Kurt Cobain Died for Your Sins: Postmodernism in Music Journalism

Keyword(s):  
2006 ◽  
Vol 36 (4) ◽  
pp. 621-628
Author(s):  
Mary Ann Smart

Giacomo Leopardi was convinced that the willingness of Italians to wallow passively in operatic spectacle was an important reason for Italy's lack of a civil society based on debate and the exchange of opinions. Despite recent proposals that opera and opera going constituted signiªcant means of social engagement and contributed to regional and/or national identity, the preoccupations of early nineteenth-century music journalism suggest that opera existed outside the mainstream of both political and aesthetic debate, and was not yet the subject of a truly vibrant national discourse.


Letrônica ◽  
2017 ◽  
Vol 10 (1) ◽  
pp. 433
Author(s):  
Anna Carolina Botelho Takeda
Keyword(s):  

Neste artigo analisamos as ações narrativas do romance A maçã envenenada (2013), de Michel Laub, para visualizar como o autor compõe no livro o elemento trágico, ou seja, a partir de eventos narrativos capazes de apontar para o aniquilamento do protagonista e enfatizar a exposição de um mundo desordenado. Para bem compreender o conceito de tragédia, utilizamos as concepções de tragédia moderna desenvolvidas por Raymond Williams, que vê na ação trágica o próprio conceito de revolução. Ademais, será apontada a admiração do protagonista pela postura romântica do cantor Kurt Cobain que recusa subordinar-se às normas desse mundo desordenado cometendo suicídio.


2019 ◽  
Author(s):  
Chanckoo Karann Mebenene Teixeira Cavalcante ◽  
Keyword(s):  

2021 ◽  
pp. 1-30
Author(s):  
M.I. Franklin

This chapter presents the disciplinary debates and terms of reference informing this exploration of music making in which sampling practices play a fundamental role. It maps out the theoretical and methodological terrain that informs the “close listening” approach to analyzing these works in light of a burgeoning interest from across the spectrum of academic research and music journalism in the interrelationship between music and politics—however these two domains may be defined. Developing earlier work addressing debates about when, and how music and politics may mutually inform one another, this chapter presents the socio-musicological and interdisciplinary approach to examining how this relationship “sounds” in five case studies. The objective is to provide a more refined conceptual lexicon and analytical framework so that reader-listeners can listen to, and so “hear” the respective ‘musicking politics” at stake in each case, and do so in ways that go beyond focusing on lyrical content alone or requiring an advanced level of musical knowledge. This opening chapter and the conclusion (Chapter 7) work together in either direction.


Collections ◽  
2017 ◽  
Vol 13 (2) ◽  
pp. 143-158
Author(s):  
Colleen Bradley-Sanders

The Brooklyn College Listening Project is designed to engage students in active learning through the inclusion of an oral history interview assignment in a variety of humanities courses, including history, English, sociology, music, journalism, and more. The products of these interviews, oral history recordings, are creating an archive of student-generated material. The benefits to the students extend beyond the simple completion of an assignment for a grade. With the diversity of races and cultures at Brooklyn College, students make connections with classmates and interview subjects that might not otherwise occur. As one student commented, “There is more to learn and know about the world, than just the people that you look like.”1 Written by the college archivist, this article examines the history of the still-young program and the difficulty in archiving the recordings and making them available to the public.


Sign in / Sign up

Export Citation Format

Share Document