scholarly journals «SILENT ALL THESE YEARS» OR BECOMING IN EVERYDAYNESS: TORI AMOS AND HER POETICS OF THE QUOTIDIAN

2021 ◽  
pp. 74-85
Author(s):  
Iuliana Matasova
Keyword(s):  
Popular Music ◽  
Mutual Engagement ◽  
The Everyday ◽  
Women's Experience ◽  
In The Beginning ◽  
Tori Amos

Created by the American singer-songwriter Tori Amos «Silent All These Years» is a prominent cultural product of the 1990s in the domain of western popular music. Released in the beginning of the decade it has actualized the current sensibilities, ethically and aesthetically. Deploying the efficient mutual engagement of feminist and postmodernist strategies the author mobilizes the quotidian and performs its intellectual aestheticization. The study focuses on the ways the everyday operates in the song lyrically and musically, as well as on the author’s intention of aestheticizing the mundane. There is an important interdependence between the material circumstances in which the song was created and its genre form of an indie ballad — an ironic gesture that subverts the «heroic» becomes definitive of the piece. The embodied «women’s» experience of the mundane comes as grotesque, «women’s» time threatens to devour the time of «progress», elements of western eschatological mythology undergo domestication and the archetypal image of the Mermaid receives a re-reading, urban everyday vocabulary ruptures the «high» register. An intensification of sameness, repetition and monotony, however, accentuates a non-ironic potentiality of emancipation and insight. The poetics of the quotidian in Amos, thus, presents itself politically by locating the invisibly heroic becoming in everydayness as opposed to a one-time extraordinary action. One of the singular possibilities of such a becoming is a possibility of a continuing, and always risky, dialogic exchange.

Mother revolution: representations of the maternal body in the work of Tori Amos

Popular Music ◽  
2015 ◽  
Vol 34 (2) ◽  
pp. 296-311
Author(s):  
Sarah Boak
Keyword(s):  
Popular Music ◽  
Male Gaze ◽  
Maternal Body ◽  
Female Bodies ◽  
Dominant Representation ◽  
Tori Amos

AbstractThe pregnant or maternal body is conspicuously absent within popular music. The dominant representation of female bodies – sonically, visually and spatially conceived – is that of a sexualised body, available to men and existing under the male gaze. The figure of the pregnant, maternal or motherly body is marked as Other – not desirable and therefore not marketable. Looking at the work of Tori Amos, I demonstrate how she makes the maternal body both audible and visible through a number of musical and extra-musical strategies. Theorising the maternal body in a series of overlapping stages – from the pregnant body to the maternal body, through liminal stages such as miscarriage and birthing – I highlight how Amos uses the figure of the maternal body not only to challenge dominant tropes of sexuality, but to create an embodied space where normative conceptions of ‘mother’ and ‘mothering’ can be troubled.

«Oттeпeль»: экoнoмикa и пoвceднeвнocть

2016 ◽  
Vol 43 (3) ◽  
pp. 338-374
Keyword(s):  
Economic Policy ◽  
Scientific Revolution ◽  
Daily Life ◽  
Price Policy ◽  
Ordinary People ◽  
Wide Range ◽  
The Everyday ◽  
Consumer Services ◽  
The 1960S ◽  
In The Beginning

This article investigates the influence of Soviet economic policy on the daily life of Siberian townspeople in the 1960s using a wide range of official and personal sources. In particular, it examines how the Soviet state provided the population with food, enacted price policy and currency reform, and implemented housing programs and consumer services. This article also employs popular memoirs to explore the involvement of the scientific revolution in the beginning of the formation of a socially oriented economy. It also provides a novel perspective on the changes that impacted the everyday lives of ordinary people during the period of Khrushchev’s “Thaw.”

scholarly journals Festival space: gender, liminality and the carnivalesque

2015 ◽  
Vol 6 (3) ◽  
pp. 235-250 ◽  
Author(s):  
Hanya Pielichaty
Keyword(s):  
Popular Music ◽  
Music Festivals ◽  
Content Type ◽  
The Social ◽  
Gender Hierarchy ◽  
The Everyday ◽  
Complicated Process ◽  
Conceptual Paper ◽  
Photographic Imagery ◽  
The Way

Purpose – Contemporary outdoor rock and popular music festivals offer liminoidal spaces in which event participants can experience characteristics associated with the carnivalesque. Festival goers celebrate with abandonment, excess and enjoy a break from the mundane routine of everyday life. The purpose of this paper is to explore the way gender is negotiated in the festival space. Design/methodology/approach – The rock and popular music tribute festival, known as “Glastonbudget” provides the focus for this conceptual paper. A pilot ethnographic exploration of the event utilising photographic imagery was used to understand the way in which gender is displayed. Findings – It is suggested that liminal zones offer space to invert social norms and behave with abandonment and freedom away from the constraints of the everyday but neither women nor men actually take up this opportunity. The carnivalesque during Glastonbudget represents a festival space which consolidates normative notions of gender hierarchy via a complicated process of othering. Research limitations/implications – This is a conceptual paper which presents the need to advance social science-based studies connecting gender to the social construction of event space. The ideas explored in this paper need to be extended and developed to build upon the research design established here. Originality/value – There is currently a paucity of literature surrounding the concept of gender within these festival spaces especially in relation to liminality within events research.

The everyday life in the Czechoslovak Republic at the beginning of 1920s in the letters of Red Cross mission’s official I. I. Levin

2019 ◽  
pp. 72-84
Author(s):  
Nikolaj Stankov
Keyword(s):  
Everyday Life ◽  
Foreign Affairs ◽  
Red Cross ◽  
Musical Life ◽  
Trade Relations ◽  
The Everyday ◽  
Soviet Russia ◽  
Czech Society ◽  
In The Beginning ◽  
New Phenomena

The Archive of International Politics of the Russian Federation keeps the letters of the Soviet Red Cross official in Prague I. I. Levin to the people’s commissar of foreign affairs of the RSFSR G.V. Chicherin. The letters contain the description of the cross-cultural relations and the social attitudes in the CSR in the beginning of the 1920s. Levin writes in detail how Czech-German contradictions were manifested in the everyday life in the CSR. He also points out the problems in the relations between the Czechs and Slovaks and Rusyns. While noting the widespread antibolshevik views in the Czech society and providing a series of examples for that, at the same time the author of the letters underlines the pragmatism of the Czech businessmen, their interest in developing the trade relations with the Soviet Russia. In the letters a significant attention is dedicated to the literary, theatrical, and musical life of Czechoslovakia. It is evaluated very critically. I. I. Levin said that nothing new was being created, and even it were, it was soaked with a chauvinist feeling. At the same time, new phenomena and achievements of the Czech literature and art of the time are outside of the author’s focus. Levin is treating the everyday life of the inhabitants of Prague from the maximalist position, accusing them of philistinism and provincialism, of the lack of aspirations to lofty ideals. Levin’s letters are a peculiar source for the study of the everyday life in the Czechoslovakia during the first years after the independence and of its perception by the representatives of Soviet Russia.

Inappropriate and Inarticulate

2017 ◽  
Author(s):  
Tyler Bickford
Keyword(s):  
Popular Music ◽  
Consumer Culture ◽  
Educational Institutions ◽  
Music Listening ◽  
Commercial Culture ◽  
Bureaucratic Organization ◽  
Everyday Activities ◽  
The Everyday ◽  
Music Consumption ◽  
School Music

This chapter examines how interactions using music devices are part of a Ȝchildishȝ expressive tradition that is engaged primarily with the bureaucratic organization of language and communication in school. Music listening, despite being wordless, is an important part of children’s intimate expressive repertoires. I propose understanding these modes of music listening through reference to two master tropes of intimate peer expression in school: inappropriateness and inarticulateness. I consider several examples where music listening practices make clear reference to the bureaucratic context of school to argue that music consumption should be understood as intimately tied up with schooling. Identifying music listening as an element of these interactional and communicative frames grounds popular music listening and consumer culture in everyday expressive practices and provides a key perspective for linking bureaucratic networks of educational institutions to the emerging public presence of children in commercial culture through the everyday activities of children in school.

A natural ear for music? Hearing (dis)abled masculinities

Popular Music ◽  
2009 ◽  
Vol 28 (3) ◽  
pp. 411-423 ◽  
Author(s):  
CASSANDRA LOESER ◽  
VICKI CROWLEY
Keyword(s):  
Popular Music ◽  
The Body ◽  
Masculine Identity ◽  
Musical Performances ◽  
Hearing Disability ◽  
Communicative Practice ◽  
The Everyday ◽  
Social Code ◽  
And Gender ◽  
The Many

AbstractMusical performances on the bass guitar, able to be felt bodily beyond the ear, connect into the many layers of affect that music excites; but they are particularly potent as a means of communicating embodied masculinity for one young man with a hearing disability. Masculinity as a social code enacted within practices of the everyday involves both the affect and the effect of difference. The bass guitar, the instrument which drives a band's sound and rhythm, is part of the performativity of masculinity within popular music – visually, and at the level of sound, as auricular materiality – an embodied sensation where the ‘feel’ of sound through the body constitutes a language in which ‘desirable’ and ‘undesirable’ modes of masculinity become appropriated and defined.Displays of musical prowess on the bass guitar open a space for becoming ‘unfixed’ from the identity and abject status of the hearing-disabled Other. This ‘Othering’ occurs primarily in everyday spoken encounters where difficulties with hearing and speech limit opportunities for occupying a viable masculine positioning. By contrast, the capacity to ‘fit’ the sensory and sensual prompts that trigger recognition of masculinity within popular music enables the re-assembling of an embodied masculine identity for a hearing-disabled young man. Masculinity and disability are rendered reversible and exchangeable – performative productions that are excessive and transgressive, contingent on the sensory perceptions of self and others.This emphasis on embodied communicative practice through the play of bass guitar provides an important counterweight to representational forms of embodied gendered subjectivity that continue to predominate in some modes of disability and gender theorising. It constitutes a forceful assertion of how everyday embodied interactions are irrevocably coupled with mobile and transient masculine and disabled aesthetic identifications.

Toward A Metaphysic of Community

1985 ◽  
Vol 38 (4) ◽  
pp. 565-581
Author(s):  
Frank G. Kirkpatrick
Keyword(s):  
Liberation Theology ◽  
Personal Relationship ◽  
Human Being ◽  
Mutual Relation ◽  
Community Or ◽  
Women's Experience ◽  
In The Beginning

At the heart of both feminist and Christian-Marxist liberation theology is a concern for community or personal relationship. ‘In the beginning is the relation’, claims Isabel Carter Heyward in her book The Redemption of God: A Theology of Mutual Relation. God and humanity, she argues, need to be understood in radically new categories, many of which arise out of women's experience of relation, as ‘relational and co-operative, rather than as monistic (synonymous) or dualistic (antithetical) … The experience of relation is fundamental and constitutive of human being.’

“A Mission of Enormous Transcendence”: The Cultural Politics of Music During Colombia’s Liberal Republic, 1930-1946

2014 ◽  
Vol 94 (1) ◽  
pp. 77-105 ◽  
Author(s):  
Catalina Muñoz
Keyword(s):  
Popular Music ◽  
Cultural Politics ◽  
Music Programs ◽  
Common Interest ◽  
Political Discourses ◽  
The Everyday ◽  
Ruling Elites ◽  
Colombian Government ◽  
Using Data ◽  
The Relationship

AbstractThis article examines the cultural programs developed by reformist intellectuals and artists working for the Colombian government during the period known as the Liberal Republic (1930-1946). It explores the implementation of two music programs in particular, the orfeones obreros and the murgas populares, with attention to both the political discourses from above and the everyday music practices from below. I show that, far from being inspired by common interest or nationalist sentiment alone, the ruling elites turned to cultural politics as an arena through which to define the relationship between the rulers and the ruled in a way that naturalized the former’s place in power. I argue that while music programs asserted the unity, horizontality, and inclusiveness of the nation by glorifying popular music, they also deepened the terms of exclusion they professed to level by essentializing the pueblo. However, this official celebration of popular culture, which rendered its practitioners archaic and passive repositories of the nation’s soul, was challenged by a very dynamic, effervescent, and transnationally open music landscape driven by the activities of creative grassroots musicians. Using data from the National Folkloric Survey of 1942, I explore the everyday music practices of popular sectors in different areas of the country and the challenge that these practices posed to elite definitions of popular music.

scholarly journals The Nature And Solution Of Ethno-Political Conflicts. Bulgarian Experience

2015 ◽  
Vol 21 (2) ◽  
pp. 582-586
Author(s):  
Ilia Ganev ◽  
Valeri Lazarov
Keyword(s):  
Political Process ◽  
Political Conflict ◽  
Modern World ◽  
Political Struggle ◽  
Interethnic Relations ◽  
Political Conflicts ◽  
The Everyday ◽  
Major Region ◽  
In The Beginning ◽  
Permanent Form

Abstract In the beginning of the 21st century, the international community tries to do its best in order to guarantee that our civilization, entering the new millennium, puts an end to any form of domination of one peoples over another, to the reasons for such domination, and to the whole idea of inequality. Ethno-political conflict appears to be a permanent form of social and political struggle in the modern world. No major region is free from it. In its more acute manifestation, it may turn into murderous, destructive violence. Bulgarian ethnic model is a concrete historical concept. This is a specific way to find a way out of the impasse of Interethnic relations in which the “revival process” was plunged the country. Bulgarian ethnic model is a transformation of the ethnic contradictions and conflicts in the political process, which neutralize them and makes it possible to restore good neighborly relations in the everyday life of Christians and Muslims before the start of the conflict situation.

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