Welcome to The Motif Index of Vampires in Folklore, Literature, and Film (The Index).
The brief introduction below defines the concept of the folkloric motif, the purpose of motif indexes, and how The Index differs from others such as Stith Thompson’s Motif-Index of Folk-Literature (1966). The introduction also discusses the structure of The Index and its sources.
Motif Indexes
In folklore, motifs are recurring elements or themes found in the lore of any particular folk group. Folklorists compile and categorize motifs with the goal of discovering patterns within and across cultures. Folklorists have created motif indexes in such areas as folk music and art, but most focus on folk literature. The most extensive and prestigious motif index in folklore is Thompson’s Motif-Index of Folk-Literature (1966), which extensively classifies the story elements of folk tales from different cultures, allowing cross-cultural comparisons.
A motif index is more than a list of recurring elements. It has the same hierarchical organization as a well-crafted topical outline, each more general heading logically subsuming all the headings under it. For example, the Roman numerals on a topical outline correspond to the most general motif categories, which subsume all motif categories under it. In turn, motif categories on the next level down—designated with a capital letter--subsume each level below it.
Because the Motif-Index of Folk-Literature is so influential and contains “Vampire” as one of its categories, a comparison of that work with The Index is warranted. Thompson’s index strictly covers folk literature, which includes the genres of folktale, myth, local legend, mediaeval romance, exempla, saints’ legends, jestbooks, novella, fabliaux, and fables. Of all those genres, references to vampires occur only in two: folktales and local legends. Unfortunately, very few folktales have vampires in them. Consequently, a valid motif index must include other sources that reveal beliefs in vampires such as travelogues, (Tournefort, 1717; Gerard 1885), governmental documents (Flückinger, 1732), court transcripts (Dubrovnik Criminal Court Transcript, 1737), and research reports by folklorists and other investigators (for example, Afanas’ev, 1869; Blum & Blum, 1970; Lawson, 1910; Murgoci, 1926; Perkowski, 1972; Trigg, 1973; Vukanović, 1957-1960).
Another crucial difference between the Motif-Index of Folk-Literature and The Index is the range of cultures represented in the works. Thompson’s work includes tales from many folk groups from many different geographical regions whereas the folklore in The Index is exclusively from Eastern Europe, which includes the countries in the Balkan Peninsula: Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Greece, Kosovo, Macedonia, Montenegro, Romania, Serbia, and Slovenia. Eastern European countries not located in the Balkan Peninsula include Belarus, the Czech Republic, Estonia, Hungary, Latvia, Lithuania, Moldova, Poland, western Russia, and the Ukraine. Most of the peoples who inhabit this region speak Slavic languages and are of Slavic descent, but not all, including the Albanians, Greeks, Hungarians, and Romanians. The Index focuses on Eastern Europe because even though other cultures have vampires or vampire-like creatures, the phenomenon is best documented among Eastern Europeans.
A third difference between the two works is that whereas the Motif-Index of Folk-Literature focuses strictly on folk literature, The Index examines vampire motifs across the genres of folklore, literature and film, and in the case of literature across two centuries. The structure of The Index enables readers to see the origin of popular vampire motifs and to examine motifs from folklore that never were adapted into literature or film.
The Structure of the Index
The Index has six general motif categories: becoming a vampire, physical characteristics, behavioral characteristics, limitations of vampires and apotropaics, powers of vampires, and eliminating vampires.
Subsumed under the six broad motif categories of the Index are 237 specific motifs organized in rows. The different genres—folklore , 19th century literature, modern literature, and film—appear in four columns, so that readers just scan across the page to see where the motifs originated. Each specific motif is supported by evidence from at least two different sources, but most are supported by many more. The more sources are cited for a motif the more prevalent it is.
The Index provides the exact page number of each folkloric and literary source where each motif is found. At times pages numbers appear more than once, which is not an error. It shows that the motif occurs more than once on the same page.
Some of the motifs will seem to contradict each other. For example, one motif prohibits people from touching vampire blood because whoever does will become a vampire (Krauss, 1892). In an apparent contraction, consuming vampire blood or its ashes is an apotropaic measure to ward off future vampire attacks (Murgoci, 1926; Perkowski, 1972).
The Sources
Folklore
The motif index currently contains 46 sources from folklore. The folkloric sources for The Index contain both emic and etic data.
Emic Data
Emic data consists of narratives and statements by those who are indigenous to that culture. Emic data consists not only of narratives that reveal beliefs and behaviors, but also interpretive statements by members of a culture about why they hold those beliefs and behaviors. For emic data to be valid, researchers must record exactly what informants utter. Many social scientists regard emic data as more valuable than etic data, and fortunately, quite a bit of emic data exists about the vampire, including folktales, local legends, memorates and belief statements.
Etic Data
In contrast to emic data, etic data is from the viewpoint of someone who is not an indigenous member of the culture being observed; consequently, etic data is almost always interpretive. Etic data complements emic data because members of a culture probably cannot interpret their behavior objectively. Etic data on the vampire is found in field reports by anthropologists, folklorists psychologists and others It is also found in governmental reports journals, travelogues, and even in newspaper articles.
Field reports are a rich source of data on the vampire in Eastern Europe even though they contain few quotes from the indigenous population. Frequently, the researchers live among the indigenous population, becoming intimately familiar with the culture (Blum & Blum, 1970; Trigg, 1973; Vukanović, 1957-1960).
Governmental reports are also a rich source of data, especially those written in the 18th century when some countries gained control of Slavic territory due to war and conquest as when the Austro-Hungarian Empire gained control of portions of Serbia after the ratification of the Treaty of Passarowitz in 1718. The strength of these reports is that they can contain first-hand accounts of crisis rites, which are sanctioned attempts to remove crisis phenomena such as disease or unexplained deaths. Communities perform the rites in cases of extreme fear and anxiety in an effort to restore the normal order. In Visum et Repetum (1732), Flückinger reports witnessing the disinterment of suspected vampires and their decapitation and cremation.
Journals and travelogues have also documented the occurrence of crisis rites. M. Pitton de Tournefort (1717) witnessed one on Mykonos and documented what he saw. Some residents disinterred a suspected vampire, cut out its heart, filled the mouth with holy water, and finally cremated it. Newspaper articles have also reported similar crisis rites (The Serbian Literary Herald, Belgrade, 1923; see Cajkanović, 1923).
19th Century Literature
The Index currently contains 20 works of 19th century literature, all of which are prose works even though quite a few poems have been written about vampires (see a list in Bunson, 1993: 209). Also, excluded are prose works dealing with clinical and psychic vampires. An example of a story with a clinical vampire is, “Good Lady Ducayne” (1896) in which an elderly woman instructs her doctor to transfuse blood from young women to herself in a futile attempt to restore her youth. Another story frequently mentioned as having a vampire is “The Parasite” (1894), but this is clearly a case of psychic vampirism, in which the main female character can mesmerize the male narrator. Another story frequently mentioned as having a vampire is “What Was It” (1859), which contains an invisible creature that the narrator easily binds and eventually starves to death; given that the story has a questionable vampire, it is also excluded.
Modern Literature and Film
Even though thousands of modern literary works and films feature vampires, The Index currently contains 55 sources in modern literature and 66 in film. For modern literature, I tried to choose a work from every decade from the 1910s through the 2010s; I also tried to select works that had received some literary acclaim.
I essentially followed the same procedure for films, including works from every decade from the 1920s through the 2010s, and again, I tried to select films that had received acclaim or were highly representative of the genre. As was true for 19th century literature, I excluded works involving psychic vampires and clinical vampires from both modern literature and film.
Any errors in The Index are my responsibility, and I welcome comments, corrections, or suggestions for revision. I can be reached at the following email address: rcarlisle@csub.edu
References:
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