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One Grand Noise最新文献

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One Grand Noise 一个大噪音
Pub Date : 2021-07-29 DOI: 10.2307/j.ctv1wvndb8
J. McGregory
Having historicized the pertinent multi-sites and their initial Boxing Day connections, this chapter theorizes them as soundscapes, a trope that signified sheer noise, disorder, and wantonness to their oppressors. Within the frame of cultural imperialism, the Western hegemon meant for its erasure; but as a strategic act, those already dispossessed exploited this bias into a subversive remedy. In the maintenance of their own aesthetic judgment, this understanding emboldened and conferred on the enslaved another means of cultural resistance. With the present addition of earsplitting waves of soca music issuing from the gigantic speakers on flatbed trucks create a hi-fi environment, soundscapes rife with postmodern one grand noise.
在将相关的多地点及其最初的节礼日联系历史化之后,本章将它们理论化为音景,这一比喻对压迫者来说意味着纯粹的噪音、混乱和肆意。在文化帝国主义的框架内,西方霸权意味着抹去它;但作为一种战略行为,那些已经被剥夺财产的人利用这种偏见,把它变成了一种颠覆性的补救措施。在维护他们自己的审美判断的过程中,这种理解鼓励并赋予了被奴役者另一种文化抵抗手段。加上平板卡车上巨大的扬声器发出的震耳欲聋的soca音乐波,创造了一个高保真的环境,音景充斥着后现代的大噪音。
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引用次数: 0
Junkanoo/Jankunú
Pub Date : 2021-07-29 DOI: 10.2307/j.ctv1wvndb8.6
J. McGregory
The festal art forms of The Bahamas and Belize have procured a confluence of variegated spellings. This chapter charts the Bahamian Junkanoo tradition’s autonomous rise from the early “grotesque” masqueraders’ appearances on Christmas Day in cheap materials such as crocus sacks and banana leaves to its present-day morphing into a “breathtaking art” for Boxing Day. In Belize, its Jankunú principally unfolds in Dangriga, the home and the cultural center of the Garifuna (or Garinagu) people. Christmas Day boasts its wanáragua processions with Boxing Day traditionally preserved for Charikanari with more spontaneous appearances embracing a festive art form dependent on crossdressing males.
巴哈马和伯利兹的节日艺术形式汇集了各种拼写。本章描绘了巴哈马Junkanoo传统的自发崛起,从早期的“怪诞”假面舞者在圣诞节用藏红花袋和香蕉叶等廉价材料出现,到今天演变成节礼日的“令人惊叹的艺术”。在伯利兹,它的Jankunú主要在Dangriga展开,这是Garifuna(或Garinagu)人的家和文化中心。圣诞节有wanáragua游行队伍,节礼日传统上是为Charikanari保留的,更多的是自发的出现,拥抱节日艺术形式,依赖于变装的男性。
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引用次数: 0
Foreday Morning Foreday早上
Pub Date : 2021-07-29 DOI: 10.2307/j.ctv1wvndb8.10
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引用次数: 0
“Military Drums Remain”: “军鼓依旧”:
Pub Date : 2021-07-29 DOI: 10.2307/j.ctv1wvndb8.5
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引用次数: 0
J’ouvert J’ouvert
Pub Date : 2021-07-29 DOI: 10.2307/j.ctv1wvndb8.7
J. McGregory
Chapter 4 situates J’ouvert (pronounced joo-vay) with Carnival in Trinidad. In that country, J’ouvert inaugurates the Lenten season as Carnival, a rite of spring. St. Kitts and St. Croix have their own long-standing masquerade and Christmas holiday traditions although celebrants now appropriate much of the festival culture of their island neighbor, including the celebratory name for their Boxing Day–related Carnival, J’ouvert. Located in the eastern Caribbean, these island chains may offer the most interesting and paradoxical cultural and historical connections. For instance, St. Croix is one of the US Virgin Islands; and while not unusual for Caribbean islands, over the centuries, six nations have ruled it. In addition, locals identify St. Kitts as Ground Zero because, initially named St. Christopher by Christopher Columbus, it bears the weight of the site from which chattel slavery spread. On both Lesser Antilles isles, Boxing Day morning’s J’ouvert personifies Caribbean transcultural globalization.
第四章把J 'ouvert(发音为joo-vay)和特立尼达的狂欢节放在一起。在那个国家,J 'ouvert将四旬斋开始为狂欢节,一种春天的仪式。圣基茨和圣克罗伊岛有自己悠久的化装舞会和圣诞节日传统,尽管庆祝活动现在借鉴了他们岛屿邻居的节日文化,包括节礼日相关狂欢节的庆祝名称J 'ouvert。这些岛屿位于加勒比海东部,可能提供最有趣和矛盾的文化和历史联系。例如,圣克罗伊是美属维尔京群岛之一;虽然对加勒比海岛屿来说并不罕见,但几个世纪以来,有六个国家统治过它。此外,当地人认为圣基茨是世贸遗址,因为它最初被克里斯托弗·哥伦布命名为圣克里斯托弗,它承载了奴隶制传播的地点的重量。在小安的列斯群岛上,节礼日早晨的J 'ouvert是加勒比海跨文化全球化的化身。
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引用次数: 0
INTRODUCTION: 作品简介:
Pub Date : 2021-07-29 DOI: 10.2307/j.ctv1wvndb8.3
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引用次数: 0
From “Back o’ Town” 选自《Back o ' Town》
Pub Date : 2021-07-29 DOI: 10.2307/j.ctv1wvndb8.11
J. McGregory
The creolized expression, “back o’ town,” pinpoints the locales customarily allocated to the workforce, generally within proximity of the rich landowners and merchants. Highlighting temporality, as well, chapter seven reveals unresolved political tensions, centering Boxing Day as the vehicle for transgressive release. The parade and procession routes speak multivocally about the symbolic reclamation of seats of power. As a theater of the street, movement from “back o’ town” through the center of commerce functions as a reenactment of persistence and resistance along with a sense of triumph over relentless obstruction. Each Boxing Day site offers its own particularized temporal and spatial dynamic. While not exactly waging political or class warfare, the masses contest colonial discourse by strategically creating time and space for a subaltern group of people to challenge the hegemony through the exercise of antithetical power.
“back o ' town”这种克里奥尔化的表达,指的是通常分配给劳动力的地方,通常是在富裕的地主和商人附近。第七章也强调了时间性,揭示了未解决的政治紧张局势,以节礼日为中心,作为释放违法行为的工具。游行和游行路线以多种方式表达了对权力席位的象征性回收。作为街头的剧场,从“back o ' town”穿过商业中心的运动再现了坚持和抵抗,以及对无情阻碍的胜利感。每个节礼日网站都有自己独特的时间和空间动态。虽然没有进行政治或阶级斗争,但群众通过战略性地为下层人民群体创造时间和空间,通过行使对立的权力来挑战霸权,从而争夺殖民话语。
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引用次数: 0
ACKNOWLEDGMENTS 致谢
Pub Date : 2021-07-29 DOI: 10.2307/j.ctv1wvndb8.13
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引用次数: 0
CONCLUSION: 结论:
Pub Date : 2021-07-29 DOI: 10.2307/j.ctv1wvndb8.12
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引用次数: 0
Back Matter 回到问题
Pub Date : 2021-07-29 DOI: 10.2307/j.ctv1wvndb8.16
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引用次数: 0
期刊
One Grand Noise
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