Pub Date : 2020-07-10DOI: 10.2979/jfolkrese.57.2.04
F. Chen
Abstract:This article offers translations of three Cinderella tales (ATU 510A) that were collected among minority ethnic groups in the mountainous region of northern Yunnan, a province in southwest China. It integrates social, cultural, historical, and geographical information with comparative perspectives to help contextualize these tales and demonstrate connections with other Cinderella tales told in China and beyond.
{"title":"Three Cinderella Tales from the Mountains of Southwest China","authors":"F. Chen","doi":"10.2979/jfolkrese.57.2.04","DOIUrl":"https://doi.org/10.2979/jfolkrese.57.2.04","url":null,"abstract":"Abstract:This article offers translations of three Cinderella tales (ATU 510A) that were collected among minority ethnic groups in the mountainous region of northern Yunnan, a province in southwest China. It integrates social, cultural, historical, and geographical information with comparative perspectives to help contextualize these tales and demonstrate connections with other Cinderella tales told in China and beyond.","PeriodicalId":44620,"journal":{"name":"JOURNAL OF FOLKLORE RESEARCH","volume":"25 10","pages":"119 - 152"},"PeriodicalIF":0.4,"publicationDate":"2020-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41247375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-10DOI: 10.2979/jfolkrese.57.2.03
Charles L. Briggs
Abstract:This article attempts to fundamentally reorient research on "folklore and the media." After reviewing a number of ways this topic has been addressed, this article reconceptualizes what has been framed as the relationship between folklore and the media through notions of traditionalization and mediatization. Doing so suggests how folkloristics and media studies have moved in parallel ways in questioning com-monsense definitions of core disciplinary concepts and in examining how folkloric and mediatized subjects and objects are produced. Two examples scrutinize these processes from opposite directions: A reexamination of the Kinder-und Hausmärchen analyzes the Brothers Grimm's methods not in terms of their ability to mirror features of oral narratives but as creating authoritative practices for mediatizing tradition. The second examines how public health officials, medical researchers, epidemiologists, journalists, and laypersons collaborated in producing the "swine flu pandemic" narrative in just twenty-four hours in 2009. While the Grimms made traditionalization and mediatization seem to go together hand-in-glove, the H1N1 virus was mediatized as new, even as the narrative was traditionalized. The conclusion points to the productivity of rejecting reified notions of folklore and "the media" in favor of examining particular ways that traditionalization and mediatization intersect, both as analytic tools and as real-world processes.
摘要：本文试图从根本上重新定位对“民俗学与媒体”的研究。在回顾了许多处理这一主题的方法后，本文通过传统化和中介化的概念重新定义了民俗学和媒体之间的关系。这样做表明，民俗学和媒体研究在质疑核心学科概念的荒谬定义以及研究民俗和中介化的主体和对象是如何产生的方面，是如何并行发展的。有两个例子从相反的方向审视了这些过程：重新审视Kinder und Hausmärchen，分析格林兄弟的方法，不是因为他们能够反映口头叙事的特征，而是因为他们创造了调解传统的权威实践。第二部分考察了公共卫生官员、医学研究人员、流行病学家、记者和非专业人士是如何在2009年短短24小时内合作制作“猪流感大流行”叙事的。虽然格林夫妇使传统化和媒介化似乎是齐头并进的，但H1N1病毒被媒介化为新的，即使叙事是传统化的。结论指出，拒绝民间传说和“媒体”的具体概念，而倾向于研究传统化和中介化交叉的特定方式，无论是作为分析工具还是作为现实世界的过程，这是一种生产力。
{"title":"Moving beyond \"the Media\": Critical Intersections between Traditionalization and Mediatization","authors":"Charles L. Briggs","doi":"10.2979/jfolkrese.57.2.03","DOIUrl":"https://doi.org/10.2979/jfolkrese.57.2.03","url":null,"abstract":"Abstract:This article attempts to fundamentally reorient research on \"folklore and the media.\" After reviewing a number of ways this topic has been addressed, this article reconceptualizes what has been framed as the relationship between folklore and the media through notions of traditionalization and mediatization. Doing so suggests how folkloristics and media studies have moved in parallel ways in questioning com-monsense definitions of core disciplinary concepts and in examining how folkloric and mediatized subjects and objects are produced. Two examples scrutinize these processes from opposite directions: A reexamination of the Kinder-und Hausmärchen analyzes the Brothers Grimm's methods not in terms of their ability to mirror features of oral narratives but as creating authoritative practices for mediatizing tradition. The second examines how public health officials, medical researchers, epidemiologists, journalists, and laypersons collaborated in producing the \"swine flu pandemic\" narrative in just twenty-four hours in 2009. While the Grimms made traditionalization and mediatization seem to go together hand-in-glove, the H1N1 virus was mediatized as new, even as the narrative was traditionalized. The conclusion points to the productivity of rejecting reified notions of folklore and \"the media\" in favor of examining particular ways that traditionalization and mediatization intersect, both as analytic tools and as real-world processes.","PeriodicalId":44620,"journal":{"name":"JOURNAL OF FOLKLORE RESEARCH","volume":"57 1","pages":"117 - 81"},"PeriodicalIF":0.4,"publicationDate":"2020-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43453239","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-10DOI: 10.2979/jfolkrese.57.2.01
Tom Mould
Abstract:The stories about public assistance that dominate the mass media and the oral tradition of non-aid recipients in the United States paint a particularly negative view of the welfare system and its recipients. Current explanations for these negative views remain incomplete, for the most part ignoring the narratives that both reflect and create these views. General characteristics of narrative performance coupled with specific situational contexts, performance contexts, and stereotypes related to welfare, have contributed to this skewed perspective. Analysis of the oral vernacular tradition further suggests that welfare stories are ideologically predisposed to favor negative views, not least of which because of the dominance of eyewitness accounts that require narrators to establish a binary of us vs. them and fill in narrative gaps with cultural stereotypes and assumptions. An antidote to this ideological bias can be found in the same narrative tradition by shifting from reliance on legends and purported eyewitness accounts to the stories told by aid recipients and providers and sharing them strategically with the help of current research in folklore, communications, and psychology. By attending to narratives that reflect lived experience, advocacy does not require a departure from the data, but rather a reinvestment in it.
{"title":"Welfare, Politics, and Folklore: Overcoming the Narrative Bias Against Public Assistance in the U.S.","authors":"Tom Mould","doi":"10.2979/jfolkrese.57.2.01","DOIUrl":"https://doi.org/10.2979/jfolkrese.57.2.01","url":null,"abstract":"Abstract:The stories about public assistance that dominate the mass media and the oral tradition of non-aid recipients in the United States paint a particularly negative view of the welfare system and its recipients. Current explanations for these negative views remain incomplete, for the most part ignoring the narratives that both reflect and create these views. General characteristics of narrative performance coupled with specific situational contexts, performance contexts, and stereotypes related to welfare, have contributed to this skewed perspective. Analysis of the oral vernacular tradition further suggests that welfare stories are ideologically predisposed to favor negative views, not least of which because of the dominance of eyewitness accounts that require narrators to establish a binary of us vs. them and fill in narrative gaps with cultural stereotypes and assumptions. An antidote to this ideological bias can be found in the same narrative tradition by shifting from reliance on legends and purported eyewitness accounts to the stories told by aid recipients and providers and sharing them strategically with the help of current research in folklore, communications, and psychology. By attending to narratives that reflect lived experience, advocacy does not require a departure from the data, but rather a reinvestment in it.","PeriodicalId":44620,"journal":{"name":"JOURNAL OF FOLKLORE RESEARCH","volume":"57 1","pages":"1 - 39"},"PeriodicalIF":0.4,"publicationDate":"2020-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45673599","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-13DOI: 10.2979/jfolkrese.57.1.01
Liora Sarfati, Bora Chung
Abstract:Material expressions of emotion and ideology transformed downtown Seoul from 2014–2019 into an extended commemorative monument dedicated to those who died in the tragic sinking of the ferry Sewŏl on April 16, 2014. This unfortunate event stimulated diverse personal and political responses, in large part because there were 250 high school students on a fieldtrip among the 304 casualties. Analyzing the new shapes that the Sewŏl memorials have introduced into the urban landscape reveals the ways in which the city has maintained its fast flow of life while at the same time allowing city dwellers to poetically express grief, anger, and hope. The aggregated practices of various people with diverse agendas amounted to unique artistic, architectural, and emotion-soliciting structures that are delineated in this essay as landscapes of mass cooperation. These landscapes were crafted by thousands of individuals without a firm aesthetic or content related scheme, and they changed as emotions shifted from hope for survivors to grief over the immense death toll and rage toward those responsible for it.
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Pub Date : 2020-03-13DOI: 10.2979/jfolkrese.57.1.04
J. B. Jackson, J. Müske, Lijun Zhang
Abstract:Since the 1990s, folklorists have become more deliberate in their use of the concept of heritage, with the term now standing at the center of our theoretical and policy debates. Heritage is both a phenomenon in the world that folklorists think about and a concept that we think with. In this article we build on classic and recent work, presenting an ideal type model of heritage that locates it within the flow of time and in relationship to other modes of culture—particularly innovation and normative culture or, in a somewhat different framework, habitus. The heuristic offered emphasizes the different degrees of metacultural salience characteristic of a cultural form in a particular social, cultural, and historical context and aims to supplement critical perspectives that are particularly focused on formal heritage policies.Abstract:Seit den 1990er Jahren wird das Konzept Kulturerbe in den volkskundlichen Kulturwissenschaften zuneh-mend reflektiert. Der Begriff ist zentral für heutige Theorie- und Policy-Debatten im Fach: Kulturerbe ist sowohl ein Phänomen über das als auch ein Konzept mit dem KulturwissenschaftlerInnen nachdenken. In diesem Artikel entwerfen wir, aufbauend auf klassischen und aktuellen Studien, ein idealtypisches Modell von Kulturerbe, welches Kulturerbe zeitlich und in Relation zu anderen kulturalen Modi anordnet—insbesondere zu Innovation und kulturellen Normen (in anderer theoretischer Lesart auch Habitus). Die vorgeschlagene Heuristik betont den metakulturellen Charakter einer kulturellen Form und die unterschiedlichen Grade der Bewusstheit in einem bestimmten sozialen, kulturellen und historischen Kontext und möchte kritische Perspektiven auf Kulturerbe-Politiken ergänzen.Abstract:自20世纪90年代以来，民俗学者对遗产概念的使用变得更具思考性，现在这一术语已经成为我们理论和政策辩论的焦点。遗产即是民俗学者思考的全球现象，也是我们用于思考的一个概念。本文以经典研究和近期成果为基础，提出一个遗产的理想型模型。该模型把遗产置于时间之流中和与其他文化模式的关系之中，特别是与创新和惯常文化的关系之中，惯常文化在某种不同的框架里也被称为惯习。本文的启发性在于强调在特定社会、文化和历史语境中文化形式的元文化程度是不同的，本文也意在补充那些侧重于官方遗产政策的批判性观点。
{"title":"Innovation, Habitus, and Heritage: Modeling the Careers of Cultural Forms Through Time","authors":"J. B. Jackson, J. Müske, Lijun Zhang","doi":"10.2979/jfolkrese.57.1.04","DOIUrl":"https://doi.org/10.2979/jfolkrese.57.1.04","url":null,"abstract":"Abstract:Since the 1990s, folklorists have become more deliberate in their use of the concept of heritage, with the term now standing at the center of our theoretical and policy debates. Heritage is both a phenomenon in the world that folklorists think about and a concept that we think with. In this article we build on classic and recent work, presenting an ideal type model of heritage that locates it within the flow of time and in relationship to other modes of culture—particularly innovation and normative culture or, in a somewhat different framework, habitus. The heuristic offered emphasizes the different degrees of metacultural salience characteristic of a cultural form in a particular social, cultural, and historical context and aims to supplement critical perspectives that are particularly focused on formal heritage policies.Abstract:Seit den 1990er Jahren wird das Konzept Kulturerbe in den volkskundlichen Kulturwissenschaften zuneh-mend reflektiert. Der Begriff ist zentral für heutige Theorie- und Policy-Debatten im Fach: Kulturerbe ist sowohl ein Phänomen über das als auch ein Konzept mit dem KulturwissenschaftlerInnen nachdenken. In diesem Artikel entwerfen wir, aufbauend auf klassischen und aktuellen Studien, ein idealtypisches Modell von Kulturerbe, welches Kulturerbe zeitlich und in Relation zu anderen kulturalen Modi anordnet—insbesondere zu Innovation und kulturellen Normen (in anderer theoretischer Lesart auch Habitus). Die vorgeschlagene Heuristik betont den metakulturellen Charakter einer kulturellen Form und die unterschiedlichen Grade der Bewusstheit in einem bestimmten sozialen, kulturellen und historischen Kontext und möchte kritische Perspektiven auf Kulturerbe-Politiken ergänzen.Abstract:自20世纪90年代以来，民俗学者对遗产概念的使用变得更具思考性，现在这一术语已经成为我们理论和政策辩论的焦点。遗产即是民俗学者思考的全球现象，也是我们用于思考的一个概念。本文以经典研究和近期成果为基础，提出一个遗产的理想型模型。该模型把遗产置于时间之流中和与其他文化模式的关系之中，特别是与创新和惯常文化的关系之中，惯常文化在某种不同的框架里也被称为惯习。本文的启发性在于强调在特定社会、文化和历史语境中文化形式的元文化程度是不同的，本文也意在补充那些侧重于官方遗产政策的批判性观点。","PeriodicalId":44620,"journal":{"name":"JOURNAL OF FOLKLORE RESEARCH","volume":"57 1","pages":"111 - 136"},"PeriodicalIF":0.4,"publicationDate":"2020-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46456322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-13DOI: 10.2979/jfolkrese.57.1.03
Martha Ndakalako-Bannikov
ABSTRACT:In 2015 Namibia celebrated its first state wedding as then Namibian President-elect Hage Geingob married Monica Kalondo (now Geingos). While the wedding was Eurowestern in many aspects, it also included many “traditional” elements of the Owambo people. In particular, Geingos’s wedding dress alluded to the contested traditional dress of the Owambo—the oshikutu sheenhulo. This paper explores the ideological and political significance of both dresses in a nationalist context in contemporary Namibia. More specifically, I elucidate the controversy surrounding the oshikutu sheenulo in order to speak to the symbolic implications of First Lady Geingos’s wedding dress. This article demonstrates how the first lady’s dress—in its melding of the traditional and the modern, the ethnic and the national—speaks to the cultural and political tensions inherent in the articulation and performance of national identity in contemporary Namibia. Furthermore, I argue that both the oshikutu sheenhulo and the first lady’s dress evince a distinct Owambo and Namibian visual aesthetic, and that both dresses are examples of Namibian modernity, as they function within the context of national representation and nation building.
{"title":"Changing Dresses: Owambo Traditional Dress and Discourses on Tradition, Ethnicity, and National Identity in Namibia","authors":"Martha Ndakalako-Bannikov","doi":"10.2979/jfolkrese.57.1.03","DOIUrl":"https://doi.org/10.2979/jfolkrese.57.1.03","url":null,"abstract":"ABSTRACT:In 2015 Namibia celebrated its first state wedding as then Namibian President-elect Hage Geingob married Monica Kalondo (now Geingos). While the wedding was Eurowestern in many aspects, it also included many “traditional” elements of the Owambo people. In particular, Geingos’s wedding dress alluded to the contested traditional dress of the Owambo—the oshikutu sheenhulo. This paper explores the ideological and political significance of both dresses in a nationalist context in contemporary Namibia. More specifically, I elucidate the controversy surrounding the oshikutu sheenulo in order to speak to the symbolic implications of First Lady Geingos’s wedding dress. This article demonstrates how the first lady’s dress—in its melding of the traditional and the modern, the ethnic and the national—speaks to the cultural and political tensions inherent in the articulation and performance of national identity in contemporary Namibia. Furthermore, I argue that both the oshikutu sheenhulo and the first lady’s dress evince a distinct Owambo and Namibian visual aesthetic, and that both dresses are examples of Namibian modernity, as they function within the context of national representation and nation building.","PeriodicalId":44620,"journal":{"name":"JOURNAL OF FOLKLORE RESEARCH","volume":"57 1","pages":"109 - 73"},"PeriodicalIF":0.4,"publicationDate":"2020-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41790088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-13DOI: 10.2979/jfolkrese.57.1.02
Michael A. Young
ABSTRACT:Although sound recording technologies have been central to the genesis and popularization of music revival movements, rarely have these technologies been treated as objects of analysis in their own right. In this article, I consider three recent albums released by Polish traditional music revivalists and examine how audio-engineering practices create and perpetuate socially constructed notions of authenticity based in real or sonically produced connections to the rural past. Each album illustrates a different strategy of sonically suggesting and reproducing the music’s traditional authenticity by 1) adding ambient environmental sounds, 2) creating mechanical audio distortions, and 3) incorporating archival recordings of past performers. These sound-engineering practices buck long-established aesthetic standards of high-fidelity sound in order to perpetuate revivalists’ definition of authenticity as based on a real or perceived connection to pre-1950s, rural Poland. As a case study, Polish revivalist albums confirm the spatial and temporal basis of authenticity discourse in revivalist ideology and illustrate the ideology’s flexibility in adapting to changing audio technologies. Furthermore, I suggest that sound-engineering practices can help revivalist movements’ transition from a salvage mode of activism that preserves endangered musics to a living, dynamic mode that embraces change as a central element of traditions’ social continuity and future viability.
{"title":"Hi-Fi Heritage: Recording Technology, Audio Engineering, and the Mediation of Authenticity in the Polish Revival of Traditional Music","authors":"Michael A. Young","doi":"10.2979/jfolkrese.57.1.02","DOIUrl":"https://doi.org/10.2979/jfolkrese.57.1.02","url":null,"abstract":"ABSTRACT:Although sound recording technologies have been central to the genesis and popularization of music revival movements, rarely have these technologies been treated as objects of analysis in their own right. In this article, I consider three recent albums released by Polish traditional music revivalists and examine how audio-engineering practices create and perpetuate socially constructed notions of authenticity based in real or sonically produced connections to the rural past. Each album illustrates a different strategy of sonically suggesting and reproducing the music’s traditional authenticity by 1) adding ambient environmental sounds, 2) creating mechanical audio distortions, and 3) incorporating archival recordings of past performers. These sound-engineering practices buck long-established aesthetic standards of high-fidelity sound in order to perpetuate revivalists’ definition of authenticity as based on a real or perceived connection to pre-1950s, rural Poland. As a case study, Polish revivalist albums confirm the spatial and temporal basis of authenticity discourse in revivalist ideology and illustrate the ideology’s flexibility in adapting to changing audio technologies. Furthermore, I suggest that sound-engineering practices can help revivalist movements’ transition from a salvage mode of activism that preserves endangered musics to a living, dynamic mode that embraces change as a central element of traditions’ social continuity and future viability.","PeriodicalId":44620,"journal":{"name":"JOURNAL OF FOLKLORE RESEARCH","volume":"57 1","pages":"33 - 71"},"PeriodicalIF":0.4,"publicationDate":"2020-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45867931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-14DOI: 10.2979/jfolkrese.56.2_3.07
K. Barker, Daniel J. Povinelli
{"title":"Conclusion: Old Ideas and the Science of Animal Folklore","authors":"K. Barker, Daniel J. Povinelli","doi":"10.2979/jfolkrese.56.2_3.07","DOIUrl":"https://doi.org/10.2979/jfolkrese.56.2_3.07","url":null,"abstract":"","PeriodicalId":44620,"journal":{"name":"JOURNAL OF FOLKLORE RESEARCH","volume":"56 1","pages":"113 - 123"},"PeriodicalIF":0.4,"publicationDate":"2019-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48357221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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