Aesthetic cosmopolitanism is conceptualized here as a cultural condition in which late modern ethno-national cultural uniqueness is associated with contemporary cultural forms like film and pop-rock ...music, and as such it is produced from within the national framework. The social production of aesthetic cosmopolitanism is analyzed through elaborations on Bourdieu's field theory, as an outcome of the intersection of and interplay between global fields of art and fields of national culture. A sociological explanation for the emergence of aesthetic cosmopolitanism is proposed. It focuses on claims by social sectors within national contexts for status and recognition of their own contemporary cultural uniqueness.
A very recent trend in stylistics proposes the extension of its field of enquiry to accommodate various forms of multimodal art. Reflecting as it does the growing semiotic complexity of contemporary ...aesthetics, ‘multimodal stylistics’ is a welcome development. So far, however, its proponents have concentrated on genres in which texts are complemented by, or realized through, the visual medium – films, stage plays, television series and illustrated books.
In this article, a multimodal stylistic analysis is attempted on a genre which has attracted little critical attention in linguistics – modern pop-rock music. A 1985 song by singer-songwriter Kate Bush, ‘Running Up That Hill’, is studied linguistically and musically. Employing a blend of stylistic and musicological techniques, and some of the insights provided by newborn multimodal stylistics, the author explores the complex ways in which meaning is created in a pop-rock song.
Se presentará el análisis de las metáforas del amor en algunas canciones de pop rock en español, según los postulados de Lakoff y Johnson (1987). El trabajo surgió de la conceptualización y ...aplicación de la metáfora en la música. Se partió de la concepción de las metáforas dentro del plano cognitivo. A partir del estudio de 40 canciones, se concluyó que las metáforas del amor pueden tener dos sentidos: por un lado, asocian al amor con otros dominios ambivalentes; por otro lado, evidencian su valoración al concebirlo como una construcción social, cultural e ideológica.
Mute Records Beaven, Zuleika; O'Dair, Marcus; Osborne, Richard
2018, 2018-12-27
eBook
Mute Records is one of the most influential, commercially successful, and long-lasting of the British independent record labels formed in the wake of the late-1970's punk explosion. Yet, in ...comparison with contemporaries such as Rough Trade or Stiff, its legacy remains under-explored. This edited collection addresses Mute's wide-ranging impact. Drawing from disciplines such as popular music studies, musicology, and fan studies, it takes a distinctive, artist-led approach, outlining the history of the label by focusing each chapter on one of its acts. The book covers key moments in the company's evolution, from the first releases by The Normal and Fad Gadget to recent work by Arca and Dirty Electronics. It shines new light on the most successful Mute artists, including Depeche Mode, Nick Cave, Erasure, Moby, and Goldfrapp, while also exploring the label's avant-garde innovators.
How do we know music? We perform it, we compose it, we sing it in the shower, we cook, sleep and dance to it. Eventually we think and write about it. This book represents the culmination of such ...shared processes. Each of these essays, written by leading writers on popular music, is analytical in some sense, but none of them treats analysis as an end in itself. The books presents a wide range of genres (rock, dance, TV soundtracks, country, pop, soul, easy listening, Turkish Arabesk) and deals with issues as broad as methodology, modernism, postmodernism, Marxism and communication. It aims to encourage listeners to think more seriously about the 'social' consequences of the music they spend time with and is the first collection of such essays to incorporate contextualisation in this way.
To what extent do indie masculinities challenge the historical construction of rock music as patriarchal? This key question is addressed by Matthew Bannister, involving an in-depth examination of ...indie guitar rock in the 1980s as the culturally and historically specific production of white men. Through textual analysis of musical and critical discourses, Bannister provides the first book-length study of masculinity and ethnicity within the context of indie guitar music within US, UK and New Zealand 'scenes'. Bannister argues that past theorisations of (rock) masculinities have tended to set up varieties of working-class deviance and physical machismo as 'straw men', oversimplifying masculinities as 'men behaving badly'. Such approaches disavow the ways that masculine power is articulated in culture not only through representation but also intellectual and theoretical discourse. By re-situating indie in a historical/cultural context of art rock, he shows how masculine power can be rearticulated through high, avant-garde, bohemian culture and aesthetic theory: canonism, negation (Adorno), passivity, voyeurism and camp (Andy Warhol and the Velvet Underground), and primitivism and infantilism (Lester Bangs, Simon Reynolds). In a related vein, he also assesses the impact of Freud on cultural theory, arguing that reversing binary conceptions of gender by associating masculinities with an essentialised passive femininity perpetuates patriarchal dualism. Drawing on his own experience as an indie musician, Bannister surveys a range of indie artists, including The Smiths, The Jesus and Mary Chain, My Bloody Valentine and The Go-Betweens; from the US, R.E.M., The Replacements, Dinosaur Jr, Hüsker Dü, Nirvana and hardcore; and from NZ, Flying Nun acts, including The Chills, The Clean, the Verlaines, Chris Knox, Bailter Space, and The Bats, demonstrating broad continuities between these apparently disparate scenes, in terms of gender, aesthetic theory and approaches to popular musical history. The result is a book which raises some important questions about how gender is studied in popular culture and the degree to which alternative cultures can critique dominant representations of gender.
Matthew Bannister is Senior Lecturer/Postgraduate Supervisor in Media Arts at Wintec (Waikato Institute of Technology), Hamilton, New Zealand.
Contents: Introduction - White boys...; Reviewing theories and representations of masculinities; Powerless power: masculine intellectualism and aesthetics; What does it mean to be alternative? Indie guitar rock as a genre; The singer or the song? Homosociality, genre and gender; 'Someone controls electric guitar': indie and technologies; 'What will I do if she dies?' Music, misery and masculinities; Conclusion - ...white noise. Bibliography; Index.
There are various difficulties in reading the words of songs as literary texts. Principal among them is the relation of those words to the story (or star-text) of their author. The life of Ian Curtis ...as written by his biographers and the songs he wrote for his band, Joy Division, exemplified as they are by the symbolism of breaking glass, are a case in point. Ultimately, more than with any other literary text, their meaning depends on their refraction, analogous to that of the shards of a broken mirror, through multiple other texts and audiences. La lectura de letras de canciones como textos literarios presenta diversas dificultades, siendo una de las principales la relación entre esas letras y la historia de su autor como estrella. Este artículo aborda el simbolismo de romper cristales en la vida de Ian Curtis, tal como aparece en sus biografías, y en las canciones que escribió para su grupo, Joy Division, como caso ilustrativo de la complejidad de leer letras de canciones modernas. El argumento es, en definitiva, que el significado de las letras de canciones, aún en mayor medida que el de otros textos literarios, depende de su refracción, a la manera de un espejo roto, a través de una multiplicidad de otros textos y públicos.
The proper way to analyze pop-rock music is by examining it for all its expressive aspects, as one whole sonic entity consisting of multiple elements, including lyrics. There is not much point in ...studying songs' lyrics as written text. As an art of recording, as a performance for tape, lyrics should be studied as vocal utterances. I support Campbell's critique of "the intentional fallacy" as a method for studying the Beatles' lyrics. His implied call for a "serious" study of these lyrics for themselves is however problematic. Sociologists should look for proper tools to analyze pop-rock music as a multi-layered cultural product. Such tools might help us understand the phenomenal global impact of the Beatles. Campbell's article is a genuine call to develop sociological research on music in this direction.
Au travers d’une double approche autobiographique et biographique de la figure de Bob Dylan, on se proposera d’observer les renégociations génériques conséquentes à la parution du premier volume de ...son autobiographie Chronicles, volume 1. En effet, cette autobiographie fragmentaire s’est imposée comme un texte tutélaire sur les biographies postérieures de l’artiste. Il s’agira donc, outre l’analyse de la décision générique dylanienne, de voir comment ce texte s’est érigé en modèle littéraire sur la sphère biographique, faisant ainsi glisser l’autorité du song-writer du musical au littéraire.
Cette thèse est consacrée à l’œuvre narrative de François Bon. Elle concerne donc les romans, récits, autobiographies et biographies qui ont été publiés par l’écrivain de 1982 à 2016. De ce fait, la ...question centrale d’une nouvelle approche de la lecture et de l’écriture liée au développement du numérique ne sera abordée que lorsqu’elle permettra d’éclairer le mode de fonctionnement des livres de l’auteur de Sortie d’usine. Ce travail s’intéresse ainsi à trois dimensions essentielles du contemporain que l’œuvre questionne de manière incessante et récurrente : l’origine, la mémoire et la problématique d’un réel qui est à la fois imposé comme évidence dans ses manifestations les plus flagrantes et escamoté comme rejeté lorsqu’il remet en question l’ordre et le déroulement du monde dans lequel nous nous trouvons immergé. Elle aborde ainsi un certain nombre de thèmes et réflexions sous-tendus par une littérature au présent : l’émergence du nouveau au sein d’un monde ancien, des signes contradictoires même que ce phénomène induit, l’importance fondamentale que l’époque pourrait revêtir du point de vue de l’histoire. Elle explore, en outre, le lien entre la machine économico-industrielle et un nouvel ordre du monde néo-libéral qui évacue, escamote et recycle à la fois passé et présent en même temps qu’il écrit une histoire dont nous pouvons être assurée qu’elle ne correspond en aucune manière à l’expression d’une vérité. Dans ce travail de recherche est exploré le plus souvent ce qui relève de formes nouvelles, dans la relation même que l’auteur entretient avec des domaines qui ne constituaient pas jusqu’à une époque récente des préoccupations éminemment littéraires : l’univers pop-rock, une phénoménologie de la mécanique et de l’automobile, la présence d’un monde postindustriel en lequel l’usine et l’ouvrier apparaissent comme autant d’emblèmes et symboles.
This thesis is devoted to the narrative work of François Bon. Therefore it concerns the novels, stories, autobiographies and biographies which were published by the writer from 1982 to 2016. So, the central question of a new way of reading and writing linked to the development of digital technology will only be addressed when it will shed light on the way books by the author of Sortie d’usine work. This thesis is thus focused on three essential dimensions of the contemporary that François Bon’s work constantly and recurrently questions: the origin, the memory and the problematic of a reality that is both imposed as evidence in its most obvious manifestations and retracted as rejected when it calls into question the order and the unfolding of the world in which we find ourselves immersed. It thus addresses a certain number of themes and reflections underlying a literature in the present: the emergence of the new within an ancient world, even contradictory signs that this phenomenon induces, the fundamental importance that the era could have from the point of view of history. It also explores the link between the economic-industrial machine and a new neo-liberal world order that evacuates, escapes and recycles both past and present while at the same time writing a story that we can be sure it does not in any way correspond to the expression of a truth. In this research work, new patterns are most often explored in the very relationship that the author maintains with fields that until recently did not constitute eminently literary concerns: the pop-rock universe, a phenomenology of mechanics and the automobile, the presence of a post-industrial world in which the factories and the workers appear as so many emblems and symbols.
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