東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Popular Music and the Space of Engli...

Bitsis, Jaclyn.

FindBook

Google Book

Amazon

博客來

Popular Music and the Space of Englishness.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Popular Music and the Space of Englishness./
作者:	Bitsis, Jaclyn.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
面頁冊數:	241 p.
附註:	Source: Dissertations Abstracts International, Volume: 80-07, Section: A.
Contained By:	Dissertations Abstracts International80-07A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13423116
ISBN:	9780438754713

Popular Music and the Space of Englishness.
Bitsis, Jaclyn.

Popular Music and the Space of Englishness. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 241 p.

Source: Dissertations Abstracts International, Volume: 80-07, Section: A.

Thesis (Ph.D.)--Indiana University, 2018.

This item must not be added to any third party search indexes.

Popular Music and the Space of Englishness examines representations of England mediated by popular music in 20th century British texts and argues that this conjunction enables a re-imagining of the space of the nation. While these texts fit into a larger context of British culture, I center their depictions of Englishness (rather than Scotland, Wales, and Northern Ireland) in order to illustrate the complicated process of constructing national identity through the narration of specific places, rather than through citizenship, race, ethnicity, or appeals to cultural tradition. Instead, this spatial orientation imagines Englishness as a cultural phenomenon shaped by numerous, sometimes competing social factors as well as aesthetic questions about representation and significance. I read texts that depict aesthetic crises, in which the nation as a problem of representation threatens the text's very coherence; music, I argue, helps to solve these crises and establish a degree of interpretive stability. However, this open-endedness and re-imagination does not automatically translate to a more progressive or inclusive Englishness, and can perpetuate the blind spots, exclusions, and indifferences of the very discourses they tried to remake. Nonetheless, the nexus of music, space, and nation dramatizes the mediated, overdetermined cultural life of Englishness as it takes shape in the development of musical genres and in narratives of the street, the city, the road trip, and the music studio. More specifically, I argue that the depictions of street music in Dorothy Richardson's Pointed Roofs and Michael Powell and Emeric Pressburger's A Canterbury Tale undermine their texts' representations of classical music listening or pop song sing-alongs; that Colin MacInnes's Absolute Beginners and John Akomfrah's Handsworth Songs provide narratives of the singular city gradually, even reluctantly, incorporating another city, sometimes in spite of music and sometimes through it; that Lindsay Anderson's O Lucky Man!and J.B. Priestley's The Good Companions constitute road narratives that only loosely adhere to the picaresque genre and instead require the help of music to establish significance and closure; and that Linton Kwesi Johnson's and P.J. Harvey's musical identifications with place ground themselves in studio experimentation that can paradoxically chip away at their own positioning.

ISBN: 9780438754713Subjects--Topical Terms:

516178
Music.

Popular Music and the Space of Englishness.
LDR:03511nmm a2200337 4500 001 2206021
005 20190909085616.5
008 201008s2018 ||||||||||||||||| ||eng d
020 $a 9780438754713
035 $a (MiAaPQ)AAI13423116
035 $a (MiAaPQ)indiana:15582
035 $a AAI13423116
040 $a MiAaPQ $c MiAaPQ
100 1 $a Bitsis, Jaclyn. $3 3432909
245 1 0 $a Popular Music and the Space of Englishness.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2018
300 $a 241 p.
500 $a Source: Dissertations Abstracts International, Volume: 80-07, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Comentale, Ed.
502 $a Thesis (Ph.D.)--Indiana University, 2018.
506 $a This item must not be added to any third party search indexes.
506 $a This item must not be sold to any third party vendors.
520 $a Popular Music and the Space of Englishness examines representations of England mediated by popular music in 20th century British texts and argues that this conjunction enables a re-imagining of the space of the nation. While these texts fit into a larger context of British culture, I center their depictions of Englishness (rather than Scotland, Wales, and Northern Ireland) in order to illustrate the complicated process of constructing national identity through the narration of specific places, rather than through citizenship, race, ethnicity, or appeals to cultural tradition. Instead, this spatial orientation imagines Englishness as a cultural phenomenon shaped by numerous, sometimes competing social factors as well as aesthetic questions about representation and significance. I read texts that depict aesthetic crises, in which the nation as a problem of representation threatens the text's very coherence; music, I argue, helps to solve these crises and establish a degree of interpretive stability. However, this open-endedness and re-imagination does not automatically translate to a more progressive or inclusive Englishness, and can perpetuate the blind spots, exclusions, and indifferences of the very discourses they tried to remake. Nonetheless, the nexus of music, space, and nation dramatizes the mediated, overdetermined cultural life of Englishness as it takes shape in the development of musical genres and in narratives of the street, the city, the road trip, and the music studio. More specifically, I argue that the depictions of street music in Dorothy Richardson's Pointed Roofs and Michael Powell and Emeric Pressburger's A Canterbury Tale undermine their texts' representations of classical music listening or pop song sing-alongs; that Colin MacInnes's Absolute Beginners and John Akomfrah's Handsworth Songs provide narratives of the singular city gradually, even reluctantly, incorporating another city, sometimes in spite of music and sometimes through it; that Lindsay Anderson's O Lucky Man!and J.B. Priestley's The Good Companions constitute road narratives that only loosely adhere to the picaresque genre and instead require the help of music to establish significance and closure; and that Linton Kwesi Johnson's and P.J. Harvey's musical identifications with place ground themselves in studio experimentation that can paradoxically chip away at their own positioning.
590 $a School code: 0093.
650 4 $a Music. $3 516178
650 4 $a British & Irish literature. $3 3284317
690 $a 0413
690 $a 0593
710 2 $a Indiana University. $b English. $3 1022024
773 0 $t Dissertations Abstracts International $g 80-07A.
790 $a 0093
791 $a Ph.D.
792 $a 2018
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13423116