Academic literature on the topic 'Wolves – folklore'
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Journal articles on the topic "Wolves – folklore"
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Wurigemule, Wurigemule, Tattigul Kartaeva, and Rauza Utepova. "TRADITIONAL FOLK KNOWLEDGE OF THE KAZAKHS ASSOCIATED WITH THE CULT OF THE WOLF." Journal of history 113, no. 2 (2024): 113–2. http://dx.doi.org/10.26577/jh.2024.v113i2-018.
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The wolf is a predator that has a symbolic meaning in almost all Turkic peoples. Early Turkic people used the ephemeral name “bori” for wolves. Almost all Turkic peoples consider themselves as descendants of Kokbori. However, different Turkic peoples have various features in the concept of “wolf”. The system of knowledge and skills related to wolves for Kazakh people is associated with the recognition of the secrets of nature and animals from ancient times. There was formed ethno-folklore system (legends, fairy tales, proverbs) related to the cognition of man and wolf, as well as a system of names according to the types of wolves, age and color. The ephemeral name “Bori” used by the ancient Turks and the cult of bori had not lost their meaning from ancient times to the present day. Rock carvings and archeological finds determine the importance of the image of the wolf in the life and worldview of the ancient tribes inhabiting the Kazakh land. The skin was tanned and hung at home. The wolf coat (winter coat) and wolf cap (winter cap) were sewn from its skin. Heart, larynx, meat, fat, wolf soup, bile, genitals had been used in ethnomedicine for the traditional treatment of various diseases. The body parts such as skull, cheeks, teeth, haste, soles, skin were used for magical and ritual purposes. The traditional method of hunting wolves in the hunting industry was to set traps. The system of proverbs associated with the wolf reflects the peculiarities of the Kazakhs' knowledge of wolves. Field research works related to wolves were carried out in the regıon Syrdarya-Aral, the western part of the Kazakhstan, Ulytau.
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George, Sam. "Wolves in the Wolds: Late Capitalism, the English Eerie, and the Weird Case of ‘Old Stinker’ the Hull Werewolf." Gothic Studies 21, no. 1 (May 2019): 68–84. http://dx.doi.org/10.3366/gothic.2019.0008.
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British folklore reveals a history of werewolf sightings in places where there were once wolves. I draw on theories of the weird and the eerie and on the turbulence of England in the era of late capitalism in my analysis of the representation of werewolves in contemporary urban myths. Werewolves are deliberately excluded from Mark Fisher's notion of the ‘weird’, because they behave in a manner that is entirely expected of them. I contradict this by interrogating the werewolf as spectre wolf, bringing it within the realms of the weird. In examining the Hull Werewolf, I put forward the suggestion that he represents not only our belief in him as a wolf phantom, but our collective guilt at the extinction of an entire indigenous species of wolf. Viewed in this way, he can reawaken the memory of what humans did to wolves, and redeem the Big Bad Wolf of our childhood nightmares.
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Adkins, Christopher David. "Carnivore Incarnate: Wicked Wolves and Noble Bears in Norse Tales of Shape-Shifting." Preternature: Critical and Historical Studies on the Preternatural 12, no. 1 (March 1, 2023): 1–26. http://dx.doi.org/10.5325/preternature.12.1.0001.
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ABSTRACT In the tales of the Norse, there are many forms of shape-shifting. Two types stand out: bears and wolves. Some of the most famous images of the Norse themselves are bound up in images of bear and wolf shape-shifters. Yet, examining these more closely, one finds a pattern that emerges: ursine shape-shifters are more upstanding, heroic, and positive, while lupine shape-shifters are more ambiguous and ambivalent. This paper analyzes how experiences with the natural world, as well as older folklore, belief, and culture in the region, informed notions of shape-shifting and hybridization in the great Norse tales, with lasting impacts on belief for many centuries afterward.
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Луческа, Ели. "Светителот – скротител на дивите ѕверови. По примерот на св. вмч. Мина Чудотворец." Poznańskie Studia Slawistyczne, no. 20 (September 22, 2021): 273–98. http://dx.doi.org/10.14746/pss.2021.20.15.
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The basic and main topic of this research paper is the cult of St. Martyr Mina, especially his ability to tame the wild beasts-the wolves. The starting point of this paper is publication, written by V. Popovska Korobar about the wall paintings from the XV century in the monastery church St. Petka in the village of Brajchino, region of Prespa in Macedonia. In this church the saint is portrayed with some fairly rare iconographic elements that out framed the usual monumental painting of that time – the saint is portrayed as a victorious handler of tamed wild beasts. Popovska Korobar supposes that this kind of interpretation is related with the saint’s life in the desert together with the wild animals, or with the description of the beast in the existing literature about her life in Egypt – the monster with a camel’s head, and she does not identify the species of the animals depicted on the wall of the church. According to our research, this type of iconography is created and based upon the hagiographic texts in combination with the folklore identity of St. Mina and according to that, we think that the wild beasts are tamed wolves.
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Pluskowski, Aleks. "The Tyranny of the Gingerbread House: Contextualising the Fear of Wolves in Medieval Northern Europe through Material Culture, Ecology and Folklore." Current Swedish Archaeology 13, no. 1 (June 10, 2021): 141–60. http://dx.doi.org/10.37718/csa.2005.08.
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In this paper, I propose to contextualise the popular perception ofthe "fairy tale wolf" as a window into a normative past, by focusing on responses to this animal in Britain and southern Scandinavia from the 8th to the 14th centuries, drawing on archaeological, artistic and written sources. These responses are subsequently juxtaposed with the socio-ecological context of the concept of the "fairy tale wolf" in early modern France. At a time when folklore is being increasingly incorporated into archaeological interpretation, I suggest that alternative understandings ofhuman relations with animals must be rooted in specific ecological and social contexts.
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Šmitek, Zmago. "Mitološki lik volčjega pastirja pri Slovanih in nekatere primerjaveMythological Figure ‘Master of the Wolves’ in Slavic Folklore and Some Comparisons." Studia mythologica Slavica 5 (May 5, 2015): 233. http://dx.doi.org/10.3986/sms.v5i0.1804.
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Salbiev, Tamerlan K. "The Motif of the “Holy Lie” in Kosta Khetagurov’s Poem “Sidzærgæs / Mother of Orphans” (Ritual and Mythological Aspect)." Vestnik of North Ossetian State University, no. 1 (March 25, 2023): 40–46. http://dx.doi.org/10.29025/1994-7720-2023-1-40-46.
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The article is devoted to the study of the transition of traditional spiritual and moral values at the stage of modernization of Ossetian society in the late XIX – early XX centuries. A decisive role in the consideration of this problem is assigned to the creative heritage of Kosta Khetagurov, who managed to ensure the sustainable development of society at the stage of transition from folklore to literature. The main object of the study is one of his most famous poems, “Sidzærgæs / Mother of Orphans”. For the first time, the connection of this poem with folklore is revealed not with the help of a historical-ethnographic, but a ritual-mythological approach. The main goal will be to study not the motif of “cooking stones”, but the motif of “holy lie”, which does not act as a secondary tool, but the central core of the plot. From a spiritual and moral point of view, the main idea of the poem will be to demonstrate the indomitable strength of the spirit of a woman, taking care of her children. The sacralization of the everyday substitution of beans for stones occurs through the correlation of this substitution with the cult of the Ossetian lord of wolves – Tutyr / Totur, who drove stones into the mouth of his wards so that they could not steal sheep from people. At the same time, it is possible to show the identity of the heroine of the poem by Kosta Khetagurov and the folk legend about Zadalesky Nana, while making a clear distinction between the level of the patriarchal family and the entire Alanic people, put on the brink of survival as a result of a historical catastrophe.
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ABZHET, Bakyt. "FEATURES OF THE FORMATİON OF MYTHİCAL AND RELİGİOUS IMAGES ABOUT THE CHARACTER OF THE ALBASTA." Turkology 109, no. 1 (March 15, 2022): 20–34. http://dx.doi.org/10.47526/2022-1/2664-3162.02.
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The history of the origin of the character "Albasty" and the reasons for the change which is mentioned in fairy tales and mythical legends of many nation would be discussed in this article. The peculiarities of speaking in the fairy tales of many peoples are emphasized and Albasty, who was born as a holy spirit, who protects a woman giving birth and young children and on the basis of later religious beliefs, deprived of holiness, turning into negative characters in the mythical concept. Among Kazakhs, “albasties” are similar to a dog or a fox, which stealthily steal the lungs of a woman in labor, but according to the ancient mythical ideas of the Karachais and Balkars living in the Caucasus, the albastas descended from the marriage of Narts and Emegens and grew up in a pack of wolves. They, like a holy spirit, protect women in labor and young children from the devil. In general, Albasties are a common character in the Caucasus, the Volga region, Central and Central Asia, the Middle East, etc. In the folklore of these peoples, "albasties" are considered the lord of evil, spreading disease and doing evil, and he acquired his negative features in later religious beliefs, becoming a negative character found in the genre of fairy tales and legends.
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Bakaeva, Elza P. "Почитание Большой Медведицы в среде ойратов и калмыков: древнейшие представления и буддийские напластования. Часть 2." Oriental Studies 13, no. 3 (December 24, 2020): 661–87. http://dx.doi.org/10.22162/2619-0990-2020-49-3-661-687.
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Introduction. Ursa Major is the constellation most venerated by Mongolic peoples. Goals. The article seeks to examine related beliefs traced in folklore and collected field data, reveal key mythological characteristics, and cast light upon diachronous layers in the beliefs of Kalmyks and Oirats (Western Mongols). So, the work aims at analyzing basic Kalmyk and Oirat folklore plots dealing with origins of the Great Bear in comparison to those of other Mongolic cultures; and at examining the concept of Ursa Major against the background of some calendar rites and revered mythological images with due regard of contemporary ceremonies addressed to the constellation. Materials. The paper analyzes folklore and ethnographic materials. Results. Part 1 of the article identifies main variants of mythological texts about Ursa Major (Mong. Долоон бурхан, Долоон өвгөн, Kalm. Долан бурхн, Долан одн) existing in Kalmyk and Oirat discourses, comparing the latter to myths of other Mongolic populations. It shows that basically the myths narrate about seven male characters (siblings, sworn brothers, or thieves) or an ox-man, though etymology of terms may tie the constellation (its emergence) to the archaic plot of day and night alternation as a chase of shedeer, and the solar theme at large. Part 2 further analyzes Ursa Major-related beliefs and compares the latter to some calendar rites and mythological images revered in Kalmyk and Oirat culture. The paper informs that the constellation was sometimes referred to by the Oirats as ‘Seven Maral Deer’ (Oir. Долоон марал), which implies our analysis may extend to the legend of how the heavenly hunter pursued a flock of she-deer. The Oirat oral tradition believes that both the characters of Ursa Major stories and Khukhedei Mergen the Hunter (whose chase made three she-deer turn into the three stars of Orion’s Belt therefore referred to by the Mongols as ‘Three She-Deer’, Mong. Гурван марал, Kalm. Һурвн марл) can be considered masters of the two horses tied to the ‘Golden Pole’ (i.e. Pole Star) — two stars of Ursa Minor. Oirats and Kalmyks also associate Ursa Major with thawing weather, protection of children, livestock (from wolves), and increase of its numbers, remission of sins — similar functions attributed to the White Old Man (Kalm. Цаhан аав) revered by the Oirats as the Lord of the Altai, while Kalmyks tend to view him as a protector deity of the nation, one of his manifestations being that of the Lord of the Year (Kalm. Җилин эзн). The article also analyzes contemporary Buddhist rites dealing with Ursa Major among Mongolic populations.
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Yermekbayeva, Maira. "SEMANTICS OF PROVERBS ASSOCIATED WITH THE ZOONYM «WOLF» (BASED ON THE KAZAKH AND TURKISH LANGUAGES)." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 4 (December 30, 2023): 31–46. http://dx.doi.org/10.55808/1999-4214.2023-4.03.
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Comparative analysis of zoonyms, primarily the description of the national language picture of the world, is of undoubted scientific interest. After all, the comparison of any languages serves as the basis for identifying three main qualities such as commonness, similarity and difference. The article analyzes one of the most ancient images of the Kazakh and Turkish culture - the zoosymbol "wolf" through proverbs. Proverbs are a kind of oral literature with the accumulated life experience of the people. They help to understand better the national identity, interests, attitudes, lifestyle and traditions of the people who created these proverbs. The study of this type of folklore gives a deeper understanding of the characteristics and relationship of different cultures.Proverbs about animals make up a large layer in the paremiological fund of different peoples and are distinguished by great thematic diversity. The main task of the entire structure of proverbs as a whole is to show the thoughts of the people in a complete, concise and clear form. Proverbs about animals are an example of archaic brevity and figurativeness. On the basis of proverbs about wolves in the Kazakh and Turkish languages, the ethno-cultural content of the zoonym "wolf" is determined, and a comparative analysis characterizes the complete preservation of the common Turkic line in the worldview of the two peoples. The article analyzes the contextual semantics of the Kazakh zoonym "wolf" and its Turkish equivalents in proverbs. The purpose of the study is to determine the features of the linguistic representation of the concept "wolf" in the Kazakh and Turkish languages by means of a comparative analysis. As a result of the analysis, metaphorical meanings with positive and negative connotations were revealed. The semantic similarities and differences of proverbs associated with the zoonym "wolf" in the Kazakh and Turkish languages are considered.
Dissertations / Theses on the topic "Wolves – folklore"
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Valley, Madeleine. "Gentle Wolves: Re-Contextualizing Fairy Tale Illustration." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1367427355.
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Stebbins, Maegan Ann. "The Werewolf: Past and Future." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/77877.
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Since before recorded history, werewolves have captivated human imagination. Simultaneously, they represent our deepest fears as well as our desire to connect with our primal ancestry. Today, werewolves are portrayed negatively, associated with violence, cruelty, cannibalism, and general malevolence. However, in ages past, legends depicted them not as monsters, but as a range of neutral to benevolent individuals, such as traveling companions, guardians, and knights. The robust legacy of the werewolf spans from prehistory, through ancient Greece and Rome, to the Middle Ages, into the Early Modern period, and finally into present-day popular culture. Over the ages, the view of the werewolf has become distorted. Media treatment of werewolves is associated with inferior writing, lacking in thought, depth, and meaning. Werewolves as characters or creatures are now generally seen as single-minded and one-dimensional, and they want nothing more than to kill, devour, and possibly violate humans. Hollywood depictions have resulted in the destruction of the true meanings behind werewolf legends that fascinated and terrified humans for so many ages. If these negative trends were reversed, perhaps entertainment might not only discover again some of the true meanings behind the werewolf myth, but also take the first steps toward reversing negative portrayals of wolves themselves, which humans have, for eons, wrongfully stigmatized and portrayed as evil, resulting in wolves receiving crueler treatment than virtually any other animal. To revive the many questions posed by lycanthropy, entertainment must show respect to the rich history of the legend — and rediscover the benevolent werewolf.Master of Arts
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Touré, N'Diabou Séga. "Fonctionnement et fonctions des représentations du surnaturel dans l'imaginaire des contes wolofs." Paris, INALCO, 2003. http://www.theses.fr/2003INAL0004.
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L'étude des représentations du surnaturel portant sur un corpus limité de contes révèle leur richesse et leur diversité. Certaines, comme le génie, sont répandues dans l'Ouest africain. D'autres, telles la mère-brousse et la bête tueuse, sont plus spécifiques de la culture wolof. Au-delà de leur identification, le traitement des représentations dans l'imaginaire des contes pose deux types de questions. La première est celle de leur fonctionnement à l'intérieur d'un univers très organisé dont le chaos apparent n'est que la façade. La seconde a trait aux fonctions de ces représentations. Le mot "fonction" renvoie ici à deux significations : celle de rôle dans les récits et celle de finalité. Ce dernier sens se situe à un niveau plus profond de l'analyse, où l'on tente de comprendre les mécanismes qui interviennent dans cet univers du surnaturel dans les contes. Dans cet imaginaire, le thème de l'initiation tient une place importante dans une conception wolof de la personne, toute entière construite autour de la notion fondamentale de changement. L'univers du surnaturel des contes est un élément essentiel dans l'élaboration d'un modèle social pour la formation de la personne wolof, qui se présente comme un être articulé avec les concepts de double, d'altérité et de gémellité. Ce modèle, caractérisé dans le conte, et placé à l'intérieur d'un processus de création de la personne, est le moule dans lequel le futur initié trouvera les repères qui en feront un individu conforme à l'idéal wolof de l'hommeThe study of supernatural characters in a given set of Wolof fairy tales enable us to appreciate the richness and diversity of such supernatural representations like the Wild Beast Mother, the jinn and the ogress that appear in West African fairy tales. But some supernatural characters, example the Mother Bush and the Head that kills, are specific to the wolof background. However, beyond the identification, the proper use of such supernatural representations raises some questions related to two main problems. First their functioning inside a well-organized universe in which their apparent chaos is but faked. The second problem deals with their functions in the tales. By "function", we mean not only their roles in the fairy tales but also their "finality". This notion of finality requires a deeper analysis in order to lead to hypothesis bringing a particular conception of the supernatural universe in fairy tales. In fact, in such problematic wholly built on the fundamental notion of change, the theme of initiation place an essential role. The supernatural universe in fairy tales is a primordial factor in the elaboration of a Wolof model for the creation of a mental person that presents itself like a social being realized into the concepts of twinage and alter. This item or model is the mould in which the future initiated will find the guide lines allowing him to be in conformity with the Wolof ideal notion of the Human Being
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Mitts, Smith Debra. "What is a wolf : the construction of social, cultural, and scientific knowledge in children's books /." 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3269982.
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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2007.Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2707. Adviser: Elizabeth Hearne. Includes bibliographical references (leaves 411-442) Available on microfilm from Pro Quest Information and Learning.
Books on the topic "Wolves – folklore"
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Paul, Williams. Howls of imagination: Wolves of England. Loughborough: Heart of Albion, 2007.
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Levalois, Christophe. Le loup: Mythes & traditions. Paris: Le Courier du livre, 1997.
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Ōhashi, Masato. Shinshū no ōkami (yamainu) denshō to rekishi: "tsuketari" Yasei chōjū. Nagano-shi: Hōzuki Shoseki, 2018.
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Ṭalās, Muṣṭafá. al- Dhiʾb fī ādāb al-shuʻūb. Dimashq: Dār Ṭalās, 1997.
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Petersen, Mariele. Der Wolf: Zwischen Mythos und Märchen. Köln: Wallraf-Richartz-Museum, 2019.
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Rowitz, Mary. The boy who cried wolf: A tale of honesty. Lincolnwood, Ill: Publications International, 1998.
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Bernard, Daniel. Des loups et des hommes: Histoire et traditions populaires. Clermont-Ferrand: De Borée, 2000.
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Luongo, Alberto. Il lupo di Gubbio: Origini, tradizione e ricezione di una storia francescana. Spoleto: Fondazione Centro italiano di studi sull'alto Medioevo, 2022.
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Folmer, Sylvie. Les loups: Légendes, peurs bleues, fables et fantaisies du temps où ils étaient à nos portes. Paris: Albin Michel, 2010.
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Rowitz, Mary. The boy who cried wolf: A tale of honesty. Lincolnwood, Ill: Publications International, 1998.
Find full textBook chapters on the topic "Wolves – folklore"
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Gracey, James. "Telling Tales." In The Company of Wolves, 37–44. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325314.003.0003.
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This chapter analyses the fairy tales, folklore, and the art of oral storytelling that are all woven into the very fabric of Neil Jordan's The Company of Wolves. It outlines The Company of Wolves's fragmented narrative structure, which exists within the dreams of a sleeping adolescent girl that is comprised of stories told to her by her Granny. It also talks about how The Company of Wolves plays with the form of the fairy tale and its ideas regarding initiation, redemption, and personal and social progress in order to explore the changes and uncertainties of growing up. This chapter explores Jordan and Carter's process of demythologising culturally constructed notions of gender and identity by retelling the very fairy tales that helped establish such notions. It examines the role played by fairy tales in conditioning communities, and how certain tales were repurposed through literary adaptations to educate and instruct different types of audiences.
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Mann, Craig Ian. "Wolves at the Door." In Phases of the Moon, 12–38. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474441117.003.0002.
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Chapter 1 discusses the theme of cultural xenophobia common to the earliest werewolf movies. It begins with an exploration of three silent films, all of which were inspired by Native American rather than European folklore. Using detailed plot synopses for lost films, it argues that these narratives use werewolves to demonise America's indigenous peoples. It then discusses the earliest werewolf film of the sound period, Werewolf of London (1935), in the context of the ‘yellow peril’ and suggests that it is symptomatic of Western fears surrounding immigration in the 1930s. Finally, it considers Universal’s ‘Wolf Man’ films as products of World War II and posits that they collectively form a wartime horror story in which a tragic all-American werewolf is forced to do battle with monsters of European origin.
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Gracey, James. "The Big Bad Wolf." In The Company of Wolves, 85–100. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325314.003.0006.
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This chapter discusses the stories and myths regarding humans turning into wolves that have fascinated and terrified people for millennia and continue to speak of an elementary aspect of the collective human consciousness. It talks about the common perception of the werewolf that derives from its myriad representations in folklore, literature, and cinema. It also mentions The Book of Were-Wolves by Sabine Baring-Gould and Werwolves by Elliott O'Donnell in reference to the occurrence of lycanthropy that is invoked as the result of a curse, or through the practice of diabolical occult rituals. This chapter mentions the most widespread ideas of lycanthropy that and originate from Hollywood cinema. It mentions historical anthropologist and witchcraft scholar Willem de Blécourt from Werewolf Histories, who references antiquated tales from Estonia and Russia concerning women who unwittingly marry werewolves.
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Metsvahi, Merili. "“Ühel mehel käind naine undiks…”. Saaremaalt kogutud libahundimuistenditest." In Pühad allikad. Paar sammukest XXVII. Eesti Kirjandusmuuseumi aastaraamat 2010, 137–68. EKM Teaduskirjastus / ELM Scholarly Press, 2019. http://dx.doi.org/10.7592/ps/27.metsvahi.
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The articles discusses the material relating to werewolves collected from the island of Saaremaa that is stored at the Estonian Folklore Archives. It is presumed that belief in werewolves persisted longer on Saaremaa than in many other Estonian regions. Interpretations are offered to the werewolf legends. For this purpose, historical background data and information on the significance of wolves in the mental world of the Estonian peasant is introduced. Werewolf legends represent alternative strategies of coping with difficulties (the danger of famine, tension between genders and social classes) that defied existing social norms. As relatively many tales of female werewolves have been collected from Saaremaa, they are given special attention. The popularity of female werewolves on Saaremaa, and in Estonia, can be connected with the strong status of women among the Estonian and Livonian peasants and with the hypothesis of the matrilineality of these societies in prehistoric times.
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Hiiemäe, Mall. "Allikukivi koobas ja allikas kohapärimuses." In Pühad allikad. Paar sammukest XXVII. Eesti Kirjandusmuuseumi aastaraamat 2010, 107–36. EKM Teaduskirjastus / ELM Scholarly Press, 2019. http://dx.doi.org/10.7592/ps/27.hiiemae.
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Geologists learned of the existence of the 33-metre-long Allikukivi Cave in the Devonian sandstone of south western Estonia only in 1961, when during excavation work a more than 7-metre-deep void opened under an excavator. Estonian lore of caves and cave systems describes them as starting points of underground passageways. They have been considered places of refuge during times of war and plague, sites of hidden treasure, and the dwelling places of nature giants. In describing the development story of this particular cave, geologists have used archival pieces from the Estonian Literary Museum’s Folklore Archives and reference material from earlier printed sources. The case study focuses on observing the geological phenomenon as a folklore- and landscape-related whole. There appear to be two different layers of tradition: one of them vanishing, the other vigorous. The episodes of the first contaminated text that reached the archives in 1890 feature spirits who come out of the opening near the spring. What follows is a legend of a giant that contains the motif of throwing a stone at a church. The connection with legends of giants dwelling in caves is manifested weakly and the text is fragmentary and vague showing the characteristics of departing from tradition. These features corroborate the geologists’ opinion that the cave in question may have been open in the past, but also suggests that when the cave closed in (or was deliberately shut because of the danger it presented) the legend gradually faded. The second plot then became predominant. The landscape components of the later folklore layer consist in three large openings on a hill (in a geological sense, three sinkholes in Devonian sandstone that appear when an underground hole caves in) and a spring that is connected to them (the holes appeared because water eroded the sandstone). The holes remain as the traces of buildings that sank underground due to the breaking of ethical norms that occurred when a beggar who turned up at a wedding was not allowed to stay for the night; in some versions the motif of the wedding guests turning into wolves is added (Aa 86, Aa 87 and Aa 73 in Antti Aarne’s 1918 catalogue of legends). Even if the cave is mentioned, it is not linked with the plot of the legend. However, important status is given to the spring that is created simultaneously to the building sinking into the ground, with the spring water turned into spirits. In 1961 Allikukivi Cave was taken under protection and its entrance was supported. The cave became a tourism object and the legend of the house sinking underground was activated. This is a good example of the revival of folklore in connection with tourist services. Today, the special focus of this popular tourism object is on all three landscape elements: the cave, a nearby sinkhole with a diameter of around seven metres, and the spring, which comes to the surface 15 m away. The discovery of the cave has introduced no new motifs to the plot of the legend, but in guided tours it has become customary practice to tell the legend of the wedding house, accompanied by the evidence in the landscape.