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Folklore beyond the Human: Toward a Trans-Special Understanding of Culture, Communication, and Aesthetics 超越人类的民俗:对文化、传播与美学的跨专业理解
IF 0.4 3区 社会学 0 FOLKLORE Pub Date : 2018-06-20 DOI: 10.2979/JFOLKRESE.55.2.04
Tok Thompson
Abstract:This article argues for broadening the purview of folklore as a discipline to include nonhuman agents as well and suggests that aesthetics could be productively used as a touchstone with which to begin to connect the discipline of folklore to other studies, particularly ethology, through the theoretical framework of posthumanism.
摘要:本文主张扩大民俗学作为一门学科的范围,将非人类主体也包括在内,并建议美学可以作为一块试金石,通过后人文主义的理论框架,开始将民俗学学科与其他研究,特别是行为学联系起来。
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引用次数: 5
Beyond the Rainbow Bridge: Vernacular Ontologies of Animal Afterlives 彩虹桥之外:动物后世白话本体论
IF 0.4 3区 社会学 0 FOLKLORE Pub Date : 2018-06-20 DOI: 10.2979/JFOLKRESE.55.2.03
Sabina Magliocco
Abstract:To what extent do modern Westerners imagine animals as spiritual beings? How do they view animals' interiority compared with their own? In this article, I explore vernacular ontologies about animals that exist alongside dominant Western notions. In these narratives, animals are portrayed as having interiority similar to that of humans, living on after death in spiritual form, and interacting with humans as messengers from spiritual realms. My findings, based on a large mixed-methods study and ethnographic data, demonstrate that across religious traditions, people create vernacular ontologies that contradict official religious and scientific teachings, but are at least partly based on interpretations of empirical experiences. I hypothesize that as personhood is increasingly extended to companion animals, people are more likely to imagine afterlives for all animals that parallel their beliefs about human afterlives. Moreover, people are more likely to deviate from scientific and religious tenets when they have personal experiences of a spiritual nature involving animals.
摘要:现代西方人在多大程度上将动物想象为精神存在?与他们自己相比,他们如何看待动物的内在?在这篇文章中,我探索了与西方主流观念并存的关于动物的白话本体论。在这些叙述中,动物被描绘成具有与人类相似的内在,在死后以精神形式存在,并作为精神领域的信使与人类互动。基于一项大型混合方法研究和人种学数据,我的发现表明,在不同的宗教传统中,人们创造了与官方宗教和科学教义相矛盾的本地本体论,但至少部分是基于对经验经验的解释。我推测,随着人格越来越多地延伸到伴侣动物身上,人们更有可能想象所有动物的来生,与他们对人类来生的信念相平行。此外,当人们有涉及动物的精神本质的个人经历时,他们更有可能偏离科学和宗教信条。
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引用次数: 5
Collecting Flowers, Defining a Genre: Zhang Yaxiong and the Anthology of Hua'er Folksongs 采花定流派——张亚雄与花儿民歌选集
IF 0.4 3区 社会学 0 FOLKLORE Pub Date : 2018-03-16 DOI: 10.2979/JFOLKRESE.55.1.05
Sue Tuohy
Abstract:In the early twentieth century, Zhang Yaxiong, a reporter from northwest China, began research on songs from his native region, and in 1940, published the first nationally-circulated anthology of hua'er songs. His work was central to promoting the idea of hua'er as a genre of folksong, as a multiethnic and regional tradition, and as a valuable part of a broader Chinese artistic tradition. It contributed to the establishment of the field of hua'er studies and to today's public celebration of hua'er songs. Zhang's promotion of hua'er, and hua'er studies' later promotion of Zhang, have mutually and multiply intersected through ongoing discourse and practice over the last seven decades. This case illustrates the central role played by collector-editors and their anthologies in the construction of traditions and in the dissemination of values. Viewing collector-editors and anthologies as participants in long-term creative communicative processes, this article emphasizes the communal and intertextual nature of both. It argues they are constructed through social interactions within particular contexts as they draw from resources of the past while negotiating the needs of the present. They, in turn, produce materials and ways of knowing and doing to be used by those after them.
摘要:20世纪初,西北记者张亚雄开始对家乡的歌曲进行研究,并于1940年出版了第一本全国流传的花儿选集。他的作品是促进花儿作为一种民歌流派、一种多民族和地区传统以及作为更广泛的中国艺术传统的宝贵组成部分的思想的核心。它为花儿研究领域的建立和今天花儿歌的公开庆典做出了贡献。张对花儿的提倡,与后来花儿学对张的提倡,在近七十年的话语和实践中,是相互交叉的。这一案例说明了收藏编辑及其选集在传统建构和价值传播中发挥的核心作用。本文将收藏编辑和选集视为长期创造性交流过程的参与者,强调两者的公共性和互文性。它认为,它们是通过特定背景下的社会互动构建的,因为它们在协商当前需求时从过去的资源中汲取。反过来,他们产生了材料和知道和做的方式,供他们之后的人使用。
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引用次数: 1
Chinese Singing Contests as Sites of Negotiation Among Individuals and Traditions 中国歌唱比赛是个体与传统的谈判场所
IF 0.4 3区 社会学 0 FOLKLORE Pub Date : 2018-03-16 DOI: 10.2979/JFOLKRESE.55.1.03
L. Gibbs
Abstract:This article explores the function of Chinese singing competitions as "mechanisms of traditionalization" where singers, judges, and other individuals interact with and reconfigure performance traditions. Focusing on case studies of professional folksingers from northern China who became famous after appearing on national singing competitions, I argue that participating in contests not only raises the status of individual performers, but also repositions songs, singing styles, and regions within particular performance traditions and the national mediascape as a whole. In addition, narratives of participation and success in contests sometimes connect singer-contestants to other more established singers in mutually beneficial ways. I urge us to view competitions in a singer's career as a series of liminal spaces—rather than as simple contests between individual artists—where the singer and other individuals negotiate choices between continuity and change in representing performance traditions.
摘要:本文探讨了中国歌唱比赛作为“传统化机制”的功能,歌手、评委和其他个人在其中与表演传统互动并重新配置表演传统。通过对北方专业民间歌手参加全国歌唱比赛后成名的个案研究,我认为参加比赛不仅提高了表演者个人的地位,而且在特定的表演传统和整个国家媒体景观中重新定位了歌曲、演唱风格和地域。此外,关于参赛和比赛成功的叙述有时会以互利的方式将歌手参赛者与其他知名歌手联系起来。我敦促我们将歌手职业生涯中的比赛视为一系列的极限空间,而不是单个艺术家之间的简单比赛,在这里,歌手和其他人在代表表演传统的连续性和变化之间进行选择。
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引用次数: 2
Dynamic Inheritance: Representative Works and the Authoring of Tradition in Chinese Dance 动态传承:中国舞蹈的代表作品与传统创作
IF 0.4 3区 社会学 0 FOLKLORE Pub Date : 2018-03-16 DOI: 10.2979/JFOLKRESE.55.1.04
Emily E. Wilcox
Abstract:This article examines the creative process through which particular dance techniques and aesthetic styles originally derived from folk forms are transformed and integrated into the conservatory dance tradition in the People's Republic of China. I propose the term "dynamic inheritance" to describe this officially prescribed sequence of activities, which was first formalized during the period of early socialist culture (1937–1965) and continues to be the dominant creative method followed by state-sponsored Chinese dance artists today. The most common phrase used to describe this process is "to inherit and develop" (jicheng yu fazhan). It suggests that individual artists act as agents or stewards in the handing down of tradition, by following a process whose success is measured not by how strictly existing forms are preserved, but, rather, by how well they are made to speak to and be appreciated by contemporary audiences. In this process, the "representative work" (daibiaozuo) becomes the crucial medium through which artists carry out this process of dynamic inheritance and authorship of tradition.
摘要:本文考察了源自民间舞蹈形式的特殊舞蹈技巧和审美风格在中华人民共和国音乐学院舞蹈传统中转化和融合的创作过程。我建议用“动态继承”这个词来描述这种官方规定的活动顺序,它在早期社会主义文化时期(1937-1965)首次正式形成,并继续成为今天国家资助的中国舞蹈艺术家所遵循的主要创作方法。描述这一过程最常用的短语是“继承和发展”。它表明,艺术家个体在传承传统的过程中扮演着代理人或管家的角色,通过遵循一个过程,这个过程的成功不是通过对现有形式的严格保存来衡量的,而是通过他们如何与当代观众交谈并被当代观众欣赏来衡量的。在这一过程中,“代表性作品”成为艺术家对传统进行动态继承和创作的重要媒介。
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引用次数: 7
Grasping Intangible Heritage and Reimagining Inner Mongolia: Folk-Artist Albums and a New Logic for Musical Representation in China 把握非物质遗产重塑内蒙古:民间艺人专辑与中国音乐再现的新逻辑
IF 0.4 3区 社会学 0 FOLKLORE Pub Date : 2018-03-16 DOI: 10.2979/JFOLKRESE.55.1.02
C. D’Evelyn
Abstract:This article considers the role of recorded music albums in mediating the position of the individual folk musician in Inner Mongolia, China, in the context of increased scholarly efforts throughout the past decade to collect dying oral traditions and catalog regional cultural diversity in Inner Mongolia. This discussion focuses on the scholarly impetus behind the CD series "Inner Mongolia Ethnic Music Classics—Great Masters Series," which seeks to transform the Intangible Cultural Heritage of oral repertoires into a tangible CD format that can be transmitted to future generations. Highlighting one album of collected recordings featuring the long-song singer Badma, I examine how Badma's designation as a cultural transmitter from Alasha, Inner Mongolia offers a case study of the changing politics of recognition in Inner Mongolia and China over the past decade and a half.
摘要:在过去十年中,学术界不断努力收集内蒙古垂死的口头传统和编目内蒙古地区文化多样性,在此背景下,本文考虑了录制音乐专辑在调解中国内蒙古民间音乐家个人地位方面的作用。本次讨论的重点是“内蒙古民族音乐经典-大师系列”CD系列背后的学术动力,该系列旨在将口头曲目的非物质文化遗产转化为可传播给子孙后代的有形CD格式。我以一张收录长歌歌手巴德玛(Badma)录音的专辑为重点,考察了巴德玛作为内蒙古阿拉沙文化传播者的身份,如何为过去15年来内蒙古和中国不断变化的政治认同提供了一个案例研究。
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引用次数: 3
Faces of Tradition in Chinese Performing Arts 中国表演艺术中的传统面孔
IF 0.4 3区 社会学 0 FOLKLORE Pub Date : 2018-03-16 DOI: 10.2979/JFOLKRESE.55.1.01
L. Gibbs
Abstract:The following introduces a special issue of the Journal of Folklore Research (55–1) examining the roles played by individuals in the development of traditional Chinese performing arts and how "faces of tradition" have come to represent and reconfigure broader fields of cultural production. The authors look at the performance, scholarship, and teaching of instrumental music, folksong, and classical dance, focusing on ways in which CD albums, singing competitions, representative works, and textual anthologies come to serve as discursive spaces where individuals engage with and redefine larger traditions and themselves. Here I, the issue's guest editor, introduce concerns about representation and individual agency as they relate to studies of the mutual relationship between individuals and traditions—a topic that has (re)emerged in recent years among the disciplines of ethnomusicology, folklore studies, and dance ethnology. By focusing on specific mechanisms through which multiple individuals have made their marks, the articles in this special issue point to tangible ways in which individuals and traditions interact.
摘要:本文将介绍《民俗研究杂志》(55-1)的一期特刊,探讨个人在中国传统表演艺术的发展中所扮演的角色,以及“传统面孔”如何代表和重新配置更广泛的文化生产领域。作者着眼于器乐、民歌和古典舞蹈的表演、学术和教学,重点关注CD专辑、歌唱比赛、代表性作品和文本选集如何成为个人参与和重新定义更大的传统和他们自己的话语空间。在这里,我,这期杂志的客座编辑,介绍了与个人与传统之间相互关系研究有关的代表性和个人能动性的问题,这是近年来在民族音乐学、民俗学研究和舞蹈民族学等学科中(重新)出现的一个话题。本期特刊的文章通过关注多个个体形成印记的具体机制,指出了个体与传统相互作用的具体方式。
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引用次数: 0
The Book 这本书
IF 0.4 3区 社会学 0 FOLKLORE Pub Date : 2017-10-12 DOI: 10.7312/evan94034-003
Kelly J Fitzgerald
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引用次数: 0
“This Isn’t Underground; This Is Highlands”: Mayan-Language Hip Hop, Cultural Resilience, and Youth Education in Guatemala “这不是地下;“这是高地”:危地马拉的玛雅语嘻哈、文化韧性和青年教育
IF 0.4 3区 社会学 0 FOLKLORE Pub Date : 2017-10-12 DOI: 10.2979/JFOLKRESE.54.3.02
Elizabeth R. Bell
Abstract: The Maya hip hop scene that is currently growing around Lake Atitlán, Guatemala seeks to educate Maya youth about their culture by way of lyrics in Mayan languages as well as references to historical Maya texts such as the Popol Wuj and the Chilam Balam. This musical genre combines ancestral local knowledge, accessed by way of pre-Colombian texts and sacred fire ceremonies, with popular music in a manner that attracts Maya youth who may otherwise receive little formal education about their own Maya culture. Through the use of storytelling in hip hop, these songs construe meaning through a combination of the text and their context, empowering Maya youth to reflect upon and critically consider their social, economic, and cultural milieu. By adapting an international music form to a local context, a characteristic endemic to hip hop across the globe, Maya hip hop produced by MC Tz’utu Kan and the group Balam Ajpu is an indicator of a cultural resilience that subverts traditional power structures and offers otherwise disenfranchised youth an opportunity to exercise agency.
摘要:目前在危地马拉阿提特兰湖周围兴起的玛雅嘻哈音乐试图通过玛雅语言的歌词以及对玛雅历史文本的引用,如Popol Wuj和Chilam Balam,来教育玛雅青年了解他们的文化。这种音乐类型结合了祖先的当地知识,通过前哥伦比亚文本和圣火仪式获得,以及流行音乐,吸引了玛雅青年,否则他们可能很少接受关于自己玛雅文化的正式教育。通过在嘻哈中使用讲故事的方式,这些歌曲通过文本及其背景的结合来解读意义,使玛雅青年能够反思和批判性地思考他们的社会、经济和文化环境。MC Tz'utu Kan和Balam Ajpu组合制作的Maya嘻哈音乐将一种国际音乐形式改编为当地背景,这是全球嘻哈特有的特征,它表明了文化的韧性,颠覆了传统的权力结构,并为被剥夺权利的年轻人提供了行使代理权的机会。
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引用次数: 9
Materializing the Everyday: “Safe” Scrapbooks, Aesthetic Mess, and the Rhetorics of Workmanship 物质化日常:“安全”剪贴簿、美学混乱和工艺修辞
IF 0.4 3区 社会学 0 FOLKLORE Pub Date : 2017-10-12 DOI: 10.2979/JFOLKRESE.54.3.04
D. Christensen
Abstract: Like most political engagements, handcrafted book genres may share broad common goals but differ in philosophies of action and articulation—how they take shape matters. Two distinct orientations emerge from scrapbooks at the turn of the millennium. In the 1990s and early 2000s many scrapbook makers embraced material durability and aesthetic regularity, favoring a workmanship of certainty that ensured a maximally stable, coherent, and coordinated arrangement of commodities. Soon, other makers pushed back with an alternate approach, advocating the kind of ephemeral presence and risky workmanship associated with third-wave zines. This mode of making asserts meaning through the unexpected encounter, the intentional chaos that frames the viewing moment as a mode of “occasion.” Despite rhetorical differences that emerge from these philosophies of workmanship and aesthetic expression, neither “traditional” scrapbooks nor those modeled on zines entirely jettison the comfort associated with the everyday content they document. In fact, in the act of claiming regard for perspectives and activities not generally considered noteworthy, the makers of these books question—by means of material choices—dominant systems of attention and interaction.
摘要:像大多数政治活动一样,手工制作的书籍类型可能具有广泛的共同目标,但在行动和表达哲学上有所不同——它们如何形成至关重要。在世纪之交,剪贴簿中出现了两种截然不同的方向。在20世纪90年代和21世纪初,许多剪贴簿制造商都重视材料的耐用性和美学的规律性,偏爱一种确保商品最大程度稳定、连贯和协调的工艺。很快,其他制造商采取了另一种方法,提倡与第三波zine相关的短暂存在和冒险工艺。这种制作模式通过意想不到的遭遇,故意的混乱,将观看时刻作为一种“场合”模式来确定意义。尽管从这些工艺和美学表达的哲学中出现了修辞上的差异,但无论是“传统的”剪贴簿,还是那些以杂志为模型的剪贴簿,都没有完全抛弃与它们记录的日常内容相关的舒适感。事实上,在要求关注通常不被认为值得注意的观点和活动的行为中,这些书的作者通过材料选择质疑了占主导地位的注意力和互动系统。
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引用次数: 5
期刊
JOURNAL OF FOLKLORE RESEARCH
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