埃及王后转世

IF 0.1 0 MUSIC Jazz Research Journal Pub Date : 2022-12-20 DOI:10.1558/jazz.22863
Richard Elliott
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引用次数: 0

摘要

本文提出妮娜·西蒙是一位非洲主义艺术家,她探讨了乌托邦和反乌托邦的主题与后人类话语的联系。在确立了这是一种推测性方法的三种主要方式后,它探索了后人道主义和非洲主义现有理论中的差距。它还考虑了解决非洲主义理论中女性音乐家遗漏的工作,并以思辨小说和黑人乌托邦的形式提出了替代理论。文章讨论了西蒙对埃及神话的频繁提及,她作为“机器人”的自我认同,以及她对其他行星、平面和球体的兴趣。它认为,除了与“经典”非洲主义的未经探索的相似之处之外,西蒙的成熟作品中还有一种反乌托邦、启示录和重述的感觉。为了探索这些联系,我们使用了三个案例研究:1969年的专辑《妮娜·西蒙与钢琴!》!,歌曲《22世纪》,以及西蒙在1976年蒙特勒爵士音乐节上的表演。
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reincarnation of an Egyptian queen
This article proposes Nina Simone as an Afrofuturist artist who explores themes of utopia and dystopia in connection to posthuman discourses. Having established three main ways in which this is a speculative approach, it then explores gaps in existing theories of posthumanism and Afrofuturism. It also considers work that addresses the omission of female musicians in Afrofuturist theory and proposes alternative theories in the form of speculative fiction and Black utopias. The article discusses Simone’s frequent allusions to Egyptian myth, her self-identification as a ‘robot’ and her interest in other planets, planes and spheres. It argues that, beyond the unexplored parallels with ‘classic’ Afrofuturism, there is a sense of dystopianism, apocalypse and reterritorialization throughout Simone’s mature work. To explore these connections, three case studies are used: the 1969 album Nina Simone and Piano!, the song ‘22nd Century’, and Simone’s performance at the 1976 Montreux Jazz Festival.
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期刊介绍: Jazz Research Journal explores a range of cultural and critical views on jazz. The journal celebrates the diversity of approaches found in jazz scholarship and provides a forum for interaction and the cross-fertilisation of ideas. It is a development and extension of The Source: Challenging Jazz Criticism founded in 2004 at the Leeds College of Music. The journal aims to represent a range of disciplinary perspectives on jazz, from musicology to film studies, sociology to cultural studies, and offers a platform for new thinking on jazz. In this respect, the editors particularly welcome articles that challenge traditional approaches to jazz and encourage writings that engage with jazz as a discursive practice. Jazz Research Journal publishes original and innovative research that either extends the boundaries of jazz scholarship or explores themes which are central to a critical understanding of the music, including the politics of race and gender, the shifting cultural representation of jazz, and the complexity of canon formation and dissolution. In addition to articles, the journal features a reviews section that publishes critical articles on a variety of media, including recordings, film, books, educational products and multimedia publications.
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