Pub Date : 2021-07-03DOI: 10.1080/14775700.2021.1976012
Adriano Tedde
ABSTRACT This article proposes a historicisation of the songs of Tom Waits in the context of the social transformation of the United States in the era of neoliberalism. Through an analysis of music and lyrics – form and content, the article explores questions of poverty, materialism, social injustice, and other issues referable to the impact of neoliberal politics on everyday America. Those issues are particularly evident in the songs composed by the singer-songwriter with his wife and artistic partner, Kathleen Brennan, since the mid-1980s. Using a Rortyan framework, this study finds a place for the music of Tom Waits in the American protest song, arguing that it mirrors the fall of American society into extreme individualism and materialism, while celebrating the solidarity and human warmth of a utopian social hope.
{"title":"‘We’re Just the Gravel on the Road.’ The Dissenting Music of Tom Waits","authors":"Adriano Tedde","doi":"10.1080/14775700.2021.1976012","DOIUrl":"https://doi.org/10.1080/14775700.2021.1976012","url":null,"abstract":"ABSTRACT This article proposes a historicisation of the songs of Tom Waits in the context of the social transformation of the United States in the era of neoliberalism. Through an analysis of music and lyrics – form and content, the article explores questions of poverty, materialism, social injustice, and other issues referable to the impact of neoliberal politics on everyday America. Those issues are particularly evident in the songs composed by the singer-songwriter with his wife and artistic partner, Kathleen Brennan, since the mid-1980s. Using a Rortyan framework, this study finds a place for the music of Tom Waits in the American protest song, arguing that it mirrors the fall of American society into extreme individualism and materialism, while celebrating the solidarity and human warmth of a utopian social hope.","PeriodicalId":114563,"journal":{"name":"Comparative American Studies An International Journal","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116892441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/14775700.2021.2008223
Erik D. Gooding, M. Yamane, Bret Salter
ABSTRACT In recent years, a series of Indigenous protest movements have emerged across North America in response to contemporaneous settler-colonial violence, including the #NoDAPL movement and the Missing and Murdered Indigenous Women (MMIW) crisis. These movements are responses to political, societal, environmental, and philosophical incongruities with governments and their non-Indigenous citizenry. Music has been at the heart of these political causes, social protests, and cultural movements. Plains-style powwow vocal music, which emerged as the dominant intertribal performative style in the 20th century, has played a crucial role in contemporary protests as mechanisms for articulating messages of resistance through symbolic embodiments and as intertribal expressions of solidarity directed primarily towards Indigenous people for cultural and spiritual uplift. This style also has a long-standing tradition in Indigenous cultures and has been employed in relation to historic external and internal protest/movements. This paper seeks to understand how Plains-style music articulates messages of protest through the use of semiotics and how music has been employed in protest environments. We will draw upon historic and recent examples to demonstrate the long-standing tradition of Indigenous Plains-style protest music.
{"title":"‘People have courage!’: Protest Music and Indigenous Movements","authors":"Erik D. Gooding, M. Yamane, Bret Salter","doi":"10.1080/14775700.2021.2008223","DOIUrl":"https://doi.org/10.1080/14775700.2021.2008223","url":null,"abstract":"ABSTRACT In recent years, a series of Indigenous protest movements have emerged across North America in response to contemporaneous settler-colonial violence, including the #NoDAPL movement and the Missing and Murdered Indigenous Women (MMIW) crisis. These movements are responses to political, societal, environmental, and philosophical incongruities with governments and their non-Indigenous citizenry. Music has been at the heart of these political causes, social protests, and cultural movements. Plains-style powwow vocal music, which emerged as the dominant intertribal performative style in the 20th century, has played a crucial role in contemporary protests as mechanisms for articulating messages of resistance through symbolic embodiments and as intertribal expressions of solidarity directed primarily towards Indigenous people for cultural and spiritual uplift. This style also has a long-standing tradition in Indigenous cultures and has been employed in relation to historic external and internal protest/movements. This paper seeks to understand how Plains-style music articulates messages of protest through the use of semiotics and how music has been employed in protest environments. We will draw upon historic and recent examples to demonstrate the long-standing tradition of Indigenous Plains-style protest music.","PeriodicalId":114563,"journal":{"name":"Comparative American Studies An International Journal","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133842558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/14775700.2021.2003136
Ellie Armon Azoulay
ABSTRACT The aim of this essay is to reintroduce Willis Laurence James’s (1900–1960) radical practice as a collector and a critic of the field of collecting. James – one of the fascinating, yet understudied collector who documented the music and songs of African American men and women around the American South between the mid-1920s and mid-1940s. This interdisciplinary study makes use of archival documents, musical recordings, letters and photographs to show that his practice of collecting was one of refusal, resistance and reclamation: part of an overall project of empowerment. James resisted the status quo within African American folk music collection and exposed the limits of its domination by white collectors. He refused the conditions imposed on African Americans by the discriminatory and violent system of segregation; he refused to accept the material conditions of scarcity and he worked vigorously to remedy the neglect and the poverty and to create infrastructures and opportunities through music collecting, education and performance. He reclaimed his authority in the face of denial and he reclaimed the centrality and the contribution of individuals and communities by centring his collection on their lived experiences.
{"title":"The Practice of Refusal in Willis Laurence James's Song Collecting","authors":"Ellie Armon Azoulay","doi":"10.1080/14775700.2021.2003136","DOIUrl":"https://doi.org/10.1080/14775700.2021.2003136","url":null,"abstract":"ABSTRACT The aim of this essay is to reintroduce Willis Laurence James’s (1900–1960) radical practice as a collector and a critic of the field of collecting. James – one of the fascinating, yet understudied collector who documented the music and songs of African American men and women around the American South between the mid-1920s and mid-1940s. This interdisciplinary study makes use of archival documents, musical recordings, letters and photographs to show that his practice of collecting was one of refusal, resistance and reclamation: part of an overall project of empowerment. James resisted the status quo within African American folk music collection and exposed the limits of its domination by white collectors. He refused the conditions imposed on African Americans by the discriminatory and violent system of segregation; he refused to accept the material conditions of scarcity and he worked vigorously to remedy the neglect and the poverty and to create infrastructures and opportunities through music collecting, education and performance. He reclaimed his authority in the face of denial and he reclaimed the centrality and the contribution of individuals and communities by centring his collection on their lived experiences.","PeriodicalId":114563,"journal":{"name":"Comparative American Studies An International Journal","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123934478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/14775700.2021.2015219
Benjamin W. Quail
ABSTRACT In 2002, System of a Down frontman Serj Tankian joined an increasingly vocal movement within the American alternative music scene by denouncing the presidency of George W. Bush. Tom Morello, of platinum selling bands Rage Against the Machine and Audioslave, agreed that Bush should be tried as a war criminal if the United States invaded Iraq. When the Iraq war did begin the following year, both men used their platform to create anti-war, anti-Bush music intended to galvanise the American public against what they felt was an unjust conflict. These are two examples of a larger anti-war sentiment during the Bush presidency within the subgenres of rock, punk and metal music. The social impact of these anti-Bush musical protests formed an integral part in the overarching anti-Bush movement across the United States. This provided a focal point for the young and disaffected to channel their resentment, leading to increased engagement, particularly in 2004 as part of the well-supported Punk Voter movement, led by NOFX singer ‘Fat’ Mike Burkett and future Obama administration advisor Scott Goodstein, and through Tankian and Morello’s Axis of Justice organisation, which worked to promote awareness of government policy through activism and information broadcasts over the internet
2002年，System of a Down乐队主唱Serj Tankian在美国另类音乐界加入了一场越来越响亮的运动，谴责乔治·w·布什的总统任期。Tom Morello，白金销售乐队Rage Against the Machine和Audioslave的成员，同意如果美国入侵伊拉克，布什应该作为战争罪犯受审。当第二年伊拉克战争开始时，两人都利用自己的平台创作了反战、反布什的音乐，旨在激发美国公众反对他们认为是不公正的冲突。这是在布什总统任期内，在摇滚、朋克和金属音乐的子流派中，反战情绪更大的两个例子。这些反布什音乐抗议活动的社会影响在整个美国的反布什运动中形成了一个不可分割的部分。这为年轻人和心怀不满的人提供了一个宣泄不满的渠道，导致了更多的参与，特别是在2004年，由NOFX歌手“胖子”迈克·伯克特(Mike Burkett)和未来奥巴马政府顾问斯科特·古德斯坦(Scott Goodstein)领导的朋克选民运动(Punk Voter movement)，以及通过坦基安和莫雷罗的正义轴心组织(Axis of Justice)，该组织致力于通过行动主义和互联网上的信息广播，提高人们对政府政策的认识，得到了很好的支持
{"title":"American Idiots: Charting Protest and Activism in the Alternative Music Scene During George W. Bush’s Presidency","authors":"Benjamin W. Quail","doi":"10.1080/14775700.2021.2015219","DOIUrl":"https://doi.org/10.1080/14775700.2021.2015219","url":null,"abstract":"ABSTRACT In 2002, System of a Down frontman Serj Tankian joined an increasingly vocal movement within the American alternative music scene by denouncing the presidency of George W. Bush. Tom Morello, of platinum selling bands Rage Against the Machine and Audioslave, agreed that Bush should be tried as a war criminal if the United States invaded Iraq. When the Iraq war did begin the following year, both men used their platform to create anti-war, anti-Bush music intended to galvanise the American public against what they felt was an unjust conflict. These are two examples of a larger anti-war sentiment during the Bush presidency within the subgenres of rock, punk and metal music. The social impact of these anti-Bush musical protests formed an integral part in the overarching anti-Bush movement across the United States. This provided a focal point for the young and disaffected to channel their resentment, leading to increased engagement, particularly in 2004 as part of the well-supported Punk Voter movement, led by NOFX singer ‘Fat’ Mike Burkett and future Obama administration advisor Scott Goodstein, and through Tankian and Morello’s Axis of Justice organisation, which worked to promote awareness of government policy through activism and information broadcasts over the internet","PeriodicalId":114563,"journal":{"name":"Comparative American Studies An International Journal","volume":"52 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120806326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/14775700.2021.2008224
Nina Reuther
ABSTRACT In Indigenous American culture singing and dancing hold a central position within the passing on of cultural knowledge from generation to generation. The beat links the people to the earth, the sound to the surroundings. Song and dance express commonly shared emotions and connect the people in the present to the past and to the future. This article focuses on how the colonisation of North America by the settlers has been mirrored, articulated and dealt with through a system of „singing memory“ by its original peoples. Contemporary Indigenous musicians are using a combination of present and traditional expressions for voicing out their way of dealing with that impact. The article addresses first aspects of the traditional characteristics of North American Indigenous ways of translating cultural knowledge through song and dance; second draws a historical overview of how changes have been interpreted through this way of expression and under the impact of paradoxical interest by the settlers; and third presents some contemporary musical examples of articulating these experiences. The information is mainly based on personal fieldwork and interviews with contemporary North American Indigenous musicians, reflecting the orally transmitted Indigenous historical perspectives of the issue, as well as on archival research documenting mainly the settler perspective of the question.
{"title":"‘As long as we Dance and Sing we Will Stay Alive.’: Indigenous North American Resistance against Assimilation through Song and Dance","authors":"Nina Reuther","doi":"10.1080/14775700.2021.2008224","DOIUrl":"https://doi.org/10.1080/14775700.2021.2008224","url":null,"abstract":"ABSTRACT In Indigenous American culture singing and dancing hold a central position within the passing on of cultural knowledge from generation to generation. The beat links the people to the earth, the sound to the surroundings. Song and dance express commonly shared emotions and connect the people in the present to the past and to the future. This article focuses on how the colonisation of North America by the settlers has been mirrored, articulated and dealt with through a system of „singing memory“ by its original peoples. Contemporary Indigenous musicians are using a combination of present and traditional expressions for voicing out their way of dealing with that impact. The article addresses first aspects of the traditional characteristics of North American Indigenous ways of translating cultural knowledge through song and dance; second draws a historical overview of how changes have been interpreted through this way of expression and under the impact of paradoxical interest by the settlers; and third presents some contemporary musical examples of articulating these experiences. The information is mainly based on personal fieldwork and interviews with contemporary North American Indigenous musicians, reflecting the orally transmitted Indigenous historical perspectives of the issue, as well as on archival research documenting mainly the settler perspective of the question.","PeriodicalId":114563,"journal":{"name":"Comparative American Studies An International Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128833409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/14775700.2021.1981077
Edward Clough
ABSTRACT This article explores the relationship between cultural appropriation, musical protest, and African American history, as foregrounded in the music of avant-garde metal band Zeal & Ardor. Under the leadership of mixed-race Swiss-American multi-instrumentalist Manuel Gagneux, the band gained prominence in 2016 for combining the influences of Satanism and Scandinavian black metal with African American spirituals and blues. Such a combination has allowed Zeal & Ardor to creatively engage the violence of African American historical experience and sonically and conceptually explore the possibilities of an alternative account of African American experience under the influence of individualism and self-determination as promoted in Satanic philosophies. This proposition becomes complicated, however, when the Satanic worldview espoused in Scandinavian black metal articulates not only an aggressive critique of Christianity, but also, in a number of instances, the promotion of white supremacist and national socialist worldviews. The resultant combination of these clashing influences is a complex interlinking of musical traditions and ideological positions through which Zeal & Ardor explores cultural appropriation as a form of protest, and ultimately embraces jarring juxtapositions and messy fusion as a necessary mode of artistic expression amid the racial tensions and culture wars of the early twenty-first century.
{"title":"Devil Is Fine, Devil Is Kind: Slave Spirituals, Satanic Black Metal, and Cultural Appropriation in the Music of Zeal & Ardor","authors":"Edward Clough","doi":"10.1080/14775700.2021.1981077","DOIUrl":"https://doi.org/10.1080/14775700.2021.1981077","url":null,"abstract":"ABSTRACT This article explores the relationship between cultural appropriation, musical protest, and African American history, as foregrounded in the music of avant-garde metal band Zeal & Ardor. Under the leadership of mixed-race Swiss-American multi-instrumentalist Manuel Gagneux, the band gained prominence in 2016 for combining the influences of Satanism and Scandinavian black metal with African American spirituals and blues. Such a combination has allowed Zeal & Ardor to creatively engage the violence of African American historical experience and sonically and conceptually explore the possibilities of an alternative account of African American experience under the influence of individualism and self-determination as promoted in Satanic philosophies. This proposition becomes complicated, however, when the Satanic worldview espoused in Scandinavian black metal articulates not only an aggressive critique of Christianity, but also, in a number of instances, the promotion of white supremacist and national socialist worldviews. The resultant combination of these clashing influences is a complex interlinking of musical traditions and ideological positions through which Zeal & Ardor explores cultural appropriation as a form of protest, and ultimately embraces jarring juxtapositions and messy fusion as a necessary mode of artistic expression amid the racial tensions and culture wars of the early twenty-first century.","PeriodicalId":114563,"journal":{"name":"Comparative American Studies An International Journal","volume":"99 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114818454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/14775700.2021.2021004
Edward Clough
This special issue, with its focus on Cultures of Protest in American Music, is anchored in the investigation, from various diverging perspectives, of a set of core questions. What possibilities of protest can be found in music? How does music, as a form of artistic expression and cultural communication, facilitate – or even articulate in itself – the act of protest? What changes, in measurable societal and political terms, can the production and reception of music in the contemporary world in general, and in the Americas in particular, engender and create? As the articles within this special issue demonstrate, across their very different specific contexts, the possibilities of musical protest are, indeed, considerable; the forms rich, flexible, and highly effective; and the capacity for political change substantial. The connection between music and protest – as I outline more fully below, and as the articles within this special issue all amply demonstrate – is an intimate, and longestablished, one. Even within the specific confines of US and broader North American cultural history, the geo-political focus of this special issue, its manifestations have been considerable. Music in its broadest sense has served, across centuries and cultures and in a recurrent manner, as a source of revolutionary inspiration; as an expression of selfidentity and collective power, especially for culturally, politically, and racially marginalised groups; as an insistent voice of resistance against dominant narratives and agendas. Music has been a vital vehicle in the pursuit of positive social change, of expression for the disenfranchised, of resistance or self-determination in the face of forces of oppression or assimilation. As Dillane, Power, Haynes, and Devereux suggest: ‘in the end all songs of social protest seek to do one thing – bring our attention to an issue that needs redress, which ultimately challenges the status quo’ (2018, 3). But this is also, as James Garratt emphasises, something performed by all music: ‘Music’s seemingly inherent politicality has led to it being idealised in many cultures as a symbol, prefiguration and catalyst of as yet unrealised forms of human freedom and social harmony’ (2019, 31). In considering the political force of music, however, it is important to emphasise from the beginning – and to reiterate a point made with greater force and eloquence in several of the articles within this special issue – that neither ‘music’ nor ‘songs’ should be understood purely in the specific frameworks of Western classical or popular music. Rather, this special issue takes a broader approach, echoing the understanding that Berglund, Johnson, and Lee discuss, in the specific address of Indigenous North American music: that ‘songs were not mere entertainment, or a distraction from the mundane everyday world – nor were they considered as “high art” or composed to be
{"title":"Introduction: Cultures of Protest in American Music","authors":"Edward Clough","doi":"10.1080/14775700.2021.2021004","DOIUrl":"https://doi.org/10.1080/14775700.2021.2021004","url":null,"abstract":"This special issue, with its focus on Cultures of Protest in American Music, is anchored in the investigation, from various diverging perspectives, of a set of core questions. What possibilities of protest can be found in music? How does music, as a form of artistic expression and cultural communication, facilitate – or even articulate in itself – the act of protest? What changes, in measurable societal and political terms, can the production and reception of music in the contemporary world in general, and in the Americas in particular, engender and create? As the articles within this special issue demonstrate, across their very different specific contexts, the possibilities of musical protest are, indeed, considerable; the forms rich, flexible, and highly effective; and the capacity for political change substantial. The connection between music and protest – as I outline more fully below, and as the articles within this special issue all amply demonstrate – is an intimate, and longestablished, one. Even within the specific confines of US and broader North American cultural history, the geo-political focus of this special issue, its manifestations have been considerable. Music in its broadest sense has served, across centuries and cultures and in a recurrent manner, as a source of revolutionary inspiration; as an expression of selfidentity and collective power, especially for culturally, politically, and racially marginalised groups; as an insistent voice of resistance against dominant narratives and agendas. Music has been a vital vehicle in the pursuit of positive social change, of expression for the disenfranchised, of resistance or self-determination in the face of forces of oppression or assimilation. As Dillane, Power, Haynes, and Devereux suggest: ‘in the end all songs of social protest seek to do one thing – bring our attention to an issue that needs redress, which ultimately challenges the status quo’ (2018, 3). But this is also, as James Garratt emphasises, something performed by all music: ‘Music’s seemingly inherent politicality has led to it being idealised in many cultures as a symbol, prefiguration and catalyst of as yet unrealised forms of human freedom and social harmony’ (2019, 31). In considering the political force of music, however, it is important to emphasise from the beginning – and to reiterate a point made with greater force and eloquence in several of the articles within this special issue – that neither ‘music’ nor ‘songs’ should be understood purely in the specific frameworks of Western classical or popular music. Rather, this special issue takes a broader approach, echoing the understanding that Berglund, Johnson, and Lee discuss, in the specific address of Indigenous North American music: that ‘songs were not mere entertainment, or a distraction from the mundane everyday world – nor were they considered as “high art” or composed to be","PeriodicalId":114563,"journal":{"name":"Comparative American Studies An International Journal","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114755650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-02DOI: 10.1080/14775700.2021.1947739
Fazel Asadi Amjad, Morteza Yazdanjoo
ABSTRACT Despite the emergence of insightful scholarship in Iranian cinema in the twenty-first century, there is a paucity of critical studies on the crossroad between cinema and national identity, particularly how the latter is constructed, (re)inscribed, and refashioned through the structures of feeling the former concocts. A particular case in point is the directorial oeuvre of Dariush Mehrjui, an auteur whose feature films play a vital role in nurturing and (re)fashioning national identity on the silver screen. This article examines the projection of a distinct national identity in Pari (1995), an adaptation of Salinger’s Franny and Zooey. It builds upon the nexus between national identity and cinema, theoretically advanced by Michael Billig and Tim Edensor, to delineate the articulation of an alternative ‘Iranian-ness’ texture in Iranian cinema. Pari, a quest-driven narrative in which the protagonist abdicates material life to achieve spiritual salvation, is an interpellative dream-text serving to espouse how the refashioned national identity should be conceived and emulated.
{"title":"Indigenising American Spirituality: the Case of Dariush Mehrjui’s Appropriation of Salinger’s Franny and Zooey","authors":"Fazel Asadi Amjad, Morteza Yazdanjoo","doi":"10.1080/14775700.2021.1947739","DOIUrl":"https://doi.org/10.1080/14775700.2021.1947739","url":null,"abstract":"ABSTRACT Despite the emergence of insightful scholarship in Iranian cinema in the twenty-first century, there is a paucity of critical studies on the crossroad between cinema and national identity, particularly how the latter is constructed, (re)inscribed, and refashioned through the structures of feeling the former concocts. A particular case in point is the directorial oeuvre of Dariush Mehrjui, an auteur whose feature films play a vital role in nurturing and (re)fashioning national identity on the silver screen. This article examines the projection of a distinct national identity in Pari (1995), an adaptation of Salinger’s Franny and Zooey. It builds upon the nexus between national identity and cinema, theoretically advanced by Michael Billig and Tim Edensor, to delineate the articulation of an alternative ‘Iranian-ness’ texture in Iranian cinema. Pari, a quest-driven narrative in which the protagonist abdicates material life to achieve spiritual salvation, is an interpellative dream-text serving to espouse how the refashioned national identity should be conceived and emulated.","PeriodicalId":114563,"journal":{"name":"Comparative American Studies An International Journal","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124926686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-02DOI: 10.1080/14775700.2021.1947089
S. Buck
From the 1940s to 2000s, musician and union educator Joe Glazer earned the moniker ‘Labor’s Troubadour’ by composing, performing, studying, and recording work and union songs. Although less well kn...
{"title":"Too Old to Work: Joe Glazer, Labour Music, and Occupational Pensions","authors":"S. Buck","doi":"10.1080/14775700.2021.1947089","DOIUrl":"https://doi.org/10.1080/14775700.2021.1947089","url":null,"abstract":"From the 1940s to 2000s, musician and union educator Joe Glazer earned the moniker ‘Labor’s Troubadour’ by composing, performing, studying, and recording work and union songs. Although less well kn...","PeriodicalId":114563,"journal":{"name":"Comparative American Studies An International Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130015900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-13DOI: 10.1080/14775700.2021.1928431
Dolores Resano
{"title":"The Comeback of Populism. Transatlantic Perspectives","authors":"Dolores Resano","doi":"10.1080/14775700.2021.1928431","DOIUrl":"https://doi.org/10.1080/14775700.2021.1928431","url":null,"abstract":"","PeriodicalId":114563,"journal":{"name":"Comparative American Studies An International Journal","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125510603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：