53 research outputs found
Bureaucratic opposition : challenging abuses at the workplace
DePaul University Library notes: Includes index. DePaul University Faculty Publication, Sociology Departmenthttps://via.library.depaul.edu/las-publications/1000/thumbnail.jp
Roles of Man : an Introduction to the Social Sciences
DePaul University Library notes: DePaul University Faculty Publication, Sociology Departmenthttps://via.library.depaul.edu/las-publications/1002/thumbnail.jp
La nostalgie construite
The phenomenon of rockâs past having occluded its present is examined through the intentionality that grounds it culturally. Specifically, neo-nostalgia (Jameson) and similar postmodern terms (simulation, construction) constitute the intentionality and the commercial interests of the music industry and the generational power of the Baby Boomers and Gen X are the structural determinants. Neo-nostalgia for rockâs past is directed toward an aestheticized imaginary of rockâs golden age â a mythical time that never was, rather than a supposed eternal transcendent (religion) or an individualized empirical past (homesickness). Nostalgia for a construction, fabricated for corporate profit and generational/parental power, is a depthless and riskless adventure for a generation that experiences severe constraints on its ability to actualize the modern(ist) ideals of authenticity-novelty.Le passĂ© du rock en est venu Ă Ă©touffer son prĂ©sent. Cet article examine lâintentionnalitĂ© qui, culturellement, fonde ce phĂ©nomĂšne. Il montre que la nĂ©o-nostalgie Ă©tudiĂ©e par Jameson, avec dâautres Ă©lĂ©ments postmodernes (ceux de simulation et de construction), dirige cette intentionnalitĂ©, et que les facteurs structurels de celle-ci sont, dâune part, les intĂ©rĂȘts mercantiles de lâindustrie musicale et, dâautre part, le pouvoir de deux gĂ©nĂ©rations, celle des baby-boomers et de la « GĂ©nĂ©ration X » â les facteurs structurels qui la dĂ©terminent. La nĂ©o-nostalgie pour le rock passĂ© ne vise pas une transcendance supposĂ©ment Ă©ternelle, comme dans la religion, ou un passĂ© rĂ©ellement vĂ©cu par les individus, comme dans le mal du pays. Ă la place, cette nĂ©o-nostalgie porte sur un imaginaire esthĂ©tisĂ©, construit autour dâun Ăąge dâor du rock qui nâest en fait quâun mythe, une Ă©poque qui nâa jamais existĂ©. Avoir la nostalgie dâune construction fabriquĂ©e en vue du profit, qui sert le pouvoir des parents, de la gĂ©nĂ©ration Ă laquelle ils appartiennent, nâoffre actuellement aux jeunes, limitĂ©s dans leur capacitĂ© Ă accomplir lâidĂ©al moderne/moderniste dâauthenticitĂ© et de nouveautĂ©, quâune aventure superficielle et sans danger
Getting It on Record: Issues and Strategies for Ethnographic Practice in Recording Studios
The recording studio has been somewhat neglected as a site for ethnographic fieldwork in the field of ethno-musicology and, moreover, the majority of published studies tend to overlook the specific concerns faced by the researcher within these contexts. Music recording studios can be places of creativity, artistry, and collaboration, but they often also involve challenging, intimidating, and fractious relations. Given that recording studios are, first and foremost, concerned with documenting musiciansâ performances, we discuss the concerns of getting studio interactions âon recordâ in terms of access, social relations, and methods of data collection. This article reflects on some of the issues we faced when conducting our fieldwork within British music recording facilities and makes suggestions based on strategies that we employed to address these issues
Living sociology; a critical introduction
https://via.library.depaul.edu/las-publications/1001/thumbnail.jp
Taking Metal Music Seriously. An Interview with Deena Weinstein and GĂ©rĂŽme Guibert
Taking Metal Music Seriously. An Interview with Deena Weinstein and GĂ©rĂŽme Guiber
- âŠ