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"I am a honky-tonk girl": Country mu...

Vander Wel, Stephanie.

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"I am a honky-tonk girl": Country music, gender, and migration.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"I am a honky-tonk girl": Country music, gender, and migration./
作者:	Vander Wel, Stephanie.
面頁冊數:	279 p.
附註:	Source: Dissertation Abstracts International, Volume: 69-07, Section: A, page: 2519.
Contained By:	Dissertation Abstracts International69-07A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3316985
ISBN:	9780549713241

"I am a honky-tonk girl": Country music, gender, and migration.
Vander Wel, Stephanie.

"I am a honky-tonk girl": Country music, gender, and migration. - 279 p.

Source: Dissertation Abstracts International, Volume: 69-07, Section: A, page: 2519.

Thesis (Ph.D.)--University of California, Los Angeles, 2008.

This item must not be sold to any third party vendors.

Given the ways in which popular and scholarly discourses privilege the urban and dismiss the complexities of class politics, American culture tends to conflate class with race in its formation of simplified categories: white middle-class and black working-class. In regard to gendered identities intersecting with class, theoretical discourses usually situate women as passive consumers, supporting class hierarchies rather than belonging to the working class. My study of country music complicates these common notions of gender, class, and race. Starting with the music of the 1930s and continuing to the early 1970s, I situate specific performers---and their music---Lulu Belle, Patsy Montana, Rose Maddox, Kitty Wells, and Loretta Lynn, within specific historical contexts of the white southern diaspora to the Midwest and to the West Coast. During the twentieth century, the economic recession of southern industries, the Great Depression, and the dustbowl of the Southwest drove white, rural southerners to regions that promised prosperous futures. Displacement informed specific musical discourses that represented gendered interactions, indicative of migratory culture, and dispersed country music throughout the nation.

ISBN: 9780549713241Subjects--Topical Terms:

516178
Music.

"I am a honky-tonk girl": Country music, gender, and migration.
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245 1 0 $a "I am a honky-tonk girl": Country music, gender, and migration.
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500 $a Source: Dissertation Abstracts International, Volume: 69-07, Section: A, page: 2519.
500 $a Adviser: Robert Walser.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 2008.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a Given the ways in which popular and scholarly discourses privilege the urban and dismiss the complexities of class politics, American culture tends to conflate class with race in its formation of simplified categories: white middle-class and black working-class. In regard to gendered identities intersecting with class, theoretical discourses usually situate women as passive consumers, supporting class hierarchies rather than belonging to the working class. My study of country music complicates these common notions of gender, class, and race. Starting with the music of the 1930s and continuing to the early 1970s, I situate specific performers---and their music---Lulu Belle, Patsy Montana, Rose Maddox, Kitty Wells, and Loretta Lynn, within specific historical contexts of the white southern diaspora to the Midwest and to the West Coast. During the twentieth century, the economic recession of southern industries, the Great Depression, and the dustbowl of the Southwest drove white, rural southerners to regions that promised prosperous futures. Displacement informed specific musical discourses that represented gendered interactions, indicative of migratory culture, and dispersed country music throughout the nation.
520 $a Relying upon George Lipsitz's use of dialogic criticism in popular music, I suggest that both male and female country artists enacted a shared ambivalence of displacement through domestic and sexual metaphors of similar musical and lyrical gestures: use of comparable vocal ranges, affects, and timbres, as well as instrumentation, musical form, and poetic themes. Unlike previous models of scholarship that focuses on country music, I do not separate men's music from women's into discreet artificial categories. Including analyses of live footage of televised performances, musical shorts, films, and fanzines, I demonstrate the ways in which women musicians mediated an array of identities associated with rurality, dominant gender roles, and class. Women country musicians presented rustic and working-class personas, similar to their male contemporaries, while negotiating hegemonic ideals of femininity. Illuminating the complexity of both real experiences and cultural representations of gendered lives, I challenge common notions of twentieth-century gender roles.
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