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Bone and Sickle

Al Ridenour
Bone and Sickle
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  • St. George, the Dragon, and More
    There's so much more to the figure of St. George than his battle with a dragon. Legends also tell of his grisly martyrdom, capture of a demon, and postmortem abilities to cure madness through contact with his relics. In the Holy Land, there is even a tradition syncretizing St. George with a a supernatural figure of Muslim legend. We begin with a look at a modernized take on the St. George legend, the annual Drachenstich, or “dragon-stabbing," held in the Bavarian town of Furth im Wald. Beginning in 1590 with a performer representing the saint riding in a church procession, George was soon joined by a simple, canvas dragon, which over time evolved into the the world's largest 4-legged robot used in the event today. 19th-century Drachenstich in Furth im Walld Mrs. Karswell  next reads for us the primary source for the dragon story, Jacobus de Voragine's collection of saint stories compiled around 1260, known as the Golden Legend. It popularized the tradition that George was a Christian soldier in in the Roman (Byzantine) army, born in Cappadocia, in central Turkey, and executed for refusing to bow to Imperial gods.  There is also a princes to be rescued from the dragon but no king gives George her hand in marriage, as you might expect.  Though Voragine set this episode in Libya, this setting  was not really retained i the  tradition. As one of early Christianity's "soldier saints," George held particular appeal for soldiers of the Crusades. We hear of two incidents of George leading Crusaders to victory as recounted in the Golden Legend and the Gesta Francorum (deeds of the Franks). When in 1483  William Caxton’s English translation of the Golden Legend appeared, anecdotes of British interest were added, including George's connection to English knightood and The Order of the Garter. Elizabethan writer Richard Johnson featured George in his 1596 volume, Seven Champions of Christendom, elements of which were borrowed into mummers plays in which George became a hero.  We hear snippets of these. Returning to Germany, we learn how George was also said to have encouraged the armies of Friedrich Barbarossa at the Battle of Antioch during the Third Crusade. We then delve a bit more into the history of the Drachenstich performances. Some folksy details from 19th-century newspapers documenting the tradition are also provided. We then return to the Golden Legend for an account of George's martyrdom.  The location of this episode is not specified, but George's pagan nemesis here can be identified with Dacianus, the Roman prelate who governed Spain and Gaul. The tortures endured run the gamut from rack to hot lead, all of which are supernaturally endured until the saint is ultimately beheaded. Divine retribution in the form of fire falling from heaven is also included. Next, we investigate earlier sources adapted into Voragine's dragon story, the first known being an 11th-century manuscript written by Georgian monks residing in Jerusalem. George's background as a soldier from  Cappadocia is identical, as is the endangered princess, though the victory over the beast lacks elements of swordplay and is largely accomplished through prayer.  In this version, George is also responsible for the founding of a church complete with healing well. From the same manuscript, we hear a few more miracle stories, the "Coffee Boy" legend, George's defeat of a loquacious demon, a cautionary tale of a murderous and greedy hermit ostensibly, and a charming story involving a unhappy boy, George, and a pancake. We then take a look at the oldest St. George text probably written in Syria around the year 600. It’s known as the “Syriac Passion of St. George," and details an extraordinary series of tortures so fantastical as to be declared heretical by the Church in the Decretum Gelasianum, probably within a century of the story's composition. 14th-cent Russian depiction of St. George's Martyrdom Digging a little deeper,
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  • International Folk-Horror Film Round-Up
    As a summer replacement for our regular episode: a round-up of non-English-language Folk-Horror films (here as audio but also available as video) The presentation was created by Mr. Ridenour’s for the Rural Gothic conference hosted by The Folklore Podcast on 9/26/2020. The focus is on European folk-horror films, including Russian productions, and a few especially interesting Turkish films are also highlighted. It's by no means comprehensive and naturally only  includes films made in 2020 or earlier. You’ll hear the audio component if you continue listening here, but to watch the trailers, go to the Bone and Sickle YouTube channel (here: https://youtu.be/fJm6hgzaPV4). Or just Google “YouTube” and “Bone and Sickle” and you’ll find "International Folk-Horror Films" as a video. These are the films discussed (English titles). ANTHOLOGY FILMS: A Field Guide to Evil - Tale of Tales. SPANISH LANGUAGE: Tombs of the Blind Dead – Macario - Poison for the Fairies - The Witches of Zugarramurdi - Errementari: The Blacksmith and the Devil. GERMAN-LANGUAGE: Mark of the Devil – Laurin - Sennentuntschi. SCANDINAVIAN: The White Reindeer- The Juniper Tree – Trollhunter - Rare Exports- Thale- Border. POLISH-ESTONIAN: Witchhammer – November. CZECH-SLOVAKIAN: Valerie and Her Week of Wonders – Morgiana- Beauty and the Beast - The Cremator- Kytice - The Noonday Witch - Little Otik. RUSSIAN: Vasilisa the Beautiful - Kashchey the Immortal – Viy - Viy: The Forbidden Empire - The Night Before Christmas - Gogol: The Beginning - Gogol: Viy - Gogol: A Terrible Revenge - The Bride - Queen of Spades: The Dark Rite - The Mermaid: Lake of the Dead - Ghouls (Vamps). TURKISH: Dabbe films - Siccin films.
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  • The Fates
    The Fates of Classical Antiquity not only survived in the form of related fairy-tale figures but also as the object of superstitions and rituals associated with newborns. In South Slavic and Balkan regions particularly, these customs represent a surprisingly long-lived and genuine case of pagan survival. We begin our episode examining the fairy godmothers of "Sleeping Beauty" as embodiments of the Fates.  Mrs. Karswell reads a few key passages from the definitive version of the story included in Charles Perrault’s 1697 collection, Histoires ou contes du temps passé ("stories of times gone by.") We learn how the fairies fulfill the historical role of godparents at the newborn's christening. We also note the peculiar emphasis on the quality of what's set before the fairies at the christening banquet, observing how a failure there leads the wicked fairy to curse the Sleeping Beauty. 1874 illustration by František Doucha for a Czech edition of Sleeping Beauty We then explore antecedents to Perrault's tale, beginning with the 14th-century French chivalric romance, Perceforest.  A peripheral story in this 8-volume work is that of Troylus and Zeelandine, in which the role of Sleeping Beauty's fairy godmothers are played by Greek and Roman deities, with Venus as supporter of Princess Zeelandine (and her suitor Troylus) and Themis cursing Zeelandine to sleep in a manner similar to Perrault's princess.  A failure to correctly lay out Themis' required items at the christening banquet is again again responsible for the curse, though the awakening of Zeelandine by Troylus awakens is surprisingly different and a notorious example of medieval bawdiness. Preceding Perceforest, there was the late 13th-century French historical romance Huon of Bordeaux, in which we hear of the newborn fairy king Oberon being both cursed and blessed by fairies attending his birth.  From around the same time, French poet and composer Adam de la Halle's Play of the Bower describes a banquet at which fairy guests pronounce a curses and blessings on those in attendance prompted again by their pleasure or displeasure at what's set before them at a banquet. We also  hear of the Danish King King Fridlevus (Fridlef II) bringing his newborn son to a temple of "three maidens" to ascertain the  destiny pf the child in Gesta Danorum ("Deeds of the Danes").written around 1200 by Saxo Grammaticus. And lest listeners think such appeals to the Fates were strictly a literary motif, we hear Burchard of Worms, in his early-11th-century Decretum, condemning the not uncommon among the Germans of his region of setting up offering tables for the Fates.  By this point, the connection between how fairy godmother types are served at a banquet and offerings made to the Fates to ensure a cild's fortune should be clear. We then turn back to the Greek Fates, the Moirai (Clotho, Lachesis, and Atropos) and the Roman Parcae (Nona, Decuma, and Morta). Particularly in the case of the Parcae, we hear examples of their connection to the newborn's destiny in the celebration nine or ten days after the birth of the dies lustricus, during which offerings were made to the Fates. The Three Fates by Bernardo Strozzi, late 17th c We make a brief side-trip to discuss the Norns (Urðr, Verðandi and Skuld), the Germanic equivalent of the Fates.  These are more distant cousins, not strongly associated with the newborn and his destiny, though we do hear a passage from the Poetic Edda, in which the Norns are  present birth of the hero Helgi. We also hear a gruesome passage from the 13th-century Njáls Saga, in which the Valkyries weave out the fate of those who will die in the Battle of Clontarf. The Anglo-Saxon equivalent of the Fates, the Wyrds, are also discussed, and we hear how the  witches in Macbeth partook in this identity as the "Weird Sisters," an association Shakespeare inherited from his source material, the 1587 history of Great Britain, known as Holinshed's Chronicles.
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  • Rolling Hells and Land-Ships
    During the 15th-century, citizens of Nuremberg, Germany, experienced spectacular Carnival parades highlighted by the appearance of floats known as "hells."  Featuring immense figures, including dragons, ogres, and man-eating  giants, these hells were also peopled with costumed performers and enhanced with mechanized effects and pyrotechnics. In this episode, adapted from a chapter of Mr. Ridenour’s new book, A Season of Madness: Fools, Monsters and Marvels of the Old-World Carnival, we examine the Nuremberg parade, the Schembartlauf, as it evolves from costumed dance performances staged by the local Butcher's Guild in the mid-1 4th-century into a procession of fantastic and elaborately costumed figures, and finally -- in 1475 - into a showcase for the rolling hells. We begin, however, with an examination of a historical anecdotes sometimes presented as forerunners of  the Carnival parades, and of the Schembartlauf in particular, including two sometimes put forward to support a "pagan survival" theory.  The first involves a ceremonial wagon housing a figure of the putative fertility goddess, Nerthus, hauled about by Germanic peoples in the first century and mentioned in Tacitus’ Germania.  The second, also involving a wagon with fertility figure, is described by Gregory of Tours as being hauled through farmers' fields in the 6th-century. Period illustration of costumed figure from a Schembartbuch. Period illustration of costumed figure from a Schembartbuch. A third case involves the mysterious "land-ship," a full-scale wheeled ship hauled from Germany into Belgium, and the Netherlands in 1135. Mentioned exclusively by the Flemish abbot, composer, and chronicler Rudolf of St. Trond in his Gesta Abbatum Trudonensium (Deeds of the Abbots of Trond), it's characterized by the abbot as a sort of pagan temple on wheels and locus of orgiastic behavior, the precise purpose and nature of this peculiar incident remains largely a mystery. We then hear a comic incident imagined in the early 13th-century story of the knight Parzival as told by Wolfram von Eschenbach. By way of analogy to the character's ludicrous behavior, Carnival is mentioned for the first time, or more specifically von Eschenbach use the German word for Carnival, specifically the Carnival of Germany's southwest called "Fastnacht." Our story of the Schembartlauf concludes the show with a description of its ironic downfall through local intrigues fired by the Protestant Reformation. Worth mentioning also, in our Schembart segment, is the heated scholarly debate around objects depicted in period illustrations, which look for all the world like oversized pyrotechnic artichokes. New Patreon rewards related to Mr. Ridenour's Carnival book are also announced in this episode, along with related Carnival-themed merch in our Etsy shop, including our "Party Like it's 1598" shirts featuring Schembart figures.
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  • The Unknown Carnival
    Mr. Ridenour introduces his new book "A Season of Madness: Fools, Monsters, and Marvels of the Old-World Carnival," explaining how the project grew out of his research for "The Krampus and the Old, Dark Christmas."  In this episode, he sketches out chapter themes and topics, from ancient Rome to modern Bulgaria, focusing particularly on cultural hinterlands where festivities still echo the cruel realities of the old, agricultural world and where medieval Christianity intertwines with pagan practice. The Carnival portrayed is at once beautiful, strange, and savage. Spring is welcomed by clowns waving inflated pig bladders. Stalking sheepskin monsters brandish clubs bristling with hedgehog spines, and plows are dragged over cobblestone streets by celebrants wearing masks painted with cow’s blood. Folk horror fans take heart as the Old World welcomes Spring! Available now for pre-order.  US Publication date, May 6, 20205. A few advance reviews of the book: "Sumptuously illustrated and written with clarity, eloquence, and wry humor, "A Season of Madness" is one of those rare books that can pass muster as an academic study yet also provide a good read. Al Ridenour's meticulous research exposes the subtleties and outrageous quirks of a topic you didn't know you wanted to learn about until you picked up his book. Under his direction, the madness once again reigns, as the neglected history of European Carnival is placed center stage before the reader, in all its seedy, wild, and triumphant glory." —Dr. Paul Koudounaris, author and photographer of: "Faithful unto Death," "Heavenly Bodies," and "Empire of Death" "A Season of Madness" is a fantastic carnival of a book. Equal parts irreverent and erudite, it lovingly captures the depth, complexity, and subversive nature of the carnival, from its ancient roots to modern expression. Gorgeously illustrated, intellectually hefty, and also fun, it is a seductive introduction to the material cultures, legends, and history of this perennially fascinating and slippery subject." —Joanna Ebenstein, Founder and Creative Director of Morbid Anatomy
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Sobre Bone and Sickle

BONE AND SICKLE explores historical topics related to folklore and horror. With acerbic wit and a scholarly penchant for the grotesque, rogue folklorist Al Ridenour delves into a wide but carefully curated range of topics illustrated by stories from historical texts. Narratives are given dramatic readings by “Mrs. Karswell” (Sarah Chavez) backed by richly produced soundscapes blending original music, sound design and effects. The source books, though real enough, are said to be pulled from an imaginary library on Ridenour’s imaginary estate situated somewhere in the neighborhood of Charles Addams and Edward Gorey. Each episode begins with our hosts briefly discussing goings-on in this world before diving into the topic to be explored. Occasional alternate-format episodes are devoted to readings of classic horror stories or curious texts of antiquarian interest. Ridenour is the author of “The Krampus and the Old, Dark Christmas” (2016) and “A Season of Madness: Fools, Monsters, and Marv
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