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Popular music and citizenship in Bra...

Robbins, Dylon Lamar.

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Popular music and citizenship in Brazil and Cuba: Theme, counterpoint, variation.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Popular music and citizenship in Brazil and Cuba: Theme, counterpoint, variation./
作者:	Robbins, Dylon Lamar.
面頁冊數:	284 p.
附註:	Source: Dissertation Abstracts International, Volume: 71-10, Section: A, page: 3667.
Contained By:	Dissertation Abstracts International71-10A.
標題:	Literature, Comparative. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3424094
ISBN:	9781124231426

Popular music and citizenship in Brazil and Cuba: Theme, counterpoint, variation.
Robbins, Dylon Lamar.

Popular music and citizenship in Brazil and Cuba: Theme, counterpoint, variation. - 284 p.

Source: Dissertation Abstracts International, Volume: 71-10, Section: A, page: 3667.

Thesis (Ph.D.)--Princeton University, 2010.

This dissertation examines some problems in the relationship between notions of citizenship and popular music in Brazil and Cub as viewed from the contexts of cultural studies, and cultural/intellectual history. It approaches this problem as an exploration of the analytical tensions between Angel Rama's notion of the Lettered City and Paul Gilroy's model of the Black Atlantic. Attention is given within this context to a possible theorization of this problem and some of its limitations as shaped by key ideas regarding culture and the state, popular culture, the African diasporas, race, trance and political subjectivity, as well as the possibilities for isolating relationships between musical aesthetics and historical experience for some populations in these regions. In this regard, the thesis attempts to reconstruct interventions with respect to these problems from works by Benny More, W.E.B. Du Bois, Frantz Fanon, Caetano Veloso, Glauber Rocha, and Antonio Gramsci, among others. Furthermore, it approaches this problem in three distinct but approximately delimited periods (the 1890's, 1930's, & 1960's) through analyses of emblematic ideas from each that allow us to trace the formation of the national-popular paradigm in each place from its ascendancy through to its crisis.

ISBN: 9781124231426Subjects--Topical Terms:

530051
Literature, Comparative.

Popular music and citizenship in Brazil and Cuba: Theme, counterpoint, variation.
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500 $a Adviser: Arcadio Diaz Quinones.
502 $a Thesis (Ph.D.)--Princeton University, 2010.
520 $a This dissertation examines some problems in the relationship between notions of citizenship and popular music in Brazil and Cub as viewed from the contexts of cultural studies, and cultural/intellectual history. It approaches this problem as an exploration of the analytical tensions between Angel Rama's notion of the Lettered City and Paul Gilroy's model of the Black Atlantic. Attention is given within this context to a possible theorization of this problem and some of its limitations as shaped by key ideas regarding culture and the state, popular culture, the African diasporas, race, trance and political subjectivity, as well as the possibilities for isolating relationships between musical aesthetics and historical experience for some populations in these regions. In this regard, the thesis attempts to reconstruct interventions with respect to these problems from works by Benny More, W.E.B. Du Bois, Frantz Fanon, Caetano Veloso, Glauber Rocha, and Antonio Gramsci, among others. Furthermore, it approaches this problem in three distinct but approximately delimited periods (the 1890's, 1930's, & 1960's) through analyses of emblematic ideas from each that allow us to trace the formation of the national-popular paradigm in each place from its ascendancy through to its crisis.
520 $a With respect to the first period examined, this dissertation suggests atavism as one of the more important notions shaping elite ideas regarding the musical production of Afro-Brazilians and Afro-Cubans and, thus, as a central feature of thought regarding the place of a large portion of popular music in a greater national culture. This discussion examines how atavism relates to a recurrent series of features that permitted elite intellectuals like the Bahian doctor Raimundo Nina Rodrigues or Cuban lawyer and ethnographer Fernando Ortiz to develop medical and legal models to justify the marginalization of Afro-Brazilian and Afro-Cuban culture. With respect to the 1930's, a reflection on the Brazilian author and musicologist Mario de Andrade's notations in a novel by the Cuban author and musicologist Alejo Carpentier serves as a point of departure for an examination of some of the contradictions of the national-popular paradigm in a multi-ethnic society, particularly when music is forwarded as the essential element of its popular "base." This portion of the discussion seeks in their respective ideas about popular music production interventions regarding the status of populism, agency, political subjectivity, racial differentiation, and popular religiosity. Finally, attention is given to a possible crisis of the national-popular paradigm in the period of the 1960's through an analysis of a few emblematic works of politically mobilized Brazilian and Cuban film. Within this context, the discussion focuses on the uses of popular music, the representations of the sites of popular music production, and the emergence of a marginal subjectivity in the Cuban films P.M. (1961) by Saba Cabrera Infante and Orlando Jimenez Leal, Memorias del subdesarrollo (1968) by Tomas Gutierrez Alea, and Desde la Habana ¡1969! recordar (1969) by Nicolas Guillen Landrian, as well as for the Brazilian films Ze da cachorra (1962) by Miguel Borges (from Cinco vezes favela) and Terra em transe (1967) by Glauber Rocha.
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