Traditions and Research Opportunities in Folk Geography

Lornell, Christopher; Mealor, W. Theodore

doi:10.1111/j.0033-0124.1983.00051.x

Cited by 5 publications

(2 citation statements)

References 20 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Cultural landscapes are divided into different types such as: ethnic, folk/local, popular, and elite landscapes (Lornell & Mealor 1983). Cultural geography focuses on material culture and landscape, while social geography and folk geography also explores intangible cultural elements such as rituals and traditions (Lornell & Mealor 1983;Merridale 2003;Stevenson, Kenten & Maddrell 2016). Thus, burial sites and cemeteries are also a characteristic element and expression of folk and local culture.…”

Section: Place Space and Cemeteries And Other Death-related Sitesmentioning

confidence: 99%

Sites related to death and disaster in cultural an tourism geography – a theoretical perspective

Rozite¹,

Steina²

2020

View full text Add to dashboard Cite

Research into tourism, a relatively new discipline, is developing, using theories and approaches from other disciplines. Extensive research is underway in Latvia on sites related to tragic historical events and death, including the use of Holocaust sites in tourism. In order to comprehensively study these dark heritage sites, previous studies related to cemeteries and death sites have been analysed. The aim of this article is to identify death sites as special places and as elements of the cultural landscape. The attitude of locals towards dark heritage sites cannot be understood without understanding the attitude towards death sites and cemeteries in the cultural context. This article gives an overview of existing research in necrography, summarising the geographical approaches used to characterise these particular sites. The studies already conducted in Latvia have been reviewed and the most relevant definitions of dark tourism and thanatourism have been identified. The main problems faced in including places of death and tragedy in tourism product promotions have been described, especially if they are related to tragic events such as the Holocaust. In conclusion, the main aspects and approaches to be used for further research into the use of Holocaust sites in tourism have been identified.

show abstract

Section: Place Space and Cemeteries And Other Death-related Sitesmentioning

confidence: 99%

Sites related to death and disaster in cultural an tourism geography – a theoretical perspective

Rozite¹,

Steina²

2020

View full text Add to dashboard Cite

show abstract

“…The main reasons for the relative neglect of music-making in human geography until that point was on the one hand the depreciation of popular culture as "mere entertainment, trivial and ephemeral" (Kong 1995, 183-184) and their focus 1 The increasing attention on culture created a place for the geographical analysis of music. Some of the early contributions in the field have emphasized the spatial diffusion of music (Carney 1974;Ford 1971;Meyer 1976); the traditions of 'folk geography' (Lornell and Mealor 1983); recording soundscapes of the past (Lowenthal 1976), or the role of pop music in geographical education (Paterson 1991). For more examples on earlier geographical research on music see Kong 1995 andSmith 1994. on the 'ideology of the visual' on the other.…”

Section: (Human) Geographies Of Musicmentioning

confidence: 99%

Sensing the City - Mapping the Beat. A rhythmanalysis of music-making in Wellington and Copenhagen

Rochow¹

View full text Add to dashboard Cite

<p>The idea of rhythm has figured as a key conceptual and empirical motif in current research on (urban) space, place and everyday life. Urban spaces are considered polyrhythmic fields, a compound of varied everyday life and spatial rhythms, which produce a particular, but ever-changing, complex mix of heterogeneous social interactions, mobilities, imaginaries and materialities (Edensor 2010). Music-making in the city therefore constitutes and is constituted by a plurality of urban rhythms including the movement between different locations as well as regular temporal patterns of events, activities, experiences and practices as well as energies, objects, flora and fauna which shape the music-maker’s mundane ‘pathways’ through the city. Based on current ethnographic fieldwork in the urban spaces of Wellington (Aotearoa/New Zealand), and Copenhagen (Denmark) this project proposes a way of capturing, understanding and interpreting the multi-faceted rhythmical layout of urban spaces. It will do so by introducing a rhythmanalytical methodology, which draws on interviews, participant generated photographs and mental maps as analytical tools for capturing the interwovenness of socialities, atmospheres, object, texts and images in people’s everyday lives and in this way affords opportunities for attending to the multiple rhythms underlying music-making in the city. The use of cartographic and photographic means of representing these rhythmical dimensions allows us to better attend to an affective register that is often overlooked in studies of music-making. It makes visible some of the ways in which places, from the home to the studio to the performance venue and points in-between form a connective tissue, which anchors the music-makers to the city as well as lends the city its ambience, and, more importantly, its affective charge. As such, the manner in which mood, feeling, a “sense of place,” is evoked through the visual representation of music-makers’ everyday life suggests how the scenic aspects of the city work to simultaneously frame, mediate and facilitate meaningful experiences of place. Consequently, this study documents, through a unique medley of research methods, the way in which music-making serves as a vehicle for the social production of place and the creation of an affective attachment to that place both individual and collective.</p>

show abstract