I’ll Be Your Mixtape

2019 ◽  
Vol 36 (4) ◽  
pp. 401-436
Author(s):  
Judith A. Peraino
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Pop Art ◽  
The Self ◽  
Andy Warhol ◽  
Archival Research ◽  
Cassette Tape ◽  
Intended Audience ◽  
History Of ◽  
Museum Archives

This article tells the story of a cassette tape housed in the Andy Warhol Museum Archives, a set of never-released (and rarely heard) songs by Lou Reed, and the tape’s intended audience: Andy Warhol. Warhol and Reed are giant figures in the history of twentieth-century Pop Art and popular music, and their collaboration from 1966 to 1967 resulted in the acclaimed album The Velvet Underground and Nico. Based on extensive archival research and interviews, I discuss how this tape reflects Warhol’s and Reed’s failed attempt to collaborate on a stage version of Reed’s album Berlin (1973); Reed’s reaction to Warhol’s book, THE Philosophy of Andy Warhol (From A to B and Back Again) (1975); and how elements of Warhol’s own audio aesthetics and taping practices find their way into Reed’s recordings around 1975. I also place this cassette in the context of the emerging common practice of creating and gifting homemade mixtapes of curated music, and demonstrate how such mixtapes function as a type of “closet media” (to quote theater scholar Nick Salvato) marked by private audience, disappearance, and inaccessibility. Drawing on William S. Burroughs’s conceptual spliced-tape experiments and their challenge to unified subjectivity, I explore the epistemological and ontological ramifications of sonically entangling the self with another person, and the queer intimacies of doing so on cassette tape.

A Historical Review of Popular Music and Social Change in Taiwan

2006 ◽  
Vol 34 (1) ◽  
pp. 120-147 ◽  
Author(s):  
Ho Wai-Chung
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Social Groups ◽  
Historical Review ◽  
Economic Conditions ◽  
Military Rule ◽  
Martial Law ◽  
Social Content ◽  
History Of ◽  
The Relationship

AbstractThis article considers the relationship between popular music and the power of the state through an analysis of the history of Taiwan and the settings within which popular music was constructed and transformed by contentious political and social groups in the twentieth century. The historical formation of Taiwanese society falls into three distinct stages: Japanese colonization between 1895 and 1945; the Kuomintang's (KMT) military rule between 1947 and 1987; and the period from the end of martial law in 1987 to the resurgence of Taiwanese consciousness in the early 2000s. The evolution of Taiwan's popular music has always been connected with the state's production of new ideologies in line with changing socio-political and economic conditions, and this music still embodies a functional social content.

Genius in France

2014 ◽  
Author(s):  
Ann Jefferson
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Cultural History ◽  
Medical Literature ◽  
The Self ◽  
Full Account ◽  
Wide Range ◽  
Realist Novels ◽  
History Of

This book spans three centuries to provide the first full account of the long and diverse history of genius in France. Exploring a wide range of examples from literature, philosophy, and history, as well as medicine, psychology, and journalism, the book examines the ways in which the idea of genius has been ceaselessly reflected on and redefined through its uses in these different contexts. The book traces its varying fortunes through the madness and imposture with which genius is often associated, and through the observations of those who determine its presence in others. The book considers the modern beginnings of genius in eighteenth-century aesthetics and the works of philosophes such as Diderot. It then investigates the nineteenth-century notion of national and collective genius, the self-appointed role of Romantic poets as misunderstood geniuses, the recurrent obsession with failed genius in the realist novels of writers like Balzac and Zola, the contested category of female genius, and the medical literature that viewed genius as a form of pathology. The book shows how twentieth-century views of genius narrowed through its association with IQ and child prodigies, and discusses the different ways major theorists—including Sartre, Barthes, Derrida, and Kristeva—have repudiated and subsequently revived the concept. The book brings a fresh approach to French intellectual and cultural history, and to the burgeoning field of genius studies.

Gentile, Giovanni (1875–1944)

2018 ◽  
Author(s):  
Richard Bellamy
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Philosophy Of Education ◽  
Theory And Practice ◽  
The Self ◽  
Western Philosophy ◽  
Transcendental Arguments ◽  
Concrete Experience ◽  
History Of ◽  
Italian Philosophy

Best known as the self-styled philosopher of Fascism, Gentile, along with Benedetto Croce, was responsible for the ascendance of Hegelian idealism in Italy during the first half of the twentieth century. His ‘actual’ idealism or ‘actualism’ was a radical attempt to integrate our consciousness of experience with its creation in the ‘pure act of thought’, thereby abolishing the distinction between theory and practice. He held an extreme subjectivist version of idealism, and rejected both empirical and transcendental arguments as forms of ‘realism’ that posited the existence of a reality outside thought. His thesis developed through a radicalization of Hegel’s critique of Kant that drew on the work of the nineteenth-century Neapolitan Hegelian Bertrando Spaventa. He argued that it represented both the natural conclusion of the whole tradition of Western philosophy, and had a basis in the concrete experience of each individual. He illustrated these arguments in detailed writings on the history of Italian philosophy and the philosophy of education respectively. He joined the Fascist Party in 1923 and thereafter placed his philosophy at the service of the regime. He contended that Fascism was best understood in terms of his reworking of the Hegelian idea of the ethical state, a view that occasionally proved useful for ideological purposes but which had little practical influence.

scholarly journals The silent child: Reform pedagogy, the self and the problematization of shyness in the classroom

2021 ◽  
pp. 297-321
Author(s):  
Pieter Verstraete
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
The Self ◽  
Maria Montessori ◽  
Reform Pedagogy ◽  
History Of ◽  
Sociological Studies

 In the existing historical and sociological studies devoted to shyness scholars have identified the second half of the Twentieth century as an important period in which shy feelings have become a problem for Wes­tern societies. On the basis of the work of the American cultural histo­rian Warren Susman, and especially his ideas about the move from a character society towards a personality society, it is argued that the turn of the nineteenth century also played an important role in the emergence of negative interpretation of being and acting shy. In this article Susman’s attention for what happened at the start of the twentieth century is being taken up by examining the ideas about timidity in the work of one of the most important reform educators at that time, namely Maria Montessori. Montessori’s ideas are being contextualized by referring to the more en­compassing culture of personality and the self that paralleled the progres­sive era in education. By contraposing Montessori’s ideas to an eighteen­th-century ego-document written by someone who identified himself as a shy person we’d like to plea for a nuanced account with regard to the history of the problematization of shyness in general and shy children in particular.

Rorty, Richard McKay (1931–2007)

2018 ◽  
Author(s):  
Christopher Voparil
Keyword(s):  
Twentieth Century ◽  
Original Work ◽  
Political Liberalism ◽  
The Self ◽  
Cultural Tradition ◽  
Early Exposure ◽  
Traditional Philosophy ◽  
History Of ◽  
Late Twentieth ◽  
Late Twentieth Century

Best known for his lively and provocative advocacy of pragmatism, Rorty was a wide-ranging and iconoclastic philosopher, whose influential, frequently decried work helped define some of the key intellectual debates of the late twentieth century. His broad training in the history of ideas, early exposure to pragmatism, and self-taught fluency in analytic philosophy combined in his landmark book, Philosophy and the Mirror of Nature (1979), to yield a profound anti-Cartesian and anti-Kantian critique of the foundationalist and representationalist assumptions of modern epistemology and metaphysics. Drawing insight and inspiration from novel juxtapositions and associations of thinkers – Wittgenstein, Heidegger, and Dewey; Quine, Sellars, and Davidson; Freud, Sartre, and Gadamer – Rorty set the terms of his decades-long project: what he called in Mirror the negative, "therapeutic" work of historicizing the purportedly timeless problems of traditional philosophy to highlight how they resulted from the adoption of contingent vocabularies, and the positive, "edifying" (1979) effort to think through what it would mean to move beyond "the entire cultural tradition which made truth…a central virtue" (1982, 35). In his most original work, Contingency, Irony, and Solidarity (1989), and across four volumes of philosophical papers and a collection of popular essays, Rorty elaborated the implications of this broader cultural and intellectual shift for our understanding of language, the self, community, politics, ethics, justice, and religion. Increasingly identifying with the pragmatist tradition, he engaged with leading philosophers around questions of truth, knowledge, justification, and relativism. Yet, the moral core of his project centered on asserting "the priority of democracy to philosophy" (1991a) and reorienting philosophical reflection away from the problems of philosophers and toward a political liberalism dedicated to the reduction of human cruelty and suffering.

Broadway to Main Street

2018 ◽  
Author(s):  
Laurence Maslon
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
Popular Music ◽  
Cultural Discourse ◽  
The Internet ◽  
Sheet Music ◽  
Main Street ◽  
History Of ◽  
American Popular Music ◽  
Frank Sinatra

The crossroads where the music of Broadway met popular culture was an expansive and pervasive juncture throughout most of the twentieth century and continues to influence the cultural discourse of today. Broadway to Main Street: How Show Music Enchanted America details how Americans heard the music from Broadway on every Main Street across the country over the last 125 years, from sheet music, radio, and recordings to television and the Internet. The original Broadway cast album—from the 78 rpm recording of Oklahoma! to the digital download of Hamilton—is one of the most successful, yet undervalued, genres in the history of popular recording. The phenomenon of how show tunes penetrated the American consciousness came not only from the original cast albums but from interpreters such as Frank Sinatra and Barbra Streisand, impresarios such as Rudy Vallee and Ed Sullivan, and record producers such as Johnny Mercer and Goddard Lieberson. The history of Broadway music is also the history of American popular music; the technological, commercial, and marketing forces of communications and media over the last century were inextricably bound up in the enterprise of bringing the musical gems of New York’s Theater District to millions of listeners from Trenton to Tacoma, and from Tallahassee to Toronto.

scholarly journals Poësie en popkultuur: oor enkele gedigte van Joan Hambidge

Literator ◽  
2003 ◽  
Vol 24 (3) ◽  
pp. 139-162
Author(s):  
A. Nel
Keyword(s):  
Pop Culture ◽  
Pop Art ◽  
The Self ◽  
Andy Warhol ◽  
Visual Artists ◽  
Famous People ◽  
Construction Of Identity ◽  
Marilyn Monroe ◽  
General Movement ◽  
Work Method

Poetry and pop culture: Some poems by Joan Hambidge The influence of pop culture as a general movement, as well as pop art as a specific art movement, can be seen in the work of Joan Hambidge. In a number of her poems Hambidge enters into conversation with Andy Warhol as the most prominent pop artist. She comments through poetry on Warhol’s life and work method and also presents her poems in the idiom of Warhol. This entails, inter alia, a repetition or duplication of the content, a deliberate intertextual conversation with verbal and visual artists and a reuse of existing material. Hambidge follows Warhol’s representation of popular cult figures from the pop era by creating a number of word portraits of famous people such as Marilyn Monroe and James Dean. This “gallery” of word portraits becomes part of the (well-known) literary conversation which Hambidge conducts with other poets and artists, and at the same time communicates her own poetics as well as her own view on the construction of identity and death. Ultimately this pre-occupation with cult figures becomes a mask for the self.

The Undercurrents of Penal Culture: Punishment of the Body in Mid-Twentieth-Century Canada

2001 ◽  
Vol 19 (2) ◽  
pp. 343-385 ◽  
Author(s):  
Carolyn Strange
Keyword(s):  
Twentieth Century ◽  
Social Workers ◽  
Capital Punishment ◽  
Large Scale ◽  
The Body ◽  
The Self ◽  
Family Courts ◽  
History Of

In the wake of Foucault's provocative philosophical contributions to the study of discipline and punishment, social and legal historians no longer narrate penal history as a straightforward tale of moral and political progress. In its place is a schematic picture of a large-scale retreat from the body to the prison as the prime site of punishment. Historiographical proclivities perpetuate that image: early modernists tend to concentrate on the Bloody Code and similar régimes of terror, whereas historians of the twentieth century specialize in studies of regulatory modes of punishment and “normalization.” These latter works include histories of reformatories, family courts, social workers, psychiatric experts—in short the institutions and agents that best instantiate the reorientation toward disciplining the soul and governing the self. Scholars who study corporal and capital punishment in the twentieth century would seem to have nothing to add, other than to remark that there were exceptions in the wider history of penal change.

Virtual Subjects, Fugitive Selves

2020 ◽  
Author(s):  
Jonardon Ganeri
Keyword(s):  
Twentieth Century ◽  
Philosophy Of Mind ◽  
The Self ◽  
Global History ◽  
Fernando Pessoa ◽  
Untimely Death ◽  
Philosophical Writing ◽  
History Of ◽  
Philosophical Importance ◽  
Virtual Subjects

Fernando Pessoa (1888–1935) has become many things to many people in the years that have passed since his untimely death. For some he is simply the greatest Portuguese poet of the twentieth century. For others he has gradually emerged as a forgotten voice in twentieth-century modernism. And yet Pessoa was also a philosopher, and it is only very recently that the philosophical importance of his work has begun to attract the attention it deserves. Pessoa composed systematic philosophical essays in his pre-heteronymic period, defending rationalism in epistemology and sensationism in the philosophy of mind. His heteronymic work, decisively breaking with the conventional strictures of systematic philosophical writing, is a profound and exquisite exploration in the philosophy of self. Virtual Subjects, Fugitive Selves draws together the strands of this philosophy and rearticulates it in a way that does justice to Pessoa’s breathtaking originality. In applying the new theory to the analysis of some of the trickiest and most puzzling problems about the self to have appeared in the global history of philosophy, in thinkers from the Buddhist, Chinese, Indian and Persian worlds, Virtual Subjects, Fugitive Selves is exemplary of a newly emerging trend in philosophy, that of philosophy as a cosmopolitan endeavour.

Sweet Thing

2021 ◽  
Author(s):  
Nicholas Stoia
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Rock Music ◽  
Rhythmic Pattern ◽  
Musical Structure ◽  
Folk Revival ◽  
Early Twentieth Century ◽  
History Of ◽  
American Vernacular ◽  
Musical Resources

Sweet Thing: The History and Musical Structure of a Shared American Vernacular Form is a historical and analytical study of one of the most productive and enduring shared musical resources in North American vernacular music. Many of us learn the form as children, when we sing “If you’re happy and you know it clap your hands,” and we hear it frequently in popular music, but usually without realizing that this poetic and rhythmic pattern has been penetrating the minds of musicians and listeners for centuries. The antecedents of the form date back to sixteenth-century Scotland and England, and appear in seventeenth-century English popular music; eighteenth-century English and American broadside balladry; nineteenth-century American folk hymnody, popular song, gospel hymnody, and ragtime; and American folk repertoire collected in the early twentieth century. It continued to generate many songs in early twentieth-century popular genres, including blues, country, and gospel music, through which it entered into many postwar popular genres like rhythm and blues, rock and roll, soul, country pop, the folk revival, and rock music. This book offers the most comprehensive examination to date of the centuries-long history of the scheme, and defines its musical parameters in twentieth-century popular music.

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