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Fakelore or pseudo-folklore is inauthentic, manufactured folklore presented as if it were genuinely traditional. Over the last several decades the term has generally fallen out of favor in the academic study of folklore because it places an unnecessary emphasis on origin (instead of ongoing practice) to determine authenticity. The term can refer to new stories or songs made up, or to folklore that is reworked and modified for modern tastes. The element of misrepresentation is central; artists who draw on traditional stories in their work are not producing fakelore unless they claim that their creations are real folklore. The term ''fakelore'' was coined in 1950 by American folklorist Richard M. Dorson.〔 Dorson's examples included the fictional cowboy Pecos Bill, who was presented as a folk hero of the American West but was actually invented by the writer Edward S. O'Reilly in 1923. Dorson also regarded Paul Bunyan as fakelore. Although Bunyan originated as a character in traditional tales told by loggers in the Great Lakes region of North America, James Stevens, an ad writer working for the Red River Lumber Company, invented many of the stories about him that are known today. According to Dorson, advertisers and popularizers turned Bunyan into a "pseudo folk hero of twentieth-century mass culture" who bore little resemblance to the original.〔Dorson (1977), 214–226.〕 ''Folklorismus'', Anglicized to folklorism, also refers to the invention or adaptation of folklore. Unlike fakelore, however, folklorism is not necessarily misleading; it includes any use of a tradition outside the cultural context in which it was created. The term was first used in the early 1960s by German scholars, who were primarily interested in the use of folklore by the tourism industry. However, professional art based on folklore, TV commercials with fairy tale characters, and even academic studies of folklore are all forms of folklorism. ==Controversy== The term ''fakelore'' is often used by those who seek to expose or debunk it, including Dorson himself, who spoke of a "battle against fakelore". Dorson complained that popularizers had sentimentalized folklore, stereotyping the people who created it as quaint and whimsical〔 – whereas the real thing was often "repetitive, clumsy, meaningless and obscene". He contrasted the genuine Paul Bunyan tales, which had been so full of technical logging terms that outsiders would find parts of them difficult to understand, with the commercialized versions, which sounded more like children's books. The original Paul Bunyan had been shrewd and sometimes ignoble; one story told how he cheated his men out of their pay. Mass culture provided a sanitized Bunyan with a "spirit of gargantuan whimsy () reflects no actual mood of lumberjacks".〔 Daniel G. Hoffman said that Bunyan, a folk hero, had been turned into a mouthpiece for capitalists: "This is an example of the way in which a traditional symbol has been used to manipulate the minds of people who had nothing to do with its creation." Others have argued that professionally created art and folklore are constantly influencing each other, and that this mutual influence should be studied rather than condemned.〔 According to Newall, 133, the German folklorist Hermann Bausinger expressed a similar view.〕 For example, Jon Olson, a professor of anthropology, reported that while growing up he heard Paul Bunyan stories that had originated as lumber company advertising.〔Olson, 235.〕 Dorson had seen the effect of print sources on orally transmitted Paul Bunyan stories as a form of cross-contamination that "hopelessly muddied the lore".〔 For Olson, however, "the point is that I personally was exposed to Paul Bunyan in the genre of a living oral tradition, not of lumberjacks (of which there are precious few remaining), but of the present people of the area."〔 What was fakelore had become folklore again. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Fakelore」の詳細全文を読む スポンサード リンク
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