Animal, Literature and Cinema: a Critical Interface

Total Page:16

File Type:pdf, Size:1020Kb

Animal, Literature and Cinema: a Critical Interface H-Film April 30 deadline CFP : Animal, Literature and Cinema: A Critical Interface Discussion published by Elif Sendur on Wednesday, January 9, 2019 Animal, Literature and Cinema: A Critical Interface CALL FOR PAPERS Critical studies on animal culture have not received enough attention. There still remain a dearth of critical underpinnings on the human relationship with animals. While religions such as Christianity, Islam and Judaism have been instrumental and orchestrated processes in anthropocentric-human cruelty to animals, the utility of animal for experiments, animal suffering and human dominance over animals, critical dimensions and various movements in animal rights and ethics continue to emerge. These movements are geared towards initiating animal welfare, liberation from human dominance and subjugation, thereby deconstructing the notion of anthropocentrism, speaking for non-humans and creating new spaces for the advocacy for the prevention of cruelty to animals. This advocacy stems from the fact that growing body of evidence, from the Arts and the Humanities, Ethology, and Neuroscience, as well as other fields, indicating that animals can experience suffering in ways similar to humans. Literary artists and cineastes have not been left out of this intellectual debate. Films such as Electrocuting an Elephant (1903), Ben-Hur (1959), The Birds (1963), The Godfather (1972), The Artist (2011) and literary works such asKing Solomon’s Mines, Robinson Crusoe, Animal Farm among others, not only capture the plight of animals in/and through film and literary works but some of these filmic/literary texts are an advancement on the polemic(s) between anthropocentrism and biocentric-animal liberation. The questions that emanate in this collection are: what informs the culture of human domination over animals? Is there hope for the liberation of animals from human/anthropocentric subjugation? How can film and literature further create awareness on animal liberation? The collection of essays in this book examine diverse representations of the animal in literature and cinema and critical processes employed by literary artists and filmmakers in advancing the crusade for animal liberation. A study as this is imperative with the recent upsurge in animal liberation movements, subaltern studies and ecocriticism. Contributions are welcome in the following themes and sub-themes: Animal as a Totem Theories on Animals Animal Ethics Animal Intelligence Animal Mind Animal Rights Citation: Elif Sendur. April 30 deadline CFP : Animal, Literature and Cinema: A Critical Interface. H-Film. 01-09-2019. https://networks.h-net.org/node/14467/discussions/3543769/april-30-deadline-cfp-animal-literature-and-cinema-critical Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 1 H-Film Human as an Animal Animal in Popular Culture Representation of Animals in Hollywood, Bollywood and Nollywood films Animal in Poetry Animal in Drama Animal in Prose Animal as Medium of Sacrifice Ritualization of the Animal Deification of Animals in Indigenous African and Asian Cultures Performing the Animal on Stage Animal as Food Animals as Beast of Burden Animal as a Pet Guidelines for contributors 1. Contributors should submit e-copies of their manuscripts to the editors at [email protected] and CC [email protected] , [email protected] and [email protected] 2. Manuscripts should be typed using MC-word, with double line spacing and not more than 20 pages (6000 to 8000 words). 3. In order to guarantee a blind review, the names of the author(s), a short biography of the contributor(s), telephone number(s), email address(es) and institutional affiliations should appear on a separate page. 4. Each article should be accompanied by an abstract of 200-250 words 5. Referencing style should conform to APA 6th edition 6. Receipt of manuscripts will be acknowledged. All manuscripts must reach the editor(s) on/before 30th of April 2019. 7. The book will be published by a reputable publisher in the United States of America Further Enquiries, contact: Stephen Ogheneruro Okpadah Dr P. Elmo Raj Senior Research Fellow Assistant Professor Theatre Emissary International, Nigeria. Pachaiyappa’s Citation: Elif Sendur. April 30 deadline CFP : Animal, Literature and Cinema: A Critical Interface. H-Film. 01-09-2019. https://networks.h-net.org/node/14467/discussions/3543769/april-30-deadline-cfp-animal-literature-and-cinema-critical Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 2 H-Film College Email: [email protected] Chennai-30, Tamilnadu, India Cell-phone: +2348104828524 Email: [email protected] Ph. 9487188432 Taiwo Afolabi Research Associate University of Johannesburg, South Africa & Sessional Instructor, Department of Theatre University of Victoria, British Columbia, Canada [email protected] Citation: Elif Sendur. April 30 deadline CFP : Animal, Literature and Cinema: A Critical Interface. H-Film. 01-09-2019. https://networks.h-net.org/node/14467/discussions/3543769/april-30-deadline-cfp-animal-literature-and-cinema-critical Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 3.
Recommended publications
  • A Study of Musical Affect in Howard Shore's Soundtrack to Lord of the Rings
    PROJECTING TOLKIEN'S MUSICAL WORLDS: A STUDY OF MUSICAL AFFECT IN HOWARD SHORE'S SOUNDTRACK TO LORD OF THE RINGS Matthew David Young A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC IN MUSIC THEORY May 2007 Committee: Per F. Broman, Advisor Nora A. Engebretsen © 2007 Matthew David Young All Rights Reserved iii ABSTRACT Per F. Broman, Advisor In their book Ten Little Title Tunes: Towards a Musicology of the Mass Media, Philip Tagg and Bob Clarida build on Tagg’s previous efforts to define the musical affect of popular music. By breaking down a musical example into minimal units of musical meaning (called musemes), and comparing those units to other musical examples possessing sociomusical connotations, Tagg demonstrated a transfer of musical affect from the music possessing sociomusical connotations to the object of analysis. While Tagg’s studies have focused mostly on television music, this document expands his techniques in an attempt to analyze the musical affect of Howard Shore’s score to Peter Jackson’s film adaptation of The Lord of the Rings Trilogy. This thesis studies the ability of Shore’s film score not only to accompany the events occurring on-screen, but also to provide the audience with cultural and emotional information pertinent to character and story development. After a brief discussion of J.R.R. Tolkien’s description of the cultures, poetry, and music traits of the inhabitants found in Middle-earth, this document dissects the thematic material of Shore’s film score.
    [Show full text]
  • Godfather Part II by Michael Sragow “The a List: the National Society of Film Critics’ 100 Essential Films,” 2002
    The Godfather and The Godfather Part II By Michael Sragow “The A List: The National Society of Film Critics’ 100 Essential Films,” 2002 Reprinted by permission of the author Although Francis Ford Coppola has often been depicted president.” — and loves to depict himself — as primarily an emotion- Kay re- al and intuitive director, “The Godfather” is a film filled sponds, with correct choices, painstakingly thought out and pas- “You know sionately carried through. Part of what made it a break- how naïve through as a crime move is that it’s about gangsters who you sound? make choices too and aren’t propelled simply by blood- Senators lust and greed. They’re battling for position in New York’s and presi- Five Families, circa 1945-1946. If Don Vito Corleone dents don’t (Marlon Brando) and his successor Michael (Al Pacino) have men come off looking better than all the others, it’s because killed.” In a they play the power game the cleverest and best — and line that Marlon Brando as Don Vito Corleone. the game is sordidly exciting. marked a Courtesy Library of Congress breakthrough For all the movie’s warmth, you could never confuse the for mainstream political awareness when the film premi- Corleones or their allies and competitors for fun-loving ered in 1972, Michael wearily answers, “Who’s being ethnic types. The first scene shows the Don exacting naïve, Kay?” deadly patronage, coercing an undertaker named Bonasera into vows of love and pledges of unmitigated But when Michael says his father’s way of doing things is loyalty in exchange for a feudal bond than can’t be bro- finished, he is being naïve.
    [Show full text]
  • National Film Registry Titles Listed by Release Date
    National Film Registry Titles 1989-2017: Listed by Year of Release Year Year Title Released Inducted Newark Athlete 1891 2010 Blacksmith Scene 1893 1995 Dickson Experimental Sound Film 1894-1895 2003 Edison Kinetoscopic Record of a Sneeze 1894 2015 The Kiss 1896 1999 Rip Van Winkle 1896 1995 Corbett-Fitzsimmons Title Fight 1897 2012 Demolishing and Building Up the Star Theatre 1901 2002 President McKinley Inauguration Footage 1901 2000 The Great Train Robbery 1903 1990 Life of an American Fireman 1903 2016 Westinghouse Works 1904 1904 1998 Interior New York Subway, 14th Street to 42nd Street 1905 2017 Dream of a Rarebit Fiend 1906 2015 San Francisco Earthquake and Fire, April 18, 1906 1906 2005 A Trip Down Market Street 1906 2010 A Corner in Wheat 1909 1994 Lady Helen’s Escapade 1909 2004 Princess Nicotine; or, The Smoke Fairy 1909 2003 Jeffries-Johnson World’s Championship Boxing Contest 1910 2005 White Fawn’s Devotion 1910 2008 Little Nemo 1911 2009 The Cry of the Children 1912 2011 A Cure for Pokeritis 1912 2011 From the Manger to the Cross 1912 1998 The Land Beyond the Sunset 1912 2000 Musketeers of Pig Alley 1912 2016 Bert Williams Lime Kiln Club Field Day 1913 2014 The Evidence of the Film 1913 2001 Matrimony’s Speed Limit 1913 2003 Preservation of the Sign Language 1913 2010 Traffic in Souls 1913 2006 The Bargain 1914 2010 The Exploits of Elaine 1914 1994 Gertie The Dinosaur 1914 1991 In the Land of the Head Hunters 1914 1999 Mabel’s Blunder 1914 2009 1 National Film Registry Titles 1989-2017: Listed by Year of Release Year Year
    [Show full text]
  • The Godfather Is Widely Regarded As One of the Greatest Films in World Cinema and One of the Most Influential, Especially in the Gangster Genre
    The Godfather is widely regarded as one of the greatest films in world cinema and one of the most influential, especially in the gangster genre. The Godfather is a 1972 American crime film directed by Francis Ford Coppola and produced by Albert S. Ruddy, based on Mario Puzo's best- selling novel of the same name. The Godfather was selected for preservation in the U.S. National Film Registry of the Library of Congress in 1990, being deemed "culturally, historically, or aesthetically significant" and is ranked the second-greatest film in American cinema (behind Citizen Kane) by the American Film Institute. It stars Marlon Brando and Al Pacino as the leaders of a fictional New York crime family. Marlon Brando Stanley Kowalski in A Streetcar Named Desire (1951) Emiliano Zapata in Viva Zapata! (1952) Johnny Strabler in The Wild One (1953) Mark Antony in Julius Caesar (1953) Terry Malloy in On the Waterfront (1954) Air Force Major Lloyd Gruver in Sayonara (1957) Al Pacino (Alfredo James) Frank Serpico in Serpico (1973) Sonny in Dog Day Afternoon (1975), Tony Montana in Scarface (1983) Frank Slade in Scent of a Woman (1992) Carlito in Carlito's Way (1993), Benjamin "Lefty" Ruggiero in Donnie Brasco (1997) Vincent Hanna in Heat (1995) The story, spanning 1945 to 1955, chronicles the family under the patriarch Vito Corleone (Brando), focusing on the transformation of Michael Corleone (Pacino) from reluctant family outsider to ruthless mafia boss. Paramount Pictures obtained the rights to Mario Puzo’s novel (1969) for the price of $80,000, before it gained popularity.
    [Show full text]
  • Anthropology Goes to the Movies by Louise Krasniewicz
    “ROUND UP THE USUAL SUSPECTS ” Anthropology Goes to the Movies by louise krasniewicz n 1946, while most anthropologists were exercising their professional skills and curiosities in cul- tures far from home, Hortense Powdermaker took on a most daring research project. Applying the training in participant-observation she had fine-tuned in the South Pacific, Powdermaker set her sights on that elusive social system known as Hollywood. That year one of the top-grossing films and the Academy Award winner for Best Picture was The Best Years of Our Lives. It was produced by Ithe legendary Samuel Goldwyn, who was notorious for supposedly having warned against taking movies too z c seriously, stating “If I wanted to send a message, I’d send a telegram!” i w e i n s a r K e s i u o L 8 volume 48, number 1 expedition Powdermaker failed to heed this warning, and she became mythological, contextual, and linguistic—could come into one of the earliest anthropologists to take this form of story- play. Technical efforts that support or dispute the narrative— telling, mythmaking, and social production seriously. In her music, special effects, camera movements and positions, published study, Hollywood, the Dream Factory: An sound effects, acting—all would be included in a considera- Anthropologist Looks at the Movie-Makers, she combined keen tion of how the story is put together and what it thinks it is social observations with unfortunately simplistic psychologi- saying. Movie reviews, which often reach more people than the cal generalizations, but still gave the impression that movies themselves, could act as related narratives.
    [Show full text]
  • The Godfather Study Guide
    OSCAR WINNER 1972: Best Picture Best Actor Best Adapted Screenplay TEACHERS’ NOTES This study guide is aimed at students of GCSE Media Studies, A’Level Film Studies and GNVO Media: Communication and Production (Intermediate and Advanced). Specific areas of study covered by the guide are those of genre, representation and the issue of violence in film. The Godfather: Certificate 18. Running Time 175 minutes. MAJOR CREDITS FOR THE GODFATHER The Godfather 1972 (Paramount) Producer: Albert S. Ruddy Director: Francis Coppola Screenplay: Mario Puzo, Francis Coppola Director of Photography: Gordon Willis Editors: William Reynolds, Peter Zinner Music: Nino Rota Art Director: Dean Tavoularis Cast: Marion Brando Al Pacino James Caan Richard Conte Robert Duvall Sterling Hayden Oscars 1972: Best Picture Best Actor (Marion Brando) Best Adapted Screenplay Oscar Nominations 1972: Best Director Best Supporting Actor (James Caan, Robert Duvall, Al Pacino) Best Music [later declared incligiblel Best Costume Design Best Editing Best Sound © Film Education 1 THE GODFATHER Coppola’s The Godfather was the direct descendant of dozens of gangster movies made with stars like Cagney and Edward C. Robinson. But there was a vital difference. Its examination of the Corleone family had a consistently human dimension that made the evil of the Mafia, who loved it for the wrong reasons, all the more horrendous. As a study of evil, it was all the better for assuming that such darkness emanated not from dyed-in-thewool villains but out of some of the family values we now most cherish. Added to that, of course, was the brilliance of its making, with Gordon Willis’ photography and Nino Rota’s score adding to Coppola’s fine orchestration of a terrific cast.
    [Show full text]
  • Stereotype Italian Americans
    Portrayals of Italian Americans in U.S.-Produced Films by Kristina Piersanti — 111 Portrayals of Italian Americans in U.S.-Produced Films Kristina Piersanti Strategic Communications Elon University Submitted in partial fulfillment of the requirements in an undergraduate senior capstone course in communications Abstract Mass media play a major role in creating long-lasting portrayals of different minority groups. It is widely know that the public’s perceptions of different cultures and ethnic groups can be influenced by the images and stories that they see on television, making the viewers think that these portrayals are accurate. This study focuses on the portrayal of Italian-Americans in U.S.-produced films from the 1970s to today. A qualitative content analysis was conducted to code nine movies (three films from the 1970s, three from the 1990s and three from this decade), for personality traits, occupation, and common stereotypes portrayed by the main Italian-American characters. Findings of this study indicate that, after 1990, the mafia and organized crime stereotype did not remain relevant. Even though this is positive, Italian-Americans continue to be negatively portrayed on screen in other ways. As one stereotype disappears or shifts, a new one is introduced, creating a different portrayal of Italian-Americans, but not necessarily a better one. I. Introduction This study analyzes how the Hollywood film industry has represented and portrayed Italian-American characters in U.S. films from the 1970s to today. This topic is important because throughout history the on-screen portrayal of Italian-Americans has been generally negative (Messina, 2004), causing harmful stereotypes to be associated with this ethnic group.
    [Show full text]
  • Lost in Translation: “Godfather” Vocabulary
    Name___________________ Date_____________ Film & Lit. Mr. Corbo Lost in Translation: “Godfather” Vocabulary The Godfather makes use of a variety of Italian words, phrases, and expressions: Paulie says "sfortunato", which in Italian means "unlucky guy". Michael explains that Tom is a "consigliere", or a counselor. Vito calls Johnny Fontane a "finocchio", an offensive term for a homosexual. Sonny refers to Paulie as a "stronzo", a term equivalent to "a**hole". Carlo and Connie both say "va fa 'n culo" during their fight, which means "go f**k yourself". Don Zaluchi calls the sale of drugs to children as an "infamnia", or an infamy. Both the Dons (Vito & Michael) use the word "pezzonovante", which means ".95 caliber," or more accurately meaning "big shot". “Vendetta”: a private feud, originally between Corsican or Sicilian families, in which the relatives of a murdered person seek vengeance by killing the murderer or some member of his family. Michael calls Apollonia “pazzo”, meaning “crazy”. Offensive terms for Italians (used by Woltz, Carlo, & Moe Green): “Guinea”, “goomba”, “Wop”, “greaseball”, “Dago” Sollozzo speaks to Michael in Sicilian: "I am sorry. What happened to your father was business. I have much respect for your father. But your father, his thinking is old-fashioned. You must understand why I had to do that. Now let's work through where we go from here." When Michael returns from the bathroom, he continues in Sicilian with: "Everything all right? I respect myself, understand, and cannot allow another man to hold me back. What happened was unavoidable. I had the unspoken support of the other Family dons.
    [Show full text]
  • Films & Novels About Italy, Ancient Rome, and the Italians
    Films & Novels About Italy, Ancient Rome, and the Italians (MANY Titles available on dvd or via streaming) Feature Films: a littlE romancE (1979) EffiE gray (2014) a special day (1977) KathErinE of alExandria (2014) il viaggio/ thE voyagE (1974) Pompeii (2014) PanE E cioccolata/ brEad and to romE with lovE (2012( chocolatE (1973) thE amErican (2011) antony and clEoPatra (1972) thE EaglE (2011) brothEr sun, sistEr moon (1972) Eat, Pray, lovE (2010) Fellini’s roma (1972) LettErs to JuliEt (2010) Julius caEsar (1970) whEn in romE (2010) Fellini’s satyricon (1969) agora (2009) thE godfathEr trilogy (1972/74/90) ANGELS AND dEMONS (2009) if it’s tuEsday, it must bE bElgium (1969) CLARE AND FRANCIS (2008) BUONA sERA, mrs. camPbEll (1968) st. rita (2007) romEo and JuliEt (1968) thE nativity (2006) thE SecrEt of santa vittoria (1968) a good woman (2004) thE shoEs of thE fishErman (1968) thE Passion of thE christ (2004) c’ERA UNA VOLTA/MORE THAN a MIRACLE (1968) i am david (2003) ghosts italian stylE (1967) lizziE mcguirE (2003) thE taming of thE shrEw (1967) my housE in umbria (2003) a funny thing happenEd on thE way undEr thE tuscan sun (2003) to thE forum (1966) italian for bEginnErs (2002) thE grEatEst story EvEr told (1965) st. francis (2002) iERI, OGGI, DOMANI/ YestErday, today, WHEn IN ROME (2002) and tomorrow (1965) hannibal (2001) thE agony and thE Ecstasy (1964) gladiator (2000) thE FALL of thE roman EmPirE (1964) PanE E tuliPani/ brEad and tuliPs marriagE italian stylE (1964) (2000) thE gospel according to st. MATTHEw thE talEntEd mr.
    [Show full text]
  • Academy Award Winners Academy Award WINNERS
    Academy Award Winners Academy award WINNERS BEST Actress 1970-2013 BEST Actor 1970-2013 ☐ Patton (1970) George C. Scott ☐ Women in Love (1970) Glenda Jackson ☐ The French Connection (1971) Gene Hackman ☐ Klute (1971) Jane Fonda ☐ The Godfather (1972) Marlon Brando ☐ Cabaret (1972) Liza Minnelli ☐ Save the Tiger (1973) Jack Lemmon ☐ A Touch of Class (1973) Glenda Jackson ☐ Harry and Tonto (1974) Art Carney ☐ Alice Doesn’t Live Here Anymore (1974) Ellen Burstyn ☐ ☐ One Flew Over the Cuckoo’s Nest (1975) Louise Fletcher One Flew Over the Cuckoo’s Nest (1975) Jack Nicholson ☐ Network (1976) Peter Finch ☐ Network (1976) Faye Dunaway ☐ The Goodbye Girl (1977) Richard Dreyfuss ☐ Annie Hall (1977) Diane Keaton ☐ Coming Home (1978) Jon Voight ☐ Coming Home (1978) Jane Fonda ☐ Kramer vs. Kramer (1979) Dustin Hoffman ☐ Norma Rae (1979) Sally Field ☐ Raging Bull (1980) Robert De Niro ☐ Coal Miner’s Daughter (1980) Sissy Spacek ☐ On Golden Pond (1981) Henry Fonda ☐ On Golden Pond (1981) Katherine Hepburn ☐ Gandhi (1982) Ben Kingsley ☐ Sophie’s Choice (1982) Meryl Streep ☐ Tender Mercies (1983) Robert Duvall ☐ Terms of Endearment (1983) Shirley MacLaine ☐ Amadeus (1984) F. Murray Abraham ☐ Places in the Heart (1984) Sally Field ☐ Kiss of the Spider Woman (1985) William Hurt ☐ The Trip to Bountiful (1985) Geraldine Page ☐ The Color of Money (1986) Paul Newman ☐ Children of a Lesser God (1986) Marlee Matlin ☐ Wall Street (1987) Michael Douglas ☐ Moonstruck (1987) Cher ☐ Rain Man (1988) Dustin Hoffman ☐ The Accused (1988) Jodie Foster ☐ My Left Foot (1989)
    [Show full text]
  • The Shining (1980) Schindler's List (1993) the Silence of the Lambs
    Wednesday, November 4, 2015 15 Jurassic Park (1993) The Book: A warning to mankind of the dangers of genetic fiddling, Michael Crichton’s 1990 novel captured readers with its scientific rationale for engineering real life dinosaurs to populate a theme park. The Movie: Steven Spielberg’s adventure flick lit up the box office during the summer of 1993, plunging a bunch of scientists, lawyers and kids into the depths of an island overrun with cloned dinos. He made Raptors a fixture in popular culture, and The Pianist (2002) placed the T-Rex at the centre of one of cinema’s most suspenseful sequences. Being on the edge of your seat never felt so damn enjoyable. John Hammond’s grandchildren Tim and Lex were opposite ages in The Book: The memoir of Jewish pianist Wladyslaw Szpilman and the novel. Lex was younger and keen on sports, whereas Tim was the older of the two fascinated with his ordeal hiding out in the Warsaw Ghetto during World War II, computers. penned by Szpilman’s friend Jerzy Waldorff. The Movie: Roman Polanski’s harrowing depiction of Szpilman’s The Silence Of The Lambs experiences avoiding the concentration camps was showered with critical acclaim. In particular for the performance of leading man (1990) Adrien Brody, he won the Best Actor Oscar. The chronology of the The Book: Thomas Harris’ serial killer pianist’s story is re-ordered in the film, making space for Polanski’s sequel to Red Dragon finds Hannibal own commentary on the period. His own experience in the Krakow Lecter once more right in the thick of it-- Ghetto inspired the changes - including an entirely new character, this time with FBI rookie, Clarice Starling.
    [Show full text]
  • The Use of Pre-Existing Music in Film. Ashgate Popular and Folk Music Series
    Powrie, Phil and Robynn Stilwell, eds. 2006. Changing Tunes: The Use of Pre-existing Music in Film. Ashgate Popular and Folk Music Series. Aldershot, UK, and Burlington, VT: Ashgate Publishing. Reviewed by Giorgio Biancorosso This twelve-essay anthology is a collection of papers first presented at two conferences on music and film held in 2000 and 2001 in the United Kingdom. 1 It brings together a diverse group of scholars-musicologists, film scholars, media and communication scholars, literature and area specialists-around one topic: the use of "pre-existing music" in film. Though the anthology is somewhat inconsistent in quality and type of contribution, its appearance is welcome, for it provides not only the most extensive treatment of the subject to date but also the most convincing proof of the topic's significance and intrinsically interdisciplinary, collaborative nature. The book is divided into two sections: "Pre-existing Classical Film Scores" and "Popular Music and Film." The term "scores" in the heading of the first section suggests that it deals only with classical music used nondi­ egetically; in fact, both sections touch on diegetic and nondiegetic uses of the repertories. Notwithstanding the division into two headings, the book brings together three areas of research under the rubric of "pre-existing music": instrumental art music, opera, and popular music (xiii). This grouping results in more than breadth of content; it is an implicit acknowledgement that "pre-existing music" is an aesthetic category in and of itself that cuts across genres and repertories. The volume's title, Changing Tunes, expresses a fundamental methodological assumption sustaining the collection: a commitment to the study of emergent musical meaning as music crosses social, political, and cultural contexts that transform, sometimes radically, its impact and reception.
    [Show full text]