Between Two Fires: Gypsy Performance and Romani Memory from Pushkin to Post-SocialismDuke University Press, 2000年7月20日 - 308 頁 Since tsarist times, Roma in Russia have been portrayed as both rebellious outlaws and free-spirited songbirds—in each case, as if isolated from society. In Soviet times, Russians continued to harbor these two, only seemingly opposed, views of “Gypsies,” exalting their songs on stage but scorning them on the streets as liars and cheats. Alaina Lemon’s Between Two Fires examines how Roma themselves have negotiated these dual images in everyday interactions and in stage performances. Lemon’s ethnographic study is based on extensive fieldwork in 1990s Russia and focuses on Moscow Romani Theater actors as well as Romani traders and metalworkers. Drawing from interviews with Roma and Russians, observations of performances, and conversations, as well as archives, literary texts, and media, Lemon analyzes the role of theatricality and theatrical tropes in Romani life and the everyday linguistics of social relations and of memory. Historically, the way Romani stage performance has been culturally framed and positioned in Russia has served to typecast Gypsies as “natural” performers, she explains. Thus, while theatrical and musical performance may at times empower Roma, more often it has reinforced and rationalized racial and social stereotypes, excluding them from many Soviet and Russian economic and political arenas. Performance, therefore, defines what it means to be Romani in Russia differently than it does elsewhere, Lemon shows. Considering formal details of language as well as broader cultural and social structures, she also discusses how racial categories relate to post-Soviet economic changes, how gender categories and Euro-Soviet notions of civility are connected, and how ontological distinctions between “stage art” and “real life” contribute to the making of social types. This complex study thus serves as a corrective to romantic views of Roma as detached from political forces. |
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第 1 到 5 筆結果,共 35 筆
第 4 頁
Gypsy Performance and Romani Memory from Pushkin to Post-Socialism Alaina Lemon. mani histories are usually told in ... choir herald the Gypsies ' arrival to their " second homeland , " Russia . Such scenes mark out European political ...
Gypsy Performance and Romani Memory from Pushkin to Post-Socialism Alaina Lemon. mani histories are usually told in ... choir herald the Gypsies ' arrival to their " second homeland , " Russia . Such scenes mark out European political ...
第 11 頁
... Gypsies , being an occupational home for urban Romani intellectuals . In addition , the Theater , as an institution that pro- duced and publicized Gypsy performances , connected more Roma from across the country than could any mythic ...
... Gypsies , being an occupational home for urban Romani intellectuals . In addition , the Theater , as an institution that pro- duced and publicized Gypsy performances , connected more Roma from across the country than could any mythic ...
第 12 頁
Gypsy Performance and Romani Memory from Pushkin to Post-Socialism Alaina ... choirs ; even some whose relatives worked at the Theater said so . In winter ... Gypsy " was personal as well as scholarly , and not easily resolved ( see also ...
Gypsy Performance and Romani Memory from Pushkin to Post-Socialism Alaina ... choirs ; even some whose relatives worked at the Theater said so . In winter ... Gypsy " was personal as well as scholarly , and not easily resolved ( see also ...
第 14 頁
... Gypsy stage style . " In time , several non - Roma introduced me to Roma , although often these Roma turned out to be related to those I already knew . For instance , a Russian who taught Indian dance in the Moscow Children's Gypsy Choir ...
... Gypsy stage style . " In time , several non - Roma introduced me to Roma , although often these Roma turned out to be related to those I already knew . For instance , a Russian who taught Indian dance in the Moscow Children's Gypsy Choir ...
第 15 頁
... Gypsy " because she had blond hair . Sometimes the choir director addressed such doubts publicly before appearances . naturally expressive Gypsies , the next generation needed to be trained . Their teachers appealed to method principles ...
... Gypsy " because she had blond hair . Sometimes the choir director addressed such doubts publicly before appearances . naturally expressive Gypsies , the next generation needed to be trained . Their teachers appealed to method principles ...
內容
Pushkin The Gypsies and Russian Imperial Nostalgia | 31 |
Roma Race and PostSoviet Markets | 56 |
What Is Your Nation? Performing Romani Distinctions | 80 |
The Gypsy Stage Socialism and Authenticity | 124 |
The Hidden Nail Memory Loyalty and Models of Revelation | 166 |
Roma and Gazhje Shifting Terms | 194 |
Conclusion At Home in Russia | 226 |
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常見字詞
actors archives argue authentic Barranikov bazaar Budulaj camp civilized claimed code-switching collective dance Demeter depicted described dialect diaspora Dikh director discourses dream Druts and Gessler especially ethnic ethnographic European field notes film foreign frame Gafa GARF gazhje gendered girl Gypsy art Gypsy choirs Gypsy music Gypsy song Hancock identity ideologies images India instance interactions Janosh Kalderash Kelderara kulaks language linguistic Lipa lived Lovara memory Moldova Moscow Romani Theater nomadic non-Roma non-Romani non-Russians Olga play political post-Soviet practices Press proscenium Pushkin racial real Gypsies Rom-Lebedev Roma Roma in Russia Romani culture Romani groups Romani intellectuals Romani language Romani music Romani performers Russian S/he scholars shift sing singers skirts Slezkine socialist Soviet speak stage texts theatrical tion tropes tsygan tsyganshchina Ukraine urban USSR Vlax Roma Vlax Romani volja Wallachia women words World War II Xeladytka Zemfira
熱門章節
第 274 頁 - Problems of the typology of ethnic units in the works of Soviet scholars), Sovetskaja etnografija, 1967, No.