Oral history,which collects historical materials by means of oral interviews,is an important auxiliary means for ethnomusicological research.Marked by the First Symposium on Oral History of Music in 2014,the academic ...Oral history,which collects historical materials by means of oral interviews,is an important auxiliary means for ethnomusicological research.Marked by the First Symposium on Oral History of Music in 2014,the academic community has launched a series of discussions and elaborations on its concepts,methods,norms,meanings,and other dimensions,and a series of academic achievements have been born.In this paper,we will combine relevant theses to explain how music oral history as contemporary history can achieve“intertextuality”in ethnomusicological research,emphasize its humanistic attributes,and summarize our reflections on the basis of existing academic experiences.展开更多
The purpose of this article is to develop the concept ＂botanical memory＂ through an analysis of interviews conducted with indigenous plant enthusiasts in the biodiverse Southwest corner of Western Australia. The top...The purpose of this article is to develop the concept ＂botanical memory＂ through an analysis of interviews conducted with indigenous plant enthusiasts in the biodiverse Southwest corner of Western Australia. The topic of this article can be described as memory-based studies of plant diversity or botanically-focused oral histories; and the method is ethnographic. Attending to the everyday practices constituting botanical memory, the article posits a material-affective framework to foreground the dynamics between plants, people, objects, and remembrance. The writings of Henry David Thoreau and C. Nadia Seremetakis, in conjunction with affect and materiality theory, offer conceptual anchor points for this exploration of human recollection and flora. The interviews indicate that plant-based objects and living plants deepen human memory, particularly through their appeal to touch, taste, smell, and sensation.展开更多
The Chinese Communist Party （CCP） used sulcu （speaking bitterness） in ideological education movements to teach subaltern women to give voice to their personal narratives of oppression in accordance with Maoist pol...The Chinese Communist Party （CCP） used sulcu （speaking bitterness） in ideological education movements to teach subaltern women to give voice to their personal narratives of oppression in accordance with Maoist political doctrine. Suku is thus a historically specific practice and a culturally specific form of women＇s narrative practice. By listening to and observing the post-Mao suku narrative performance of my grandmother, a retired State-Owned Enterprise （SOE） worker, I show that her suku is a gendered performance, a form of labor that blurs production and reproduction, and a form of embedded personhood; and that suku as a form of narrative persisted through the period of economic reforms, even though its intent and audience became transformed. My kin relationship with this particular suku performance allows an analysis of the impact ofsuku on cross-generational relationships--those between first-generation SOE workers and laid-off SOE workers in former SOE families. Furthermore, I argue that suku can be seen as a form of labor and self-valorization of Chinese women workers discarded in the new economy, and contrary to its original disciplinary purposes, as a form of resistance.展开更多
文摘Oral history,which collects historical materials by means of oral interviews,is an important auxiliary means for ethnomusicological research.Marked by the First Symposium on Oral History of Music in 2014,the academic community has launched a series of discussions and elaborations on its concepts,methods,norms,meanings,and other dimensions,and a series of academic achievements have been born.In this paper,we will combine relevant theses to explain how music oral history as contemporary history can achieve“intertextuality”in ethnomusicological research,emphasize its humanistic attributes,and summarize our reflections on the basis of existing academic experiences.
文摘The purpose of this article is to develop the concept ＂botanical memory＂ through an analysis of interviews conducted with indigenous plant enthusiasts in the biodiverse Southwest corner of Western Australia. The topic of this article can be described as memory-based studies of plant diversity or botanically-focused oral histories; and the method is ethnographic. Attending to the everyday practices constituting botanical memory, the article posits a material-affective framework to foreground the dynamics between plants, people, objects, and remembrance. The writings of Henry David Thoreau and C. Nadia Seremetakis, in conjunction with affect and materiality theory, offer conceptual anchor points for this exploration of human recollection and flora. The interviews indicate that plant-based objects and living plants deepen human memory, particularly through their appeal to touch, taste, smell, and sensation.
文摘The Chinese Communist Party （CCP） used sulcu （speaking bitterness） in ideological education movements to teach subaltern women to give voice to their personal narratives of oppression in accordance with Maoist political doctrine. Suku is thus a historically specific practice and a culturally specific form of women＇s narrative practice. By listening to and observing the post-Mao suku narrative performance of my grandmother, a retired State-Owned Enterprise （SOE） worker, I show that her suku is a gendered performance, a form of labor that blurs production and reproduction, and a form of embedded personhood; and that suku as a form of narrative persisted through the period of economic reforms, even though its intent and audience became transformed. My kin relationship with this particular suku performance allows an analysis of the impact ofsuku on cross-generational relationships--those between first-generation SOE workers and laid-off SOE workers in former SOE families. Furthermore, I argue that suku can be seen as a form of labor and self-valorization of Chinese women workers discarded in the new economy, and contrary to its original disciplinary purposes, as a form of resistance.
