Permission

2017 ◽  
Author(s):  
Tim Rutherford-Johnson
Keyword(s):  
Culture Wars ◽  
Diamanda Galas ◽  
Indie Rock ◽  
Musical Affect

The rise of the “New Musicology” in the 1980s coincided with a rise in social liberalizations, and their counter-response in the form of the Bush-era “culture wars.” Together they sparked a renewed interest in the listening and performing body, and in musical affect, explored here in composers’ uses of noise, silence, tonality, and meter, from Diamanda Galás to Laurence Crane, Masonna to Michael Torke. Such freedoms were also extended to the mixing of genres, and art music’s crossovers with electronica and indie rock are also discussed, as well as the further challenges to the Romantic concept of Werktreue to which these have given rise.

The Politics of Prophecy: The US Culture Wars and the Battle Over Public Education in the Left Behind Series for Kids

2009 ◽  
Vol 2 (1) ◽  
pp. 1-27
Author(s):  
Ann Abate Michelle
Keyword(s):  
Public Education ◽  
The United States ◽  
Culture Wars ◽  
Church History ◽  
Good News ◽  
Cultural Issues ◽  
School Prayer ◽  
Left Behind ◽  
Religious Books ◽  
The Us

This essay argues that in spite of their obvious Biblically-based subject matter, clear Christian content, and undeniable evangelical perspective, the Left Behind novels for kids are not simply religious books; they are also political ones. Co-authors Tim LaHaye and Jerry B. Jenkins may claim that their narratives are interested in sharing the good news about Jesus for the sake of the future, but they are equally concerned with offering commentary on contentious US cultural issues in the present. Given the books’ adolescent readership, they are especially preoccupied with the ongoing conservative crusade concerning school prayer. As advocates for this issue, LaHaye and Jenkins make use of a potent blend of current socio-political arguments and of past events in evangelical church history: namely, the American Sunday School Movement (ASSM). These free, open-access Sabbath schools became the model for the public education system in the United States. In drawing on this history, the Left Behind series suggests that the ASSM provides an important precedent for the presence not simply of Christianity in the nation's public school system, but of evangelical faith in particular.

Culture Wars in Brazil

2001 ◽  
Author(s):  
Daryle Williams
Keyword(s):  
Culture Wars

Words as Weapons

2017 ◽  
Author(s):  
Connal Parr
Keyword(s):  
Northern Ireland ◽  
Working Class ◽  
Culture Wars ◽  
Post Conflict ◽  
Literary Heritage ◽  
Republican Movement ◽  
Artistic Merit

‘Culture wars’ in Northern Ireland are literary and rest upon the misperception—and political claim—that Ulster Protestants lack a culture aside from Orangeism. Unionist politicians and Republican writers have accordingly cultivated the myth that Ulster Protestants lack literary heritage and have never been involved in the theatre. The community has internalized a post-conflict ‘defeatism’ and a conviction that it has produced little or nothing of artistic merit. This has been fortified by the individualist, splintered nature of the Protestant community as opposed to the more cohesive and communally robust Catholic equivalent. The Republican movement and its associated writers mainly view literature as an arm of the struggle, which is shown to be important in bringing about an end to conflict, but has led to a derogation of working-class Protestants. The chapter also considers Ulster Loyalist engagement with poetry and drama.

Maintenance and Destruction of an East Side Los Angeles Indie Rock Scene

2020 ◽  
Author(s):  
Timothy D. Taylor
Keyword(s):  
Los Angeles ◽  
Ethnographic Study ◽  
East Side ◽  
Exchange Value ◽  
Echo Park ◽  
Indie Rock

This article is based on an ethnographic study of the independent (indie) rock scene in the east side Los Angeles neighborhood of Echo Park. There is very little money derived from music circulating in this scene (musicians are routinely paid only about $35–40 for a show), and musicians, indie label owners, and others attach symbolic values to certain amounts of money, which are viewed in terms of what they can help the musicians purchase, such as gas for the band’s van. People in the scene also produce and exchange value in a number of ways that aren’t capitalist, from generalized reciprocity to several forms of patronage. This article ultimately argues that scenes such as this are simultaneously maintained and destroyed by capitalism: maintained because capitalism needs a reserve army of those who operate outside of it but destroyed because such scenes are deprived of their ability to reproduce themselves given how little money circulates.

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