scholarly journals Reconceptualizing Aesthetic Cosmopolitanism: Evidence From the Early Consecration of Anglo-American Pop-Rock in Italy

2018 ◽  
Vol 65 (1) ◽  
pp. 99-115
Author(s):  
Simone Varriale
Keyword(s):  
Popular Music ◽  
Social Process ◽  
Archival Research ◽  
Cultural Globalization ◽  
Cultural Forms ◽  
Anglo American ◽  
Symbolic Resource ◽  
Cultural Disposition

This article explores how foreign, recently imported cultural forms can redefine the dynamics of legitimation in national cultural fields. Drawing on archival research, the article discusses the early consecration of Anglo-American pop-rock in 1970s Italy and analyzes the articles published by three specialist music magazines. Findings reveal the emergence of a shared pop-rock canon among Italian critics, but also that this “cosmopolitan capital” was mobilized to implement competing editorial projects. Italian critics promoted both different strategies of legitimation vis-à-vis contemporary popular music and opposite views of cultural globalization as a social process. Theoretically, the article conceptualizes “aesthetic cosmopolitanism” as a symbolic resource that can be realized through competing institutional projects, rather than as a homogeneous cultural disposition.

For a translational sociology: Illuminating translation in society, theory and research

2021 ◽  
pp. 136843102110021
Author(s):  
Esperança Bielsa
Keyword(s):  
Meaning Making ◽  
Social Process ◽  
Translation Studies ◽  
Point Of View ◽  
Sociological Perspective ◽  
Cultural Globalization ◽  
Methodological Nationalism ◽  
The World ◽  
Sociology Of Translation ◽  
Basic Social Process

This article argues for a non-reductive approach to translation as a basic social process that shapes both the world that sociologists study and the sociological endeavour itself. It starts by referring to accounts from the sociology of translation and translation studies, which have problematized simplistic views of processes of cultural globalization. From this point of view, translation can offer an approach to contemporary interconnectedness that escapes from both methodological nationalism and what can be designated as the monolingual vision, providing substantive perspectives on the proliferation of contact zones or borderlands in a diversity of domains. The article centrally argues for a sociological perspective that examines not just the circulation of meaning but translation as a process of linguistic transformation that is necessarily embodied in words. Only if this more material aspect of translation is attended to can the nature of translation as an ordinary social process be fully grasped and its intervention in meaning-making activities explored. This has far-ranging implications for any reflexive account of the production of sociological works and interpretations.

Coming out and beyond: press coverage of popular music artists Emmanuel Moire and Eddy de Pretto

2021 ◽  
Vol 46 (1) ◽  
pp. 75-102
Author(s):  
Chris Tinker
Keyword(s):  
Popular Music ◽  
Coming Out ◽  
Press Coverage ◽  
Same Sex ◽  
Self Disclosure ◽  
Anglo American ◽  
Newspaper Articles

Through an analysis of French mediated celebrity discourse this article examines how pop musicians negotiate same-sex desire and self-disclosure in contemporary France. Coverage of Eddy de Pretto and Emmanuel Moire in popular online magazine and newspaper articles is analyzed in terms of a framework that takes into account the context of dominant and normalizing discourses. Coverage exhibits a substantial range of shared and individual approaches, effectively combining normative and queer representations, French values of republicanism, filiation, and existential authenticity, as well as Anglo-American narratives of the closet and coming out.

scholarly journals ‘Agitate, educate, organise’: partisanship, popular music and the Northern Ireland conflict

Popular Music ◽  
2020 ◽  
Vol 39 (2) ◽  
pp. 233-256
Author(s):  
Sean Campbell
Keyword(s):  
Northern Ireland ◽  
Popular Music ◽  
Visual Media ◽  
Archival Research ◽  
Hunger Strike ◽  
The Troubles ◽  
Specific Performance ◽  
Northern Ireland Conflict ◽  
Performance Strategies

AbstractThis article explores popular-musical invocations of the Northern Ireland conflict (1968–1998), focussing specifically on the period between the IRA hunger strike of 1981 and the British Government's Broadcasting Act in 1988. Whilst most songs addressed to the ‘Troubles’ were marked by (lyrical) abstraction and (political) non-alignment, this period witnessed a series of efforts that issued upfront and partisan views. The article explores two such instances – by That Petrol Emotion and Easterhouse – addressing each band's respective views as well as the specific performance strategies that they deployed in staging their interventions. Drawing on original interviews that the author has conducted with the musicians – alongside extensive archival research of print and audio/visual media – the article explores the bands’ songs in conjunction with salient ancillary media (such as record sleeves, videos and interviews), yielding a more nuanced account of popular music's engagement with the ‘Troubles’ than has been offered in existing work (which often assumes the form of broad surveys).

Hawaiian Music and Oceanizing American Studies

2018 ◽  
Vol 52 (04) ◽  
pp. 1163-1172
Author(s):  
LEAH KURAGANO
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Identity Formation ◽  
Social Relations ◽  
American Studies ◽  
High Culture ◽  
The 1950S ◽  
Cultural Forms ◽  
Insight Into ◽  
Culture Concept

American studies has been dedicated to understanding cultural forms from its beginnings as a field. Music, as one such form, is especially centered in the field as a lens through which to seek the cultural “essence” of US America – as texts from which to glean insight into negotiations of intellectual thought, social relations, subaltern resistance, or identity formation, or as a form of labor that produces an exchangeable commodity. In particular, the featuring of folk, indigenous, and popular music directly responded to anxieties in the intellectual circles of the postwar era around America's purported lack of serious culture in comparison to Europe. According to John Gilkeson, American studies scholars in the 1950s and 1960s “vulgarized” the culture concept introduced by the Boasian school of anthropology, opening the door to serious consideration of popular culture as equal in value to high culture.1

Investigating the origins of contemporary basics on the drum kit: an exploration of the role of the hi-hat in Anglo-American popular musics from 1960 until 1974

Popular Music ◽  
2014 ◽  
Vol 33 (2) ◽  
pp. 293-314 ◽  
Author(s):  
Paul Fleet ◽  
Jonathon Winter
Keyword(s):  
Popular Music ◽  
Driving Force ◽  
Music History ◽  
Anglo American ◽  
Popular Music History ◽  
Selection Of

AbstractThe hi-hat is an instrument within the kit that is often the driving force of numerous grooves, and how the playing of this instrument developed across the period 1960–1974 in Anglo-American popular musics is a useful guide when considering how the drum kit has in turn defined certain genres and styles. This paper will study a selection of grooves that use the hi-hat as a discriminating factor which will help trace the origin of certain basics within straight rhythms. The first iterations of these grooves are traced and analysed to uncover the origin of particular patterns that have since become accepted and well used within popular musics. This date period is a particularly rich seam of popular music history in this respect, beginning with the earliest recorded examples of particular hi-hat techniques and leading to what could be considered a period where these techniques became commonplace.

Britain and Wartime Unity

2017 ◽  
Author(s):  
Tom F. Wright
Keyword(s):  
National Identity ◽  
Civil War ◽  
Focal Points ◽  
National Crisis ◽  
Cultural Mediators ◽  
Cultural Forms ◽  
Anglo American

The final chapter turns to the Irish “spider dancer” Lola Montez and the British-American temperance reformer John B. Gough. At precisely the same time they found themselves reimagined as popular lecturers, and speaking to audiences about Anglo-American unity. Their arrival on the lecture circuit highlights the profound changes at the lyceum in the years before the Civil War. This chapter reveals how these two performers used the authority of their hyphenated identities to pose as cultural mediators, reassuring audiences of the strength of Anglo-American unity. Rather than embodying a medium in decline, increasingly theatricalized events became part of the enlarged civic mission of lecture culture. Montez and Gough were focal points of tremendous cultural energy within a moment of national crisis in which popular cultural forms such as the lecture were conscripted into the broader debates around the meanings of loyalty, disunion, and national identity.

scholarly journals TEACHING FROM THE ARCHIVES

2000 ◽  
Vol 1 (1) ◽  
pp. 33-35 ◽  
Author(s):  
Bianca Falbo
Keyword(s):  
Nineteenth Century ◽  
American Literature ◽  
Undergraduate Students ◽  
Print Culture ◽  
Classroom Practice ◽  
Research Projects ◽  
Archival Research ◽  
Electronic Resources ◽  
Special Collections ◽  
Anglo American

My first thoughts in response to the question “What’s so special about special collections¿̣” were in relation to my own experience researching and writing about nineteenth-century Anglo-American literature and print culture. But like a lot of teachers, I find that my research informs my classroom practice and that my classroom practice, in turn, reinvigorates my research. Consequently, much of my thinking about this question comes out of my experience designing archival research projects for my undergraduate students. So, in response to why, at a time of increasingly sophisticated electronic resources for “preserving” and making available special collections materials, we should . . .

scholarly journals Negotiating ‘His Master’s Voice’: Gramophone Music and Cosmopolitan Modernity in British Malaya in the 1930s and Early 1940s

2013 ◽  
Vol 169 (4) ◽  
pp. 457-494 ◽  
Author(s):  
Keyword(s):  
Popular Music ◽  
Recording Technology ◽  
Production And Distribution ◽  
Anglo American ◽  
American Popular Music ◽  
Musical Elements

Abstract The label ‘His Master’s Voice’ (HMV) dominated the recording technology, production and distribution of 78 rpm discs in British Malaya in the 1930s and early 1940s. By analysing the lagu Melayu which formed a large part of the repertoire recorded by HMV, this article shows that musicians were able to decentre colonial hegemony by combining Anglo-American popular music idioms with Malay and other foreign musical elements. The new hybrid music with texts about progress was a vehicle for disseminating a form of national culturalism that advocated vernacular modernity, rooted cosmopolitanism, inclusiveness, and a broader sense of Malayness.

Engineering Ethics in China

2018 ◽  
Vol 37 (1) ◽  
pp. 105-135 ◽  
Author(s):  
Hengli Zhang ◽  
Michael Davis ◽  
Keyword(s):  
Professional Ethics ◽  
Engineering Ethics ◽  
Local Culture ◽  
Archival Research ◽  
Social Scientists ◽  
American Export ◽  
English Speaking ◽  
Anglo American ◽  
As If

This article describes China’s century-long concern with the professional ethics of engineers, especially a succession of codes of engineering ethics going back at least to 1933. This description is the result both of our own archival research and of “philosophical history”, the application of concepts from the philosophy of professions to the facts historians (or we) have discovered. Engineers, historians, social scientists, and philosophers of technology, as well as students of professional ethics, should find this description interesting. It certainly provides a reason to wonder whether those who write about codes of professional ethics as if they were an Anglo-American export unlikely to put down roots elsewhere might have overlooked many early codes outside English-speaking countries. While code writers in China plainly learned from Western codes, the Chinese codes were not mere copies of their Western counterparts. Indeed, the Chinese codes sometimes differed inventively from Western codes in form (for example, being wholly positive) or content (for example, protecting local culture).

Sign in / Sign up

Export Citation Format

Share Document