scholarly journals "The Greatest Jazz Concert Ever:" Pierre Bourdieu and the Shifting Ontology of Bebop

2009 ◽  
Vol 5 (1) ◽  
Author(s):  
Mark T Laver
Keyword(s):  
Final Section ◽  
Pierre Bourdieu ◽  
Theoretical Framework ◽  
Black Music ◽  
The Third ◽  
Art Form ◽  
Charles Mingus ◽  
Charlie Parker ◽  
The Aesthetic

On May 15, 1953, Toronto’s Massey Hall played host to what has become widely known in text books and collectors guides as “The Greatest Jazz Concert Ever.” The concert featured iconic bebop musicians Charlie Parker, Dizzy Gillespie, Bud Powell, Charles Mingus, and Max Roach – a stunning assemblage of musicians whom Downbeat Magazine proclaimed to be the “Quintet of the Year.” Curiously, however, the contemporary critical reaction was decidedly lukewarm. According to 1950s Globe and Mail critic Alex Barris, for instance, “All in all, it was neither a great concert nor a bad one.” How, then, has such an apparently pedestrian event come to be known as the “greatest jazz concert ever”? This paper pursues an answer to that question by drawing on the socially-grounded aesthetic theorization of Pierre Bourdieu to help unpack the complex web of social and textual factors involved in the aesthetic valorization of the bebop. In the first section, I establish the theoretical framework, briefly explaining those elements of Bourdieu’s terminology and theory that are most germane to my study. In the second section, I apply Bourdieu’s concept of consecration to examine how music journalists, critics, and scholars discursively constructed bebop as a high art form. In the third section, I consider the musicians’ own effort to affirm their high art credentials. In the fourth and final section, I interrogate the consequences of the valorization of a primarily black music according to the aesthetic terminology and values of a primarily white establishment.

Symbolic Violence

2008 ◽  
pp. 221-240 ◽  
Author(s):  
Helena Flam ◽  
Brigitte Beauzamy
Keyword(s):  
Final Section ◽  
Pierre Bourdieu ◽  
Symbolic Violence ◽  
The Third ◽  
The Everyday

Helena Flam and Brigitte Beauzamy’s ‘Symbolic Violence’ is the first chapter within the third and final section of the book, titled ‘Cases of Belonging and Exclusion’. It assesses the relevance of the concept of symbolic violence, now perhaps primarily associated with Pierre Bourdieu, for understanding the ‘everyday’ forms of discrimination faced by migrants in Europe.

The shape of musical improvisation

2017 ◽  
Author(s):  
Milton Mermikides ◽  
Eugene Feygelson
Keyword(s):  
Nineteenth Century ◽  
Theoretical Model ◽  
Detailed Analysis ◽  
Final Section ◽  
Theoretical Framework ◽  
Classical Period ◽  
Violin Concerto ◽  
Fourth Section ◽  
Musical Space ◽  
The Third

This chapter presents practitioner–researcher perspectives on shape in improvisation. A theoretical framework based in jazz improvisational pedagogy and practice is established, and employed in the analysis of examples from both jazz and classical-period repertoire. The chapter is laid out in five sections. The first section provides a brief overview of improvisational research, while the second discusses the concept of improvisation as ‘chains-of-thought’ (a logical narrative established through the repetition and transformation of musical objects). The third reflects upon improvisation as the limitation and variation of a changing set of musical parameters. Using this concept, the fourth section builds a theoretical model of improvisation as navigation through multidimensional musical space (M-Space). The final section uses this model in a detailed analysis of the nineteenth-century violinist Hubert Léonard’s cadenza for Beethoven’s Violin Concerto Op. 61.

Aesthetic uses of the past and limits in the reconstruction of historical spaces inside a videogame

2020 ◽  
Vol 9 (1) ◽  
pp. 004
Author(s):  
Alberto Venegas Ramos
Keyword(s):  
Video Game ◽  
Mass Culture ◽  
Culture Medium ◽  
Final Section ◽  
First Century ◽  
The Third ◽  
The Past ◽  
The Aesthetic ◽  
The City ◽  
Digital Spaces

Along the last years we have assisted to the release of a great number of videogames set in the past as, for example, Assassin’s Creed: Origins (Ubisoft, 2017). This game offered the player the possibility to tour the city of Alexandria during the first century before Christ. My intention in this text is to develop the use of the past in the reconstruction of urban digital spaces through three video-game sagas, BioShock (Irrational Games y 2K Marin, 2007 – 2013), Uncharted (Naughty Dog, 2006 – 2017) and Assassin’s Creed (Ubisoft, 2007 – 2017). Each one of them will serve us to develop and examine the aesthetic uses of the past in the reconstruction of urban digital spaces through the proposed concepts: design, consumption and production. Irrational Games’ saga will help us to understand the first concept, the Naughty Dog one the second and the Ubisoft one the third. After these three sections we will elaborate a final section where we will build the video-game as a mass culture medium with other media of same scope and shared features.

scholarly journals Documentary criminology: Girl Model as a case study

2016 ◽  
Vol 13 (3) ◽  
pp. 357-374 ◽  
Author(s):  
David Redmon
Keyword(s):  
Lived Experience ◽  
Final Section ◽  
Cultural Criminology ◽  
The Third ◽  
Documentary Filmmaking ◽  
The Aesthetic

Visual and cultural criminology are integrated with documentary filmmaking to develop a theoretically grounded, practice-based approach called ‘documentary criminology’. The first section establishes the need for documentary filmmaking in criminology and outlines methodological opportunities. The second section examines theoretically the aesthetics and substance of documentary criminology. The third section takes the film Girl Model (Redmon and Sabin, 2011) as a case study to demonstrate how documentary criminology embedded in lived experience (in this case, the experience of scouts that recruit young Russian girls, purportedly for the modelling industry) can depict sensuous immediacy. The final section contrasts the aesthetic and ethical consequences of documentary criminology within Carrabine’s (2012, 2014) concept of ‘just’ images to a documentary filmmaking approach that remains interpretively open-ended. Readers can access Girl Model at https://vimeo.com/29694894 with the password industry.

scholarly journals AESTHETIC AND DRAMATIC EMPLOYMENT IN THE NARRATIVE OF DECORATION IN THE TURKISH SERIES (THE SULTAN’S HAREM SERIES AS A MODEL)

2021 ◽  
Vol 03 (07) ◽  
pp. 61-71
Author(s):  
Ibrahim Khalaf JASSIM
Keyword(s):  
Research Methodology ◽  
Research Problem ◽  
Theoretical Framework ◽  
Research Community ◽  
Expert Committee ◽  
Methodological Framework ◽  
Sample Analysis ◽  
Unit Of Analysis ◽  
The Third ◽  
The Aesthetic

The topic of employing decoration in the narrative of the Turkish series was chosen due to the great importance it carries in the dramatic construction and because of the aesthetic, dramatic and narrative tool it represents in dramas, so the researcher specified the following research title (aesthetic and dramatic employment in the narrative of decoration in the Turkish series). Four chapters came as follows: (Methodological framework) and included the research problem, its importance, the objectives of the research, the limits of the research, and the chapter concluded by specifying the terms. (Theoretical framework): It was divided into three topics as follows: The first topic: decoration in cinema and television, the second topic: the aesthetic and dramatic employment of decoration, the third topic: the use of decoration in the narrative of the Turkish series: The researcher came up with a set of indicators that he adopted as tools for sample analysis After taking the opinion of the expert committee. (Research procedures): It includes the research methodology and research tools, the unit of analysis, the research community and the research sample, the validity of the tool, the analysis steps and finally the sample analysis, which was an episode of the Turkish series Valley of the Wolves. (Results and Conclusions): The results and conclusions of the research include: 1. The decorator in the Turkish series has the ability to list important information and broadcast it to the recipient about the character, which contributes to fully conveying the idea. 2. Decoration occupies a great importance in television series, given that most of the scenes are interior, so reliance on decorations is to fill the space of the shot.

scholarly journals The double feature of musical folkbildning: three Swedish examples

2012 ◽  
Vol 29 (1) ◽  
pp. 65-74 ◽  
Author(s):  
Sture Brändström ◽  
Johan Söderman ◽  
Ketil Thorgersen
Keyword(s):  
Music Education ◽  
Hip Hop ◽  
Pierre Bourdieu ◽  
Theoretical Framework ◽  
The State ◽  
Private Company ◽  
Music School ◽  
The Third ◽  
First Case

The purpose of this article is to analyse three case study examples of musical folkbildning in Sweden. The first case study is from the establishment of the state-funded Framnäs Folk High Music School in the middle of the last century. The second case study, Hagström's music education, is from the same time but describes a music school run by a private company. The third case study concerns a contemporary expression of folkbildning, namely hip-hop. The theoretical framework that inspired this article stems from the work of Pierre Bourdieu. The double feature of folkbildning appears in terms of: elitist and democratic tendencies, high and low taste agendas, control and freedom.

Food

2018 ◽  
Author(s):  
Elizabeth Telfer
Keyword(s):  
The Third ◽  
Art Form ◽  
Eating Meat ◽  
Social Meanings ◽  
Moral Case ◽  
The Aesthetic ◽  
Philosophical Debates ◽  
The Third World ◽  
Production Preparation ◽  
In Virtue Of

Much human time and attention goes into the production, preparation and consumption of food; hence it is only to be expected that a number of philosophical issues should be connected with it. Recently food has attracted specific philosophical attention, but there have always been philosophical debates with a bearing on food. One such is that concerning the pleasures of eating and drinking, where we find traditional attempts (mainly stemming from Plato) to show that such pleasures must be inferior ones. Another arises from the aesthetic claims sometimes made on behalf of food: can food, or cookery, ever be an art-form, and if so then in virtue of what similarities with central, less contentious forms of art? Further discussion investigates the symbolic and ritual significance of the preparation and consumption of food, its religious and social meanings. Moral questions arise: is there a duty to help feed the hungry of the Third World, and if so how far does this duty extend? Are there duties of proper nutrition towards oneself, and is there a compelling moral case against eating meat? Two virtues have a close connection to food: temperance (which can be seen as an Aristotelian mean between gluttony and and extreme asceticism) in the consumption of it and hospitableness in the provision of sharing it.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

GA: Armani’s Giorgio Armani

2018 ◽  
Author(s):  
Paul Brooker ◽  
Margaret Hayward
Keyword(s):  
Final Section ◽  
The Body ◽  
Body Shop ◽  
The Third ◽  
Haute Couture ◽  
Fashion Designer ◽  
The Body Shop ◽  
The Uk ◽  
Career Woman

The Armani high-fashion example illustrates the importance of adaptive rational methods in his founding and developing of an iconic high-fashion firm. Armani adapted stylistically to fashion’s new times in the 1970–80s by creating a new style catering for the career woman. His stylistic adaptation is compared with that of another famous Italian fashion designer, Versace, who instead modernized haute couture fashion and created a succession of glamourous styles. Both leaders exploited the same opportunity but in different ways. The third section compares these leaders’ legacies in the 1990s–2000s and assesses from a long-term perspective how capably they had used adaptive rational methods. The final section shifts the focus from fashion to the cosmetics industry and from Italy to the UK. Anita Roddick used adaptive rational methods to establish The Body Shop corporation in the 1970s–80s. However, she then abandoned rational methods with dire results for her corporation in the 1990s.

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