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 rock’s 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 rock’s past is directed toward an aestheticized imaginary of rock’s golden age — 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 passé du rock en est venu à étouffer son présent. Cet article examine l’intentionnalité qui, culturellement, fonde ce phénomène. Il montre que la néo-nostalgie étudiée par Jameson, avec d’autres éléments postmodernes (ceux de simulation et de construction), dirige cette intentionnalité, et que les facteurs structurels de celle-ci sont, d’une part, les intérêts mercantiles de l’industrie musicale et, d’autre part, le pouvoir de deux générations, celle des baby-boomers et de la « Génération X » – les facteurs structurels qui la déterminent. La néo-nostalgie pour le rock passé ne vise pas une transcendance supposément éternelle, comme dans la religion, ou un passé réellement vécu par les individus, comme dans le mal du pays. À la place, cette néo-nostalgie porte sur un imaginaire esthétisé, construit autour d’un âge d’or du rock qui n’est en fait qu’un mythe, une époque qui n’a jamais existé. Avoir la nostalgie d’une construction fabriquée en vue du profit, qui sert le pouvoir des parents, de la génération à laquelle ils appartiennent, n’offre actuellement aux jeunes, limités dans leur capacité à accomplir l’idéal moderne/moderniste d’authenticité et de nouveauté, qu’une 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 musicians’ performances, we discuss the concerns of getting studio interactions “on record” 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

THE FUNCTIONS OF SOCIAL SCIENCE ASSOCIATIONS

Abstract not availabl

Taking Metal Music Seriously. An Interview with Deena Weinstein and Gérôme Guibert

Taking Metal Music Seriously. An Interview with Deena Weinstein and Gérôme Guiber