This is a collection of 75 Ashanti tales recorded in the Ashanti and Kwawu areas of Ghana.Each folktale in Twi/Akan dialect of the Tshi language, is followed by an English translation. The English translation is, throughout, made as nearly literal as possible.(At this point, one meets a certain difficulty in a conflict between a desire for accuracy and an endeavour to give a translation acceptable to English ears). First published in 1930 by R.S. Rattray, this edition features a modern Akan/Twi orthography with a brief introduction to the Language. Ashanti folktales often tell a moral lesson, describe a myth, or answer a question about the natural world. Most of the Ashanti tales use animal characters to represent human qualities such as jealousy, honesty, greed, and bravery. Ananse, the spider, is a trickster figure who appears in many of the Ashanti tales. With regard to the classification of these stories, it will be observed that the majority of them fall under one or other of the well-known headings: drolls and cumulative tales; apologues or tales with a moral; aetiological stories, accounting for physical characteristics in men and beasts, e.g. How the Leopard became Spotted; etymological tales, e.g. How the Ram came to be called Odwanini. Each and all of the stories in this volume would, however, be classed by the Akan-speaking African under the generic title of “Anansesɛm” (Spider stories), whether the spider appeared in the tale or not.

This is a collection of 75 Ashanti tales recorded in the Ashanti and Kwawu areas of Ghana.Each folktale in Twi/Akan dialect of the Tshi language, is followed by an English translation. The English translation is, throughout, made as nearly literal as possible.(At this point, one meets a certain difficulty in a conflict between a desire for accuracy and an endeavour to give a translation acceptable to English ears). First published in 1930 by R.S. Rattray, this edition features a modern Akan/Twi orthography with a brief introduction to the Language. Ashanti folktales often tell a moral lesson, describe a myth, or answer a question about the natural world. Most of the Ashanti tales use animal characters to represent human qualities such as jealousy, honesty, greed, and bravery. Ananse, the spider, is a trickster figure who appears in many of the Ashanti tales. With regard to the classification of these stories, it will be observed that the majority of them fall under one or other of the well-known headings: drolls and cumulative tales; apologues or tales with a moral; aetiological stories, accounting for physical characteristics in men and beasts, e.g. How the Leopard became Spotted; etymological tales, e.g. "How the Ram came to be called Odwanini". Each and all of the stories in this volume would, however, be classed by the Akan-speaking African under the generic title of “Anansesɛm” (Spider stories), whether the spider appeared in the tale or not.

Winner • NAACP Image Award for Outstanding Literary Work (Fiction) Winner • Anne Izard Storytellers’ Choice Award Holiday Gift Guide Selection • Indiewire, San Francisco Chronicle, and Minneapolis Star-Tribune These nearly 150 African American folktales animate our past and reclaim a lost cultural legacy to redefine American literature. Drawing from the great folklorists of the past while expanding African American lore with dozens of tales rarely seen before, The Annotated African American Folktales revolutionizes the canon like no other volume. Following in the tradition of such classics as Arthur Huff Fauset’s “Negro Folk Tales from the South” (1927), Zora Neale Hurston’s Mules and Men (1935), and Virginia Hamilton’s The People Could Fly (1985), acclaimed scholars Henry Louis Gates Jr. and Maria Tatar assemble a groundbreaking collection of folktales, myths, and legends that revitalizes a vibrant African American past to produce the most comprehensive and ambitious collection of African American folktales ever published in American literary history. Arguing for the value of these deceptively simple stories as part of a sophisticated, complex, and heterogeneous cultural heritage, Gates and Tatar show how these remarkable stories deserve a place alongside the classic works of African American literature, and American literature more broadly. Opening with two introductory essays and twenty seminal African tales as historical background, Gates and Tatar present nearly 150 African American stories, among them familiar Brer Rabbit classics, but also stories like “The Talking Skull” and “Witches Who Ride,” as well as out-of-print tales from the 1890s’ Southern Workman. Beginning with the figure of Anansi, the African trickster, master of improvisation—a spider who plots and weaves in scandalous ways—The Annotated African American Folktales then goes on to draw Caribbean and Creole tales into the orbit of the folkloric canon. It retrieves stories not seen since the Harlem Renaissance and brings back archival tales of “Negro folklore” that Booker T. Washington proclaimed had emanated from a “grapevine” that existed even before the American Revolution, stories brought over by slaves who had survived the Middle Passage. Furthermore, Gates and Tatar’s volume not only defines a new canon but reveals how these folktales were hijacked and misappropriated in previous incarnations, egregiously by Joel Chandler Harris, a Southern newspaperman, as well as by Walt Disney, who cannibalized and capitalized on Harris’s volumes by creating cartoon characters drawn from this African American lore. Presenting these tales with illuminating annotations and hundreds of revelatory illustrations, The Annotated African American Folktales reminds us that stories not only move, entertain, and instruct but, more fundamentally, inspire and keep hope alive. The Annotated African American Folktales includes: Introductory essays, nearly 150 African American stories, and 20 seminal African tales as historical background The familiar Brer Rabbit classics, as well as news-making vernacular tales from the 1890s’ Southern Workman An entire section of Caribbean and Latin American folktales that finally become incorporated into the canon Approximately 200 full-color, museum-quality images

Rather than applying a rigid theory or surveying a variety of approaches, Analyzing Discourse provides a methodology that has been refined over years of use. As an introduction to discourse analysis for linguistic field workers, it is practical, addressing issues commonly confronted by field linguists. The material follows a functional and cognitive approach that seems to be a good approximation of how discourse is actually produced and understood. Since the aim of the manual is introductory rather than comprehensive, most chapters are relatively short, and the whole can be covered in fifteen classroom hours. References are provided for further reading on the topics discussed. The manual can be used individually or in group sessions, such as in a formal course or a linguistic seminar. In a group setting, concepts can be illustrated by examining texts beyond those provided in the manual. This revision corrects the errata of the classic first edition, which remains a solid presentation of the basic concepts for analyzing discourse.

The trickster character is prominent in the cultural, particularly narrative, traditions of many different peoples throughout the world. Comic and serious, stupid and clever, benevolent and evil, winner and loser, the trickster is a study in contradictions. The trickster cannot be pigeonholed, for he does not fit into any neat categories or definitions. This study, first published in 1994, aims to give the reader the opportunity to experience in some small measure the dynamic and exciting dramatic oral narrative performances of the Ewe people of West Africa.