Instructions

Bedienungsanleitungen

 

TEXT ON SEARCH PAGE:

How To Search the Catalog (Overview):

 

The folk ballads, narrative folksongs, are indexed here by their narrative Themes — stock ideas in the songs' plots. For instance, different ballad actions like "stabbing in the back," "abandoning," or "squealing on someone" all express the idea of "Betrayal," Theme 245a.  (More example here.)

 

🔍   To find a certain ballad or ballads  find "Who did What:"

o   The "who" are the "Roles" played (Lover, Family, Victim, etc.).

o   The "what" are the "Themes" of their actions (Courted, Helped, Betrayed, Returned, etc.).

🔍   Use the narrative Themes and Roles which you select from the drop-down menus on this search page. (They are organized hierarchically).

🔍   Choose as many Themes and Roles as you want, in any combination or sequence. (See examples.) No one Theme or Role excludes any other.

🔍   More tips on searching the Catalog with the menus.

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🔍       Use the drop-down menus:

oSelect by clicking on the square toggle box in front of the Theme.

oReveal more information by clicking on the on the question mark (on mouse over) behind each Theme or Role.

oExclude a criterion from the search by clicking on the X following the question mark.

oThe number of Results yielded in your search can be followed "live" as you add or remove search criteria.

oBoth your search strategies and the list of results can be saved for later.

oBy clicking on "Saved Searches" you can retrieve previous searches to review or modify as you please.

🔍       Access a found ballad, click on the links in the list of found ballads, to take you to the full description and example of that song type.

🔍       Use the Advanced Search to search directly and with more precise control for Themes, Roles, ballad titles or catalog numbers, or their call numbers at the German Folksong Archive.  You can freely combine selected pull-down menu items with entries from the Advanced Search.

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🔍   Learn more by consulting the:

Detailed Instructions (see below)

Introduction to the Catalog.

Complete Thesaurus of Themes and Roles which includes important explanations, clarifications and distinctions concerning the various Themes and Roles.

Alphabetic Directory to the Themes and Roles (which includes the subcategories of Narrative Units and Aspects).  If you are not finding a Theme which works for you, look here.

 

 

·/*  If the above is on the Search page, there should be no need to repeat it in the detailed Instructions    */

 

 

🎵🎵🎵🎵

Detailed Instructions for Use

 

 

 

 

 

 

 

 

 

🎵Basic searches and general considerations

• What's going on?  What kinds of actions - not in too much detail - occur in the ballad you are looking for.  What do these actions "mean," what plot ideas do they contain?  Are the lovers vowing to be true to each other?  Are the husband and wife trying to out-trick each other?  Are relatives refusing their starving cousins bread, causing their own loaf to turn into stone? 
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• The Roles and Themes are slightly abstracted ideas which ballad actions embody. The "Lovers" are making vows and perhaps exchanging rings (Theme 125: Promises and Vows). The Spouses are tricking each other (Theme 440: Tricks, Deceptions, Ploys, Ruses, Entrapments, Lies).  The hard-hearted "Victimizers'" refusal of bread (Theme 152: Helping Hand: material aid) is a repugnant sin (Theme 245: Mores and Morals violated) which results in the bread's turning to stone  (Theme 960: Retribution [Punishment, Revenge, Pay-Back]).  (More on Themes below.)
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• Some actions can express more than one Theme, e.g. a Theme 650 "Killing" can be a "Murder" (therefore also Theme 245.a "moral abomination"), a "Retribution" (960), or even part of a "Rescue" (151: Help, Assistance).
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• The Themes are abstract in order to not get lost in details which often enough vary within a single ballad type from one variant to another.  The "Lovers" may vow with rings, signs,  or tokens, or even a single token broken in half (Theme 125: Promises).  The "Spouses" may lie, cheat or hide (Theme 440).  The hard-hearted "Family" member could be a sister, step mother, a cousin, or even a brother: in any case violating "Kinship Responsibilities" (Theme 220a).
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• In similar fashion, the Roles of the dramatis personae, the actors, are determined by how they act, as reflected in the range of hard-hearted relatives above.  Like the Themes, the Roles are slightly abstracted to express a range of textual or minor plot variation.  The Lover can be a maid, a wife or a queen, can be a cowboy, a shepherd, a noble or a pope.  And the potential "Lover" might also say "no," refusing to take on those role expectations. (More on Roles below.)
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• When considering a song, choose whatever Themes and Roles seem appropriate from the drop-down menus on the search page.  Any Theme can combine with any other Theme, and one can apply as many Themes as one wants.  No single Role precludes any other Role.  And theoretically any Theme can be performed by any of the Roles: Family can help or punish; Lovers can love and murder; outlaws can be Victimizers or themselves Victims.
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• The plot's expression of a particular theme can vary according to its context within the ballad narrative and according to what kind of Role is involved.  For instance, stealing off in the middle of the night operates differently if it is a "Lover" escaping her "Family" — or a soldier ("Occupational Role") deserting his post.  In both cases the Theme "630: Escapes, Desertions, Flight" is expressed. Likewise the "Captures and Claimings" of Theme 850 will look quite different if "she," a "Lover," is fetched by her beau ("Lover") — or if "she (" a "Wrongdoer") is fetched by the devil, or perhaps a "Victimizer" or a "Supernatural" figure.  And of course Theme "110: Courtship" will be expressed by different ballad action if she accepts the suitor (110.b) — or refuses him (110.a).
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• Return to Top or Search.
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Advanced Instructions

·       🎵The Thesaurus <id="Thesaurus1"><id="Themes1">

• The Themes are presented as a Thesaurus organizing the broad terms of a limited, controlled vocabulary.  The major categories are the "headings" of the drop-down menus, so that under the heading "JUSTICE - RIGHT AND REVENGE (900)" you will find the Themes of
• 910: Accusations
• 950: Trial
• 960: Retribution and Revenge
• all relating to "Justice."
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• The classification is hierarchial, so that under the heading "OFFERS, REQUESTS, DEMANDS (100)" you will find suchThemes as:
• Courtship & Seduction
• Promises & Vows
• 151: Helping Hand: Actions
• 170: Deals, Wagers, Bargains, Contracts, Indemnity, Plans
• 180: Hiring, Enlisting, Workers and Bosses
• Each of these, being governed by the heading, refers to things offered or asked for: The first meeting of the lovers; the freely offered (or demanded) promise of love or help or military support, etc;  the offering (or being offered) support or assistance; the presenting of a deal or bargain; hiring or pressing into service.  These actions may occur among actors who may or may not know each other
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• Conversely, the heading "OBLIGATIONS, COMMITMENTS, EXPECTATIONS (200)" deals with what is expected in on-going relationships, for instance:
• 210: Romantic Responsibilities
• 220: Kinship Responsibilities
• 245: Mores and Morals — Loyalty and Betrayal
• 270: Deals, Wagers, Bargains, Contracts, Pacts
• 280: Employment, Occupational Responsibilities
• Are the lovers true (210)?  Are the parents abusive ("Rabeneltern") (220)?.  Do the actors act with common decency and empathy, or are they godless, grasping and traitorous (245)?  Do they keep their word or break their agreements (270)? As far as the ballad is concerned, are they "good" workers (280)?
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• The Themes and the Roles <id="Roles1">are not hierarchical amongst themselves on the "heading" level.  "Offers" are not more important than "Commitments," "Lovers" not more important than "Family".  Within the Roles it is important to remember than relationships need not be mutual.  If "he" woos "her" the ballad is classified (tagged) with a "Lover" Role, in any case, even if "she" turns him down.  Lindenschmied (or Robin Hood) is an outlaw who robs and "Victimizes" the citizenry, but also the ballad sees him as a "Victim" himself when they hang both Lindenschmied and his son.
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• The numerical designations of the Themes are essentially random labels, the gaps, etc., being occasioned by adjustments to the system during extensive testing.  That said, the hundreds' series (100, 200,...) do indicate hierarchial valence under which heading a Theme is classified, e.g.,  everything between 600 and 699 has to do with "Death and Disaster."  However, under a specific heading, one Theme or Narrative Unit is not higher in the hierarchy than another: "620: Accidents, Strokes of Fate, Natural Disasters" does not encompass "650: Killing, Murder, Manslaughter."
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• In the thesaurus' numbering the Theme is often accompanied, as a decimal extension, by Narrative Unit subcategories and Aspects, positive or negative:

THEME

. EXTENSION

 

245	.1
Themes	. Narrative Unit
Loyalty and Betrayal	. heinous trespasses and crimes

 

245	. a
Themes	. Aspects
Loyalty and Betrayal	. violated, betrayed

• This becomes important when using the "Advanced Search" (see below).
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• Often a Theme can be repeated: presented negatively at first and then again positively later on.  Non-Recognition (810a) can be followed by Recognition (810b) as in the return of the "false" true lover.  Often one "650: Killing" as a murder (245a) will be followed by another "650 Killing" as a "960: Retribution."  In such cases the ballad will be found under all three Themes - or a combination thereof. (Cf. Aspects, below).
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• Using a single search criterion will often yield too many results.  By combining Themes one can be increasingly precise in one's search.  Themes combined with Roles are most effective, for it matters who does something. The Roles do not have to be mutual.  His flirtations as a "Lover" do not necessarily imply that the apparent "maid" will act act as a "Lover."  If she turns out to be his daughter ("Family"), the story takes a whole new direction.  And the king who orders the execution of his daughter can act at once in the Role of an "Institution" and as "Family."
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• Some things are "spelled."  The best example is "Killing," which is often debatable, in the ballads as well as real life.  In the "murdered girl" ballads, for instance, often he kills her as a heinous crime and is later killed in retribution, either by the authorities or her brother, etc.  Thus a "650: Killing" is first (also) a "245a Heinous, Immoral Act" and later a "960: Retribution or Punishment." The concept "divine justice" can be "spelled" as "810: Oracles" of "960: Punishment," while "false accusations" are spelled with "440: Tricks and Deceptions" plus "910: Accusations." These associations occur naturally, arising from the various stories sung; the ballads can be found under all the various Themes.
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• The ballad classification is built upon the level of the Themes, broad abstracted ideas represented by ballad actions.  But many casual users will look for more concrete ballad actions — instead of the more abstract Theme "910: Accusations, Denunciations, Deliveries" the song texts deal with the more detailed: admonitions from the hereafter, confessions, reproaches, blood stains, telling on someone, pointing one's finger.  While the latter imply the Theme, that is not necessarily intuitive for many users.  The solution has been to include this less abstracted information in the form of examples and subcategories to the Themes — the Narrative Units.
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o   🎵Narrative Units: <id="NUs1">

• "Lower level" recurring situations are narrower terms labelled "Narrative Units," recurring elements in many songs, often exchangeable amongst variants of an individual ballad type but expressing similar broad Themes.  For example, the Theme "810: Discoveries, (Non-)Recognitions, Tests" is exemplified by standard plot situations, the Narrative Units:
• 810: Discoveries, (Non-)Recognitions, Tests

§  810.1: gratuitous discoveries

§  810.2: questions and tests of identity, character, suitability, or loyalty; 

§  810.4: belated or unwelcome discoveries

§  810.5: through use of token, mark, sign, ring, etc.

§  810.6: overhearing by chance

§  810.7: interrogation, official investigations and questionining often in conjunction with 910: Accusations, sometimes with 550:2: Torture. Search or seizure of evidence.  Depositions.

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• 810 is the Theme and the level of classification searchable by pull-down.  The Narrative Units (810.1-.7) are typical examples of the Theme, and as such are useful to note in the data base and serve as a sort of connecting bridge between raw ballad narrative and the ideas embodied in the Themes. The Narrative Units are not exhaustive exemplars of a Theme.  For instance, Theme : Complaints contains Narrative Unit complaints about being married, etc., but not about starving to death, although obviously that is something one could complain about. In that case the classification would be "590: Complaint" [about] "580.5: Disability: starvation."  The Narrative Units help exemplify and communicate the ideas embraced in the Themes and can guide the researcher to those useful.  The Narrative Units are searchable using the "Advanced Search" button (see below).
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·       🎵 Aspects: <id="Aspects1">

• Aspects are attributes which modify how a Theme or Narrative Unit presents: positively or negatively.  Many Themes can work in several ways, and thus have Aspects to aid in pinpointing the Theme to select.
• 210: Romantic or Marital Responsibilities
• 210.a: Romantic or Marital Responsibilities (failed, violated)  — e.g., adultery
• 210.b: Romantic or Marital Responsibilities (fulfilled, complied with) — e.g., faithfulness, loving support
• 220: Kinship Responsibilities
• 220.a: Kinship (failed, violated) — e.g., thankless son or daughter
• 220.b: Kinship (fulfilled, complied with) — e.g., adoptive parents raising a child caringly
• 245: Mores and Morals — Loyalty and Betrayal:
• 245.a: Mores and Morals (failed, violated) —  e.g. heinous trespasses, betrayal
• 245.b: Mores and Morals (fulfilled, complied with) — e.g. honor kept, good friendship, loyalty
• 270: Deals, Wagers, Bargains, Contracts, Pacts
• 270.a: (failed, violated)  — e.g., agreements broken
• 270.b: (fulfilled, complied with) — e.g. deals kept.
• 280: Employment, Occupational Responsibilities
• 280.a: Occupational Responsibilities (failed, violated) — e.g., abusive orders, strikes, firings
• 280.b: Occupational Responsibilities (fulfilled, complied with) – e.g., good service, remuneration
• 151: Helping Hand: Actions
• 151.a: Helping Hand: Actions (refused, not accepted, denied, unsuccessful)— e.g., help refused, intercession denied, failed jail break
• 151.b: Helping Hand: Actions (granted, accepted, offered spontaneously, successful)— e.g., intercession successful
• 151.c: Helping Hand: Actions (ransom, extortion, blackmail, purchased) — e.g., help only upon condition of payment or service,
• 810: Discoveries, (Non-)Recognitions, Tests
• 810.a: Discoveries, (Non-)Recognitions, Tests (Non-Recognition, Non-Discovery, False Perception) — e.g., misperceiving someone or something, upon interrogation or test failing to recognize someone.
• 810.b: Discoveries, (Non-)Recognitions, Tests (Discovery, Recognition) — e.g., discovering who someone is, what they really did, telling what happened.
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• The numerical designations of the Themes are essentially random labels, the gaps, etc., being occasioned by adjustments to the system during extensive testing.  That said, the hundreds' series (100, 200,...) do indicate hierarchial valence under which heading a Theme is classified, e.g.,  everything between 600 and 699 has to do with "Death and Disaster."  However, under a specific heading, one Theme or Narrative Unit is not higher in the hierarchy than another: "620: Accidents, Strokes of Fate, Natural Disasters" does not encompass "650: Killing, Murder, Manslaughter."
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• In the thesaurus' numbering the Theme is often accompanied, as a decimal extension, by Narrative Unit subcategories and Aspects, positive or negative:

THEME

. EXTENSION

 

245	.1
Themes	. Narrative Unit
Loyalty and Betrayal	. heinous trespasses and crimes

 

245	. a
Themes	. Aspects
Loyalty and Betrayal	. violated, betrayed

• This becomes important when using the "Advanced Search" (see below).
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·       🎵Metaphorical Narratives:<id="Metaphorics1">

• The final drop-down menu concerns Metaphorical Narratives (Theme 001-004), for those ballads whose literal plot is only one half of a double entendre.  The "Tinker" who repairs all the cook's and household servants' pots, one after another, is actually more about sexual prowess than occuptional proficiency.  Love and Erotic Metaphors (001) are the most common, followed perhaps by Political Metaphors (003) - both for obvious reasons as well as artistic inventiveness.  These Themes are essentially redundant since the ballads are classified both by their literal plots and their metaphorical ones.
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·       🎵An Alphabetical Directory <id="Directory1">

• will help find things which may not seem intuitive to a particular user or which are not explictly listed in the drop-down menus.  There it is possible to look up alphabetically "murder" or "false accusations" or other things which may not seem intuitive to a particular user.  Teh Directory covers all the Themes, Narrative Units, Aspects, and much of the examples and explanations.  Inspecting the notes included in the Complete Thesaurus will provide many insights into the system, its distinctions, limitations, and capabilities.
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·       🎵Advanced Search:<id="Advanced1">

·       The Advanced Search below the pull-down menus provides what is essentially a full text search of portions of the data base: Titles, short descriptions, catalog identifying numbers, Theme numbers.  It is very useful for finding certain subcategories (Aspects or Narrative Units), e.g. 110a: "Courtship rejected" or 810.4: "Belated discoveries."  Being a full text search, Advanced Search is not useful for finding Role identifications: Any search for "F" or "I" will retrieve hundreds of hits in the texts.  Roles can be found with the pull-down menus.  Advanced search does not search the actual ballad descriptions in the Catalog, the Thesaurus, nor the alphabetic Directory (each of which is searchable within its own page). 
Advanced searches are full-text except for the search by ballad identification number.  The search criteria "AND" and "OR" are implied; the "OR" is inclusive, not exclusive. Terms are separated by a space; punctuation is treated as letters.   All letters are reduced to lower case for searching. 

·       "Find full or partial words" will return a search of {Raub Ritter} as {Raub}, {Ritter} and {Raubritter}. The same search as "Find full words only" would return only {Raub} and{Ritter} but not {Raubritter}.  A search for the equivalent {robber baron} would return nothing since the data base is in German only. A search for "exact phrase" as usual returns only matches for the entire phrase enclosed in the quotation marks, e.g. a search for "Seeräuber Störtebecker" will return nothing, although {Seeräuber} and {Störtebecker} are both in the data bank, just not in one phrase together. "Exclude" has the same effect as the X button in the pull-down menus ("do not use this"), except you could here exclude an entire phrase.

·       A search can combine one or many criteria selected from the pull-down menus with anything entered in the Advanced Search boxes.

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·       Search for Ballad Number refers to the identifying number in this catalog.  The first number (01 - 12) refers to the headings within the Freiburg arrangement.   (cf. the Freiburg System for a systematic map of that organizational scheme).  Because of the system of arrangement, the id-numbers are often long. 

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·       🎵Results 1: Refining your search:<id="Advanced1"> 

• As soon as you select or enter a search criterion there appears below the number of "hits," so that you can immediately see how effective your search has been.  You have the opportunity to create a .pdf file containing the search criteria and the list of found ballads.  This .pdf can be printed or saved to your computer with your computer software.  You might have to adjust the number of "hits" per page to print the entire list of results.  The search query can be saved temporarily online and repeated or modified later as long as you do not leave the Balladenkatalog.org site.  The box "New Search" will clear the previous set of search criteria. 
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·       🎵 Results 2: Reading the Results:  <id="Results2">

• Each find in the results list displays:
• the ballad title and a link to the full description.
• a one-sentence general summary of the ballad's plot in order to identify it more precisely and impart a fuller sense of whether this ballad is of interest to the researcher.
• the Themes used to classify the ballad (mouse-over displays the Theme designation)
• the Roles identified (mouse-over displays the Role designation)
• the call-"number" of the DVA folder containing the ballad type's variants and information relating to it.  (More information here).
• the identification number of the ballad type in this catalog.  (More information here).
• the version being described, since ballad types often have regular variations in plot. .  (More information here).
• Be silent about "Register" and about Search Rank - except maybe to say "higher is better".  They are currently commented out: suche.php line 402 & line 462.
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·       🎵Results 3: Understanding the full ballad entry:  <id="Results3">

• Refer to the Introduction for the informing principles behind the structure of the catalog and of the individual entries. 

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• The header
  top right names the catalog identification number in this catalog.  That number will either be a roman numeral (e.g. I or IV) or a corresponding arabic equivalent (e.g. 01 or 04) followed by a decimal subdivistion (e.g. I.4 or 01.4 or 04.4) and then followed by a running number within that category, either in parentheses (e.g. I.4 (1) or if arabic a dash and the running number (e.g. 01.4-01).  The file name of this example is 01.4-04.pdf.  The roman numerals are being replaced by arabic throughout.
• Nr.      
  The number of the ballad type in my dissertation.  This is a no longer relevant relic.
• [Title]
  The standardized title used in this catalog, it reflects the usual title employed by scholars and publishers.
• [Phrase title]  
  a single sentence summarizing the plot contents of the ballad type, intended to give the user a quick idea of its content generally and indicate whether this is probably the ballad sought.
  
  
• DVA Signatur:
  The principal file number in the Deutsches Volksliedarchiv under which one can find the most central information about the song type.
• Titel    
  The titles, in selection, under which the ballad appears in collections and publications. Variations are often given as parentheses and alternatives separated with a virgule /.
• Anfänge         
  Varying incipits recorded in song reports.  The DVA's several card catalogs are organized by incipit. While the variations given here summarize what incipits we were actually able to use to access this ballad type, it is possible that the combinations here might yield a putative incipit which was not found in tradition.  But it would nevertheless be useful in searching catalogs.
• [NOTE ON THE DVA]: Because the Deutsches VolksliedArchiv (now a division of the ZMPK) possesses the overwhelming percentage of reports of (or about) any German song, and is accessed in several divisions by means of incipits, providing this array of possible incipits is much more likely to help the individual researcher find the material than an artificial selection of "genuine" incipits.  Anyone serious about finding out "everything" about a ballad should consult the DVA.  Europeans in general tend to think of songs by their first lines, incipits, while North Americans tend to think of titles.  Both incipits and titles will also aid anyone, however, in locating reports or articles on a particular ballads in the DVA or elsewhere.
  
  
• Inhalt
              The plot summary is told in language somewhat reminiscent of that used in the ballad, so that if you know the song you can "hear it in the background."  The plot is summarized in "paragraphs", i.e. narrative sections chracterized by a shift in the action or "new scene" in the plot. e.g. from "misdeed" to "capture" to "punishment;" or perhaps from the "village well" to the "bedroom."  Variations and alternates are noted by parentheses and virguls.  Cohesive groups of similar variations are noted as "versions". 
• Belegübersicht
              is a sparse overview of the strength of the tradition.  It includes the date of the first documented report of the ballad (not purportedly and vaguely "ancient" or "medieval" references but a reliable report or a datable variant recovered, e.g., from a chapbook printed in 1534).  Then the number of reports of folk performances we could ascertain, and the number of those which had melody (shown with a *).  If there were versions, their relative strength is given in percent; while not particularly exact, such do give a rough idea as to the strength of various currents in that song's tradition.  Then follows a list of the song landscapes which were documented in the DVA; presence in chapbooks and broadsides is noted, as is presence in popular song books (which documents more about the influence upon the tradition than reporting from live tradition).  Finally, some international parallels are cited, as are some rough parallels from prose traditions.
• Kommentar    Comments flow from the material, often calling attention to things which attracted our attention while working up the song folder: relative modernity of the reports of "ancient heathen" songs, or close associations between certain variants and certain song landscapes, or sometimes social implications of the song texts.  There is little contextual commentary because there are hardly any extant reports of a singing context.
• Veröffentlichungen    The publications are basically self-explanatory.  Abbreviations refer to the Bibliography, other citations are given in full.  Astericks indicate melody, two asterisks indicate acoustic documentation (here mostly LP disks, either academic or commercial).
• the Auswhal aus den Gebrauchsliederbüchern (= "Selections from Popular Song Books") are exactly that: selections.  Once a song gets taken up into the commercial song books it changes very little in text or melody, and just because a song is published does not mean it was "truly" or even "commercially" "popular."  But a large number song books containing that song do suggest that.  We have not counted such in our "Belegübersicht" count.  But here in the bibliographic "Veröffentlichungen" we give a sampling.  It does give us clues about a song's singers if it often appears in "socialist" songbooks, or for "women", for "soldiers", or in the "Boy Scouts' Songbook."  Again, given the incipits, the researcher is directed to the DVA for further investigation, made hopefully easier by this catalog.
• Themen          The Themes (TU = "Thematic Units") and the Roles (DP = dramatis personae) that were used in the ballad classification are listed here.  If there are various "versions" of the plot, then the Themes and the Roles are listed for each.  With this design, it is possible to see how different versions of a specific ballad type are similar and where they differ.  Even though the text may be largely similar, the plot versions might differ significantly.  Take for instance the Ulinger cycle: in one version the brother can rescue her from the murderer-seducer, in others with similar text he arrives too late to save her.
• Beispiel           The example is chosen according to a loose hierarchy: preference was given to 1) variants which represent the main current of the ballad's textual tradition, 2) variants which have a melody, 3) variants which have some contextual data associated, 4) variants which have not been published previously.
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·       🎵Results 3: Where the full-text entries are located and how they are organized  <id="Results4">

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• To learn more about searching this catalog and the search criteria refer to the
• Introduction
• The Overview list of Themes and Roles
• Complete thesaurus of Themes and Roles ordered by the categories of Themes presented on the search page; includes explanations, clarifications and distinctions amongst various Themes.
• Alphabetic Directory to the Themes and Roles including subcategories: If you are not finding a Theme which works for you, look here.
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Return to Top or Search.

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• Put the GREEN STUFF together,
• define and unify the level of the outline headers and members
• How much can be put into "wing" pages
• Shorten the URL refs ( <a href="https:/en/search.php">) - I think...
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• —————————————————
• To learn more about searching this catalog and the search criteria refer to the
• Introduction
• Detailed instructions
• The Overview list of Themes and Roles
• Complete thesaurus of Themes and Roles ordered by the categories of Themes presented on the search page; includes explanations, clarifications and distinctions amongst various Themes.
• Alphabetic Directory to the Themes and Roles including subcategories: If you are not finding a Theme which works for you, look here.
•