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Antinomies of globalization: Possib...

Geller, Dorothy.

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Antinomies of globalization: Possible fictions, ideological placements, musical labor.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Antinomies of globalization: Possible fictions, ideological placements, musical labor./
作者:	Geller, Dorothy.
面頁冊數:	184 p.
附註:	Source: Dissertation Abstracts International, Volume: 68-04, Section: A, page: 1693.
Contained By:	Dissertation Abstracts International68-04A.
標題:	Sociology, Theory and Methods. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3258473

Antinomies of globalization: Possible fictions, ideological placements, musical labor.
Geller, Dorothy.

Antinomies of globalization: Possible fictions, ideological placements, musical labor. - 184 p.

Source: Dissertation Abstracts International, Volume: 68-04, Section: A, page: 1693.

Thesis (Ph.D.)--The George Washington University, 2007.

This dissertation is on questions of musical labor. It addresses how music-making is both like and unlike informal labor. Maria Mies's theory of "housewifization" describes the informal labor of women, providing a conceptual apparatus for understanding "labors of love" and "embodied" work that place the laborer herself, rather than her specific tasks, on the market. Constructions of domestic and gendered work found my examination of how musicians are treated as "raw material." The notion of "raw material" not only implies that it is a musician's nature to make music, therefore s/he does not need to get paid, it also turns the company, producer, executive, or entrepreneur who harnesses musician "talent" into the most essential part of musical production. As a result, figures who "break" musicians for the market appear justified in reaping the profits of musician labor.Subjects--Topical Terms:

626625
Sociology, Theory and Methods.

Antinomies of globalization: Possible fictions, ideological placements, musical labor.
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245 1 0 $a Antinomies of globalization: Possible fictions, ideological placements, musical labor.
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500 $a Source: Dissertation Abstracts International, Volume: 68-04, Section: A, page: 1693.
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502 $a Thesis (Ph.D.)--The George Washington University, 2007.
520 $a This dissertation is on questions of musical labor. It addresses how music-making is both like and unlike informal labor. Maria Mies's theory of "housewifization" describes the informal labor of women, providing a conceptual apparatus for understanding "labors of love" and "embodied" work that place the laborer herself, rather than her specific tasks, on the market. Constructions of domestic and gendered work found my examination of how musicians are treated as "raw material." The notion of "raw material" not only implies that it is a musician's nature to make music, therefore s/he does not need to get paid, it also turns the company, producer, executive, or entrepreneur who harnesses musician "talent" into the most essential part of musical production. As a result, figures who "break" musicians for the market appear justified in reaping the profits of musician labor.
520 $a Labor and capital deeply affect ideology and the constitution of subjectivity. In order to examine this relationship, this dissertation analyzes the "cult classic" This is Spinal Tap. Spinal Tap can be analyzed in terms of its organization of labor. While Spinal Tap appears as a satirical documentary of corporate major label musicians, the narrative's use of failure undermines music-making as anything other than a simplistic desire for fame on the part of incompetent subjects. Implicitly, the musicians who cannot be mocked have achieved success and signify complicity with the industry.
520 $a In contrast to Spinal Tap, the Montreal project Godspeed! You Black Emperor may iterate questions of informal labor. However, discourses of copyright render such iterations inaudible by insisting on the property status of music, and the concept of symbolic value. Bourdieu's notion of symbolic accumulation, which posits that nonmonetary credit can be garnered for the avant-garde producer, diminishes issues of the informal economy and the production of subsistence. In making all elements of practice appear as acts of symbolic accumulation, practice is made to appear homogenous. In contrast, Antonio Negri's concepts of "heterogeneity" and "time at different velocities" show how Bourdieu's approach is ultimately complicit with the discourses of "raw material" and copyright in its occlusion of labor questions.
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