English and Scotch Fairy Tales

The subject of this article is a zār song about a female character, Umm al-Ghulam (‘mother of the boy’), recorded in a Lower Egyptian village in 1980. The song is short and ambiguous. There is a zār spirit by that name, but there is also a Cairene saint who carries the same name. Zār songs in Egypt invoke both zār spirits and saints; so who are we dealing with in this song?     

Epitomising the Modern Spanish Nation through Popular Music: Coplas from La Caramba to Concha Piquer, 1750–1990

Music is an important language of the emotions and can often arouse strong passions in its performance and representation, both from the individual's perspective of personal identity and for the individual's sense of identity and of belonging to a given community. Likewise, music can serve to whip up and reinforce nationalism and national chauvinism against the ‘other’ as well as serving as a badge of identity. In this article I explore a musical form, a song that has been defined as ‘Spanish’ and as the ‘national’ song: la copla. Copla is rooted in the past and first appeared as both a poetic and a theatrical form, but always accompanied by music. It was, however, during the eighteenth century, when nationalism made its appearance as a ‘concern’ in the Spanish political‐cultural arena, when coplas would be used as a mark of Spanish identity. Copla is a women's song. Although it has been interpreted by men, some of them internationally renowned like Miguel de Molina, the most famous performers have been and still are women. That is why perhaps a recurrent theme of coplas is unrequited love, whereby love and passion play an important role, either with regard to the individual or the community from which the individual hails. But there are also other themes such as the longing stimulated by alien rule, which is reflected by cultural opposition and resistance to discourses of power, not only in terms of open opposition, but in a more subtle form of resistance, particularly in gender terms. I claim that it is precisely this resistance to fixed discourses of gender that have made coplas excellent negotiators with the different musical, social and political contexts and in this way have made them an icon of the invented tradition that is fundamental in the creation of a nation.     

Resurrection: a tale of two anthems sung by Serbs

ABSTRACT. This paper presents a comparative study of two key contenders for Serbian anthem‐hood, the royalist song ‘God of Justice’ and the pan‐Slavic hymn, ‘Hey Slavs’. Drawing on the theorising of nation and representation, as developed by Benedict Anderson, Michael Billig and others, the purpose of the study is to compare the self‐images these songs present to those they enjoin in unison, and to consider the role of those images and the identities they suggest in national/ist ideologies. Neither of the songs discussed in this paper was originally intended to be a national song. Both are in this sense ‘accidental anthems’. The paper will discuss the history of the accidents which have at various times given, and deprived, these songs of anthem status, in Serbia. ‘God of Justice’, originally a song in a patriotic stage play of the 1870s (commissioned to legitimise a young prince's accession to the Serbian throne), was the national song and later the official national anthem of the Principality of (later Kingdom of) Serbia from 1872 to 1919 and then, in a changed form, part of the national anthem of the Kingdom of Yugoslavia from 1919 till 1941. It was resurrected in 2006, in a changed – republican – form to become the national anthem of the Republic of Serbia. The pan‐Slavic ‘Hey Slavs’, written in 1842, emerged, a century later, first as a national song of the Communist‐led resistance movement in Yugoslavia in 1942 and then became an unofficial national anthem of the Communist‐ruled Yugoslav federation; it survived the violent disintegration of that federation in 1991 to serve (once again unofficially) as an anthem of the rump Yugoslavia from 1992 to 2006. Why have these particular songs been chosen for the purpose of representing the Serbian nation to itself and to the world? How has each succeeded and failed in that task? The essay concludes with some speculation on these questions.     

A reinterpretation of Nahuatl poetics: Rejecting the image of Nezahualcoyotl as a peaceful poet

The Nahuatl song-poems, in xochitl in cuicatl (flower song), have been interpreted by modern scholars as a unique expression of Nahuatl aesthetics and world view. Some songs discuss the origin and functions of song-poetry and of the poet, and they often deal with the ephemerality of human life. Because of these metaphysical characteristics, the Nahuatl songs, particularly those attributed to the Texcocan king Nezahualcoyotl (1402–1472), have been presented frequently as expressions of beauty and peace, which is in clear contrast to the Spanish image of the Mexicas as a warlike and bloodthirsty people who practiced human sacrifice.     

Shoe-Throwing at Weddings

It has not proved particularly easy to trace what is usually thought of as ‘folk song’ in England back into the eighteenth century. It is, however, possible in some instances to identify vernacular songs of the kind that were later recovered by folk song collectors circulating in earlier centuries in printed form, and to find contemporary references to the ways in which they were being used. This article takes this approach to one such ballad, The Bloody Gardener’s Cruelty, which was sung in England and was eventually collected in Newfoundland, but which in its earlier history strays well outside what might be thought of as the conventional folk song paradigm.     

The United Nations: past and present

The UN is approaching its seventieth birthday in 2015. Kofi Annan, its seventh secretary general, and the only incumbent not to have come from a national government, has written the most honest and insightful memoir of any occupant of the thirty‐eighth floor, Interventions. Despite terrible setbacks in Bosnia and Rwanda, the United Nations remains the most representative and successful international organization in history. As Mark Mazower points out in his Governing the world, an acutely penetrating history of international governance, the successes of the UN are more than the founders of the ill‐fated League of Nations could have dreamt of. Mazower's tour de force combines a history of the intellectual ideas of the nineteenth and twentieth centuries and their eventual realization in the League of Nations and the UN. While his conclusions question whether faith in international institutions has been lost, the reality of universal membership of the UN and establishment of an International Criminal Court might suggest otherwise.     

The Metrical Structure of the Oral Decapentasyllable

Abstract

What Milman Parry saw as his ‘historical method’ in Homeric criticism has paradoxically relieved students of the Greek folk song from the obligation to approach their subject of study from an exclusively genetic or ‘etymological,’ – in a word, historical – viewpoint. Instead of having to search for – or rather to speculate about – the origins of Greek oral poetry in the mists of antiquity or to assess the extent to which a song can provide reliable historical evidence concerning past events, we are free to turn our attention, as scholars such as Roderick Beaton (1980) and Grigoris Sifakis (1988) have done, to a synchronic study of the folk-song tradition, concentrating as much on the rules that generate the songs as on the significance of actual samples collected in the field (or in the scholar's study or the recording studio).     

Ethnographic sound collections and Australian Aboriginal Heritage: Kaytetye song traditions remembered

ABSTRACT

Song was one of the principal methods of transmitting knowledge in the fundamentally oral societies of Indigenous Australia. As the breadth of song traditions has greatly diminished over the past 200 years, archival recordings of song now form a significant resource of intangible cultural heritage for Australia’s Indigenous people. The song performances recorded in the past are now being rediscovered, remembered and in some cases revived. This paper presents findings from a recent project involving the return of a set of poorly documented recordings of songs to Kaytetye people in central Australia. These newly discovered recordings, the earliest ever made of Kaytetye singing, are shown to be an important heritage resource for these communities. Working collaboratively with senior song experts in order to gain a better understanding of the meaning and cultural significance of various songs, I document the how this discussion of audio material generated important social-histories and memories, reinforced local understandings of rights in cultural heritage, and revealed both continuities and changes in Kaytetye ceremonial and song practice.     

Representations of 1968 in French Popular Music: The Case of Dominique Grange

Focusing on the songs written during 1968–69 presented on the album L'Utopie toujours…(2004) by Dominique Grange, this article discusses some of the representations of key themes of 1968 in song. Grange is a politically engaged singer-songwriter who, whilst enjoying limited commercial success, was very much involved with the 1968 protest movement in Paris and was subsequently linked with various Maoist organisations throughout the 1970s. Her songs constitute an immediate response to the events of 1968 and reflect many of the key themes of the period as identified by Kristin Ross, whose seminal work on May ’68 provides the starting point for the article. The themes of disruption, displacement and reappropriation that Ross identifies in the movement generally are analysed within the context of Grange's songs. In particular the representations of these themes in the context of political contestation, the occupation of space and the seizing of speech are considered. This analysis will ultimately show how Grange's songs highlight the complex nature of the cultural construction that is 1968.     

《牡丹亭》与《哈姆莱特》之魂形象探寻

汤显祖与哈姆莱特是同时代中西戏剧领域的大家，《牡丹亭》和《哈姆莱特》是他们的重要剧作。作品中都出现了魂，虽一个是为爱情的美女魂，一个是为政治的先王魂，但他们都由作品中主人公心灵深处而化。如果说杜丽娘的魂是“至情”而化，那么，老哈姆菜特的魂便是“至仇”而化。     

Pier Paolo Pasolini and the medium of song: Texts written for Laura Betti for the Giro a vuoto show

This article focuses on the outcome of an important episode within contemporary Italian culture: the encounter between the world of literature and song, and specifically examines the lyrics written by Pier Paolo Pasolini for the actress and singer Laura Betti for the Giro a Vuoto show, performed in 1960 in Milan. This essay intends to highlight the key elements of this encounter and the characteristic elements of these songs by virtue of textual and stylistic analysis, and provide remarks with regard to the relationship between music, text and singing performance. A study of this kind allows emphasis to be placed on the innovation originating from this distinctive collaboration which represents an important sign of change towards the emergence of a quality song within the mass market which would later come to be defined as canzone d’autore (singer-songwriter genre).     

Yusuf Islam (aka Cat Stevens) and his anti-war and pro-peace protest songs: from hippy peace to Islamic peace

ABSTRACT

In the 1970s Yusuf Islam (aka Cat Stevens) inspired a generation with his songs on anti-materialism, finding self and peace in such classic albums as Tea for the Tillerman (1970, US 3x platinum) and Teaser and the Firecat (1971, US 3x platinum). In December 1977 he converted to Islam, gave up popular music and focussed on humanitarian and educational work, until he returned to popular music in 2006. Meanwhile, Muslims became associated in the West as intolerant and violent. Yusuf has emerged in the last decade as a voice for progressive Muslims. This article explores the continuities in his music from his Cat Stevens days to his comeback and how he has reconciled popular music and his Cat Stevens past with his understanding of Islam. The focus is on his anti-war and pro-peace songs. It argues that his earlier songs are similar in their messages of world peace through love and unity, though less dark than his post-2006 songs. Additionally, his recent songs have a new message that the world must be more inclusive to achieve world peace. This is connected to him being a Muslim in the West and his feeling of exclusion, in an age when many in the West portray all Muslims as extremists. Consequently, in his recent music he reflects his experience as a Muslim, in the same way as his earlier music reflected the counter-culture of that period. Thus he has gone back to his earlier self after adopting a progressive understanding of Islam. Not Started Completed Rejected.     

Die kinder des Thyestes∗

Eclogue 6 is not odd, as alleged. Gallus fits the convention of Roman poets in Arcady. The Silenus song is generic, with various Greek antecedents. Silenus himself is drawn with humour, a neglected feature; his Lucretian tone may parody or pay tribute to that poet. Virgil is fond of singing mythological creatures. There is much linguistic‐thematic interplay with his other poetry. Eclogue 6 is studiedly pastoral, a synthesis of ingredients, beginning and ending with Virgil himself ‐ ‘Vir‐gilian’ is the appropriate label.     

Lessons from Praxis: Autonomy and Spatiality in Contemporary Latin American Social Movements

In the course of the 20th century, left‐libertarian thought and praxis never ceased to be present in Latin America, even during the most difficult years of competition with Marxism‐Leninism and of military repression. But it was above all from the 1990s onwards that particularly original kinds of libertarian thought and praxis began to flourish there. Alongside more or less renewed versions of classical anarchism, new forms of praxis and analysis emerged at the end of the 20th and beginning of the 21st century; from Mexican neo‐Zapatism to a part of Argentina's piqueteros to some expressions of Brazil's sem‐teto movement, many new movements and ideas have developed in the last two decades. These new movements are at the same time remarkably libertarian and by no means reducible to the very honourable but somewhat too restrictive label “anarchism”. In fact, many of them are clearly “hybrid”, in the sense that they are products of both left‐libertarian and Marxist influences. Typically, these Latin American movements share a commitment to principles such as horizontality, self‐management and decentralism (which have never been part of Marxism's typical repertoire of practices and principles); moreover, autonomy is a key notion for most of them. Furthermore, spatial practices, territorialisation among them, are proving decisive for many movements and protest actions. The concept of territory is one of those “geographical” concepts that have been intensely subjected, in recent decades, to strong attempts of redefinition and debugging. In this paper, the territory is fundamentally seen (as a first approximation) as a space defined and delimited by and through power relations, and it is important to see that power (both heteronomous and autonomous power) is exerted only with reference to a territory and, very often, by means of a territory. The kind of power exerted by emancipatory social movements does not constitute an exception to this rule.     

Nineteenth-century Irish Anacreontics: the literary relationship of James Clarence Mangan and Thomas Moore

The odes of the ancient Greek poet Anacreon, celebrating wine, women and song, were made newly popular in the nineteenth century through the efforts of Thomas Moore, a writer whose first volume of verse, a loose translation of the Odes of Anacreon, published in 1800, marks him out today as a poet of Romantic sociability par excellence. I argue that the Anacreontic ode popularised by Moore continued to resonate through nineteenth-century Ireland – albeit in a heavily mediated form – in the work of the poet's successor, James Clarence Mangan, who picked up the cup in the series of drinking songs he wrote periodically throughout the 1830s and 1840s, the decades during which Mangan sank into alcoholism and emotional estrangement. The easy charm of Moore's Anacreontic song mutates in Mangan's verse into a more complex, often allusive and fragmented form, a perverse Anacreontics, which corresponds both to the poet's psychic trauma (his alcoholism and self-alienation) and to a broader cultural and political dislocation experienced by Ireland under British rule. This discomfort is registered in Mangan's verse in the playful refusal of a single authorial voice and in the poet's tendency both to ventriloquise and to distort influence – not just that of Moore but also of the British Romantics, notably Byron and Coleridge.     

Migration and adaptation of popular Balladry in the US Appalachian region

Scottish ballads were carried to isolated hamlets in the Appalachian Mountains of North America through successive waves of migration in the 17th and 18th centuries. The cultural diffusion of ballad singing underwent divergence as the songs were transmitted orally. Place names, local festivals, and current events were especially plastic components of this process. In the beginning of the 20th century, the intrusion of the radio and rural disturbances brought about by the coal industry functioned as barriers to cultural transmission of the ballads. Even so, songs were kept alive as evidenced by the metamorphosis of My Boy Tammie into Billy Boy and the more recent resurrection of The Elfin Knight into popular culture as Scarborough Fair by Simon and Garfunkel. The relationship between orality and literacy is multi‐faceted and difficult to categorise and evaluate.     

试析《仡佬族古歌》中的几个美学特征

人是创造关和欣赏美的唯一主体,审美能力是人之为人的重要心理品质,其由来历久。固然,仡佬民族也在创造和欣赏着“美”,仡佬人没有形成自己的文字,但有着丰富而口耳相传的民间古歌谣,部分经专家整理、收录（用国际音标采音、汉字意译）编辑成《仡佬族古歌》,这些歌谣具有诸多“美”的特质。从《古歌》中,我们可以发现仡佬民族所独有的“历史感”、“悲剧性”、“和谐观”等美学特征,这些为仡佬民族的“不朽”奠定了坚实的基础。