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Namiko-0506

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  • 急需翻譯這段英文文章(三)~贈點20點

    The critique of African ethnomusicologists levels its attacks at the Western underpinnings of ethnomusicology. Rather than seeking to articulate an overarching category, such as ‘Islamic ethnomusicology’, African scholars deny the very possibility of an ‘African ethnomusicology’, decrying the damage such disciplinary categories have unleashed throughout the colonialist presence in Africa and the post-colonialist attempts to redress that presence (see Agawu, 1995; Appiah, 1992; Masolo, 2000). The challenge of the new ethnomusicologies at the end of the 20th century has been to expose old and new ideological faultlines, and to insist that ethnomusicologists recognize and address the politicized paradigms that shape the past, present and future of their field.

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    1 個解答語言1 0 年前
  • 急需翻譯這段英文文章(二)~贈點20點

    New ideological schisms, some ontologically more reactionary and others more intellectually radical, formed in the new ethnomusicologies emerging in the 1990s. Some scholars working in the Middle East and in Islamic traditions of the Mediterranean and Central and South Asia, for example, began to argue for approaches that would place musical repertories and practices in more appropriately Islamic categories, reflecting a larger tendency to view Islam as a determining factor in world history and culture. Islamic musics and Islamic ethnomusicology would therefore cut across and even negate the history and geography at the core of Western ethnomusicology, yielding histories of scholarship shaped entirely within their own religious traditions (see al-Faruqi, 1985; Qureshi, 1991).

    請不要使用線上翻譯,

    因為裡面含有專有名詞,

    而且翻譯出來的句子會怪怪的。

    此外人名、或書名不需要翻譯出來,

    謝謝。

    1 個解答語言1 0 年前
  • 急需翻譯這段英文文章(一)~贈點20點

    During the 1990s, particularly in response to the end of the Cold War and periodic economic crises in Asia, the paths along which ethnomusicology’s history had formed entered new phases of destabilization and engendered new debates about and challenges to the ways in which the field could study, represent and appropriate world musics. At their core, most debates about who possessed the intellectual capital and political power to study whom remained rooted in historical problems and persistent questions about music and identity. Native American musical scholarship, for example, deepened its stance toward the rights of any scholar to study Native American musical practices. Few questioned the claims that Native American should themselves largely control access to and the representation of their musical practices, but just how non-Native American might work together on ethnomusicological research remained open to question (see Herndon and McLeod, 1981; Diamond and others, 1994) and spawned new versions of older, historical questions, such as the gendered presence of ethnomusicologists in ethnographic research (Frisbie, 1991).

    請不要使用線上翻譯,

    因為裡面含有專有名詞,

    而且翻譯出來的句子會怪怪的。

    此外人名、或書名不需要翻譯出來,

    謝謝。

    1 個解答語言1 0 年前