yasser elhariry (ed.)
- Published in print:
- 2022
- Published Online:
- May 2022
- ISBN:
- 9781800856882
- eISBN:
- 9781800853324
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781800856882.001.0001
- Subject:
- Society and Culture, Media Studies
Sounds Senses is about what happens to the francophone postcolonial condition when sound is taken as a point of departure for engaging cultural production. Offering a synthetic overview of sound ...
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Sounds Senses is about what happens to the francophone postcolonial condition when sound is taken as a point of departure for engaging cultural production. Offering a synthetic overview of sound studies, it dismantles the retinal paradigms and oculocentrism of francophone postcolonial studies. By shifting the sensory hermeneutics of perception from the visual, the textual, and the graphemic to the sonic, the auditory, and the phonemic, the book places cultural production that privileges or otherwise exaggerates æstheticized sensorial experiences at the forefront of francophone postcolonialism. In the process, it introduces two primary theoretical thrusts—the unheard and the unintegrated—to the project of analyzing, extending, and rejuvenating francophone postcolonial studies. The book reevaluates francophone culture in relation to sound and the experience of sound, situating it along the fluid axes of paralingual utterance, audio-vision, voice, and narrative speakers. Through a range of case studies focusing on parafrancophonics, poetry, world music, cinema, the graphic novel, popular speech phenomenæ, and the poetics and politics of transcolonial identification, Sounds Senses demonstrates how francophone postcolonial culture is satiated with a glut of unexplored sonic significance.Less
Sounds Senses is about what happens to the francophone postcolonial condition when sound is taken as a point of departure for engaging cultural production. Offering a synthetic overview of sound studies, it dismantles the retinal paradigms and oculocentrism of francophone postcolonial studies. By shifting the sensory hermeneutics of perception from the visual, the textual, and the graphemic to the sonic, the auditory, and the phonemic, the book places cultural production that privileges or otherwise exaggerates æstheticized sensorial experiences at the forefront of francophone postcolonialism. In the process, it introduces two primary theoretical thrusts—the unheard and the unintegrated—to the project of analyzing, extending, and rejuvenating francophone postcolonial studies. The book reevaluates francophone culture in relation to sound and the experience of sound, situating it along the fluid axes of paralingual utterance, audio-vision, voice, and narrative speakers. Through a range of case studies focusing on parafrancophonics, poetry, world music, cinema, the graphic novel, popular speech phenomenæ, and the poetics and politics of transcolonial identification, Sounds Senses demonstrates how francophone postcolonial culture is satiated with a glut of unexplored sonic significance.
Jennifer Solheim
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781786940827
- eISBN:
- 9781786945082
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781786940827.001.0001
- Subject:
- Society and Culture, Media Studies
The Performance of Listening in Postcolonial Francophone Culture argues That globalized media has allowed for efficient transmission of transnational culture, and in turn, our everyday experiences ...
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The Performance of Listening in Postcolonial Francophone Culture argues That globalized media has allowed for efficient transmission of transnational culture, and in turn, our everyday experiences are informed by sounds ranging from voices, to music, to advertising, to bombs, and beyond. In considering cultural works from French-speaking North Africa and the Middle East all published or released in France from 1962-2011, Solheim’s study of listening across cultural genres will be of interest to any scholar or lay person interested in contemporary postcolonial France. This book is also a primer to contemporary Francophone culture from North Africa and the Middle East. Some of the French-speaking world’s most renowned and adored artists are the subject of this study, including preeminent Algerian feminist novelist, filmmaker and historian Assia Djebar (1936-2015), the first writer of the Maghreb to become part of the Académie Française; celebrated Iranian graphic novelist and filmmaker Marjane Satrapi (Persepolis, Chicken with Plums); the lauded Lebanese-Québecois playwright and dramaturge Wajdi Mouawad (Littorial, Incendies), and Lebanese comic artist and avant jazz trumpeter Mazen Kerbaj, whose improvisation with Israeli fighter jets during the 2006 Israeli War, “Starry Night,” catapulted him to global recognition. An interdisciplinary study of contemporary Francophone cultures, this book will be of interest to scholars and students in literary studies, performance studies, gender studies, anthropology, history, and ethnomusicology.Less
The Performance of Listening in Postcolonial Francophone Culture argues That globalized media has allowed for efficient transmission of transnational culture, and in turn, our everyday experiences are informed by sounds ranging from voices, to music, to advertising, to bombs, and beyond. In considering cultural works from French-speaking North Africa and the Middle East all published or released in France from 1962-2011, Solheim’s study of listening across cultural genres will be of interest to any scholar or lay person interested in contemporary postcolonial France. This book is also a primer to contemporary Francophone culture from North Africa and the Middle East. Some of the French-speaking world’s most renowned and adored artists are the subject of this study, including preeminent Algerian feminist novelist, filmmaker and historian Assia Djebar (1936-2015), the first writer of the Maghreb to become part of the Académie Française; celebrated Iranian graphic novelist and filmmaker Marjane Satrapi (Persepolis, Chicken with Plums); the lauded Lebanese-Québecois playwright and dramaturge Wajdi Mouawad (Littorial, Incendies), and Lebanese comic artist and avant jazz trumpeter Mazen Kerbaj, whose improvisation with Israeli fighter jets during the 2006 Israeli War, “Starry Night,” catapulted him to global recognition. An interdisciplinary study of contemporary Francophone cultures, this book will be of interest to scholars and students in literary studies, performance studies, gender studies, anthropology, history, and ethnomusicology.
José Colmeiro
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9781786940308
- eISBN:
- 9781786944399
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781786940308.001.0001
- Subject:
- Society and Culture, Media Studies
Galician audio/visual culture has experienced an unprecedented period of growth following the process of political and cultural devolution in post-Franco Spain. This creative explosion has occurred ...
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Galician audio/visual culture has experienced an unprecedented period of growth following the process of political and cultural devolution in post-Franco Spain. This creative explosion has occurred in a productive dialogue with global currents and with considerable projection beyond the geopolitical boundaries of the nation and the state, but these seismic changes are only beginning to be the subject of attention of cultural and media studies. This book examines contemporary audio/visual production in Galicia as privileged channels through which modern Galician cultural identities have been imagined, constructed and consumed, both at home and abroad. The cultural redefinition of Galicia in the global age is explored through different media texts (popular music, cinema, video) which cross established boundaries and deterritorialise new border zones where tradition and modernity dissolve, generating creative tensions between the urban and the rural, the local and the global, the real and the imagined. The book aims for the deperipheralization and deterritorialization of the Galician cultural map by overcoming long-established hegemonic exclusions, whether based on language, discipline, genre, gender, origins, or territorial demarcation, while aiming to disjoint the center/periphery dichotomy that has relegated Galician culture to the margins. In essence, it is an attempt to resituate Galicia and Galician studies out of the periphery and open them to the world.Less
Galician audio/visual culture has experienced an unprecedented period of growth following the process of political and cultural devolution in post-Franco Spain. This creative explosion has occurred in a productive dialogue with global currents and with considerable projection beyond the geopolitical boundaries of the nation and the state, but these seismic changes are only beginning to be the subject of attention of cultural and media studies. This book examines contemporary audio/visual production in Galicia as privileged channels through which modern Galician cultural identities have been imagined, constructed and consumed, both at home and abroad. The cultural redefinition of Galicia in the global age is explored through different media texts (popular music, cinema, video) which cross established boundaries and deterritorialise new border zones where tradition and modernity dissolve, generating creative tensions between the urban and the rural, the local and the global, the real and the imagined. The book aims for the deperipheralization and deterritorialization of the Galician cultural map by overcoming long-established hegemonic exclusions, whether based on language, discipline, genre, gender, origins, or territorial demarcation, while aiming to disjoint the center/periphery dichotomy that has relegated Galician culture to the margins. In essence, it is an attempt to resituate Galicia and Galician studies out of the periphery and open them to the world.
J. G. Williamson (ed.)
- Published in print:
- 2005
- Published Online:
- June 2013
- ISBN:
- 9780853236191
- eISBN:
- 9781846314445
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846314445
- Subject:
- Society and Culture, Media Studies
Recent studies of the role of words in music have tended to privilege the literary elements of musical texts, leaving theoretical, analytical and musicological concerns almost an afterthought. This ...
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Recent studies of the role of words in music have tended to privilege the literary elements of musical texts, leaving theoretical, analytical and musicological concerns almost an afterthought. This book provides a much-needed corrective to that trend, bringing together experts in fields from musicology to literary studies to popular culture in order to explore the relationship between words and music. Covering the works of artists and composers as wildly different from one another as Patti Smith, Arnold Schoenberg, and Eminem, the chapters successfully apply serious analysis and theoretical understanding to all aspects of song.Less
Recent studies of the role of words in music have tended to privilege the literary elements of musical texts, leaving theoretical, analytical and musicological concerns almost an afterthought. This book provides a much-needed corrective to that trend, bringing together experts in fields from musicology to literary studies to popular culture in order to explore the relationship between words and music. Covering the works of artists and composers as wildly different from one another as Patti Smith, Arnold Schoenberg, and Eminem, the chapters successfully apply serious analysis and theoretical understanding to all aspects of song.
Michael Talbot (ed.)
- Published in print:
- 2002
- Published Online:
- June 2013
- ISBN:
- 9780853235286
- eISBN:
- 9781846312717
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846312717
- Subject:
- Society and Culture, Media Studies
Is business, for music, a regrettable necessity or a spur to creativity? Are there limits to the influence that economic factors can or should exert on the musical imagination and its product? The ...
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Is business, for music, a regrettable necessity or a spur to creativity? Are there limits to the influence that economic factors can or should exert on the musical imagination and its product? The eleven chapters here wrestle with these questions from the perspective of different areas of research. The range is wide: from 1700 to the present day; from the opera house to the community centre; from composers, performers, and pedagogues to managers, publishers and lawyers; and, from piano miniatures to folk music and pop CDs. If there is a consensus, it is that music serves its own interests best when it harnesses business rather than denying it.Less
Is business, for music, a regrettable necessity or a spur to creativity? Are there limits to the influence that economic factors can or should exert on the musical imagination and its product? The eleven chapters here wrestle with these questions from the perspective of different areas of research. The range is wide: from 1700 to the present day; from the opera house to the community centre; from composers, performers, and pedagogues to managers, publishers and lawyers; and, from piano miniatures to folk music and pop CDs. If there is a consensus, it is that music serves its own interests best when it harnesses business rather than denying it.
Michael Talbot (ed.)
- Published in print:
- 2000
- Published Online:
- June 2013
- ISBN:
- 9780853238256
- eISBN:
- 9781846313615
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846313615
- Subject:
- Society and Culture, Media Studies
Like literature and art, music has ‘works’. But not every piece of music is called a work, and not every musical performance is made up of works. The complexities of this situation are explored in ...
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Like literature and art, music has ‘works’. But not every piece of music is called a work, and not every musical performance is made up of works. The complexities of this situation are explored in this book, which examines a broad swathe of western music. From plainsong to the symphony, from Duke Ellington to the Beatles, this is at root an investigation into how our minds parcel up the music that we create and hear.Less
Like literature and art, music has ‘works’. But not every piece of music is called a work, and not every musical performance is made up of works. The complexities of this situation are explored in this book, which examines a broad swathe of western music. From plainsong to the symphony, from Duke Ellington to the Beatles, this is at root an investigation into how our minds parcel up the music that we create and hear.