From southern Greece to northern Russia, people have long believed in female spirits, bringers of fertility, who spend their nights and days dancing in the fields and forests. So appealing were these spirit-maidens that they also took up residence in nineteenth-century Romantic literature. Archaeologist and linguist by profession, folk dancer by avocation, Elizabeth Wayland Barber has sleuthed through ethnographic lore and archaeological reports of east and southeast Europe, translating enchanting folktales about these "dancing goddesses" as well as eyewitness accounts of traditional rituals-texts that offer new perspectives on dance in agrarian society. She then traces these goddesses and their dances back through the Romans and Greeks to the first farmers of Europe. Along the way, she locates the origins of many customs, including coloring Easter eggs and throwing rice at the bride. The result is a detective story like no other and a joyful reminder of the human need to dance.
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From the Jewish Heartland: Two Centuries of Midwest Foodways. By Ellen F. Steinberg and Jack H. Prost. (Urbana: University of Illinois Press, 2011. Pp. ? + 207, acknowledgments, introduction, photographs, appendix, notes, bibliography, index. $32.95 cloth.)A silver Hanukkah menorah (chanukkiah) with nine upright ears of golden corn in place of candles graces the cover of From the Jewish Heartland: Two Centuries of Midwest Foodways. This image is beguiling, attractive- even a bit wry - and it suggests an engaging theme: the unique but appropriate melding of Jewish tradition with Midwestern culture, perhaps the expression of Jewish identity through the adaptation of Midwestern foods. The cover entices the reader to open the book and learn about the substance of this artistically hypothesized synthesis.But if you are looking for analysis and theory, for a clear definition of what makes Midwestern Jewish foodways Midwestern (or Jewish) or what they might tell us about Jewish life and identity in the heartland over the course of the past two hundred years, you may be disappointed. On the other hand, if you are looking for celebration, nostalgia, evocative description, entfiusiasm, traditional recipes, and convincing restaurant recommendations, you may find a lot here to like.In spite of the corn on the cover, the word corn does not appear in the index (unless you count "corned" beef) . One apparently "hybrid" food Steinberg and Prost do mention is "corn rye," also called "tzizel bread," a bakery-produced loaf of rye bread heavily dusted with cornmeal, perhaps originating in St. Louis (134). Maybe corn is intended only as a symbol of the heartland and it is too literal of me to look for dishes that actually use corn; but as I read familiar East European, German, and even Sephardic recipes, I wondered if heartland Jewish foodways consist only of "survivals" from "the old country," or if there actually were any hybrid dishes (besides corn rye) that combine identities symbolically. I was hoping to learn other ways to uiink about Midwestern Jewish foodways besides survivals.But I'm not yet done with corn. I grew up in a Jewish family that observed kashrut in Omaha, Nebraska. (Omahans consider dieir city to be witfiin die Midwest's core even if Steinberg and Prost do not [1].) Besides summer meals in which corn on die cob was die main dish, we also ate corn bread and corn fritters. If Jewish foodways only means survivals of old world dishes, these dishes obviously don't count, but die reality was that diese corn-based dishes were central parts, even main dishes, of dairy only (milchidik) suppers, which always seemed to be a challenge for my modier given die "meat and potatoes" expectation of Midwestern meals. So, are corn on the cob, cornbread, and corn fritters not Midwest Jewish dishes? Not because Jews eat diem but because diey may have subdy articulated (I can't speak for more dian my own family) the Jewishness of meals through dieir conscious use in ob
{"title":"From the Jewish Heartland: Two Centuries of Midwest Foodways","authors":"Steve Siporin","doi":"10.5860/choice.49-2036","DOIUrl":"https://doi.org/10.5860/choice.49-2036","url":null,"abstract":"From the Jewish Heartland: Two Centuries of Midwest Foodways. By Ellen F. Steinberg and Jack H. Prost. (Urbana: University of Illinois Press, 2011. Pp. ? + 207, acknowledgments, introduction, photographs, appendix, notes, bibliography, index. $32.95 cloth.)A silver Hanukkah menorah (chanukkiah) with nine upright ears of golden corn in place of candles graces the cover of From the Jewish Heartland: Two Centuries of Midwest Foodways. This image is beguiling, attractive- even a bit wry - and it suggests an engaging theme: the unique but appropriate melding of Jewish tradition with Midwestern culture, perhaps the expression of Jewish identity through the adaptation of Midwestern foods. The cover entices the reader to open the book and learn about the substance of this artistically hypothesized synthesis.But if you are looking for analysis and theory, for a clear definition of what makes Midwestern Jewish foodways Midwestern (or Jewish) or what they might tell us about Jewish life and identity in the heartland over the course of the past two hundred years, you may be disappointed. On the other hand, if you are looking for celebration, nostalgia, evocative description, entfiusiasm, traditional recipes, and convincing restaurant recommendations, you may find a lot here to like.In spite of the corn on the cover, the word corn does not appear in the index (unless you count \"corned\" beef) . One apparently \"hybrid\" food Steinberg and Prost do mention is \"corn rye,\" also called \"tzizel bread,\" a bakery-produced loaf of rye bread heavily dusted with cornmeal, perhaps originating in St. Louis (134). Maybe corn is intended only as a symbol of the heartland and it is too literal of me to look for dishes that actually use corn; but as I read familiar East European, German, and even Sephardic recipes, I wondered if heartland Jewish foodways consist only of \"survivals\" from \"the old country,\" or if there actually were any hybrid dishes (besides corn rye) that combine identities symbolically. I was hoping to learn other ways to uiink about Midwestern Jewish foodways besides survivals.But I'm not yet done with corn. I grew up in a Jewish family that observed kashrut in Omaha, Nebraska. (Omahans consider dieir city to be witfiin die Midwest's core even if Steinberg and Prost do not [1].) Besides summer meals in which corn on die cob was die main dish, we also ate corn bread and corn fritters. If Jewish foodways only means survivals of old world dishes, these dishes obviously don't count, but die reality was that diese corn-based dishes were central parts, even main dishes, of dairy only (milchidik) suppers, which always seemed to be a challenge for my modier given die \"meat and potatoes\" expectation of Midwestern meals. So, are corn on the cob, cornbread, and corn fritters not Midwest Jewish dishes? Not because Jews eat diem but because diey may have subdy articulated (I can't speak for more dian my own family) the Jewishness of meals through dieir conscious use in ob","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2012-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71135960","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Child's Unfinished Masterpiece: The English and Scottish Popular Ballads. By Mary Ellen Brown. (Urbana: University of Illinois Press, 2011. Pp. xi + 296, acknowledgments, preface, illustrations, appendices, bibliography, index. $45.00 cloth.)Ballad studies have been a staple of folklore and literary studies since Frances James Child and his students introduced the subject in the late nineteenth and early twentieth centuries, with Child's monumental collection The English and Scottish Popular Ballads as its touchstone - and sometimes its raison d'etre. Numerous articles have been published on Child's collection, as well as on his presumed assumptions, but curiously diese assumptions - and any major study of Child and his work - have had to wait until now for the kind of elucidation Mary Ellen Brown brings to bodi subjects in her latest book.In it, Child receives the same kind of careful and sympathetic treatment Brown has given to those otfier giants of traditional balladry and song, William Motherwell and Robert Burns. Brown's scholarly method is admirable, consisting as it does of careful attention to primary sources (in what she describes as an enterprise of "historical etfinography") , in combination with an intelligent assessment and synthesis of these sources. Drawing on letters, diaries, and even account books for information, she offers a diorough examination of Child's collection in the context of his life and the collaboration it entailed. She has structured the book to deal with her major concerns: Child's life, the nature and history of the ESPB, a description of Child's major transadantic collaborators (or "army of auxiliaries," as she calls them), the completion of the collection after Child's death by his student George Lyman Kittredge, and a "posdude," in which she examines Child's concept of what, for him, constituted a ballad.While presenting her chapter-lengdi biography of Child as a mere sketch, Brown has provided the most comprehensive treatment of his life to date. Breadiing life into her subject chiefly by way of correspondence and diaries, she allows us to see a man loved and respected by teachers, colleagues, friends, students, and family: a multi-faceted human being who exhibited not only painstaking attention to his work but who also lavished tenderness and care on the people in his life - as well as on his beloved roses. No self-absorbed pedant, he was a man with deep-rooted affections, political views (he was an abolitionist) - and a playful, sometimes wry sense of humor. This, in spite of his and his wife's continual healdi problems, four children, lectures, a heavy work load as a professor at Harvard - and, of course, the ballad collection.We also gain a better appreciation for how Child's interest in ballads, which at first shared a rival fascination with Chaucer, grew from English and Scottish Ballads - part of a series, British Poets, for which he edited the volume on Spenser as well. While the ballad volume drew
{"title":"Child's Unfinished Masterpiece: The English and Scottish Popular Ballads","authors":"Julie Henigan","doi":"10.5860/choice.49-1906","DOIUrl":"https://doi.org/10.5860/choice.49-1906","url":null,"abstract":"Child's Unfinished Masterpiece: The English and Scottish Popular Ballads. By Mary Ellen Brown. (Urbana: University of Illinois Press, 2011. Pp. xi + 296, acknowledgments, preface, illustrations, appendices, bibliography, index. $45.00 cloth.)Ballad studies have been a staple of folklore and literary studies since Frances James Child and his students introduced the subject in the late nineteenth and early twentieth centuries, with Child's monumental collection The English and Scottish Popular Ballads as its touchstone - and sometimes its raison d'etre. Numerous articles have been published on Child's collection, as well as on his presumed assumptions, but curiously diese assumptions - and any major study of Child and his work - have had to wait until now for the kind of elucidation Mary Ellen Brown brings to bodi subjects in her latest book.In it, Child receives the same kind of careful and sympathetic treatment Brown has given to those otfier giants of traditional balladry and song, William Motherwell and Robert Burns. Brown's scholarly method is admirable, consisting as it does of careful attention to primary sources (in what she describes as an enterprise of \"historical etfinography\") , in combination with an intelligent assessment and synthesis of these sources. Drawing on letters, diaries, and even account books for information, she offers a diorough examination of Child's collection in the context of his life and the collaboration it entailed. She has structured the book to deal with her major concerns: Child's life, the nature and history of the ESPB, a description of Child's major transadantic collaborators (or \"army of auxiliaries,\" as she calls them), the completion of the collection after Child's death by his student George Lyman Kittredge, and a \"posdude,\" in which she examines Child's concept of what, for him, constituted a ballad.While presenting her chapter-lengdi biography of Child as a mere sketch, Brown has provided the most comprehensive treatment of his life to date. Breadiing life into her subject chiefly by way of correspondence and diaries, she allows us to see a man loved and respected by teachers, colleagues, friends, students, and family: a multi-faceted human being who exhibited not only painstaking attention to his work but who also lavished tenderness and care on the people in his life - as well as on his beloved roses. No self-absorbed pedant, he was a man with deep-rooted affections, political views (he was an abolitionist) - and a playful, sometimes wry sense of humor. This, in spite of his and his wife's continual healdi problems, four children, lectures, a heavy work load as a professor at Harvard - and, of course, the ballad collection.We also gain a better appreciation for how Child's interest in ballads, which at first shared a rival fascination with Chaucer, grew from English and Scottish Ballads - part of a series, British Poets, for which he edited the volume on Spenser as well. While the ballad volume drew ","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2012-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71135048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From Mud to Jug: The Folk Potters and Pottery of Northeast Georgia. By John A. Burrison. (Athens: University of Georgia Press, 2010. Pp. ix + 161 forward, preface, acknowledgements, notes, books on Southern Folk Pottery, Index of Potters. $29.95 paper.)The art of shaping clay and hardening it with fire has been practiced for 30,000 years (the Dolni Vestonici figures from die Czech Republic are dated 25,00029,000). Libraries have shelves of books on ceramics found as part of archeological digs, the ceramics of the ancient Greeks and Romans, Chinese ceramics, delftware, Mesoamerican pre-Columbian ceramics and many others. From Mud to Jug: The Folk Potters and Pottery of Northeast Georgia by John Burrison joins other notable books in the field of American pottery such as Charles Zug's Turners and Burners: The Folk Potters of North Carolina and Burrison 's earlier masterpiece Brothers in Mud: The Story of Georgia Folk Pottery.This slim volume was written as a sequel and necessary update to the living tradition introduced in Brothers in Mud and as a companion to the exhibition curated by die author at die Folk Pottery Museum of Nordieast Georgia. In his new work, Burrison leads readers through die historic development of die craft in die region, explores die changing landscape of folk pottery and introduces die newest generation of die "clay clans" living die art of clay. Aldiough Burrison writes in die introduction that die book is "intended for a non specialist audience" (xvii) it is not missing die scholarly insight of die earlier work. It is an insightful and respectful introduction to die field of American ceramics for die non-specialist and an update to Brothers in Mud and die continually evolving field of American folk pottery for scholars in the field.The author has a long history in die field without being a ceramicist himself. His first book introducing die history of pottery in the region, Brothers in Mud, was written in 1983. Since diat time Burrison has continued to develop relationships with his collaborators, taking the path from outsider professor to treasured friend through his long work in the field, showing in this book "cooperation between scholarship and art" (xiii) .I have taken a similar path to that of Burrison, just in reverse; I found the study of folklore through my work as a potter. I was very excited when I opened the wrapper and found this very attractive book. The photos are enticing as a visual accompaniment to the written word. Archival black and white photos and color photos provide a visual chronology to the continuing development of the craft and the culture of clay in the region. …
从泥到壶:乔治亚州东北部的民间陶工和陶器。约翰·a·伯里森著。(雅典:佐治亚大学出版社，2010。Pp. ix + 161 forward，序言，致谢，注释，关于南方民间陶器的书籍，陶工索引。29.95美元。)陶土成型和用火硬化的工艺已经有3万年的历史了(来自捷克共和国的Dolni Vestonici雕像的年代是25000 - 29000年)。图书馆里摆满了关于考古发掘中发现的陶瓷的书籍，包括古希腊和罗马的陶瓷、中国陶瓷、德尔夫陶器、中美洲前哥伦布时期的陶瓷等等。约翰·伯里逊的《从泥到壶:乔治亚州东北部的民间陶工和陶器》加入了美国陶艺领域的其他著名书籍，如查尔斯·楚格的《turner and Burners: North Carolina的民间陶工》和伯里逊早期的杰作《泥土中的兄弟:乔治亚州民间陶器的故事》。这本薄薄的书是作为续作和必要的更新，以生活的传统介绍了兄弟在泥和作为一个伴侣的展览策划的作者在东北乔治亚州的民间陶瓷博物馆。在他的新作中，Burrison带领读者穿越了模具工艺在模具地区的历史发展，探索了民间陶艺的模具变迁景观，并介绍了最新一代的模具“粘土族”生活在粘土中的模具艺术。Aldiough Burrison在die introduction中写道，die book是“为非专业观众设计的”(xvii)，它并没有错过die早期工作的学术见解。对于模具非专业人士来说，这本书是对美国陶瓷模具领域的一次有见地和有敬意的介绍，对于该领域的学者来说，这本书是对美国民间陶瓷模具领域不断发展的更新。作者本人并非陶艺家，但在模具领域有着悠久的历史。他的第一本介绍该地区陶器历史的书《泥中兄弟》(Brothers in Mud)写于1983年。从那时起，Burrison一直在与他的合作者发展关系，通过他在该领域的长期工作，从局外人教授到珍贵的朋友，在这本书中表现为“学术与艺术的合作”(xiii)。我走了与Burrison类似的道路，只是相反;我在做陶工的过程中发现了对民间传说的研究。我很兴奋，当我打开包装，发现这本非常吸引人的书。作为文字的视觉伴奏，这些照片是诱人的。档案中的黑白照片和彩色照片为该地区粘土工艺和文化的持续发展提供了一个视觉年表。…
{"title":"From Mud to Jug: The Folk Potters and Pottery of Northeast Georgia","authors":"Moriah Hart","doi":"10.5860/choice.48-2485","DOIUrl":"https://doi.org/10.5860/choice.48-2485","url":null,"abstract":"From Mud to Jug: The Folk Potters and Pottery of Northeast Georgia. By John A. Burrison. (Athens: University of Georgia Press, 2010. Pp. ix + 161 forward, preface, acknowledgements, notes, books on Southern Folk Pottery, Index of Potters. $29.95 paper.)The art of shaping clay and hardening it with fire has been practiced for 30,000 years (the Dolni Vestonici figures from die Czech Republic are dated 25,00029,000). Libraries have shelves of books on ceramics found as part of archeological digs, the ceramics of the ancient Greeks and Romans, Chinese ceramics, delftware, Mesoamerican pre-Columbian ceramics and many others. From Mud to Jug: The Folk Potters and Pottery of Northeast Georgia by John Burrison joins other notable books in the field of American pottery such as Charles Zug's Turners and Burners: The Folk Potters of North Carolina and Burrison 's earlier masterpiece Brothers in Mud: The Story of Georgia Folk Pottery.This slim volume was written as a sequel and necessary update to the living tradition introduced in Brothers in Mud and as a companion to the exhibition curated by die author at die Folk Pottery Museum of Nordieast Georgia. In his new work, Burrison leads readers through die historic development of die craft in die region, explores die changing landscape of folk pottery and introduces die newest generation of die \"clay clans\" living die art of clay. Aldiough Burrison writes in die introduction that die book is \"intended for a non specialist audience\" (xvii) it is not missing die scholarly insight of die earlier work. It is an insightful and respectful introduction to die field of American ceramics for die non-specialist and an update to Brothers in Mud and die continually evolving field of American folk pottery for scholars in the field.The author has a long history in die field without being a ceramicist himself. His first book introducing die history of pottery in the region, Brothers in Mud, was written in 1983. Since diat time Burrison has continued to develop relationships with his collaborators, taking the path from outsider professor to treasured friend through his long work in the field, showing in this book \"cooperation between scholarship and art\" (xiii) .I have taken a similar path to that of Burrison, just in reverse; I found the study of folklore through my work as a potter. I was very excited when I opened the wrapper and found this very attractive book. The photos are enticing as a visual accompaniment to the written word. Archival black and white photos and color photos provide a visual chronology to the continuing development of the craft and the culture of clay in the region. …","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71132023","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Badmen, Bandits, and Folk Heroes: The Ambivalence of Mexican American Identity in Literature and Film. By Juan J. Alonzo. (University of Arizona Press, 2009. Pp. x +208, introduction, epilogue, photographs, notes, bibliography, index. $49.95 cloth.)Juan J. Alonzo 's Badmen, Bandits, and Folk Heroes looks at Chicano(a) Studies through the lens of literature and film. This interdisciplinary approach allows the author to formulate convincing arguments regarding Chicano(a) identity and its contingency on and rejection of stereotypes. Alonzo argues that stereotypes are a social construct that need to be studied within the theoretical framework of ambivalence. By examining stereotypes from the perspective of ambivalence, the author moves the discussion of stereotypes from an essentially structuralist understanding of the term to a more complex reading of this social phenomenon. This idea of ambivalence toward Mexicans in American film and literature, from the late nineteenth century up to the Chicano(a) films of the new millennium, runs deep throughout the book. In fact, the concept of ambivalence, and how it manifests differently in the works of various Anglo-American authors and auteurs, forms the backbone of Alonzo's book.Alonzo's research material not only helps illustrate ambivalence at work, but also showcases the author's breadth of knowledge and mastery of a wide range of disciplines. He carefully selects examples from American cinema, western novels, and other American genres - including early American plays, theater reviews, newsprint articles, and hard-to-find films from Hollywood's nascent period - that incorporate Mexican characters in their plots in order to objectify, extoll, or denigrate them, further reinforcing his argument about ambivalence. By culling from such varied sources, the author is able to trace the origins of some of these negative/positive stereotypes about Mexicans.Alonzo's book is a must read for anyone interested in Chicano(a) history and ethnic studies in general. This book would also appeal to scholars focusing on the construction of stereotypes in Greater American cinema and literature. The book itself provides some interesting photographs depicting American and British actors impersonating "Mexicans" in Hollywood. From these snapshots and the chapters that follow, Alonzo traces a history of attitudes (i.e., acceptance/rejection, tolerance/abhorrence, attraction/repulsion) that some Americans have shown toward people of Mexican origin. From the often contradictory or ambivalent depictions of Mexicans by D.W. Griffith in movies such as The Greaser's Gauntlet (1908), to the more amicable and humane literary renditions of Jack London's "The Mexican," Stephen Crane's "One Dash-Horses," and "The Three White Mice," Alonzo challenges readers and spectators to revisit these early works and question any preconceived ideas they might have regarding the work of these giants of American film and literature. By venturing into th
坏人、土匪与民间英雄:文学与电影中墨西哥裔美国人身份的矛盾心理。胡安·j·阿隆佐著。(亚利桑那大学出版社，2009)第x +208页，引言，后记，照片，注释，参考书目，索引。布49.95美元。)胡安·j·阿隆佐的《坏人、土匪和民间英雄》通过文学和电影的镜头审视了墨西哥裔美国人的研究。这种跨学科的方法使作者能够就奇卡诺人的身份及其对刻板印象的偶然性和拒绝提出令人信服的论点。Alonzo认为，刻板印象是一种社会结构，需要在矛盾心理的理论框架内进行研究。通过从矛盾心理的角度审视刻板印象，作者将刻板印象的讨论从本质上的结构主义理解转移到对这一社会现象的更复杂的解读。从19世纪晚期到新千年的墨西哥裔电影，美国电影和文学中对墨西哥人的矛盾态度贯穿全书。事实上，矛盾心理的概念，以及它在不同英美作家和导演的作品中如何不同地表现，构成了阿朗佐这本书的支柱。Alonzo的研究材料不仅有助于说明工作中的矛盾心理，而且还展示了作者的知识广度和对广泛学科的掌握。他小心翼翼地从美国电影、西方小说和其他美国类型——包括早期美国戏剧、戏剧评论、报纸文章和好莱坞初期难以找到的电影——中挑选例子，这些例子将墨西哥角色融入情节中，以物化、赞美或诋毁他们，进一步强化了他关于矛盾心理的论点。通过从这些不同的来源中进行筛选，作者能够追溯一些关于墨西哥人的消极/积极刻板印象的起源。对于任何对墨西哥裔历史和种族研究感兴趣的人来说，阿朗佐的书都是必读的。这本书也会吸引关注大美国电影和文学中刻板印象建构的学者。这本书本身提供了一些有趣的照片，描绘了美国和英国演员在好莱坞扮演“墨西哥人”。从这些快照和随后的章节中，阿朗佐追溯了一些美国人对墨西哥裔人的态度(即接受/拒绝，容忍/憎恶，吸引/排斥)的历史。从D.W.格里菲斯(D.W. Griffith)在《油漆工的挑战》(1908)等电影中对墨西哥人的经常矛盾或矛盾的描绘，到杰克·伦敦(Jack London)的《墨西哥人》(the Mexican)、斯蒂芬·克兰(Stephen Crane)的《骏马》(One Dash-Horses)和《三只白鼠》(the Three White Mice)等更为友好和人道的文学作品，阿朗佐要求读者和观众重新审视这些早期作品，并质疑他们对这些美国电影和文学巨匠的作品可能产生的任何先入之见。通过冒险进入这些权威作家和导演的意识形态世界，我们可以更广泛地了解这些人对“他者”的矛盾和矛盾态度。例如，人们会惊讶地发现，格里菲斯并不总是对所有少数民族表现出同样的种族主义态度(当然不会像他对非洲裔美国人和亚洲人那样)。…
{"title":"Badmen, Bandits, and Folk Heroes: The Ambivalence of Mexican American Identity in Literature and Film","authors":"Gustavo Ponce","doi":"10.5860/choice.47-3590","DOIUrl":"https://doi.org/10.5860/choice.47-3590","url":null,"abstract":"Badmen, Bandits, and Folk Heroes: The Ambivalence of Mexican American Identity in Literature and Film. By Juan J. Alonzo. (University of Arizona Press, 2009. Pp. x +208, introduction, epilogue, photographs, notes, bibliography, index. $49.95 cloth.)Juan J. Alonzo 's Badmen, Bandits, and Folk Heroes looks at Chicano(a) Studies through the lens of literature and film. This interdisciplinary approach allows the author to formulate convincing arguments regarding Chicano(a) identity and its contingency on and rejection of stereotypes. Alonzo argues that stereotypes are a social construct that need to be studied within the theoretical framework of ambivalence. By examining stereotypes from the perspective of ambivalence, the author moves the discussion of stereotypes from an essentially structuralist understanding of the term to a more complex reading of this social phenomenon. This idea of ambivalence toward Mexicans in American film and literature, from the late nineteenth century up to the Chicano(a) films of the new millennium, runs deep throughout the book. In fact, the concept of ambivalence, and how it manifests differently in the works of various Anglo-American authors and auteurs, forms the backbone of Alonzo's book.Alonzo's research material not only helps illustrate ambivalence at work, but also showcases the author's breadth of knowledge and mastery of a wide range of disciplines. He carefully selects examples from American cinema, western novels, and other American genres - including early American plays, theater reviews, newsprint articles, and hard-to-find films from Hollywood's nascent period - that incorporate Mexican characters in their plots in order to objectify, extoll, or denigrate them, further reinforcing his argument about ambivalence. By culling from such varied sources, the author is able to trace the origins of some of these negative/positive stereotypes about Mexicans.Alonzo's book is a must read for anyone interested in Chicano(a) history and ethnic studies in general. This book would also appeal to scholars focusing on the construction of stereotypes in Greater American cinema and literature. The book itself provides some interesting photographs depicting American and British actors impersonating \"Mexicans\" in Hollywood. From these snapshots and the chapters that follow, Alonzo traces a history of attitudes (i.e., acceptance/rejection, tolerance/abhorrence, attraction/repulsion) that some Americans have shown toward people of Mexican origin. From the often contradictory or ambivalent depictions of Mexicans by D.W. Griffith in movies such as The Greaser's Gauntlet (1908), to the more amicable and humane literary renditions of Jack London's \"The Mexican,\" Stephen Crane's \"One Dash-Horses,\" and \"The Three White Mice,\" Alonzo challenges readers and spectators to revisit these early works and question any preconceived ideas they might have regarding the work of these giants of American film and literature. By venturing into th","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2011-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71128188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Life Flows on in Endless Song: Folk Songs and American History. By Robert V. Wells. (Urbana and Chicago: University of Illinois Press, 2009. Pp. xii + 245, preface, notes, select bibliography and discography, index. $25.00 paper.)The teacher of American history looking for a collateral reading book to assign students will not find it in Life Flows on in Endless Song. Robert Wells is clear about his purpose: "My intent here is ... to explain how a social historian/folk singer has come to understand the songs and what they tell about American history" (xi). His engaging book succeeds admirably in the first of these goals. He is less successful in explaining "what they tell about American history."To begin with, as Wells is fully aware, "few folk songs had much to say about national politics" (Lomax in Wells, 4). "The bulk of the historical record used to reconstruct our past was produced by wealthy and powerful people" (6). For fhese and other reasons, "in any work in which the primary focus is on the songs, a topical organization should prevail" (199). So far, so good. And it would be difficult to find fault with Wells's choice of topics: courtship and family life, religion and war, work, transportation, migration, and crime. The devil, as drey say, is in the details.Wells writes that, "Between fhe eighteenth and twentiefh centuries, Americans experienced profound revolutions in the most intimate aspects of their lives and the values they attached to their actions. Folk songs comment on many of these changes" (11). Thus Wells announces a theme of "Careless Love," the well-tided chapter on courtship and family life. Two pages later he writes, "Over fhe course of several centuries, relationships and power within families changed noticeably. Folksongs often hint at these changes and occasionally comment directly on them" (13). Surely, then, we have a right to expect here, if nowhere else, a chronological account of the changes and how they are reflected in folksong. We don't get it. We do get interesting and insightful discussions of individual songs, but we do not get any attempt to fit them into the pattern to which Wells has alluded.While it might seem strange to lump religion and war into a single chapter, Wells uses "The Batde Hymn of the Republic" as mortar to hold them together. He is fairly successful in showing how folksongs reflect the First and Second Great Awakenings and then how folksongs reflect one war after another (though certainly not all of America's wars) . The only difficulty here is the inclusion of "The Ballad of Schenectady," about a colonial war in 1690. Wells admits that it is "Litde remembered and probably seldom sung" (54), and it does not seem to fit the four criteria for folksongs that Wells adumbrates on page 7. (The four criteria are (1) oral transmission, (2) what G. Malcolm Laws called an "unaffected style," (3) non-commercial performance, and (4) variant versions. …
生命在无尽的歌声中流淌:民歌与美国历史。罗伯特·v·威尔斯著。厄巴纳和芝加哥:伊利诺伊大学出版社，2009年。第xii + 245页，序言，注释，选择参考书目和目录，索引。25.00美元。)如果美国历史老师想给学生找一本辅助读物，那么在《无尽的歌》中是找不到的。罗伯特·威尔斯很清楚他的目的:“我的意图是……解释一个社会历史学家/民谣歌手是如何理解这些歌曲的，以及这些歌曲讲述了美国历史”(xi)。他这本引人入胜的书在第一个目标上取得了令人钦佩的成功。在解释“它们讲述了美国历史”方面，他就没那么成功了。首先，正如威尔斯充分意识到的那样，“很少有民歌对国家政治有太多的表达”(洛马克斯在威尔斯，4)。“用来重建我们过去的大部分历史记录都是由有钱有势的人制作的”(6)。由于这些和其他原因，“在任何主要关注歌曲的工作中，一个主题组织都应该占上风”(199)。到目前为止，一切顺利。而且，我们很难对威尔斯选择的主题吹毛求疵:恋爱与家庭生活、宗教与战争、工作、交通、移民和犯罪。正如德里所说，细节决定成败。威尔斯写道:“在18世纪到20世纪之间，美国人在他们生活中最亲密的方面以及他们的行为所附加的价值观上经历了深刻的革命。民歌反映了许多这些变化。”因此，威尔斯宣布了“漫不经心的爱”的主题，这是关于求爱和家庭生活的一章。两页后，他写道:“在几个世纪的过程中，家庭内部的关系和权力发生了显著变化。民歌常常暗示这些变化，偶尔也会直接评论”(13)。当然，如果没有其他地方，我们有权利在这里期待对这些变化的时间顺序描述，以及它们如何在民歌中得到反映。我们不明白。我们确实对个别歌曲进行了有趣而深刻的讨论，但我们并没有试图将它们融入威尔斯所暗示的模式。虽然把宗教和战争放在一个章节里看起来很奇怪，但威尔斯用《共和国的战歌》作为迫击炮把它们联系在一起。他相当成功地展示了民歌如何反映第一次和第二次大觉醒，以及民歌如何反映一场又一场的战争(尽管肯定不是所有的美国战争)。唯一的困难是收录了《斯克内克塔迪民谣》(The Ballad of Schenectady)，这首歌讲述的是1690年的一场殖民战争。威尔斯承认这首歌“很少被人记住，可能很少被人唱”(54)，而且它似乎不符合威尔斯在第7页列出的民谣的四个标准。这四个标准是:(1)口头传播，(2)G. Malcolm Laws所说的“不受影响的风格”，(3)非商业表演，(4)变体版本。…
{"title":"Life Flows on in Endless Song: Folk Songs and American History","authors":"S. Sackett","doi":"10.5860/choice.47-1914","DOIUrl":"https://doi.org/10.5860/choice.47-1914","url":null,"abstract":"Life Flows on in Endless Song: Folk Songs and American History. By Robert V. Wells. (Urbana and Chicago: University of Illinois Press, 2009. Pp. xii + 245, preface, notes, select bibliography and discography, index. $25.00 paper.)The teacher of American history looking for a collateral reading book to assign students will not find it in Life Flows on in Endless Song. Robert Wells is clear about his purpose: \"My intent here is ... to explain how a social historian/folk singer has come to understand the songs and what they tell about American history\" (xi). His engaging book succeeds admirably in the first of these goals. He is less successful in explaining \"what they tell about American history.\"To begin with, as Wells is fully aware, \"few folk songs had much to say about national politics\" (Lomax in Wells, 4). \"The bulk of the historical record used to reconstruct our past was produced by wealthy and powerful people\" (6). For fhese and other reasons, \"in any work in which the primary focus is on the songs, a topical organization should prevail\" (199). So far, so good. And it would be difficult to find fault with Wells's choice of topics: courtship and family life, religion and war, work, transportation, migration, and crime. The devil, as drey say, is in the details.Wells writes that, \"Between fhe eighteenth and twentiefh centuries, Americans experienced profound revolutions in the most intimate aspects of their lives and the values they attached to their actions. Folk songs comment on many of these changes\" (11). Thus Wells announces a theme of \"Careless Love,\" the well-tided chapter on courtship and family life. Two pages later he writes, \"Over fhe course of several centuries, relationships and power within families changed noticeably. Folksongs often hint at these changes and occasionally comment directly on them\" (13). Surely, then, we have a right to expect here, if nowhere else, a chronological account of the changes and how they are reflected in folksong. We don't get it. We do get interesting and insightful discussions of individual songs, but we do not get any attempt to fit them into the pattern to which Wells has alluded.While it might seem strange to lump religion and war into a single chapter, Wells uses \"The Batde Hymn of the Republic\" as mortar to hold them together. He is fairly successful in showing how folksongs reflect the First and Second Great Awakenings and then how folksongs reflect one war after another (though certainly not all of America's wars) . The only difficulty here is the inclusion of \"The Ballad of Schenectady,\" about a colonial war in 1690. Wells admits that it is \"Litde remembered and probably seldom sung\" (54), and it does not seem to fit the four criteria for folksongs that Wells adumbrates on page 7. (The four criteria are (1) oral transmission, (2) what G. Malcolm Laws called an \"unaffected style,\" (3) non-commercial performance, and (4) variant versions. …","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2011-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71127290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Working Girl Blues: The Life and Music of Hazel Dickens. By Hazel Dickens and Bill C. Malone. (Urbana: University of Illinois Press, 2008. Pp. ix + 102, acknowledgements, biography, songs and memories, discography, index, illustrations. $ 17.95 paper.)Working Girl Blues is a fine book that documents the connection between a bluegrass musician's life and her songs. Hazel Dickens is a songwriter and bluegrass musician whose work has been widely performed and recorded. Bill C. Malone is a scholar and musician with important books to his credit: Country Music USA and Don't Get Above your RaisinCountry Music and the Southern Working Class.The text of Working Girl Blues is divided into two major sections. The first thirty pages are devoted to Hazel's biography, written by Bill C. Malone. In the biographical section, readers learn about her West Virginia family, their poverty, and search for better economic opportunities, Hazel's loves, and the struggles of a female bluegrass musician in a field dominated by good old boys. The final fifty-five or so pages contain the lyrics of Hazel's compositions, with Hazel's commentary about each song. She tells of the inspirations for the songs, her artistic struggles, and, in general, the experiences the songs reflect. The lock between the two sections is effective. In her section, Dickens refers to themes of her life that Malone touches on, but fills out the narrative with additional information. She tells it in a way that seems close to her speaking voice, and it makes the writing come to life.Many books about bluegrass assume that an artist's song selections or compositions somehow reflect the artist's attitude or experience, or that it somehow represents a shared community aesthetic. In Working Girl Blues, the connection between lived experience and composition is one of the main thrusts of the book. For example, Malone's biography tells that Hazel was a sickly child who, at about the age of three months, would not drink milk. The Mercer County, WV, doctor pronounced he'd done all he could do to treat Hazel's problem. Hazel's mother, Sarah, was a shy woman who rarely left her home place. However, despite her shyness, Sarah carried Hazel to the nearest big place to see a baby doctor. There she received the help that pulled Hazel through. Readers eventually learn how this episode in Hazel's early life inspired two of her songs: "Mama's Hand" and "Carry Me Across the Mountain." Hazel comments on the special bond between herself and her mother, and the lyrics of these songs amply reinforce the point.Showing how new songs reflect life is important, because it demonstrates how a traditional songwriter combines a handed-down musical system with experience to create new work that fits a current scene. Working Girl Blues demonstrates that bluegrass is more than a collection of handed-down musical ideas that are assembled into pieces, but a vibrant musical form that artists shape to the circumstances of their lives.Worki
《职业女孩蓝调:黑兹尔·狄更斯的生活与音乐》。作者:黑兹尔·狄更斯，比尔·c·马龙。厄巴纳:伊利诺伊大学出版社，2008。Pp. ix + 102，致谢，传记，歌曲和记忆，唱片，索引，插图。纸本17.95美元。)《工作女孩蓝调》是一本优秀的书，记录了一位蓝草音乐家的生活和她的歌曲之间的联系。黑兹尔·狄更斯是一位作曲家和蓝草音乐家，她的作品被广泛演出和录制。比尔·c·马龙是一位学者和音乐家，著有《美国乡村音乐》和《不要超越你的葡萄干》，《乡村音乐和南方工人阶级》。《工作女孩蓝调》的正文分为两个主要部分。书的前30页是比尔·c·马龙(Bill C. Malone)撰写的黑兹尔传记。在传记部分，读者了解到她在西弗吉尼亚州的家庭，他们的贫困，以及对更好的经济机会的追求，黑兹尔的爱情，以及一个女蓝草音乐家在一个由好男孩主导的领域中的挣扎。最后的55页左右包含了Hazel作品的歌词，以及Hazel对每首歌的评论。她讲述了歌曲的灵感，她在艺术上的挣扎，以及歌曲所反映的经历。两个部分之间的锁是有效的。在她的章节中，狄更斯提到了马龙触及的她生活中的主题，但在叙述中补充了额外的信息。她用一种接近她说话声音的方式讲述，这让写作变得生动起来。许多关于蓝草的书都认为，艺术家的歌曲选择或作品在某种程度上反映了艺术家的态度或经历，或者它在某种程度上代表了一种共同的社区审美。在《打工女郎的蓝调》一书中，生活经历与创作之间的联系是本书的主旨之一。例如，马龙的传记告诉我们，黑兹尔是一个体弱多病的孩子，大约三个月大的时候，她不愿喝牛奶。西弗吉尼亚州默瑟县的医生说，他已经尽了他所能来治疗黑兹尔的问题。黑兹尔的母亲萨拉是个害羞的女人，很少离开家。然而，尽管萨拉很害羞，她还是带着黑兹尔到最近的大医院去看婴儿医生。在那里，她得到了帮助，帮助黑兹尔度过了难关。读者最终会了解到，黑兹尔早年生活中的这段经历如何启发了她的两首歌:《妈妈的手》(Mama's Hand)和《带我过山》(Carry Me Across the Mountain)。黑兹尔评论了她和母亲之间的特殊关系，这些歌曲的歌词充分强调了这一点。展示新歌如何反映生活是很重要的，因为它展示了一个传统的歌曲作者如何将传世的音乐系统与经验结合起来，创造出适合当前场景的新作品。“工作女孩蓝调”表明，蓝草音乐不仅仅是将代代相传的音乐理念组合成小块，而是一种充满活力的音乐形式，艺术家们根据自己的生活环境塑造了这种音乐形式。《打工女孩的蓝调》还讲述了阿巴拉契亚移民的就业原因。…
{"title":"Working Girl Blues: The Life and Music of Hazel Dickens","authors":"Philippe Nusbaum","doi":"10.5860/choice.46-0793","DOIUrl":"https://doi.org/10.5860/choice.46-0793","url":null,"abstract":"Working Girl Blues: The Life and Music of Hazel Dickens. By Hazel Dickens and Bill C. Malone. (Urbana: University of Illinois Press, 2008. Pp. ix + 102, acknowledgements, biography, songs and memories, discography, index, illustrations. $ 17.95 paper.)Working Girl Blues is a fine book that documents the connection between a bluegrass musician's life and her songs. Hazel Dickens is a songwriter and bluegrass musician whose work has been widely performed and recorded. Bill C. Malone is a scholar and musician with important books to his credit: Country Music USA and Don't Get Above your RaisinCountry Music and the Southern Working Class.The text of Working Girl Blues is divided into two major sections. The first thirty pages are devoted to Hazel's biography, written by Bill C. Malone. In the biographical section, readers learn about her West Virginia family, their poverty, and search for better economic opportunities, Hazel's loves, and the struggles of a female bluegrass musician in a field dominated by good old boys. The final fifty-five or so pages contain the lyrics of Hazel's compositions, with Hazel's commentary about each song. She tells of the inspirations for the songs, her artistic struggles, and, in general, the experiences the songs reflect. The lock between the two sections is effective. In her section, Dickens refers to themes of her life that Malone touches on, but fills out the narrative with additional information. She tells it in a way that seems close to her speaking voice, and it makes the writing come to life.Many books about bluegrass assume that an artist's song selections or compositions somehow reflect the artist's attitude or experience, or that it somehow represents a shared community aesthetic. In Working Girl Blues, the connection between lived experience and composition is one of the main thrusts of the book. For example, Malone's biography tells that Hazel was a sickly child who, at about the age of three months, would not drink milk. The Mercer County, WV, doctor pronounced he'd done all he could do to treat Hazel's problem. Hazel's mother, Sarah, was a shy woman who rarely left her home place. However, despite her shyness, Sarah carried Hazel to the nearest big place to see a baby doctor. There she received the help that pulled Hazel through. Readers eventually learn how this episode in Hazel's early life inspired two of her songs: \"Mama's Hand\" and \"Carry Me Across the Mountain.\" Hazel comments on the special bond between herself and her mother, and the lyrics of these songs amply reinforce the point.Showing how new songs reflect life is important, because it demonstrates how a traditional songwriter combines a handed-down musical system with experience to create new work that fits a current scene. Working Girl Blues demonstrates that bluegrass is more than a collection of handed-down musical ideas that are assembled into pieces, but a vibrant musical form that artists shape to the circumstances of their lives.Worki","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2011-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71121653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Indigenous Storywork: Educating the Heart, Mind, Body, and Spirit. By Jo-ann Archibald/ Q'um Q'um Xiiem. (Vancouver: University of British Columbia Press, 2008. Pp. xiv + 176, preface, acknowledgments, bibliography, index. $99.00 cloth, $29.95 paper.)In this insightful look into the storywork of Coast Salish and Sto:loo elders, Jo-Ann Archibald combines traditional ways of looking at story with a scholarly approach to documentation of her sources. She tells us she wanted "to demonstrate that Indigenous knowledge systems could be investigated from an Indigenous perspective with rigour acceptable to the academy" (5).Archibald is Associate Dean for Indigenous Education in the Faculty of Education at die University of British Columbia. As a member of the Sto:lo (Coqualeetza) community and a worker in First Nation educational programs, she received trusted story knowledge from elders. Working from what must have been countless hours of interviews, she examines the uses of story in those communities. She coins the term "storywork" to describe the way story is used to reach the hearts of listeners. Storywork is required of both the teller and the listener in order to make meaning happen. She quotes the elders, who say that listening requires "three ears: two on the sides of our head and one that is in our heart" (8).Archibald spends much time talking about her relationship to the communities she studies, and she explains the extremely careful way in which stories were set down. During the collection of stories for a First Nations Journeys of Justice curriculum project, curriculum elders read over the transcripts of their stories and were able to demand rewriting until they were satisfied that the words echoed their own. Each page had to be signed by the teller as evidence that it had been approved. The rights to the stories remained with the teller, except for the curriculum use.Archibald includes texts for two First Nations stories and summarizes two more, but this is not a tale collection. She is interested in how and why stories are told. She particularly examines the potential use of traditional story in the educauon of today's First Nations children.Mentors guided her work: Chief Khot-La-Cha, Dr. Simon Baker, Tsimilano, Dr. Vincent Stogan, Kwulasulwut, and Dr. Ellen White. Chapter 1 talks about the teachings she had from them. She references as well the thinking of many other First Nation scholars. Chapter 3 reveals the insights Archibald gained into storywork from working with members of the Stori Nation, especially with the Coqualeetza Elders at Sardis, British Columbia. Learning to listen with patience, Archibald spent much time with these elders, recording their wisdom on tape and in her journal. …
{"title":"Indigenous Storywork: Educating the Heart, Mind, Body, and Spirit","authors":"M. Macdonald","doi":"10.5860/choice.46-0373","DOIUrl":"https://doi.org/10.5860/choice.46-0373","url":null,"abstract":"Indigenous Storywork: Educating the Heart, Mind, Body, and Spirit. By Jo-ann Archibald/ Q'um Q'um Xiiem. (Vancouver: University of British Columbia Press, 2008. Pp. xiv + 176, preface, acknowledgments, bibliography, index. $99.00 cloth, $29.95 paper.)In this insightful look into the storywork of Coast Salish and Sto:loo elders, Jo-Ann Archibald combines traditional ways of looking at story with a scholarly approach to documentation of her sources. She tells us she wanted \"to demonstrate that Indigenous knowledge systems could be investigated from an Indigenous perspective with rigour acceptable to the academy\" (5).Archibald is Associate Dean for Indigenous Education in the Faculty of Education at die University of British Columbia. As a member of the Sto:lo (Coqualeetza) community and a worker in First Nation educational programs, she received trusted story knowledge from elders. Working from what must have been countless hours of interviews, she examines the uses of story in those communities. She coins the term \"storywork\" to describe the way story is used to reach the hearts of listeners. Storywork is required of both the teller and the listener in order to make meaning happen. She quotes the elders, who say that listening requires \"three ears: two on the sides of our head and one that is in our heart\" (8).Archibald spends much time talking about her relationship to the communities she studies, and she explains the extremely careful way in which stories were set down. During the collection of stories for a First Nations Journeys of Justice curriculum project, curriculum elders read over the transcripts of their stories and were able to demand rewriting until they were satisfied that the words echoed their own. Each page had to be signed by the teller as evidence that it had been approved. The rights to the stories remained with the teller, except for the curriculum use.Archibald includes texts for two First Nations stories and summarizes two more, but this is not a tale collection. She is interested in how and why stories are told. She particularly examines the potential use of traditional story in the educauon of today's First Nations children.Mentors guided her work: Chief Khot-La-Cha, Dr. Simon Baker, Tsimilano, Dr. Vincent Stogan, Kwulasulwut, and Dr. Ellen White. Chapter 1 talks about the teachings she had from them. She references as well the thinking of many other First Nation scholars. Chapter 3 reveals the insights Archibald gained into storywork from working with members of the Stori Nation, especially with the Coqualeetza Elders at Sardis, British Columbia. Learning to listen with patience, Archibald spent much time with these elders, recording their wisdom on tape and in her journal. …","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2010-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71121569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Devil Notebooks. By Laurence A. Rickels. (Minneapolis: University of Minnesota Press, 2008. Pp. xiii + 380, introduction, references, filmography. $75.00 cloth, $24.95 paper.)This formless-seeming book, divided into twenty-six "notebooks" that often read like rough lecture notes, presents and explicates narratives relating to the folk/ popular culture theme of Satan-worship. The plots range from high fiction (Dante's Inferno and Milton's Paradise Lost) to respectable popular fiction and film (Arthur C. Clarke's Childhood's End and William Friedkin's film The Exorcist) to a wide range of frankly forgettable low budget films and pulp novels. Trained as a psychotherapist, Rickels takes a Freudian approach to this body of narrative, arguing that they embody elements of a common human fantasy. The youthful ego, he proposes, negotiates his or her mixed love and fear of one's father by projecting the grossest, most challenging transgressions onto an anti-father archetype, which represents the worst that the imagination can conceive. In so doing, the human mind seeks to "hit bottom in an underworld that precedes the creation of the world as the bottom line of worldly creation" (366). That is, once humans are able to fully comprehend the things that nauseate and repel us, we thus can begin to build the foundation for a positive life.In the notebooks, Rickels ranges through many motifs familiar to folklorists, such as the Faustian bargain with the devil (Motif G. 224.4) and the equation of excrement with gold and vice versa, discussed in several places by Alan Dundes (e.g. Dundes and Pagter 1992: 81-83). A number of works discussed, such as the notorious Michelle. Remembers (Smith and Pazder 1981), relate to recent contemporary legends alleging that gruesome murders and alleged ritualistic child abuse are the work of underground satanic cults (Victor 1993, Ellis 2000) . Rickels also observes the frequent crossover between occult themes and "slasher" images in film, likewise seen in many legends circulated by adolescents (Danielson 1979). Perceptively, he suggests that the "cutting" theme is a way of expressing the essential function of the fantasy itself, which is to excise certain ideas from the human consciousness and cast them onto evil others in the shadowland. By so doing, the mind can allow itself to be gratified by violent, sado-masochistic images while simultaneously rejecting them as the work of unredeemable human devils.The book's postmodern style and format, however, makes it difficult to use as a resource. There is no single place where Rickels previews or explains his argument to his readers, and he assumes that they have a prior familiarity with the works of Freud, to which he often alludes without much prior explanation. …
魔鬼笔记本。劳伦斯·a·瑞克尔斯著。(明尼阿波利斯:明尼苏达大学出版社，2008。第xiii + 380页，引言，参考文献，电影记录。布$75.00，纸$24.95。)这本看似无形的书，分为26个“笔记本”，读起来就像粗略的课堂笔记，呈现并解释了与撒旦崇拜的民间/流行文化主题有关的叙述。书中的情节从高级小说(但丁的《地狱》和弥尔顿的《失乐园》)到受人尊敬的通俗小说和电影(阿瑟·c·克拉克的《童年的终结》和威廉·弗里德金的《驱魔人》)，再到各种容易被遗忘的低成本电影和低俗小说。作为一名心理治疗师，瑞克尔斯采用了弗洛伊德的方法来研究这些叙事体，认为它们体现了人类共同幻想的元素。他提出，年轻的自我通过将最粗俗、最具挑战性的越界行为投射到反父亲的原型上，来协调他或她对父亲的混合爱与恐惧，而反父亲的原型代表了想象力所能想象的最糟糕的情况。在这样做的过程中，人类的思想试图“在世界被创造之前的一个地下世界中触底，作为世俗创造的底线”(366)。也就是说，一旦人类能够完全理解让我们恶心和厌恶的事情，我们就可以开始为积极的生活奠定基础。在这些笔记中，瑞克斯使用了许多民俗学家熟悉的主题，比如浮士德与魔鬼的交易(Motif G. 224.4)，以及Alan Dundes在几个地方讨论的粪便与黄金的方程式(例如Dundes和Pagter 1992: 81-83)。讨论了一些作品，比如臭名昭著的《米歇尔》。《回忆》(Smith and Pazder, 1981)，与当代的传说有关，这些传说声称可怕的谋杀和所谓的仪式性虐待儿童是地下撒旦邪教的工作(Victor 1993, Ellis 2000)。瑞克尔斯还注意到电影中神秘主题和“杀戮者”形象之间的频繁交叉，同样也出现在青少年流传的许多传说中(Danielson 1979)。敏锐地，他认为“切割”主题是表达幻想本身本质功能的一种方式，即从人类意识中剔除某些想法，并将其投射到阴影中邪恶的其他人身上。通过这样做，大脑可以允许自己被暴力、施虐、受虐的形象所满足，同时拒绝它们，认为它们是不可救药的人类恶魔的作品。然而，这本书的后现代风格和格式使得它很难作为一种资源来使用。里克尔斯没有在任何地方向读者预演或解释他的论点，他假设读者事先熟悉弗洛伊德的作品，而他经常在没有太多事先解释的情况下暗示弗洛伊德的作品。…
{"title":"The Devil Notebooks","authors":"B. Ellis","doi":"10.5860/choice.46-3177","DOIUrl":"https://doi.org/10.5860/choice.46-3177","url":null,"abstract":"The Devil Notebooks. By Laurence A. Rickels. (Minneapolis: University of Minnesota Press, 2008. Pp. xiii + 380, introduction, references, filmography. $75.00 cloth, $24.95 paper.)This formless-seeming book, divided into twenty-six \"notebooks\" that often read like rough lecture notes, presents and explicates narratives relating to the folk/ popular culture theme of Satan-worship. The plots range from high fiction (Dante's Inferno and Milton's Paradise Lost) to respectable popular fiction and film (Arthur C. Clarke's Childhood's End and William Friedkin's film The Exorcist) to a wide range of frankly forgettable low budget films and pulp novels. Trained as a psychotherapist, Rickels takes a Freudian approach to this body of narrative, arguing that they embody elements of a common human fantasy. The youthful ego, he proposes, negotiates his or her mixed love and fear of one's father by projecting the grossest, most challenging transgressions onto an anti-father archetype, which represents the worst that the imagination can conceive. In so doing, the human mind seeks to \"hit bottom in an underworld that precedes the creation of the world as the bottom line of worldly creation\" (366). That is, once humans are able to fully comprehend the things that nauseate and repel us, we thus can begin to build the foundation for a positive life.In the notebooks, Rickels ranges through many motifs familiar to folklorists, such as the Faustian bargain with the devil (Motif G. 224.4) and the equation of excrement with gold and vice versa, discussed in several places by Alan Dundes (e.g. Dundes and Pagter 1992: 81-83). A number of works discussed, such as the notorious Michelle. Remembers (Smith and Pazder 1981), relate to recent contemporary legends alleging that gruesome murders and alleged ritualistic child abuse are the work of underground satanic cults (Victor 1993, Ellis 2000) . Rickels also observes the frequent crossover between occult themes and \"slasher\" images in film, likewise seen in many legends circulated by adolescents (Danielson 1979). Perceptively, he suggests that the \"cutting\" theme is a way of expressing the essential function of the fantasy itself, which is to excise certain ideas from the human consciousness and cast them onto evil others in the shadowland. By so doing, the mind can allow itself to be gratified by violent, sado-masochistic images while simultaneously rejecting them as the work of unredeemable human devils.The book's postmodern style and format, however, makes it difficult to use as a resource. There is no single place where Rickels previews or explains his argument to his readers, and he assumes that they have a prior familiarity with the works of Freud, to which he often alludes without much prior explanation. …","PeriodicalId":44624,"journal":{"name":"WESTERN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2010-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71123513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"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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