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112 Roslyn M. Frank a flesh and blood counterpart of this guardian figure, concretely, an official who was in charge of guarding the social norms of the entire community. Here we need to keep in mind the linkages holding between the term hamalau and the title that was conferred on the judicial official known as the Hamalau-Zaingo, whose duties included watching over the collective in question. In short, this individual appears to have been charged with keeping track of those members of the community who misbehaved in some way, violating the community’s norms. Furthermore, there is reason to believe that the duties that fell to the Hamalau-Zaingo included acting as a kind of judge, determining the seriousness of the infraction or crime; imposing the appropriate punishment as well as perhaps seeing that it was carried out properly. In the case of Zuberoa, the individual who held this office even had immunity from prosecution as indicated in the law codes from the same zone (Haristoy 1883-1884: 384-385. In other words, in Euskal Herria we find evidence pointing to the existence of a kind of judge, a guardian figure whose title included the term hamalau. Likewise, Azkue (1969: I, 36) explains that the being known as the amalauzaku (hamalauzaku) is «el Bú, fantasma imaginario con que se asusta los niños» («the fantastic being, the imaginary phantom that is used to frighten children»). Then in the Diccionario Retana de Autoridades de la Lengua Vasca (Sota 1976: 251) under the variant of amalau-zanko we find a similar definition: Bú, fantasma. «–Uraxe bai izugarri! Benetan, é! Espiritu bat ikusi nian. –Bai zea! Amalau zankoa?» [‘A fantastic being, phantom. «–That one is awful frightening! Really, don’t you agree? I saw a ghost. –Really!! Was it Amalau zankoa?»’] Finally, another example of the same phonological variant, namely, (h)amalauzanko, is listed in Michelena (1987, I: 874): Baita umiak izutzeko askotan aipatu oi diran izen. Amalauzanko, Prailemotxo, Ipixtiku eta beste orrelekorak, lehengoko deabru, gaizkiñ edo jainkoizunen oroipenak izan bear dute. [‘Also the names that are commonly used to frighten children. Amalauzanko, Prailemotxo, Ipixtiku and other similar ones must be recollections of devils, demons or gods of times past’.] In short, these phonological variants of Hamalau-Zaingo refer to the guardian figure who is invoked today by adults to threaten children. Furthermore, we find variants of the compound expression hamalau-zaingo showing up as (h)amalauzanko and (h)amalauzaku in the name given to a class of performers. In this case, the phonological reduction of the compound hamalauzaingo has been accompanied by a reanalysis of the phonologically reduced form itself. Here I refer to what has happened in villages such as Lesaca where
EVIDENCE IN FAVOR OF THE PALAEOLITHIC CONTINUITY REFUGIUM THEORY (PCRT) 113 there are colorful, albeit rather grotesquely proportioned, figures that go by the name of azaku-zaharrak, where the second element is the plural of zahar «old». 23 The phonological erosion suffered by the expression might have developed as follows: hamalau-zaingo-zaharrak > *(hama)lau-za(in)ko-zaharrak > *lauzaku-zaharrak > azaku-zaharrak. It was not until the 1970s that these characters were recuperated in Lesaca and their name re-introduced, after nearly a forty year hiatus, given that during the Franco period the characters were absent. 24 Today the performers’ appearance is manipulated so as to make them appear extremely bulky, larger than life, similar to En Peirot of Catalunya, a character we will examine in more detail shortly. In order to achieve this effect, the actors stuff their costumes with straw, while the costumes themselves are made out of gunny sacks. As a result, the expression azaku-zaharrak ([Ihauteriak] 1992) has undergone further phonological erosion and semantic reanalysis, being reduced, at least by some writers, to zaku-zaharrak, and interpreted, erroneously, as meaning «sacos viejos» («old sacks») as if the first element corresponded to the old gunny sacks used to make the costumes. Fig. 21. Lesaka Zaku Zaharrak, 2007. Source: http://www.flickr.com/photos/dantzan/724934332/in/set-72157600656899313/. 23 Cf. http://www.flickr.com/photos/dantzan/724061073/. 24 Even earlier, there was no specific date for when the zaku-zaharrak were supposed to appear, rather from January 6 th until the beginning of Carnival the various groups of performers would take turns coming out into the streets. Then on the Monday of Carnival all the groups of performers would come together, which could produce rivalries between the zaku-zaharrak of the various wards of the village ([diariodenavarra.es] n.d.).
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INSULA Quaderno di cultura sarda Nu
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20 ANNEX: LES TRES CARTES Constanti
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22 Constantino Vidal Salmeron
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Page 78 and 79: 78 2. Alguns casos de publicitat co
Page 80 and 81: 80 b) Vocalisme Reducció vocàlica
Page 82 and 83: 82 l’italià: contrasta FARRA’
Page 84 and 85: 84 Andreu Bosch i Rodoreda - Amb la
Page 86 and 87: 86 Andreu Bosch i Rodoreda Pinocchi
Page 88 and 89: 88 REFERÈNCIES BIBLIOGRÀFIQUES An
Page 90 and 91: 90 Roslyn M. Frank Originally it wo
Page 92 and 93: 92 Roslyn M. Frank The next morning
Page 94 and 95: 94 Roslyn M. Frank Moreover, in cas
Page 96 and 97: 96 Roslyn M. Frank It wasn’t unti
Page 98 and 99: 98 Roslyn M. Frank The Krampus is a
Page 100 and 101: 100 Figure 9. A very large Krampus.
Page 102 and 103: 102 Roslyn M. Frank In the case of
Page 104 and 105: 104 Roslyn M. Frank As the processi
Page 106 and 107: 106 Roslyn M. Frank At the same tim
Page 108 and 109: 108 Roslyn M. Frank Figure 19. Brow
Page 110 and 111: 110 Almost every year from 1931 to
Page 114 and 115: 114 Roslyn M. Frank In summary, in
Page 116 and 117: 116 Germanic-speaking zones we find
Page 118 and 119: 118 Roslyn M. Frank most remarkable
Page 120 and 121: 120 Roslyn M. Frank would come out
Page 122 and 123: 122 mamarro, mamorru, mamurru, mama
Page 124 and 125: 124 Therefore, they should be viewe
Page 126 and 127: 126 Roslyn M. Frank As Satrústegui
Page 128 and 129: 128 Roslyn M. Frank And this one wh
Page 130 and 131: 130 Roslyn M. Frank region spoke la
Page 132 and 133: 132 Roslyn M. Frank Gómez-Legos, O
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Page 136 and 137: 136 Quando l’autore ha due nomi:
Page 138 and 139: 138 3. ARCHIVI E BIBLIOTECHE Quando
Page 140 and 141: 140 SERIE «FASCICULARIA» EDIZIONI
Page 142 and 143: 142 Num. 4 (dicembre 2008) Joan ARM
Page 144: 144 Finito di stampare nel mese di
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