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Ann Flood, Mairéad Farrell, and the Representation of Armed Femininity in Irish Republican Ballads Ann Flood、Mairéad Farrell与爱尔兰共和歌谣中武装女性的表现
IF 0.7 1区 艺术学 0 MUSIC Pub Date : 2021-10-01 DOI: 10.5406/ethnomusicology.65.3.0471
Seán Ó Cadhla
This article critically considers the representation of armed femininity within the attendant song tradition of Irish physical-force Republicanism, with specific focus on the personal and cultural consequences for two prominent female Republican activists, both of whom successfully traverse the gender demarcation lines of war. While noting the didactic, often misogynistic, trajectory of works narrating “transgressive” females within the broader ballad tradition, this article seeks to determine whether or not the interwoven essentialist tropes of death, martyrdom, and resurrection—all deeply embedded ideological constructs within the framework of Irish Republicanism—successfully supersede calcified patriarchal mores and, in so doing, facilitate an alternative narrative landscape for the cultural documentation of militant Irish Republican women via the popular ballad. Tugann an t-alt seo faoi anailís chriticiúil ar léiriú na bandachta armtha i dtraidisiún amhránaíocht Phoblachtach na hÉireann. Dírítear sa saothar seo ar dhá shampla ar leith de bheirt bhan Phoblachtacha agus ar na himpleachtaí cultúrtha agus sóisialta a éiríonn dóibh mar mhná a sháraíonn deighilt inscne na cogaíochta. Tugtar faoi deara san alt seo an t-ábhar teagascach, frithbhanda a shonraítear go rialta i leith mná sáraitheacha i gcorpas na hamhránaíochta traidisiúnta. Chuige seo, is í sprioc an tsaothair reatha ná deimhniú an sáraítear na gnásanna sioctha patrarcacha seo ag bunphrionsabail eisintiúlacha idé-eolaíochta an Phoblachtachais mhíleata agus más amhlaidh, an soláthraítear deiseanna reacaireachta éagsúla dá bharr, chun gníomhaíochtaí mná Poblachtacha míleata a thaifeadadh trí mheán an bhailéid traidisiúnta.
本文批判性地考虑了武装女性气质在爱尔兰武力共和主义伴随的歌曲传统中的表现,特别关注了两位著名的女性共和主义活动家的个人和文化后果,她们都成功地跨越了战争的性别分界线。在注意到在更广泛的民谣传统中,讲述“越轨”女性的作品的说教式、往往是厌女主义的轨迹的同时,本文试图确定死亡、殉道、,--和复活——所有这些都深深植根于爱尔兰共和主义框架内的意识形态建构——成功地取代了僵化的父权制习俗,并在这样做的过程中,通过流行民谣为激进的爱尔兰共和女性的文化记录提供了一个替代的叙事景观。本文对爱尔兰共和国歌唱传统中武装土匪的表现进行了批判性分析。这项工作的重点是两个共和国的两个具体例子,以及它们作为打破竞争性别差距的妇女所具有的文化和社会影响。这篇文章提到了教育材料,在传统的广告机构中,这些材料经常被指定为与弱势妇女有关的内容。为此,目前的工作旨在核实这些购物习惯模式是否违反了军事共和国的专属意识形态原则,如果是,则提供不同的反应机会,通过传统的有效性记录军事共和国妇女的活动。
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引用次数: 0
What She Go Do: Women in Afro-Trinidadian Music 她要做什么:非裔特立尼达音乐中的女性
IF 0.7 1区 艺术学 0 MUSIC Pub Date : 2021-10-01 DOI: 10.5406/ethnomusicology.65.3.0620
David Lewis
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引用次数: 0
Bertsolari 垂直偏移
IF 0.7 1区 艺术学 0 MUSIC Pub Date : 2021-10-01 DOI: 10.5406/ethnomusicology.65.3.0634
K. Baker
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引用次数: 0
Music from Barotseland: Recordings in Zambia’s Western Province—Lozi, Mbunda, Nkoya, Luvale Barotseland的音乐:赞比亚西部省份的唱片——Lozi、Mbunda、Nkoya、Luvale
IF 0.7 1区 艺术学 0 MUSIC Pub Date : 2021-10-01 DOI: 10.5406/ethnomusicology.65.3.0638
J. Winikoff
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引用次数: 0
Singing Our Way to Freedom 歌唱我们通往自由的道路
IF 0.7 1区 艺术学 0 MUSIC Pub Date : 2021-10-01 DOI: 10.5406/ethnomusicology.65.3.0636
M. González
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引用次数: 0
The Voice in the Drum: Music, Language, and Emotion in Islamicate South Asia 鼓声:伊斯兰化南亚的音乐、语言和情感
IF 0.7 1区 艺术学 0 MUSIC Pub Date : 2021-10-01 DOI: 10.5406/ethnomusicology.65.3.0627
Haruo Inoue
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引用次数: 0
Roots in Reverse: Senegalese Afro-Cuban Music and Tropical Cosmopolitanism 反向根源:塞内加尔非裔古巴音乐与热带世界主义
IF 0.7 1区 艺术学 0 MUSIC Pub Date : 2021-10-01 DOI: 10.5406/ethnomusicology.65.3.0622
Moshe Morad
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引用次数: 0
From the Editor 来自编辑
IF 0.7 1区 艺术学 0 MUSIC Pub Date : 2021-10-01 DOI: 10.5406/ethnomusicology.65.2.0199
Gunderson
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引用次数: 0
Playable Bodies: Dance Games and Intimate Media 可玩的身体:舞蹈游戏和亲密媒体
IF 0.7 1区 艺术学 0 MUSIC Pub Date : 2021-10-01 DOI: 10.5406/ethnomusicology.65.3.0605
R. Sager
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引用次数: 0
Musik auf Kreta: Traditionen einer Mittelmeerinsel / Music on Crete: Traditions of a Mediterranean Island 克里特岛音乐:克里特岛的传统/克里特岛音乐:地中海岛屿的传统
IF 0.7 1区 艺术学 0 MUSIC Pub Date : 2021-07-01 DOI: 10.5406/ethnomusicology.65.2.0386
Renata Dalianoudi
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引用次数: 0
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