至有害于集体传统的。想象力在歌曲和神话创作中的作用在传统歌曲研究传统中被严重忽视。白话想象力与语言，文化和体裁有关。论文将想象过程讨论为“普遍的结构化活动，通过这种活动我们实现了连贯，有图案的统一表示”（Johnson 1987）。