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L’art populaire au Québec
L’art populaire est le reflet d’une société, de la perspective de ses créateurs, dont les approches sont tantôt traditionnelles et rationnelles, tantôt indisciplinées et débridées. D’hier ou d’aujourd’hui, l’art populairen révèle toute son expressivité, met en valeur la beauté des objets anciens.
Du coq à l’âme : L’art populaire au Québec vient circonscrire l’art populaire et présenter son évolution dans le temps, depuis sa forme traditionnelle, fort ancienne, jusqu’à sa forme indisciplinée, plus récente, du graffiti.
Cet ouvrage est le résultat de plusieurs années de recherche et de rencontres avec des créateurs, des collectionneurs et des chercheurs, tous passionnés de cette forme de créativité originale et authentique.Une magnifique synthèse de la production et de l’évolution de l’art populaire, l’histoire culturelle et sociale et la créativité d’artistes québécois, souvent peu reconnus.
L’anthropologue Jean-François Blanchette jette un regard historique et photographique sur les collections d’art populaire québécois du Musée canadien de l’histoire, dont la très prestigieuse collection de Nettie Covey Sharpe, acquise en 2002.
One of the most comprehensive and widely praised introductions to folklore ever written. Toelken's discussion of the history and meaning of folklore is delivered in straightforward language, easily understood definitions, and a wealth of insightful and entertaining examples.
Toelken emphasizes dynamism and variety in the vast array of folk expressions he examines, from "the biology of folklore," to occupational and ethnic lore, food ways, holidays, personal experience narratives, ballads, myths, proverbs, jokes, crafts, and others. Chapters are followed by bibliographical essays, and over 100 photographs illustrate the text. This new edition is accessible to all levels of folklore study and an essential text for classroom instruction.
A Food Studies Reader
Music in the Life of a Tibetan Refugee Community
In Echoes from Dharamsala, Keila Diehl uses music to understand the experiences of Tibetans living in Dharamsala, a town in the Indian Himalayas that for more than forty years has been home to Tibet's government-in-exile. The Dalai Lama's presence lends Dharamsala's Tibetans a feeling of being "in place," but at the same time they have physically and psychologically constructed Dharamsala as "not Tibet," as a temporary resting place to which many are unable or unwilling to become attached. Not surprisingly, this community struggles with notions of home, displacement, ethnic identity, and assimilation. Diehl's ethnography explores the contradictory realities of cultural homogenization, hybridity, and concern about ethnic purity as they are negotiated in the everyday lives of individuals. In this way, she complicates explanations of culture change provided by the popular idea of "global flow."
Diehl's accessible, absorbing narrative argues that the exiles' focus on cultural preservation, while crucial, has contributed to the development of essentialist ideas of what is truly "Tibetan." As a result, "foreign" or "modern" practices that have gained deep relevance for Tibetan refugees have been devalued. Diehl scrutinizes this tension in her discussion of the refugees' enthusiasm for songs from blockbuster Hindi films, the popularity of Western rock and roll among Tibetan youth, and the emergence of a new genre of modern Tibetan music. Diehl's insight into the soundscape of Dharamsala is enriched by her own experiences as the keyboard player for a Tibetan refugee rock group called the Yak Band. Her groundbreaking study reveals the importance of music as a site where official and personal, old and new representations of Tibetan culture meet and where different notions of "Tibetan-ness" are being imagined, performed, and debated.
This collection represents, in substance and style, folk tradition in the North-West Region of Cameroon. Contained herein is a sampling of various human emotions, parental concerns, and societal conflicts: emotional insecurity, deceit, obstinacy, power and control, trickery, malevolence, greed, jealousy, and more. The stylistic representation is reflected in the double writing, as shown by the dialogues, the songs, and the use of choruses. These tales are ageless, placeless, and, therefore, anonymous; yet they are also the collective wisdom of a people who are supposed once to have walked the planet and communed with other animals and non-animals on the same terms. That is how humans, animals, vegetation, water, and hills/mountains are equally animate and have linguistic expression for their thoughts and sentiments. Folktales served primarily as entertainment, and also as a convenient way of teaching history and culture, and they invariably promoted good listening and speaking skills in the vernacular language as children learned to model the rhetorical patterns of their adult folkloristsówith children taking turns night after night till they had gone full circle and then started recounting the same tales over. While the morale of some of the tales is obvious, that of other tales is not; and that, again, is typical both of the traditional mind set and of the educational backdrop of storytelling.
Narcocorridos and the Construction of a Cultural Persona on the U.S.-Mexico Border
Since the late 1970s, a new folk hero has risen to prominence in the U.S.–Mexico border region and beyond—the narcotrafficker. Celebrated in the narcocorrido, a current form of the traditional border song known as the corrido, narcotraffickers are often portrayed as larger-than-life “social bandits” who rise from poor or marginalized backgrounds to positions of power and wealth by operating outside the law and by living a life of excess, challenging authority (whether U.S. or Mexican), and flouting all risks, including death. This image, rooted in Mexican history, has been transformed and commodified by the music industry and by the drug trafficking industry itself into a potent and highly marketable product that has a broad appeal, particularly among those experiencing poverty and power disparities. At the same time, the transformation from folk hero to marketable product raises serious questions about characterizations of narcocorridos as “narratives of resistance.” This multilayered ethnography takes a wide-ranging look at the persona of the narcotrafficker and how it has been shaped by Mexican border culture, socioeconomic and power disparities, and the transnational music industry. Mark Edberg begins by analyzing how the narcocorrido emerged from and relates to the traditional corrido and its folk hero. Then, drawing upon interviews and participant-observation with corrido listening audiences in the border zone, as well as musicians and industry producers of narcocorridos, he elucidates how the persona of the narcotrafficker has been created, commodified, and enacted, and why this character resonates so strongly with people who are excluded from traditional power structures. Finally, he takes a look at the concept of the cultural persona itself and its role as both cultural representation and model for practice.
Corporeality, Representation, and Chinese Cultures
From feminist philosophy to genetic science, scholarship in recent years has succeeded in challenging many entrenched assumptions about the material and biological status of human bodies. Likewise in the study of Chinese cultures, accelerating globalization and the resultant hybridity have called into question previous assumptions about the boundaries of Chinese national and ethnic identity. The problem of identifying a single or definitive referent for the "Chinese body" is thornier than ever. By facilitating fresh dialogue between fields as diverse as the history of science, literary studies, diaspora studies, cultural anthropology, and contemporary Chinese film and cultural studies, Embodied Modernities addresses contemporary Chinese embodiments as they are represented textually and as part of everyday life practices. The book is divided into two sections, each with a dedicated introduction by the editors. The first examines "Thresholds of Modernity" in chapters on Chinese body cultures in the late nineteenth and early twentieth centuries—a period of intensive cultural, political, and social modernization that led to a series of radical transformations in how bodies were understood and represented.The second section on "Contemporary Embodiments" explores body representations across the People’s Republic of China,Taiwan, and Hong Kong today.
Interpreting Women’s Domestic Needlework from the Italian Diaspora
For Italian immigrants and their descendants, needlework represents a marker of identity, a cultural touchstone as powerful as pasta and Neapolitan music. Out of the artifacts of their memory and imagination, Italian immigrants and their descendants used embroidering, sewing, knitting, and crocheting to help define who they were and who they have become. This book is an interdisciplinary collection of creative work by authors of Italian origin and academic essays. The creative works from thirty-seven contributors include memoir, poetry, and visual arts while the collection as a whole explores a multitude of experiences about and approaches to needlework and immigration from a transnational perspective, spanning the late nineteenth century to the late twentieth century.
At the center of the book, over thirty illustrations represent Italian immigrant women's needlework. The text reveals the many processes by which a simple object, or even the memory of that object, becomes something else through literary, visual, performance, ethnographic, or critical reimagining. While primarily concerned with interpretations of needlework rather than the needlework itself, the editors and contributors to Embroidered Stories remain mindful of its history and its associated cultural values, which Italian immigrants brought with them to the United States, Canada, Australia, and Argentina and passed on to their descendants.
Elliott Oring asks essential questions concerning humorous expression in contemporary society, examining how humor works, why it is employed, and what its messages might be. This provocative book is filled with examples of jokes and riddles that reveal humor to be a meaningful--even significant--form of expression. Oring provides alternate ways of thinking about humorous expressions by examining their contexts--not just their contents. Engaging Humor demonstrates that when analyzed contextually and comparatively, humorous expressions emerge as communications that are startling, intriguing, and profound.
This powerful and popular epic honors the legendary warrior prince of Kaabu and Mandinka cultural hero, Kelefaa Saane. A standard of the griot repertoire, the epic of Kelefaa Saane is customarily taught to young performers at the beginning of their careers. Sirifo Camara's masterful recitation was recorded in Dakar in 1987. It has been transcribed in Mandinka and is translated into English here for the first time. The epic, as it describes Kelefaa's life and exploits, relates what it means to be Mandinka. Kelefaa's extraordinary prowess and virtue derive from the political, social, moral, and theological founding myths of the Mandinka people. This beautiful and engaging performance provides a unique perspective on the intellectual and literary heritage of West Africa.