Vernacular culture and the place of folk music

This paper focuses on an evening event at the Community Centre, Jacksdale, Nottinghamshire, UK in 2001 featuring a group called The Chase, performing folk music and dance from France and other European countries. It raises a series of issues concerning the relationships between folk culture and modern everyday life. These questions intersect with debates concerning authenticity, tradition, working-class culture, community and sense of place. The paper develops the concept of vernacular culture within a dynamic and plural conception of place as a means of theoretically locating folk music within modern everyday life.     

“AND DAVID PERCEIVED” (2 SAMUEL 5,2)

Abstract

2 Samuel 5,12 is shown to be important. It does not merely repeat verse 10 and is not an addendum that is poorly integrated into the literary unit.

Its importance is that it presents David's inner world: he ascribes his success to the Lord, Who acts for the benefit of His people. This alludes to two aspects of the monarchical covenant in Israel: king-the Lord and king-people. In both realms David is perceived as embodying the book's criteria for the ideal leader.

In addition, the language of the verse is examined against the background of the entire book of Samuel. The verse suggests that David is Saul's successor (whereas verse 10 suggests that he is Samuel's heir).     

‘Hold the Heathen Hammer High’: representation,re-enactment and the construction of ‘Pagan’ heritage

Viking Metal, Pagan Metal and their relatives represent subgenres of Black and Folk Metal characterised by their historical and mythological references, their incorporation of folk melodies alongside traditional music and instruments, and the use of contemporary material culture and dress. Like earlier folk-rock traditions, these subgenres have often steered an interesting course between the hedonistic tendencies which can accompany rock music (the ‘rock “n” roll lifestyle’) and an educational role: metal as heritage and specifically as heritage interpretation. In this paper, the authors explore these various connections through conversations with members of two prominent bands (Týr and Heidevolk) who gave research seminars at the University of York in 2012 and 2013. The connections between music making, landscape, performativity and narration are prominent in both cases, and form the basis of this study.     

青海民间文化资源的发掘与保护

青海幅员辽阔,自古以来就是多民族、多文化交融的地区。在漫长的岁月中,各民族文化相互融合、相互影响、相互依存,共同构筑起青海多民族文化包容共进的辉煌历史,凸现多元文化地域特色的人文内涵和精神魅力。对这些民间文化进行有效的保护和充分的发掘,对促进青海经济社会又好又快地发展具有十分重要的意义。     

厕筹杂考

本文考察了西汉至近代中国人如厕拭秽方法的流变过程。考古资料证实,厕筹(厕简)最迟至西汉时期已被中国人用于拭秽。古印度佛教徒也有类似的习俗,而厕筹出现在中国文献中,是在佛教传入中国后。自元代开始,民间使用的厕筹逐步被粗纸代替,而寺院仍保留了这一习俗。     

试论徽州地理环境对徽商和徽派民居建筑的影响

文章从文化生态学角度,论述了徽州地理环境对徽商和徽派民居建筑的影响,认为:1、徽州人商业活动起源于徽州物产"结构性失调",徽州"地狭人稠"促使"徽民寄命于商";2、徽商经营行业受徽州地理环境影响,以徽州物产余缺为基础;3、徽州群山环抱,陆路交通闭塞,新安江等水路从而成为徽商境内外贸易的主要通道;4、徽商投资产业多在徽州以外地域,明显受徽州物产和市场因素影响;5、徽州民居建筑在选址、用地、材料、结构、造型等方面,与徽州地理环境和谐、协调。     

中国民间绘画中的现代趋向

中国民间绘画的现代趋向所体现出的艺术魅力、品质价值与西方现代绘画是相似的,其美感意识主要源自作者的美感体验和对美好生活的认识。     

汉字民俗现象试析

汉字在其产生、发展、成熟和运用的过程中,也渗透出相当的民俗化现象,诸如自然祭拜、生殖崇拜、祈福禳灾、兼忌避讳、爱幼尊老,崇祀宗祖、敬惜字纸等习俗,在汉字本身就有明确的反映,从一个侧面体现了汉民族的心理发展历程。     

海南岛文化区域划分

根据民族构成基本一致、具有相同或相似的语言(方言)类型和比较一致或相似的文化景观、文化地域分布基本相联成片、有一个反映区域文化特征的文化中心等五个指标,将海南岛划分为沿海文化区、临高文化区、儋州文化区、五指山黎苗文化区(又分合亩制和其他黎苗文化两个亚区)及三亚羊栏回族文化版块等五个文化区域。     

中国民歌文化的地域特征及其地理基础

在简述民歌文化研究状况的基础上,作者分析了中国民歌文化区形成的历史基础;并从文化地理的角度,探讨了民歌文化的地域整合性。然后将全国民歌文化区分为七大区域,包括:以江南小调为代表的"江南水乡风格",以北方号子为代表的"粗犷刚劲风格",以"信天游"、"花儿"为代表的"西北高原风格",以云、贵、川山歌为代表的"西南高原风格",以长调为特色的"北方草原风格",异域风格的新疆民歌以及高山雪原上的民歌,作者还论述了各区域民歌文化的特征及形成的地理基础。