Opening up the pit: Negotiating a punk ethos with PUP

2021 ◽  
Author(s):  
Morgan Bimm ◽  
Andi Schwartz
Keyword(s):  
National Identity ◽  
Queer Theory ◽  
Music Industry ◽  
Cultural Nationalism ◽  
Close Reading ◽  
Arts Funding ◽  
Police Violence ◽  
Canadian Music ◽  
Opening Up

What does it mean to be punk within the Canadian music industry? This article offers a close reading of the band PUP’s politics, grassroots partnerships and personal interviews to argue that they not only skew punk in genre terms, but also embody a punk ethos. Furthermore, this article will confront the ambivalent politics of punk as it becomes entangled with cultural nationalism and national identity-building through institutional arts funding and awards. If punk is about resisting the establishment, how might we reconcile PUP’s reputation as a definitively ‘Canadian’ band with their outspokenness around issues ranging from anti-Black racism to police violence to ongoing colonialism? In what ways might PUP’s leftist politics be absorbed into Canada’s national identity through their receipt of institutional recognition, funding and awards? To make sense of these entanglements, we draw on Tavia Nyong’o’s punk or punk’d theory, which responds to the apparent reification of queer theory and calls on scholars to cultivate a punk spirit. Following Nyong’o and other punk scholars, we ask: is PUP punk’ing the Canadian music machine?

scholarly journals “Enwau Prydeinig gwyn?” Problematizing the idea of “White British” names and naming practices from a Welsh perspective

2018 ◽  
Vol 14 (3) ◽  
pp. 251-259
Author(s):  
Sara Louise Wheeler
Keyword(s):  
National Identity ◽  
Indigenous Communities ◽  
Underlying Assumption ◽  
Cultural Community ◽  
Personal Names ◽  
Potential Source ◽  
Source Of Information ◽  
Opening Up ◽  
Naming Practices

Our personal names are a potential source of information to those around us regarding several interconnected aspects of our lives, including our: ethnic, geographic, linguistic and cultural community of origin, and perhaps our national identity. However, interpretations regarding identifiably “White British” names and naming practices are problematic, due to the incorrect underlying assumption of a homogeneity in the indigenous communities of ‘Britain.’ The field of names and naming is a particularly good example of the wide linguistic and cultural chasm between the Welsh and English indigenous ‘British’ communities, and thus the generally paradoxical concept of “Britishness” in its wider sense. In this paper, I will explore names and naming practices which are particularly distinctive to a Welsh context, thus unearthing and opening up for wider debate the hidden diversity within the assumed and imposed category of “White British privilege.”

Queering Lactation: Contributions of Queer Theory to Lactation Support for LGBTQIA2S+ Individuals and Families

2019 ◽  
Vol 35 (2) ◽  
pp. 233-238 ◽  
Author(s):  
Robyn Lee
Keyword(s):  
Queer Theory ◽  
Gender Equality ◽  
Support Services ◽  
Feminist Politics ◽  
Intersectional Analysis ◽  
Lgbt Families ◽  
History Of ◽  
Opening Up

In this article I explore some contributions of queer theory to the provision of lactation support services. In doing so, I also undertake an intersectional analysis of queering lactation, recognizing that forms of oppression do not impact all individuals equally or in the same ways. While recognizing the history of tensions between queer and feminist politics and activism, I argue that queering lactation holds significant benefits for supporting lactation among LGBT families, as well as opening up possibilities for rethinking gender and possibilities for gender equality more generally.

Music for Socialism, London 1977

2019 ◽  
Vol 16 (1) ◽  
pp. 67-93
Author(s):  
BENJAMIN PIEKUT
Keyword(s):  
Popular Music ◽  
Music Industry ◽  
Good Time ◽  
Arts Funding ◽  
National Front ◽  
Music Genres ◽  
Rock Band ◽  
Archival Documents ◽  
The Relationship ◽  
Means Of Production

AbstractMembers of the rock band Henry Cow co-founded Music for Socialism in early 1977 with the assistance of several associates in London's cultural left. Their first large event, a socialist festival of music at the Battersea Arts Centre, gathered folk musicians, feminists, punks, improvisers, and electronic musicians in a confabulation of workshops, performances, and debates. The organization would continue to produce events and publications examining the relationship between left politics and music for the next eighteen months. Drawing on published sources, archival documents, and interviews, this article documents and analyzes the activities of Music for Socialism, filling out the picture of a fascinating, fractious organization that has too often served as a thin caricature of abstruse failure compared with the better resourced, more successful, and well-documented Rock Against Racism. As important as the latter was to anti-racist activism during the rise of the National Front, it was not concerned with the issues that Music for Socialism considered most important – namely, how musical forms embody their own politics and how musicians might control their means of production. Affiliated with the Socialist Workers Party (UK), Rock Against Racism produced massive benefit concerts and rallies against the fascist right, drawing together musicians and audiences from punk and reggae. The much smaller events of Music for Socialism enrolled musicians from a range of popular music genres and often placed as much emphasis on discussion and debate as they did on having a good time. The organization's struggles, I will suggest, had less to do with ideological rigidity than it did with the itineracy and penury of musicians and intellectuals lacking support from the music industry, governmental arts funding, labor organizations, or academia.

Law and the Politics of the Past: Legal Protection of Cultural Heritage in Greece

2010 ◽  
Vol 17 (3) ◽  
pp. 547-568 ◽  
Author(s):  
Daphne Voudouri
Keyword(s):  
National Identity ◽  
Cultural Heritage ◽  
Legal Protection ◽  
Cultural Nationalism ◽  
Legal Framework ◽  
International Experience ◽  
The Past ◽  
Source Countries ◽  
The Relationship ◽  
Of Greece

AbstractThis article examines the main lines of Greek legislation on antiquities and on cultural heritage in general, in the course of its history, with an emphasis on the innovations and continuity of the current Law 3028 of 2002. It attempts to place the Greek case in the context of the relevant international experience and the broader debate about ownership of the past. It throws light on the relationship between the legal framework of antiquities and the formation and fostering of national identity in Greece, and on their close connection with the state, while at the same time criticizing the view that opposes a “cultural internationalist” approach to heritage to the “cultural nationalism” of Greece and other source countries.

Educating for Nationhood

2012 ◽  
Vol 4 (2) ◽  
pp. 41-68 ◽  
Author(s):  
Patrizia Violi
Keyword(s):  
National Identity ◽  
Surface Area ◽  
Present Form ◽  
Large Surface Area ◽  
Close Reading ◽  
Traumatic Memory ◽  
Nanjing Massacre

This article analyzes the Memorial Hall for Victims of the Nanjing Massacre by Japanese Invaders, opened in its present form in 2007 to commemorate the massacre perpetrated by the Japanese in 1937, when in the course of six weeks a significant number of harmless civilians were brutally slaughtered. The memorial is a highly complex semiotic object: it includes a large museum but is also, and perhaps above all, a huge thematic park that occupies an extremely large surface area of seventy-four thousand square meters. Through a close reading of the site, this article seeks to show how the Nanjing Memorial, more than serving the function of conservation and transmission of a tragic, traumatic memory, is mostly a monument to Chinese nationhood, an important step in the construction of a new national identity.

scholarly journals The CBC and the Juno Awards

2005 ◽  
Vol 30 (3) ◽  
Author(s):  
David Young
Keyword(s):  
Music Industry ◽  
Time Frame ◽  
The Public ◽  
Arts And Sciences ◽  
Canadian Broadcasting Corporation ◽  
Recording Arts ◽  
Canadian Music ◽  
Public Broadcaster

Abstract: Through a case study of the Juno Awards, this article attempts to enhance what is known about the crisis facing the Canadian Broadcasting Corporation (CBC). The CBC worked with the Canadian Academy of Recording Arts and Sciences (CARAS) on the annual ceremony for the Canadian music industry from the mid-1970s to 2001. An analysis of this time frame gives rise to three arguments about the CBC and the Juno Awards. First, as applied to the Junos, the concept of a promotional state for popular music provides insights into the CBC’s crisis. Second, the role of CARAS points to the possibility that outside control has exacerbated the crisis in the CBC. Third, the CBC’s response to CARAS’ control suggests that the public broadcaster may have contributed to its own crisis. Résumé : Au moyen d’une étude de cas sur les prix Juno, cet article tente d’augmenter ce qu’on sait sur la crise à laquelle le CBC fait face actuellement. Le CBC a collaboré avec l’Académie canadienne des arts et des sciences de l’enregistrement (CARAS) pour diffuser la cérémonie annuelle de remise des prix Juno du milieu des années 70 à 2001. Une analyse de cette période mène à trois observations sur le CBC et les prix Juno. Premièrement, en ce qui a trait aux Juno, l’idée d’un état promotionnel pour la musique populaire aide à comprendre la crise du CBC. Deuxièmement, le rôle joué par CARAS semble indiquer que des contrôles externes ont aggravé la crise au CBC. Troisièmement, la manière dont le CBC a réagi aux contrôles de CARAS suggère que le radiodiffuseur public a peut-être contribué lui-même à aggraver sa crise.

The Body Politic(s) of the Jezebel Spirit

2017 ◽  
Vol 7 (2) ◽  
pp. 240-255 ◽  
Author(s):  
S. Jonathon O’Donnell
Keyword(s):  
Queer Theory ◽  
Body Politic ◽  
Active Role ◽  
The Body ◽  
Spiritual Warfare ◽  
Close Reading ◽  
Third Wave ◽  
God's Will ◽  
The World ◽  
Good And Evil

‘Third wave’ neo-charismatic evangelical discourses of spiritual warfare envision the world as caught within a struggle between good and evil, in which demonic forces play an active role in shaping the lives of individuals, institutions, and nations. In contemporary American spiritual warfare discourse one demonic spirit has gained particular notoriety: the Jezebel spirit. Through a close reading of American spiritual warfare manuals, this article explores constructions of the Jezebel spirit and her place in third wave demonology. Constructed as a spiritual force reigning over an errant United States, the figure of Jezebel facilitates a discursive conflation of personal and social bodies in which the ‘present absences’ of ‘deviant’ (gendered, sexualised, racialised) bodies within the nation become figured as threatening to both national and spiritual survival. Drawing on poststructuralist, postcolonial, and queer theory, the article unpacks how Jezebel is constructed as a figure of feminised absence and multiplicity, whose ‘illegitimate’ possession of ‘deviant’ places and persons renders them as territories of absence that must be restored to normative presence through the reinscription of God’s will.

scholarly journals Family in colour: integrating colour into Sally Mann’s Family Pictures

2021 ◽  
Author(s):  
Zoë Antonia Lepiano
Keyword(s):  
Future Research ◽  
Close Reading ◽  
Her Family ◽  
Black And White ◽  
Exhibition History ◽  
History Of ◽  
Work Done ◽  
Opening Up ◽  
Selection Of

Over her forty-year career photographer Sally Mann (b. 1951) has become synonymous with black-and white large format photography and nineteenth-century processes, used to depict her family, their environment, and the landscapes of the southern U.S.A. Yet Mann has worked with a variety of processes including colour. This thesis focuses on the printed Cibachromes and unprinted colour transparencies, taken between 1990 and 1994, that make up Mann’s Family Color collection, part of Family Pictures series, the well-known black-and-white photographs of her three children. It outlines work done in situ in the artist’s archive, the consequent discovery of a number of unprinted colour transparencies, and their integration into Mann’s studio through digitization and organization of the collection. An exploration of the production and exhibition history of Family Color is followed by a close-reading of a selection of printed colour photographs from the series, as well as the newly discovered, unprinted images. These comparisons enable the series to be situated within Mann’s larger practice opening up areas for future research.

scholarly journals La donna è mobile : Mujeres errantes en la ficción turística de Chile y Argentina

2021 ◽  
Vol 1 (1) ◽  
Author(s):  
Nadia Lie
Keyword(s):  
Women Writers ◽  
Travel Writing ◽  
Latin American ◽  
Travel Literature ◽  
Close Reading ◽  
American Women ◽  
New Energy ◽  
Definition Of ◽  
Opening Up ◽  
Creative Production

This article offers an exploration of the creative production of women writers and filmmakers who engage with tourism as a setting for fictional imaginaries. Centering on recent fiction from Chile and Argentina, it examines how tourism has infused new energy into the withering genre of travel writing, opening up a space for the expression of female subjectivities in a field previously dominated by men. Through close reading of works by Uhart, Katz, Scherson and Jeftanovic, it explores how these Latin American women challenge Michel Onfray’s definition of travel literature.

scholarly journals Toposkartta, kliseekokoelma ja moderni panoraama

2019 ◽  
Vol 32 (2) ◽  
pp. 27-39
Author(s):  
Kari Kallioniemi
Keyword(s):  
Cultural Heritage ◽  
19Th Century ◽  
21St Century ◽  
Cultural Nationalism ◽  
Media History ◽  
Media Culture ◽  
Close Reading ◽  
Digital World ◽  
Digital Disruption ◽  
Film Form

Artikkelissa tarkastellaan suomalaisista musiikkitähdistä viime vuosina tehtyjä elämäkertaelokuvia ja niiden luonnetta mediahistorian kontekstissa. Millainen yhteys 1800-luvun mediakulttuurin todellisuudella ja sen topoksilla on musiikkitähdistä kertoviin melodramaattisiin elämäkertaelokuviin? Historiallisen ja vertailevan musiikkielokuvien lähiluvun kautta artikkeli pohtii kysymystä siitä, millä tavoin nämä elokuvat ovat kuvanneet musiikkitähtien elämää ja taidetta valkokankaalla. Käsittelemissäni suomalaiselokuvissa topokset, kliseet ja muut banaalin kansallisuuden merkit ovat osa digitaalisen kulttuurin kierrätystä, niiden avulla voidaan rakentaa emotionaalinen silta digitaalisen maailman ulkopuolella olevaan kansalliseen materiaaliseen todellisuuteen.Varhaisen eurooppalaisen kulttuuriperinnön topokset löysivät paikkansa 1800-luvun media- ja massakulttuurin panoraamoissa ja varhaisessa elokuvassa. Erityisesti Timo Koivusalon kansallisista musiikkitähdistä kertovat elokuvat ovat tietynlainen reaktionäärinen osa digitaalisen aikakauden mediakulttuurista murrosta. Elokuvien edustamat kliseet, topokset ja panoraamakerrontaan viittaava rakenne eivät niinkään pyri olemaan osa elokuvataidetta, vaan viittaavat elokuvan muodon avulla enemmän nykypäivän kulttuuriseen nationalismiin, joka hakee elinvoimansa kansallisista myyteistä, suurmiehistä, kansallisen historian käännekohdista, traditioista ja rituaaleista, maisemista, esineistä ja musiikkiesityksistä.Topos map, cliché collection, and modern panorama: The national music star biopic in media culture continuumThe article examines recent Finnish music star biopics and their characteristics in the context of media history. I apply historical and comparative close reading in analyzing the ways in which earlier films have represented the lives and art of great music stars. Melodramatic biographical films were in many ways successors to 19th century media culture as carriers of European cultural heritage in depicting the lives and art of musical heroes. The Finnish films discussed in this article use topoi and clichés which represent banal nationalism.The 21st century Finnish national musical hero biopics, and especially the films by Timo Koivusalo, can be seen as a kind of reactionary response to the digital disruption of media culture. The films’ clichés, topoi, and panoramic style of narration are not used to create film art as such. Instead, film form is applied to flag today’s cultural nationalism, which uses national myths, great men, national historical turning points, traditions and rituals, landscapes, artifacts, and music to gain vitality. The films construct an emotional bridge to a nationalistic, materialistic past which exists outside the digital world.

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