This paper argues that ritual is not only restricted to religious activities, but can also be ethological, sociological, and ecological in nature. The artistic, stylistic, and functional characteristics of one particu...This paper argues that ritual is not only restricted to religious activities, but can also be ethological, sociological, and ecological in nature. The artistic, stylistic, and functional characteristics of one particular festival of the Bamana in Mali to celebrate the harvest and new planting season will be analyzed. This festival primarily takes on the form of animal masquerades in which masks, puppets, drumming, singing, and dancing are blended into a ritualistic celebration of a certain cultural identity. The Bamana culture has lost religion as a marker, as Islam is now the dominant religion in Mali, but traditional social relationships and morals among the Bamana as a patriarchal society are concretized and objectified by their animal masquerades. Apart from being a seasonal festival, events from the past are commemorated; customary gender roles are defined; and some fundamental and complex social concepts are reinforced by a performance mode which relies on a collective memory and oral transmission.展开更多
Tradition has been defined as practices brought forward from the past into the present. In the context of enslavement and the cultural dislocation that accompanied it, memory became critical in the recreation of tradi...Tradition has been defined as practices brought forward from the past into the present. In the context of enslavement and the cultural dislocation that accompanied it, memory became critical in the recreation of tradition. Individual memory contributed to the practices that created new traditions to be carried forward by subsequent generations. Archaeological evidence from Clifton Plantation, Bahamas, illustrates how memory and tradition shaped the identities of both enslaver and enslaved, and influenced the construction of an African Bahamian identity in the early nineteenth-century. In their consumer selections, the enslaved people of Clifton were constructing artifact assemblages that reflected their memories of their traditional cultural background. In the process they were creating an Afro-Bahamian aesthetic that would become a tradition for future generations of Bahamians. While the goods were not of their own manufacture, the choices were theirs from the selection available to them. At the same time, those of British heritage were signaling their British identity through their consumer choices. However, Clifton was unusual in being owned by a reformer who sought to ameliorate the conditions of slavery. The paper also briefly discusses whether these concepts are useful in understanding the material culture of enslaved Africans at other sites.展开更多
In this paper, the network movie as the research object, quoted in the theory of ＂collective memory＂ from Mauric Halbwachs, the academic circles in recent years on the Internet Movie different viewpoint for referenc...In this paper, the network movie as the research object, quoted in the theory of ＂collective memory＂ from Mauric Halbwachs, the academic circles in recent years on the Internet Movie different viewpoint for reference, consult a lot of literatures, the method of interdisciplinary research in the field of psychology, culture, to ＂memory＂, ＂culture＂, ＂group （SOCIAL）＂ in three aspects, analysis of network movie as an expression of individual consciousness, contradiction between individual and collective in the expression of the collective memory of the film, through the analysis of the network specific expression, expression, the expression of an important role in the formation of rebellious sense for people aesthetic psychology, the awakening of individual consciousness and group identity. Therefore, it is necessary to culture the appearance and development of Internet Movie, is bound to the mode of expression, the people＇s cultural psychology and social individual to collective identity have significant influence.展开更多
In a recent comparative confrontation between the Peloponnesian war and the Polynesian war, the anthropologist Marshall Sahlins asked for the agents of history： individuals？ communities？ the social classes？ the ec...In a recent comparative confrontation between the Peloponnesian war and the Polynesian war, the anthropologist Marshall Sahlins asked for the agents of history： individuals？ communities？ the social classes？ the economic structures？ the social structures？ Actually, for the American anthropologist, ＂no history without culture.＂ But the question is to focus on the different discursive forms which transforms the events of history in historiography, in a （referential and not fictional） story; these different （often poetic） forms of historiography shape a collective and cultural memory. The Greek case is particularly significant under that point of view as far as historiography is always situated between oral tradition and written tradition （Jack Goody）, between poetic forms and forms of prose, with an important political, social, religious, and ideological impact.展开更多
Since the 1990s, the generation gap among three important groups of writers born in the 1950s, 1960s and 1970s has become ever more evident. Not only do they show a tendency toward the weakening of grand narrative and...Since the 1990s, the generation gap among three important groups of writers born in the 1950s, 1960s and 1970s has become ever more evident. Not only do they show a tendency toward the weakening of grand narrative and sense of responsibility and the strengthening of individual aspirations, they also show different aesthetic traits in terms of narrative form. Some advocate a realist style, while others pursue modernist techniques or are enamored of fragmentary details. At the same time, each generation projects its own aesthetic ideas. From the viewpoint of cultural anthropology, this kind Of generation gap essentially implies the effect of the latent protocols of different historical-cultural contexts and memories of growing up on the human spirit. Although the generation gap is an expression of a plural cultural scene, the question of how to strengthen intellectual interaction between different generations of writers and effectively overcome the limitations of each generation remains an important aspect of the promotion of the healthy development of modern Chinese literature.展开更多
文摘This paper argues that ritual is not only restricted to religious activities, but can also be ethological, sociological, and ecological in nature. The artistic, stylistic, and functional characteristics of one particular festival of the Bamana in Mali to celebrate the harvest and new planting season will be analyzed. This festival primarily takes on the form of animal masquerades in which masks, puppets, drumming, singing, and dancing are blended into a ritualistic celebration of a certain cultural identity. The Bamana culture has lost religion as a marker, as Islam is now the dominant religion in Mali, but traditional social relationships and morals among the Bamana as a patriarchal society are concretized and objectified by their animal masquerades. Apart from being a seasonal festival, events from the past are commemorated; customary gender roles are defined; and some fundamental and complex social concepts are reinforced by a performance mode which relies on a collective memory and oral transmission.
文摘Tradition has been defined as practices brought forward from the past into the present. In the context of enslavement and the cultural dislocation that accompanied it, memory became critical in the recreation of tradition. Individual memory contributed to the practices that created new traditions to be carried forward by subsequent generations. Archaeological evidence from Clifton Plantation, Bahamas, illustrates how memory and tradition shaped the identities of both enslaver and enslaved, and influenced the construction of an African Bahamian identity in the early nineteenth-century. In their consumer selections, the enslaved people of Clifton were constructing artifact assemblages that reflected their memories of their traditional cultural background. In the process they were creating an Afro-Bahamian aesthetic that would become a tradition for future generations of Bahamians. While the goods were not of their own manufacture, the choices were theirs from the selection available to them. At the same time, those of British heritage were signaling their British identity through their consumer choices. However, Clifton was unusual in being owned by a reformer who sought to ameliorate the conditions of slavery. The paper also briefly discusses whether these concepts are useful in understanding the material culture of enslaved Africans at other sites.
文摘In this paper, the network movie as the research object, quoted in the theory of ＂collective memory＂ from Mauric Halbwachs, the academic circles in recent years on the Internet Movie different viewpoint for reference, consult a lot of literatures, the method of interdisciplinary research in the field of psychology, culture, to ＂memory＂, ＂culture＂, ＂group （SOCIAL）＂ in three aspects, analysis of network movie as an expression of individual consciousness, contradiction between individual and collective in the expression of the collective memory of the film, through the analysis of the network specific expression, expression, the expression of an important role in the formation of rebellious sense for people aesthetic psychology, the awakening of individual consciousness and group identity. Therefore, it is necessary to culture the appearance and development of Internet Movie, is bound to the mode of expression, the people＇s cultural psychology and social individual to collective identity have significant influence.
文摘In a recent comparative confrontation between the Peloponnesian war and the Polynesian war, the anthropologist Marshall Sahlins asked for the agents of history： individuals？ communities？ the social classes？ the economic structures？ the social structures？ Actually, for the American anthropologist, ＂no history without culture.＂ But the question is to focus on the different discursive forms which transforms the events of history in historiography, in a （referential and not fictional） story; these different （often poetic） forms of historiography shape a collective and cultural memory. The Greek case is particularly significant under that point of view as far as historiography is always situated between oral tradition and written tradition （Jack Goody）, between poetic forms and forms of prose, with an important political, social, religious, and ideological impact.
文摘Since the 1990s, the generation gap among three important groups of writers born in the 1950s, 1960s and 1970s has become ever more evident. Not only do they show a tendency toward the weakening of grand narrative and sense of responsibility and the strengthening of individual aspirations, they also show different aesthetic traits in terms of narrative form. Some advocate a realist style, while others pursue modernist techniques or are enamored of fragmentary details. At the same time, each generation projects its own aesthetic ideas. From the viewpoint of cultural anthropology, this kind Of generation gap essentially implies the effect of the latent protocols of different historical-cultural contexts and memories of growing up on the human spirit. Although the generation gap is an expression of a plural cultural scene, the question of how to strengthen intellectual interaction between different generations of writers and effectively overcome the limitations of each generation remains an important aspect of the promotion of the healthy development of modern Chinese literature.
