Relevant bibliographies by topics / Folk Memory Project

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Folk Memory Project'

Author: Grafiati
Published: 25 May 2024
Last updated: 31 July 2025

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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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Moody, Jessica. "Decolonizing Memory in Bristol." Radical History Review 2025, no. 152 (2025): 91–110. https://doi.org/10.1215/01636545-11609968.

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Abstract The toppling of enslaver Edward Colston’s statue in the former slave-trading port city of Bristol by Black Lives Matter protesters in June 2020 was a seismic event that sent shock waves around the world. It was one action of many in a city that has grappled for over thirty years with how to understand, acknowledge, and commemorate in public its history of enslavement. Written from a position of engaged memory activism, this article reflects on the collaborative public memory project Decolonising Memory: Digital Bodies in Movement. Working across academic, community, creative, and digi
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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 pa
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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 (2014): 17–26. http://dx.doi.org/10.4000/chinaperspectives.6572.

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M. Moore, Nathan. "Folk Tradition at the Creole Red River." International Journal of Arts, Humanities & Social Science 04, no. 07 (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 or
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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 hist
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Marcoline, Anne. "George Sand and Music Ethnography in Nineteenth-Century France." Nineteenth-Century Music Review 12, no. 2 (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
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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 (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” ab
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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 m
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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 e
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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 t
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Books on the topic "Folk Memory Project"

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The Fold: A Novel. Crown, 2015.

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Book 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. 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 argume
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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. 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 th
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Kulavkova, Katica. "New Interpretative Approach to the Mediterranean Cultures." In Exploring the Commonalities of the Mediterranean Region. 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 s
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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 i
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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. 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. 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 tw
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Corens, Liesbeth. "The Record Keeper." In Confessional Mobility and English Catholics in Counter-Reformation Europe. 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 c
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Davis, Susan G. "Under Mt. Cheiron." In Dirty Jokes and Bawdy Songs. 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 rese
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Belsey, Alex, and Alex Belsey. "Autobiography and the Intellectual." In Image of a Man. 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 bec
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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 v
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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 ANS
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Zyśk, Krystian, Michał Hałoń, Kacper Kaczmarek, et al. "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-base
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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
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