在神圣与世俗的边缘游走——温州模式与民间信仰之关系初探

温州模式的形成和发展与温州民俗文化密切相关,其中民间信仰扮演了很重要的角色。温州模式所包蕴的敢为人先、吃苦耐劳以及抱成团等温州人精神都与该地域的民间信仰文化有关。本论文主要从三个层面展开论述民间信仰与温州模式的深层关系——民间信仰为温州模式的创造者筑就了一道道精神“防火墙”;温州人通过民间信仰强化了温州人原有的血缘、地缘和业缘等关系;温州人生活在一种门槛的阈限阶段,游走于神圣与世俗之间。同时,本论文还对温州民俗文化进行了初步的省思。     

风雨60年:从文学抗日到抗日文学

从文学的意义上讲,战后的抗日文学才是真正的抗日文学。前30年的抗日文学虽涌现出一批较优秀的文学作品,但整体发展并不尽如人意。新时期的抗日文学不仅完成了从“文学抗日”到“抗日文学”的历史性转变,也开创了中国抗日文学的新时代。变化得以实现的主要原因,在于文学走出了以民族的最高利益为单一立场的国家化叙事模式,也走出了战后30年以意识形态为主要立场的集体言说方式,开始了立足于民间视野和个人话语基础之上的抗日历史的文学重构与叙述。     

隆回花瑶民间艺术研究

花瑶民间艺术和花瑶民俗是民族民间传统文化瑰宝,但目前人们对花瑶民族风情与民间文化的认识,无论是从当地的政府部门还是从学术界来说,大多是从经济学、民俗学、文化学、社会学和人类学等角度来研究的,还没有或很少有人从艺术学的角度来认识和鉴赏花瑶民间文化的艺术特征与美学价值.     

论民俗旅游对旅游地民俗文化的"污染"与防治

民俗旅游对旅游地民俗文化的“污染”主要体现在三个方面:由于过于关注民俗文化的形式,常常导致民俗文化精神内核的丧失;伪民俗大量涌现,破坏了旅游地民俗文化的和谐性;促使旅游地民俗文化出现与外来文化快速趋同的趋势,使民俗文化的特色日渐消失。解决这些问题需要与民俗旅游有关的各方的共同努力。     

Always More Than Two: Vibrations,the Foetus,and the Pregnant Person in Childbirth Singing Practices

The goal of this article is to expand the theoretical approaches in feminist research that have explored the relationship between the pregnant person and the foetus in terms of constitutive relationality. I examine new ways of understanding and conceptualizing such a relationship, which may be enabled by the concept of vibration, by focusing on a childbirth-singing method developed and taught by Finnish music educator Hilkka-Liisa Vuori. This article is based on ethnographic fieldwork; I participated in a course on childbirth singing taught by Vuori and interviewed women who had used singing and vocalizing during pregnancy and labour. With the help of new feminist materialisms and feminisms inspired by Gilles Deleuze and Felix Guattari’s thinking, I suggest that sound and music as vibrations are agential matter that allow us to rethink the dyad between the pregnant person and the foetus. I argue that when the foetus–pregnant person dyad is approached as a constitutive relationality, more than two bodies are always involved.     

‘For you were strangers’: Jewish ritual,black musics,and commemorative politics in Tel Aviv’s Refugee Seder

ABSTRACT

Each Passover since 2009, hundreds of East African asylum seekers and Israeli activists have gathered for ‘Refugee Seder’, a public event to support Sudanese and Eritrean communities in Israel. Featuring a ceremonial seder meal, storytelling, speeches, and a dance party, Refugee Seder draws on age-old Jewish rituals and contemporary global black pop musics to symbolize Africans as members of the Israeli national collective. This article explores Refugee Seder’s modified commemorative practices, which engage dual narratives of Jewish nationalism and cultural cosmopolitanism. I show how seder rituals enable African participants to temporarily embody a Jewish spiritual identity, and how black pop musics help publicly reframe Africans’ ‘blackness’ as a cultural asset instead of a political liability. Ultimately, I argue that Refugee Seder distills larger ideologies of identity and belonging that are deeply rooted in Israeli collective consciousness, and which shape the trajectories of ‘refugee issue’ politics and policy-making.     

Longing for home: The Tosa Diary's funa uta and Heian popular song

Less discussed than its other noteworthy characteristics is the degree to which Tosa nikki marks the ways that song permeated Heian culture. A particularly valuable example is provided by the funa uta or ‘boat songs’ that are transcribed in the diary, which are the only extant examples of this genre. Moreover, they represent a rare instance of popular songs from the period that are sung by commoners rather than professional performers or aristocratic amateurs, making them truly distinctive within the corpus of Heian song-texts that have survived. This article seeks to flesh out our understanding of the diary's funa uta through a close reading of their formal features as they relate to other types of Heian song and their content as it relates to their historical context. In doing so, it will present new hypotheses about their characteristics as a distinct genre whose signature refrains expressing a desire to return home operated on the level of meaning as much as musicality in binding together their lyrics, and whose concern with the forms of alienation that extreme mobility engender is particularly suited to shipborne travel and the sorts of exchanges between unrelated parties that it entailed.     

清音余韵话民俗——京派乡土小说民俗风情的文化价值与审美特性

京派小说家以大量的篇幅描绘了乡村生活特有的风俗画,表现出浓郁的民俗色彩和素朴的民俗美。文学作品对独特的民俗色彩的展示,不仅是一种生活现象的展示,而且也是一种生活本质的揭示。对民俗文化的研究有助于深入到历史中,透视中华民族的传统文化,揭示其独特的文化价值与审美特性。     

“Seeing Her Through a Bamboo Curtain”: Envisaging a National Literature through Chinese Folk Songs

In 1922, Chang Hui (1894–1985) published in Folk Song Weekly ten ballads with a shared motif: “seeing her through a bamboo curtain” (gezhe zhulian kanjian ta). Regarding the ballads as at once ten place-based, local folk songs and one placeless, national poetry, Chang urged attention to the exemplary influence of folk songs on the unification of languages in early twentieth-century China. Throughout the folk song campaign (c. 1918–c. 1927), however, the potential of folk songs to facilitate nationalization of Chinese language and literature remained arguably unfulfilled. This article examines the reasons for folk songs’ lack of influence on modern Chinese literary history. Through an analysis of contesting ideas and agendas regarding the literary nature of folk song, the author reveals that folk songs were rediscovered at a moment of modern Chinese history when prevalent discourses on Chinese language and literature could not fully accommodate the folk, the dialect, or the oral nature of folk song.