A marriage of inconvenience: Miriam Makeba’s relationship with Stokely Carmichael and her music career in the United States

This article analyzes the career of famed South African singer, Miriam Makeba, in the United States. After finding success throughout much of the 1960s, Makeba’s career and public image shifted after her 1968 marriage to Stokely Carmichael, a noted Civil Rights activist and proponent of the Black Power movement. Once Makeba became associated with Carmichael and his reputation as an extremist, the American public, media, and music industry changed their approach to Makeba as an individual and as an artist throughout the late 1960s and 1970s. Ultimately, this union caused American audiences to turn on her and her music, and this essay explores how and why this shift occurred.     

谈音乐中的文学性内容

音乐中所具有的文学性内容包括:一、过程,文学展开的是客观世界的过程,音乐展开的是主观世界的过程,它的作用是为听众的文学性联想提供过程的依据;二、冲突,文学通过突如其来的事件的闯入或两种力量的斗争造成冲突,音乐是通过音响中包含的感情力量之间的对比暗示客观世界的冲突;三、抒情,文学的抒情有表达感情、描写感情和借景抒情三方面,而音乐的抒情是“借情抒情”,通过对情绪氛围的描述,达到对感情内容的主观表达。想象的介入使音乐概括性的表达闪现出文学性的内容。     

民间视角向精英视角的游移——重谈元曲公案戏

由于成书过程的复杂性,元曲公案戏隐藏着两个视角,即民间视角和精英视角。两个视角的叠合、交融,影响了读者对清官形象的认识,将两个视角剥离开来,发现民间艺人眼中的清官是为民除害者,文化精英笔下的清官乃安民除暴者,前者运用的是浪漫主义手法,后者运用的是写实主义手法。以传统文化的阴阳学说分析元曲公案,是试图将分析建立在文化理论基础之上,因而能得出比较科学的结论。     

法律解释的民间法面向

在法制现代化的背景下,基层司法不可避免地面临着国家法律与乡土逻辑的冲突,这成为当前建设农村法治的瓶颈问题。为缓解国家法与民间法的冲突,需要在司法的层面上明确民间法司法适用的条件、场合与方法,从而使法律解释具备本土化的民间法面向,这对于通过司法支持基层自治、通过司法审查制约民间法的合法作用、缓解国家法与民间法的冲突和紧张具有积极作用。     

法律如何进入乡村社会

国家法在乡村社会的“戏剧性”运行非但不能作为乡村无法律的依据,还应视为法治前景的孕育地。立法下乡、执法下乡和司法下乡是乡村社会现代法律生成的根本措施。     

非主流力量的现实与必要——民间法在农村法治进程中的地位和作用

在我国法治建设,特别是农村法治建设的过程中,民间法成为一个非主流因素仍然存在并发挥作用,其积极与消极作用并存。正确认识民间法在我国法治建设中的地位,规范引导民间法在法治建设进程中的适用,确实是我国法治建设特别是农村法治建设的重要任务。     

中西小传统诉讼观念之比较——以民间法谚为视角

诉讼观念是中西法律文化比较的重要领域,以往学者均从大传统诉讼观念对比,忽略了小传统诉讼观念的比较。民间法律谚语是最能体现小传统法律文化的载体之一,对中西在历史中积淀下来的法谚进行比较分析,可以探究中西方在小传统层面上诉讼观念的差异和"暗合"之处。这样可以更加立体地甄别中西法律文化的异同,同时也可为我们建设法治国家提供有益启示。     

Elizabeth and Her Mountain Garden

Abstract

In this essay the author suggests that Elizabeth von Arnim’s anonymous novel In the Mountains (1920) can be regarded as a modernist work, and is best understood in this context. The author indicates why von Arnim was intellectually and spiritually ready to develop her writing along these lines in the post-First World War era. This novel, like von Arnim’s early works—Elizabeth and Her German Garden (1898) and The Solitary Summer (1899 Arnim, Elizabeth von (1899), The Solitary Summer, London: Macmillan. [Google Scholar])—is written in the form of a journal; the title, also like those of her early works, points to a symbolic setting derived from nature. However, the narrator of In the Mountains no longer appears as ‘Elizabeth’, but remains mysteriously and completely anonymous. This device, together with von Arnim’s stylistically innovative use of structures and motifs derived from nature and music, as well as her manipulation of time, perception and memory, demonstrates her unique approach to modern writing in this novel, inviting comparison with contemporary works by Virginia Woolf and Katherine Mansfield.     

Using yoshikono and war to save rakugo in Osaka

Abstract

In April 1936, the magazine Kamigata hanashi (Kamigata Story) was launched in Osaka. This was a rakugo (traditional comic storytelling) magazine published monthly out of a local storyteller's home. One mission of the magazine as laid out by the editor in the inaugural issue was to preserve a local narrative tradition that was losing a popularity battle with manzai (two-person stand-up comedy) and other modern performing arts and media. Interestingly, in the second year of the magazine's run, the editor issued a call for yoshikono, which, like dodoitsu, are songs conventionally written in lines of 7-7-7-5. This too was a tradition that, it was written, needed a champion. Yoshikono submissions increased with each issue until they filled multiple pages, reaching into the hundreds. Prizes were given for the best entries, and public yoshikono gatherings were advertised – singers and shamisen players were even enlisted in what appears to be an attempt to revive a community performance tradition with historic links to storytelling in Osaka. This article shines light on the largely forgotten art of yoshikono, discusses its role in an Osaka rakugo magazine from 1937 to 1940, offers forty verses in translation, and considers why yoshikono was unable to make a comeback after the Second World War.     

Preface to Yoshimi Shun'ya's Voice Capitalism

Abstract

This article is a translation of the preface to Voice Capitalism by influential sociologist Yoshimi Shun'ya. The chapter ties together a wealth of discourse on the meaning of sound to society and to the individual, and its evolving role as a means of expression and connection to our environments. Yoshimi walks us through Nagai Kafū's reverence for tangible sound, R. Murray Schafer's schizophonic soundscapes, Marshal McLuhan's essays on the impact of the advent of sound recordings and electronic voices, Glenn Gould's theories on the blurring borders between musical performer and audience – amongst numerous other topics and writers.