【講者】
Prof. E. Taylor Atkins
Professor,
Department of History, Northern Illinois University
http://www.niu.edu/etatkins/
【講題】
"Let's Call This: A Paradoxical Platform for Transnational Jazz Studies."
【摘要】
The gradual, ongoing internationalization of jazz studies is a long overdue and welcome departure from historical, musicological, and ethnographic biases that have presumed that the only jams of consequence happen in the United States. In my address, I hope to inspire reflection on the methods and mindsets with which we examine jazz outside of the nation of its birth, with a paradoxical episteme, a “bothand” rather than an “either-or” formulation. Scholars must always be attuned to place, time, and cultural context, but this, too, can lead to (what I consider to be) a retrogressive, counterproductive reification of what the jazz critic Yui Shōichi called jazz nationalisms, accentuating (and exaggerating) the degree to which “culture” determines the sounds produced by jazz musicians around the world. I would like to suggest that jazz scholarship be mindful of the simultaneous relevance and irrelevance of time, place, and culture when examining the music in diverse contexts.
【講者簡介】
【講題】
"Let's Call This: A Paradoxical Platform for Transnational Jazz Studies."
【摘要】
The gradual, ongoing internationalization of jazz studies is a long overdue and welcome departure from historical, musicological, and ethnographic biases that have presumed that the only jams of consequence happen in the United States. In my address, I hope to inspire reflection on the methods and mindsets with which we examine jazz outside of the nation of its birth, with a paradoxical episteme, a “bothand” rather than an “either-or” formulation. Scholars must always be attuned to place, time, and cultural context, but this, too, can lead to (what I consider to be) a retrogressive, counterproductive reification of what the jazz critic Yui Shōichi called jazz nationalisms, accentuating (and exaggerating) the degree to which “culture” determines the sounds produced by jazz musicians around the world. I would like to suggest that jazz scholarship be mindful of the simultaneous relevance and irrelevance of time, place, and culture when examining the music in diverse contexts.
【講者簡介】
◎Fields of Study
Asia (Japan & Korea), Colonial Empires, Cultural/Intellectual, Global, Memory and Commemoration
◎Education
Ph.D., University of Illinois at Urbana-Champaign, 1997
◎Current Research:
A global study of responses by adherents of the Baha'i' Faith to colonialism and decolonization
◎Major/Recent Publications:
Books:
1)
|
Primitive Selves: Koreana in the Japanese
Colonial Gaze, 1910-45. Colonialisms 5.
|
2)
|
(Editor) Jazz Planet.
|
3)
|
Blue Nippon: Authenticating Jazz in
|
Articles/Book Chapters:
1)
|
"The Dual Career of 'Arirang': The
Korean Resistance Anthem That Became a Japanese Pop Hit." Journal of
Asian Studies 66.3 (August 2007): 645-687.(詳情)
|
2)
|
"Popular Culture." In William
Tsutsui, ed., A Companion to Japanese History. Blackwell Companions to World
History.
|
3)
|
"Sacred Swing: The Sacralization of Jazz
in the American Bahá‡'í’ Community." American Music 24.4 (Winter 2006):
383-420.(詳情)
|
4)
|
"Edifying Tones: Using Music to Teach
Asian History and Culture." Education About
|
5)
|
"Korean P’ansori and the Blues: Art for
Communal Healing" (co-authored with Katharine C. Purcell). East-West
Connections: Review of Asian Studies 2 (2002): 63-84.
|