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Reinventing certainties: American po...

Stahl, Matthew Wheelock.

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Reinventing certainties: American popular music and social reproduction.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Reinventing certainties: American popular music and social reproduction./
作者:	Stahl, Matthew Wheelock.
面頁冊數:	269 p.
附註:	Source: Dissertation Abstracts International, Volume: 67-12, Section: A, page: 4378.
Contained By:	Dissertation Abstracts International67-12A.
標題:	Mass Communications. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3244179
ISBN:	9781109829686

Reinventing certainties: American popular music and social reproduction.
Stahl, Matthew Wheelock.

Reinventing certainties: American popular music and social reproduction. - 269 p.

Source: Dissertation Abstracts International, Volume: 67-12, Section: A, page: 4378.

Thesis (Ph.D.)--University of California, San Diego, 2006.

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

Performers of popular music in America, through their frequent and often publicized struggles over the terms (if not the fact) of their commercial exploitation, bring into relief essential contradictions between democracy and capitalism in liberal market society. These struggles over property and over the control of processes of production and representation---increasingly the focus of mass-mediated popular narratives, academic discourse, and legal and legislative activity---comprise an arena in popular culture in which the unfreedom characteristic of the employment relation constantly threatens to reveal itself, to give the lie to our hegemonic sense of ourselves as "free" economic agents. Through five case studies, employing a range of research methods, I argue that relations and representations of popular music production are central to popular music's political effectivity---its ability to enact and almost always contain challenges to the contradictory constructions of labor, property and selfhood characteristic of American liberal society. These relations, I argue, both legitimize and extend the logic of capital and bring to light the ongoing nature of what Marx's translators called "primitive accumulation"---the inequalities of power at the origin and heart of the employment relation. Popular music performers are frequently and dramatically confronted by the stratifying logic of primitive accumulation, which turns as many of them as possible into dispossessed workers-for-hire, and recruits the rest as capitalists. Thus, far from deriving cultural specificity, economic power, and political effectivity from a social location somewhere "outside" of contemporary liberal-capitalist social relations, I argue that popular music performers in capitalism should be understood to be at the very core of those relations, playing a uniquely important role in their ongoing naturalization and resubmergence.

ISBN: 9781109829686Subjects--Topical Terms:

1017395
Mass Communications.

Reinventing certainties: American popular music and social reproduction.
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500 $a Adviser: Valerie Hartouni.
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520 $a Performers of popular music in America, through their frequent and often publicized struggles over the terms (if not the fact) of their commercial exploitation, bring into relief essential contradictions between democracy and capitalism in liberal market society. These struggles over property and over the control of processes of production and representation---increasingly the focus of mass-mediated popular narratives, academic discourse, and legal and legislative activity---comprise an arena in popular culture in which the unfreedom characteristic of the employment relation constantly threatens to reveal itself, to give the lie to our hegemonic sense of ourselves as "free" economic agents. Through five case studies, employing a range of research methods, I argue that relations and representations of popular music production are central to popular music's political effectivity---its ability to enact and almost always contain challenges to the contradictory constructions of labor, property and selfhood characteristic of American liberal society. These relations, I argue, both legitimize and extend the logic of capital and bring to light the ongoing nature of what Marx's translators called "primitive accumulation"---the inequalities of power at the origin and heart of the employment relation. Popular music performers are frequently and dramatically confronted by the stratifying logic of primitive accumulation, which turns as many of them as possible into dispossessed workers-for-hire, and recruits the rest as capitalists. Thus, far from deriving cultural specificity, economic power, and political effectivity from a social location somewhere "outside" of contemporary liberal-capitalist social relations, I argue that popular music performers in capitalism should be understood to be at the very core of those relations, playing a uniquely important role in their ongoing naturalization and resubmergence.
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