Academic literature on the topic 'Folk Memory Project'
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Journal articles on the topic "Folk Memory Project"
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Li, Jinying. "Memory Resurrected in HD: Collective Digital Video Filmmaking as Production of Counterhistory in the Folk Memory Project." Camera Obscura: Feminism, Culture, and Media Studies 31, no. 1 91 (2016): 175–85. http://dx.doi.org/10.1215/02705346-3454485.
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Portelli, Alessandro. "We Are Not Going Back: Migrant Music as the New Folk Music of Italy." Wrocławski Rocznik Historii Mówionej 10 (June 18, 2021): 106–20. http://dx.doi.org/10.26774/wrhm.267.
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This article concerns the “Roma Forestiera” project that has been carried out for the last ten years by the independent Circolo Gianni Bosio organization, which is devoted to the study of popular memory, folk song, and oral history. The author describes the experiences gathered while recording witnesses to history on the streets and in the migrant centres.
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BEREZINA, Elizaveta. "Lacquered History: Soviet Crafts and Problematic Memory of the Communist Past." Martor. The Museum of the Romanian Peasant Anthropology Review 26 (2021): 47–54. http://dx.doi.org/10.57225/martor.2021.26.03.
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The paper questions the ethics of displaying lacquer miniatures representing the Soviet past drawing on the example of an exhibition and publishing project Russian History: The Twentieth Century in Lacquer Miniature undertaken by the All-Russian Museum of Decorative, Applied and Folk Art (Moscow). In November 2017, almost 300 lacquer miniatures were displayed to commemorate the centenary of the Russian Revolution and other upheavals of the twentieth century. While recognizing the efforts of the curators to introduce the imagery of lacquer painting into the actual discussion on the communist past, I argue that the project irons out the controversial nature of the Soviet regime and literally “lacquers” history. I criticize the project for (1) using lacquer miniatures merely as illustrations of the historical events; (2) ignoring political, economic and cultural conditions of imagery making; (3) evading discussion of the problematic past. The review suggests questions to be asked about the representation of history in lacquer miniatures that could help museum curators working with Soviet imagery in crafts.
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M. Moore, Nathan. "Folk Tradition at the Creole Red River." International Journal of Arts, Humanities & Social Science 04, no. 07 (July 14, 2023): 7–13. http://dx.doi.org/10.56734/ijahss.v4n7a2.
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Recognized by the National Park Service, the Cane River Creole National Historical Park area of Natchitoches, Louisiana serves as a main intercultural backdrop of history as American, French, Spanish, and Native American traditions once occupied its banks. Franklin D. Roosevelt’s Federal Writers’ Project, a byproduct of the New Deal documented new oral histories from the region. Nineteenth-century folklore from the Natchitoches Cane River area reveals that French, Cajun, and more importantly African influences cast allegories for the spiritual journey they interpreted. My paper uses African oral origin traditions in places like Natchitoches and elsewhere in colonial America to argue on behalf of a “Time Capsule Hypothesis” where forgetting history happens when the past is obscured and the future is apocalyptic. Preservation of landmark heritage sites through the Cane River’s origin folklore, architecture, and ecological history become a new esoteric medium. Reminiscent structures, such as the famous Magnolia and Melrose plantations on the Cane River have preserved a different history that focuses on conservation and cooperation. For us to understand the history of Natchitoches, Louisiana requires a new perspective on historical memory and technological sublime topics merging oral history and esotericism into an ecological time machine of Natchitoches. Creole Catholics emerged from Louisiana archdioceses and Black Christians became free by transforming mythic identities in their present moment to embrace creativity, literature, and technological acumen over their environment.
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Pernin, Judith. "Performance, Documentary, and the Transmission of Memories of the Great Leap Famine in the Folk Memory Project." China Perspectives 2014, no. 4 (November 25, 2014): 17–26. http://dx.doi.org/10.4000/chinaperspectives.6572.
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Zito, Angela. "The Act of Remembering, the Xianchang of Recording." Film Quarterly 69, no. 1 (2015): 20–35. http://dx.doi.org/10.1525/fq.2015.69.1.20.
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The Minjian jiyi yingxiang jihua or Folk/Minjian Memory Project of Caochangdi (CCD) Workstation in Beijing, led by Wu Wenguang and Wen Hui, provides a multi-media effort springing from interviews by a team of young people in the countryside about the Great Leap Forward Famine of the late 1950s. The project combines feature documentaries with the archiving of oral history video, and embeds the resulting digital work in theatrical performances. This essay concentrates upon several of its early documentaries that combine the aesthetics of “making-of” films with a “filial quest,” a search for historical news to expand the self in history, in a human time that is counted in generations. Amid ongoing and constantly remade filial obligation and attachments of love and anger, these documentary makers and the people they film wrestle with this fact: while memories are objectifications of the past, remembering is an act in the present.
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Marcoline, Anne. "George Sand and Music Ethnography in Nineteenth-Century France." Nineteenth-Century Music Review 12, no. 2 (September 10, 2015): 205–25. http://dx.doi.org/10.1017/s1479409815000300.
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In Les Visions de la nuit dans les campagnes (1851–1853), George Sand responded to the French government’s newly announced project of collecting the ‘popular’ or folk songs of France, with a critique of their methods of collection as perfunctory. Sand was adamant not only about a more rigorous approach to amassing the nation’s folk songs but also about the inclusion of the music with the lyrics, and her concise, insightful critique of archival methods came after nearly two decades of her own occupation with rendering music in her fiction and, more immediately, a decade focused on folk music in many of what are known as her ‘rustic’ novels. In particular, I bring to the fore in this article discussions in Sand’s expansive novel Consuelo; La Comtesse de Rudolstadt (1842–1844) which both insist upon the historical, cultural and personal significance of the preservation of folk music and navigate the tensions of preserving an art form that is fundamentally non-static and ephemeral, in order to articulate the value Sand places on musical sensibility, memory and heritage. I argue that Les Visions de la nuit dans les campagnes stands along with Sand’s fiction as an ardent defense against the loss of the musical heritage of provincial France in the hands of the state’s archivists. This article thus situates George Sand’s investment in the cultural production from the Berry region within the early history of nineteenth-century music ethnography in France, while maintaining Sand’s own understanding of her cultural production as poetic rather than scientific.
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Lukin, Michael, and Edwin Seroussi. "“Nign 3” from Beregovskii’s Jewish Folk Tunes Without Words: An Intro- duction to the Study of Hassidic Music in its Ukrainian Context." Ethnomusic 16, no. 1 (2020): 141–57. http://dx.doi.org/10.33398/2523-4846-2020-16-1-141-157.
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The article is a collaboration of two research projects: first one is the new an- notated edition of Moisei Beregovskii’s collection of Hassidic tunes (1946) in prepa- ration by Yaakov Mazor in the framework of the Jewish Music Research Centre of the Hebrew University of Jerusalem. The second project is a collaborative Israeli- Ukrainian project titled “The Hassidic Nign in Right Bank Ukraine and East Galicia: Between Autochthonous and External Soundscapes” lead by the three additional au- thors of the present article. The article is dedicated to the study of music in Ukrainian Hasidism, the main representative kind of which is nign – a religious song, performed mainly without words, by men, solo or collectively, in a monophonic texture, and fulfilling various religious functions of mystical background. Nign has apparently started to crystallize from the mid-eighteenth century onwards on the territories of Podillya and Volyn, with the consolidation of the Hassidic movement in those areas of Ukraine (then Po- land and later on the Russian Empire). Noticed by many scholars, the affinity that the Hassidic tunes have with the mu- sic of both Jewish and their co-territorial non-Jewish societies in Ukraine has led to the key question of this study, which is: What insights one can gain from the compara- tive analysis of melodies to the fuller picture of the Ukrainian Hassidic soundscape. The methodology of the study of the Hassidic nign in its historical, regional and conceptual Ukrainian contexts is based on comparative analysis of the nign (the nign itself attributed to the founder of the Chernobyl dynasty, Rabbi Mordechai of Cher- nobyl, its tune transcribed by M. Beregovskii from memory in 1920 and republished many times), its another version transcribed by Joseph Achron, and the four Ukrainian compositions from the anthology of Ukrainian folk melodies by Z. Lysko. The preliminary results of the comparative study of these musical texts in terms of form, modality, melodic contour, rhythm and performance practice, in this stage of the research show more differences than similarities between Hassidic and Ukrainian musical texts and contexts.
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Gil, Roger, and Eberhard Bons. "Judith 5:5-21 ou le récit d’Akhior: les mémoires dans la construction de l’identité narrative du peuple d’Israël." Vetus Testamentum 64, no. 4 (September 22, 2014): 573–87. http://dx.doi.org/10.1163/15685330-12341176.
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In the book of Judith, the Ammonite official Achior tries to dissuade Holofernes from engaging in war against the people of Israel. In fact, he is convinced that the God of Israel will protect his people. Achior’s description of these “mountain folk” is an example of how the identity of an entire people can be conceived. Like a single person’s identity, collective identity finds its roots in memory and, by consequence, within the various human memory systems. In particular, one can distinguish an episodic (“remembering” events or situations already experienced) and and a semantic (“knowing” about events, concepts, objects, ideas or facts) memory. The present study attempts to describe how episodic and semantic memories contribute in constructing and narrating the identity of the people of Israel. Achior’s speech also allows for a distinction between two other facets of identity, as described by Paul Ricoeur: that of “sameness” (“idem” identity, based on uninterrupted continuity or permanence in time) and that of “selfhood” (“ipse” identity, based on self-constancy or self-maintenance). Thus, the narration of such a collective identity enables Achior to project himself into the future and to affirm that the God of Israel would protect his people against the Assyrian army.
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Kępiński, Marcin. "„Czterej pancerni” jako socrealistyczna bajka magiczna." Kultura i Społeczeństwo 53, no. 3 (September 21, 2009): 145–77. http://dx.doi.org/10.35757/kis.2009.53.3.8.
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One of the basic functions of myths is to explain reality, sanction the actions taken and give them a desirable meaning. Another function of mythical stories is to transmit the models of proper behaviour, ethical principles, norms and values personified by the hero that are important to a given community. Myths help people to understand their past and project their future. Such a myth has taken shape in the area of popular culture and consciousness of the Poles under the influence of the television serial and the book Four Men in a Tank, by Janusz Przymanowski. It has become an inseparable part of the discourse of collective memory about World War II and childhood spent in People’s Poland. Its chief motif is joint work in the name of the common weal and a larger unity of ideas. The author shows many convergences between Janusz Przymanowski’s book, folk heroic epic and a magic fairy-tale. They are all inscribed in a larger epic tradition of the fight against the German invader. The heroes of the novel and the film created on its basis are a synthesis of the types of folk heroism, an archetype present in many soldiers’ memoirs, tales and stories.
Dissertations / Theses on the topic "Folk Memory Project"
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Lu, Jiejing. "Écritures documentaires de l’histoire dans la Chine contemporaine : Hu Jie, Folk Memory Project, Mao Chenyu." Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030027.
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Le présent travail souhaite contribuer à la recherche sur des créations documentaires indépendantes dans la Chine contemporaine qui se confrontent à l’histoire nationale. Dans un contexte intellectuel et artistique d’exhumation et transmission de faits encore enfouis, refoulés ou privés de représentation publique, nous observons trois cas exemplaires à cet égard : HU Jie, le Folk Memory Project du Caochangdi Workstation, et MAO Chenyu. Nous tentons dans notre étude de caractériser les propositions et gestes principaux de leur recherche d’écriture documentaire. Pour HU Jie, le geste principal est aussi le geste séminal du documentaire classique : établir les faits. À partir d’une réflexion sur les matériaux collectés et sur les images d’archive, HU Jie s’interroge sur la mise en forme de son sujet et sur les principes d’intelligibilité du réel que son écriture documentaire met en œuvre. Projet collectif à l’initiative du cinéaste WU Wenguang et de la chorégraphe WEN Hui, l’entreprise du Folk Memory Project consiste à s’engager des amateur-filmeurs ou de simples citoyens qui retournent dans leurs propres villages, filment et recueillent les témoignages de leurs proches ayant connu la Grande famine (1958-1961) en Chine. Le projet conçoit ainsi la pratique documentaire comme geste à la fois de création, d’interrogation, de transmission et d’introspection. MAO Chenyu, quant à lui, centre son travail sur le monde rural ainsi que la vie paysanne en Chine. En cultivant des formes fragmentaires, en recherche perpétuelle d’une articulation possible du cinéma avec d’autre pratiques actuelles et à venir, l’écriture documentaire de MAO Chenyu propose une démarche qui s’apparente à une ethnologie historique. Ces trois œuvres participent de l’écriture d’une histoire critique en images et en sons, qui réclame de devenir collective et plurielleThis dissertation wishes to contribute to the studies about the independent documentary film creations in contemporary China which confront national history. In an intellectual and artistic context, where the exhumation and transmission of the buried facts are repressed or bereft of public representation, we would like to observe three exemplary cases in this regard : HU Jie, Folk Memory Project, and MAO Chenyu. Our study will try to characterise the different propositions and the principal gestures in their experimentations of documentary writing style.For HU Jie, the principal gesture is also the seminal gesture of classical documentary filmmaking : to establish the facts. Based on collected testimonials and archival footage, HU Jie explores in his practice how the subjects of his films and the historical facts would come to shape intelligibly. Folk Memory Project is an ongoing participatory documentary experience that engages amateur filmmakers or citizens to go back to their families’ rural villages, and film elders’ memories about difficult times. The project sees its practice as creation, investigation, transmission, but also intimate introspection. In the case of MAO Chenyu, who centers his work in the rural region and China’s peasantry, with his innovative approach that explores perpetually about the possible articulation between cinema and other practices, his work provides an ethnographic thinking to history writing.These three practices all participate to the critical approach of history writing in sounds and images, which reclaims history's collective and plurality becoming
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Lessard, Guillaume. "Harmonium : un projet artistique progressif et spirituel occulté par un récit d’affirmation nationale." Thèse, 2015. http://hdl.handle.net/1866/13665.
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Ce mémoire propose un regard transdisciplinaire : historique, sociologique et musical sur
Harmonium, un groupe culte de folk-rock progressif québécois des années 1970. Y sont étudiées
la révolution musicale engendrée par l’arrivée du folk et du rock progressif au Québec ainsi que
la mise en récit de l’œuvre et de l’histoire d’Harmonium. Les œuvres du groupe, les sources
écrites d’époque (articles de journaux et de revues), l’histoire documentaire et l’histoire et la
mémoire publiques y sont confrontées pour analyser les processus narratifs.
D’abord, l’essor du groupe est situé dans les transformations de la scène musicale
québécoise au cours des années 1960-1970. L’histoire d’Harmonium, entre 1972 et 1978, est
ensuite reconstituée au travers des sources d’époque, articles scientifiques et biographies. Par la
suite, les caractéristiques musicales des œuvres ainsi que les thèmes, valeurs et messages
véhiculés par le groupe sont examinés. L’essor et le succès d’Harmonium sont ainsi réinterprétés
au travers du développement de la scène musicale progressive internationale et de la
popularisation de la contre-culture. Finalement, en regard de l’ambiguïté politique
d’Harmonium dans les sources historiques, la prédominance des réinterprétations
néonationalistes de son œuvre et de son histoire sont analysées selon un processus de mise en
récit de l’histoire nationale. Il en ressort que la narration prédominante au sein de l’histoire et
de la mémoire publiques semble assimiler le destin des artistes québécois à celui du peuple et
de la nation. Dans le cas d’Harmonium, ce récit qui s’appuie principalement sur le nationalisme
de Serge Fiori, la figure de proue du groupe, contribue à l’occultation du projet artistique
spirituel, progressif, contre-culturel et « authentique » du groupe.This study proposes a transdisciplinary point of view: historic, sociologic and musical to Harmonium, a Quebec preeminent progressive folk-rock group of the 1970s. This work is interested in the musical revolution that came with the birth of folk and progressive rock musical scenes in Quebec and in the narrative and symbols associated with the musical work and history of Harmonium. The group’s albums, the written sources of the time (articles in journals and magazines), the documentaries and the public history and memory are all examined and confronted in this research to study the historical narrative. To begin with, the rise of the group is contextualized in the transformations of Quebec’s musical scene in the 1960s-1970s. The history of Harmonium, situated between 1972 and 1978, is then reconstructed using historical sources, scientific articles and biographies. Thereafter, the musical characteristics, themes, values, ideals and messages of the group are examined. Harmonium’s emergence and success is then reinterpreted through the development of the progressive rock international musical scene and the popularization of the counter-culture. Finally, in light of the political ambiguity of Harmonium that the historical sources reveal, the neonationalist reinterpretations of its work and history is analyzed as a narrative process. This narration, which predominates in public history and memory, seems to assimilate the destiny of Quebec’s artists with the destiny of its people and its nation, therefore contributing to the occultation of Harmonium’s progressive, counter-cultural and “authentic” musical quest.
Books on the topic "Folk Memory Project"
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The Fold. New York, USA: Broadway Books, 2015.
Find full textBook chapters on the topic "Folk Memory Project"
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Martin, Alexander M. "Memory." In From the Holy Roman Empire to the Land of the Tsars, 291–311. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192844378.003.0016.
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This chapter explores Rosenstrauch’s legacy in German and Russian collective memory in the nineteenth century. It begins with his influence on those who had met him personally. Most people, though, knew him only through his writings, and because he had been so secretive, they knew little about his life. The haziness of his biography allowed him to serve as a screen onto which people could project their own pressing concerns. His writings were published in German, and translated into Dutch, Danish, Swedish, and Russian. In Germany, the discussions to which his legacy contributed included arguments for and against Pietist religiosity and social outreach (the so-called inner mission), and debates about whether Russia was a land of despotism and Judeo-Masonic conspiracies. In Russia, where he was cited by luminaries such as Zhukovsky, Gogol, and Leskov, he provided grist for arguments about Russia as a multinational empire, and for debates about social conservatism in the 1840s, the Great Reforms in the 1860s, the soul of the common folk in the 1880s, and the renewal of the Orthodox Church after the 1905 Revolution.
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Narsky, I. V. "Folk Dance Ensemble «Samotsvety» as a Place of Memory of its (Former) Participants." In Rules of the game on a voluntary basis: Authorities and voluntary grassroots organizations in the USSR, 1960s–1990s, 146–62. Perm State University, 2023. http://dx.doi.org/10.17072/978-5-7944-4056-0-146-162.
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This article uses the example of the Chelyabinsk Tractor Plant dance ensemble to examine the Union-wide process of appropriation of the state project by the leaders and participants of amateur art activities, which in turn aimed at de-nationalization of their leisure time. Using the concepts of the fl uid text and cultural memory, the Samotsvety amateur ensemble is considered as a site of memory for its participants. To this end, the forms and contents of affi rmative memories of the ensemble’s past victories and the memory strategies of the «losers,» whose names and merits do not appear in the offi cial texts, are examined in turn. The central thesis of the article is that both the «winners» and the «losers» in the narratives about the past of the «Samotsvety» were equally successful in «privatizing» the state project of artistic amateur dance.
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Kulavkova, Katica. "New Interpretative Approach to the Mediterranean Cultures." In Exploring the Commonalities of the Mediterranean Region, 15–24. Turkish Academy of Sciences, 2019. http://dx.doi.org/10.53478/tuba.2020.037.
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This essay examines most of the imagological reflections on the Mediterranean and the Balkans (as a sub-region of the Mediterranean), with the thesis that the Mediter-ranean cultural identity can be defined as a regional, transnational, and intercultural identity, and even as an active cultural intertext. Although the Mediterranean is a synonym for mixed races, religions, ethnicities, nations, and languages, it has its own-shared memories, its ‘locus communi’, and they are the foundation of the re-gional Mediterranean identity. Since spiritual, immaterial and movable culture does not know of state, ethnic, racial, or religious borders, it is shared by most Mediter-ranean peoples in the form of collective memory, mythical memory, folk traditions, folk culture, or folklore. The author concludes that Mediterranean cultural inheritance has the character of an intercultural inheritance with dialogical, cross-cultural, and trans-cultural dimen-sion, and calls for a new, sustainable interpretative turn in the sphere of the Medi-terranean cultural hermeneutics, concerning the inherited cultural history and new cultural reality (linguistic, ethnic, and religious). The author sees an urgent need to actualize certain aspects of the inherited and the contemporary Mediterranean cul-tural identity, and to introduce a new, trans-national mapping of cultural identities/existences, since the actual cultural process transcend the traditional ethnic and state borders. The national Academies of Sciences and Arts of the Mediterranean could sign a Mediterranean Charter for Shared Cultural Heritage (a UNESCO project) and could design an actual map of the contemporary Mediterranean cultural existences, migrations, acculturations, and social integrations. The scientific dialogues or con-sensuses may introduce better-shared cultural policies and interpretative paradigms. This would be of a strategic interest, particularly for the development of the Balkans in the Mediterranean and the European context.
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Zeitlin, Steve. "The Best Stories versus My Story." In The Poetry of Everyday Life. Cornell University Press, 2016. http://dx.doi.org/10.7591/cornell/9781501702358.003.0021.
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In this chapter, the author explains how you can afford to spend your time writing even if it brings no material rewards and can't help you make a living, arguing that it comes down to the compartmentalization of body and soul. The author describes a project at City Lore called City of Memory, a dynamic, participatory online story map of New York City. Visitors to the site would be interested in only two things: What are the best stories? and What is my story? Ultimately, the question becomes Is my story one of the best stories? There is only one way to find out: tell it and put it out there in the world. And one way of getting your story out into the world is to share work with family and friends. The author also reflects on the first People's Poetry Gathering he helped to create in 1999. Co-sponsored by City Lore and Poets House, the New York City event brought together literary and folk poets alike.
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Kratochvíl, Matěj. "Presence and Absence of Minorities in Folk Music Research Projects in the 20th-Century Czech Lands." In Music – Memory – Minorities, 36–48. Karolinum Press, Charles University, 2020. http://dx.doi.org/10.2307/jj.3643618.5.
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Simpson, Juliet. "Imaging the Uncanny Memory." In W.G. Sebald’s Artistic Legacies. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463729758_ch02.
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“A man lives not only his personal life, as an individual, but also, consciously or unconsciously, the life of his epoch and his contemporaries.” Thomas Mann’s 1924 words on war, memory, and art also distils his emblematic encounter with Matthias Grünewald’s Isenheim Altarpiece.1 Transported from Colmar to Munich in October 1917, exhibited from 1918–19 at the Munich Alte Pinakothek, as this article explores, it became the focus of an extraordinary moment of German national crisis and expiation widely imaged, projected, reported, and seen by countless visitors including Mann. My concerns are two-fold. First, to explore responses in word and image stimulated by the Altarpiece’s display and extensive photographic imaging in the contexts of a significant cultural shift toward engagement with the potency of medieval art, and its mediation of practices of “uncanny” memory. Entwined with an acute sense of present trauma, this activates what Hans Belting calls the borderlines between memory and image; devotion and distance2—pivoting in 1918–19 on the Altarpiece’s power as an afterlife, restaged to make present what appears absent: a medieval turbulence as a contemporary imaging and consciousness of pain. Second is to consider how this process becomes amplified in the aftermath of the war, in particular, via its writing as an unheimlich past in Thomas Mann’s The Magic Mountain, echoed in Marc Bloch’s invocation of a material memory of power, malady and sacred touch in his Les Rois thaumaturges, both 1924. Thus the conclusions suggest the recurrent, yet overlooked artistic figure of pre-modern memory within this constellation as pivotal to an imaginary of the unimaginable of what is seen and unseen.
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Corens, Liesbeth. "The Record Keeper." In Confessional Mobility and English Catholics in Counter-Reformation Europe, 164–90. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812432.003.0006.
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This chapter reflects on the ways in which past conceptions of mobility have shaped our knowledge and understanding of expatriate Catholics. Through a study of the multiple English Catholic record-collecting projects which converged in the decades around 1700, this chapter explores the roles of scholarship, archives, and written memory for a dispersed community. Understanding the collections not as neutral repositories, but as processes and practices indicates their role in sustaining their scattered community. Through commemoration, they consciously tried to maintain the continuity of their community, despite their dispersal across England and Europe. Behind that preoccupation with their uninterrupted line of English Catholics and English Catholic practices lay a commitment to returning England to the Catholic fold.
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Davis, Susan G. "Under Mt. Cheiron." In Dirty Jokes and Bawdy Songs, 223–42. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042614.003.0011.
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From the late 1970s until his final illness, Legman worked to bring his big projects to press and to write his memoirs. Turning back to his work on erotic folk song, Legman aimed to complete his long-delayed “Ballad” manuscript but decided that it was more important to bring out Vance Randolph’s unpublished manuscripts on erotic folklore of the Ozarks. These became two volumes edited and introduced by Legman, Roll Me in Your Arms and Blow the Candle Out (1992). Legman also began his memoir, Peregrine Penis: An Autobiography of Innocence, detailing his growing up, his self-education in sex research, and his erotic and publishing adventures. This chapter shows Legman reconstructing and evaluating past incidents with his correspondents, especially Jay Landesman. In 1986 he made his last visit to the United States for a lecture tour. In France he continued to receive writers who interviewed him about his life’s work and views on sex and censorship. After a long period of ill health, Legman died of the results of a stroke in February 1999. A conclusion to this chapter emphasizes Legman’s bibliographic contributions to the history of erotica and sexuality and evaluates his place in folklore scholarship, a discipline that received him with ambivalence.
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Belsey, Alex, and Alex Belsey. "Autobiography and the Intellectual." In Image of a Man, 105–50. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620290.003.0005.
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This chapter reveals how Keith Vaughan reconfigured his wartime journal-writing as a comprehensive autobiographical project that would record his memories and experiences and transform them into a creative product. Having declared a policy of full disclosure and a commitment to resist self-censorship, he embarked upon a programme of self-education, redolent of Bildung, that made his journal the record of a developing mind and that allowed him to fold influences from literature, philosophy, and modernism into his own writing. The first section of this chapter describes how Vaughan’s journal became a consciously literary autobiographical project concerned with time and memory, regarding the third volume as a distinct milestone wherein Vaughan first articulated his desire to write autobiography and began to fully recognize (and experiment with) the possibilities of life-writing. The second section focusses on Vaughan’s autodidacticism, which encompassed the reading of other life-writers and his discovery of seminal works (by such key figures as T. S. Eliot and Marcel Proust) that greatly influenced him and helped him to identify, albeit precariously, with Oxbridge intellectualism. The third section confirms the enduring importance of Vaughan’s journal as a continuous autobiographical document which he could refer back to and re-evaluate during periods of duress.
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Joslin, Katherine. "Inhabiting Reality." In The Oxford Handbook of Jane Addams. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197544518.013.1.
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Abstract This chapter looks at Jane Addams as a major literary figure at the turn into the twentieth century. She was born into a generation of writers, including Edith Wharton and Theodore Roosevelt, who came of age amid social and literary turmoil at the turn into the twentieth century. In constructing Hull House, Addams brought writers into the fold, including Charlotte Perkins Gilman, Ida Tarbell, and Zona Gale. She encouraged drama at Hull House, talking with William Butler Yeats about the long memory of stories in the lives of ordinary people around her in Chicago. The first writer she visited was Leo Tolstoy, who was caught, as she was, between imaginative prose and social admonition. When Addams put pen to paper, she could not help but tell stories as she rebelled against the disciplinary styles emerging around her in academia. She inhabited reality by giving voice to people from the streets around her and telling stories that the common reader wanted to hear. She wrote ten books, three collaborations, and hundreds of articles and speeches and thousands of letters that are a joy to read. The Papers Project at Hull House, a long labor to preserve her voice for us to read unfiltered, is now being digitized at http://janeaddams.ramapo.edu. We can all come to know Jane Addams as we listen in the twenty-first century to a voice as modern as our own.
Conference papers on the topic "Folk Memory Project"
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Wilson, Gregory, Dimitris Lagoudas, and Darren Hartl. "Designing a Morphable Parabolic Reflector Antenna Using Origami-Inspired Discretization and Efficient Global Optimization." In ASME 2020 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/smasis2020-2431.
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Abstract This research explores a segmented parabolic antenna that can change its physical shape via shape memory alloy actuators, thereby altering its radiation pattern when transmitting a signal. The parabolic dish has been discretized into an origami pattern to make use of the naturally compliant fold regions, about which shape memory alloy wires create moments. Modeling of antenna deformation is accomplished via Abaqus considering SMA wires contracting due to temperature change as a manifestation of the shape memory effect. An electromagnetic analysis of the deformed antenna follows in ANSYS-HFSS to determine the antenna gain in all directions around the structure. The computed radiation pattern is projected onto a goal shape (e.g. the contiguous United States) to determine the degree to which the shaped broadcast pattern matches that of a desired broadcast area. Finally, the design is iterated using an efficient global optimization algorithm to ascertain an actuation schedule that generates the most conformal broadcast pattern. Traditional optimization algorithms such as genetic or particle swarm may require thousands of designs, particularly when many design variables are considered. The efficient global optimization algorithm employs far fewer designs by fitting surrogate models to the data and only testing points where large improvement is expected, thus reducing design optimization time. The evolution and improvement to an antenna will be discussed for an antenna making use of eight, 16, and 24 SMA linear actuators to most optimally broadcast to only the United States while avoiding signal spill-over into other regions, and the lessons learned can then applied to match broadcast pattern based on other countries as well.
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Zyśk, Krystian, Michał Hałoń, Kacper Kaczmarek, Marcin Kasprzyk, Piotr Rodo, Olgierd Skromak, and Mateusz Sochacki. "Generation of Artificial Infrared Camera Images for Visual Navigation Simulation." In ESA 12th International Conference on Guidance Navigation and Control and 9th International Conference on Astrodynamics Tools and Techniques. ESA, 2023. http://dx.doi.org/10.5270/esa-gnc-icatt-2023-091.
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Visual navigation is a cornerstone of many modern navigation systems, from computer mice sensors through cars, guided missiles, spacecraft proximity operations and landers. Since 2017 the Students’ Space Association at Warsaw University of Technology has been developing the FOK rocket - a guidance, navigation and control research and development platform. The rocket is aerodynamically controlled using canards and is capable of reaching an apogee of about 1700 metres, a speed of Mach 0.6. It is fully reusable thanks to a parachute recovery system. Currently, the team is developing a vision-based navigation system composed of visible-light and infrared seekers. The goal of the mission is to guide the rocket towards ground-based visible or infrared markers. As part of the project, the team works on software-in-the-loop testing of developed GNC algorithms. The tests are conducted within the SKA RFS software - an in-house developed tool for simulating a variety of sounding rockets. It is a 6DOF flight simulation tool able to simulate multi-staged rockets, equipped with multiple engines, multiple parachutes, and aerodynamic control systems. It also allows conducting simulations of a stream from the rocket-mounted camera. As the next iteration of the FOK project aims to use an infrared camera, the team faced the challenge of simulating infrared camera images within the RFS software to test the developed vision navigation algorithms. This paper will present techniques for generating artificial infrared images for visual navigation simulation. Artificial images will be generated based on source images taken in the visible-light spectrum. Two methods for artificial image generation will be investigated: the first using a simple correlation between the visible and infrared images and the second utilising neural networks. The correlation method compares a set of reference infrared and visible-light spectrum images of the same scene to determine a correlation between red, green and blue channels and an infrared channel. Several correlation functions are used: simple linear correlation between single visible and infrared pixel intensities and linear correlations of pixel grids of various sizes. The correlation functions will be determined using the least square method. The neural network method will use a generative adversarial network (GAN) to generate artificial infrared images based on provided visible spectrum images. The same set of source materials will be used for training as in the correlation method. Two sets of training images are considered: images acquired using an integrated infrared-visible spectrum camera mounted on an unmanned aerial vehicle (UAV) and additionally images from Earth observation satellites (namely the data from the European Copernicus system). Images from the integrated infrared-visible camera will be acquired over relevant scenes - fields, forests, heath - landscapes usually encountered during the prospective flight of the FOK rocket. The paper will conclude with a detailed comparison of the developed methods both in terms of quantitative metrics describing the similarity of artificially generated images and original infrared images, speed of execution and required memory, as well as in terms of subjective perception of the generated images. Examples of generated artificial imagery will be presented based on simulated FOK rocket flights as well as recording from relevant drone flight.
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Hajian, George. "Hard Working Covers." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.87.
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“… A good archaeological report not only informs us about the strata from which findings originate, but also gives an account of the strata which first had to be broken through.” (Walter Benjamin. Excavation and Memory, ca. 1932. Analog materials are fundamental to my research. As part of my art practice, I tear, cut, rip, fold, and glue together printed images of the masculine performance and the male body to un-masc and reveal its fragility. During the making process what’s usually left behind is a jumble of non-representational refuse—mainly text, backgrounds, and devices used on a page, in a magazine or a book. During the first New Zealand COVID lockdown in 2020, I had limited access to new collage material, apart from a few books left behind in the car. As a result, my attention shifted to the leftovers which otherwise ended up in the recycle bin. These discarded bits illustrated a gendered language, because the material I use was intended for a male audience. It endorsed muscle, size, competing, violence, and whatever else you might expect from the fiction, advertisement, and revealing pages that promote so-called ‘maleness’, like film annuals, muscle magazines, sports, and printed adult magazines among others. Some of these books were donated, many reclaimed from opportunity and recycle shops as they were withdrawn from personal, public, and university libraries. Almost all the book covers used in the project had their own stories imprinted on both sides. These “marks” revealed their origins, recounted their lives, and relayed the strain they had to endure from countless readers, and of course myself! By incorporating printed words from a visual discourse, these new collages demand a reconsideration of text and meaning— they hint, but at the same time complicate the textual decoding process. Sourced from the refuse of a printed culture, these works attempt to reconstruct material and visual culture— a culture consumed by attention seeking and power. They focus on their own materiality, and at the same time, attempt to disrupt order, and reveal their embedded meaning. They reconfigure meaning to recount and re-present themselves. Resurrected, these assembled works are aching to go back to the library shelf and re-enter circulation in a new format. –– “Hard Working Covers” is an ongoing project which brings together 90 one-off handmade analog collages on hardbound book covers and compile them in 300 limited edition concertina books. The foldout format of the publication will reveal not only the front of the works, but also their back(sides).