DOCSLIB.ORG

Sing Like a Catholic

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sing Like a Catholic Sing Like a Catholic Sing Like a Catholic Jeffrey A. Tucker CMAA Church Music Association of America Many essays are drawn from articles that appeared in The Wanderer, The New Liturgical Movement, Inside Catholic, and Sacred Music. Cover design by Chad Parish. Copyright © 2009 Church Music Association of America and pub- lished under the Creative Commons Attribution license 3.0. http://creativecommons.org/licenses/by/3.0/ Church Music Association of America 12421 New Point Drive Harbor Cove Richmond, Virginia 23233 Fax 240-363-6480 [email protected] website musicasacra.com ISBN: 978-1-60743-722-2 Contents Preface by Scott Turkington . .ix Introduction by Jeffrey A. Tucker . .xi 1. WHY CHANT? . 1 Why Chant Now? . 3 The Sociology of the Chant Movement . 6 The Mansion of the Past . 9 Music Without Borders . .13 The Musical Intentions of Vatican II . .16 The Changing Music Environment . .21 2. STRATEGY . .25 Israeli Hebrew and Latin Chant . .27 A New Model of Musicianship . .30 Remove the Roadblocks . .34 Three Paths to Sacred Music . .38 The Heroic Generation of Chanters . .41 Pay for Training . .44 3. PARISH LIFE . .49 Why the Stasis? . .51 Sing or Else . .55 Should Liturgy Cater to Our Differing Needs? . .58 To Be Young and Singing . .61 v vi Sing Like a Catholic When the Liturgy Committee Strikes . .65 Father Scorched Earth . .67 Rip Up Those Carpets! . .71 A Letter to Praise and Worship Musicians . .74 4. THE MASS . .81 Music for Real Parishes . .83 Should a Parish Impose Uniformity in Music? . .86 The Gathering Song . .89 The Trouble with Hymns . .92 Working Our Way to the High Mass . .96 Happy Birthday, Graduale . .98 The Vatican Said It, and It Was Done . .102 5. THE TEXTS . .105 The Church’s Open-Source Musical Culture . .107 The Problem with Options . .117 The Mass Translated at Last . .119 The Trouble with ICEL . .123 Tethered Psalms . .127 Questions on the Psalter . .131 The Mysterious Sixties . .134 6. CRITICISM . .139 The Hidden Politics of Liturgical Commentary . .141 The Problem with Glory and Praise . .145 Pastoral Musicians Embrace Chant? . .148 Carefully Editing Pius XII . .153 Are People the Only Concern? . .158 7. PROGRESSIVES AND REACTIONARIES . .161 Music to Remember . .163 Guido the Innovator . .167 A Hero of the Century . .171 Four Catholic Musical Masters . .174 The Gregorian Missal . .180 Contents vii 8. REVIEWS . .185 Music for the Soul . .187 National Treasure . .190 The Glory of Byrd . .195 A Turning Point in Recordings . .200 9. THE FUTURE . .205 The New Youth Mass . .207 Support Your Local Organ Recital . .210 Can the Catholic Church Again Be a Patron of the Arts? . .213 APPENDIX . .217 Resources for Catholic Musicians . .217 INDEX . .219 Preface Scott Turkington There exists an urgent need in the Catholic Church to upgrade the music at all our parishes. This means forming scholas that take their liturgical task seriously. It means teaching people the chants that are part of their heritage, and making this music part of their liturgical lives. It also means that priests who celebrate the Mass need to seek training in singing their parts of the Mass, including the readings. A vast tradition is out there waiting to be rediscovered. At the parish in which I direct music, we are making progress toward the ideal, and many other parishes are doing the same. There is a bur- geoning movement in place that is seeking to do what the Church is asking. That means going beyond the standard fare given to us on a platter by mainstream publishing houses. It requires the added work of seeking out music and education. The willingness to undertake that work requires two things that this excellent book by Jeffrey A. Tucker provides: inspiration and direction. With those in place, the next step is training fol- lowed by implementation. The chant movement in the United States is growing fast but still in its infancy. I look forward to the day when every parish has a schola, when Catholic musicians will look to the Catholic Church as a place in which they can fulfill their professional dreams, and when the Catholic Church generally becomes known as having high standards of excellence in music. It’s been my pleasure to work with the author of this book in connection with the Church Music Association of America and its publications and programs. I enjoy his regular blogging on the ix x Sing Like a Catholic topic of sacred music and his writings in Sacred Music, The Wan- derer, and elsewhere. He is also a good colleague. I’m very pleased that he has gathered many of the insights he has shared in those venues in a single book that is of great value to many musicians working in the Catholic Church today. St. Paul said in a letter to the Colossians that part of the evi- dence that Christ is dwelling in us is that we sing “psalms, hymns, and spiritual canticles” (3.16). The Catholic tradition takes this task seriously, and has in every age, giving us a musical tradition that Vatican II said is of “inestimable value, greater even than that of any other art.” May this splendid volume, combined with the work and prayer the author implores of us all, make a contribution to bringing this tradition to life in all our parishes. L Scott Turkington St. John the Evangelist Catholic Church Stamford, Connecticut March 1, 2009 Introduction Jeffrey A. Tucker In 1990, Thomas Day published a book called Why Catholics Can’t Sing. It was daring and brave, and it shocked many Catholics out of their stupor. He wrote that Catholic music is in dreadful shape. Our hymns are pathetic. Our Mass settings are uninspired. Our singers are weak and egotistical. Our parishes don’t pay musicians and don’t reward excellence, and we are paying the price for this. Our cele- brants don’t sing. Even our hymnbooks are an embarrassment. We’ve lost our traditions, he continued, among which even simple plainsong and chant. Some cheered him; some condemned him. But it did get atten- tion. It was a wake-up call. The book wasn’t filled with new revelations about the particu- lars. The revelation for many was that the problem was not limited to their own parishes. It was a pervasive problem, one that defines the whole. As a columnist and daily blogger in Catholic music, I have to admire the courage it took to say what he said. I can’t even imag- ine what kind of abuse he must have dealt with from the Catholic music establishment (for lack of a better term), which until then was a self-satisfied lot. To say, as a professor of music at a Catholic college, that the Catholic Church had been led into a pit of bad taste and shoddy practice must have caused the ceiling to crash in on him. xi xii Sing Like a Catholic That was fifteen years ago. Today we are fortunate that some- thing is being done about the problem. There is a new debate, and, more importantly, there are new solutions being put into practice in our parishes. This new debate is what this book is about. It chronicles how we are moving from the world of Professor Day, one in which Catholics can’t sing, to a world in which singing like a Catholic is considered a glorious thing. It is the fulfillment of a brilliant her- itage of singing that began in the Apostolic age with chant, contin- ued through the middle ages with the invention of the musical staff and the Renaissance with soaring heights of the polyphonic idea, and all the way through the later centuries with orchestral and organ Masses. Now, a bit about me. My father was a church music director, and I sang under him as a kid. Today I am director too, with an unpaid position as director of polyphony for a local Catholic parish choir, the St. Cecilia Schola, in Auburn, Alabama. Indeed, I’m a complete amateur who dropped out of music school because I couldn’t stand the secularity and arrogance that seems integral to the craft. I turned to economics as a vocation. Later in life, I dis- covered Catholic music and after some years of study and practice, I jumped back in. I now write monthly, weekly, daily columns on the topic, and lecture and teach as time allows I’m also the managing editor of Sacred Music, under the men- torship of editor William Mahrt of Stanford University. The jour- nal, which has been around 135 years, provides a publishing venue for Catholic musicians to share insights, debate, communi- cate, offer results of research, and explain the seemingly infinite variety of spiritual and intellectual implications of music for liturgy. Its specialization is sacred music, which is not just any music but music especially suitable for liturgy, which leaves time and strives to touch eternity. I also serve as the publications direc- tor, and was involved in the production of The Parish Book of Chant (CMAA, 2008). I’m also involved in the workings of the Church Music Associ- ation of America and its visionary programs under the direction of Arlene Oost-Zinner. These are the training grounds of the new epoch. The crowds and its programs are too varied to characterize simply. The average age is 40 or so, and most people are parish Introduction xiii music directors or musicians. There are also many priests who come to learn to chant their parts. We divide into polyphonic choirs and chant choirs. We prepare propers and ordinary settings for Masses, as well as Motets for Holy Hour, and Psalms for Ves- pers.
Load more

Recommended publications
  • Liturgical Music in Anglican Benedictine Monasticism
    LITURGICAL YUSIC , Tn Anglican CZ3enedictine;, Monasticism DOM DAVID NICHOLSON, O.S.B. Monk of Mount Angel Abbey, Oregon U.S.A. Contents Introduction 5 Elmore Abbey (Formerly Nashdom Abbey), Berks, England 7 Alton Abbey, Hants, England 9 St. Gregory's Abbey, Three Rivers, Michigan, U.S A 10 St. Mark's Priory, Camperdown, Victoria, Australia 12 Edgware Abbey, Middlesex, England 15 St. Mary's Abbey,Kent, England 16 Burford Priory, Oxon, England 18 Holy Cross Convent, Rempstone, England 20 St. Hilda's Priory, Sneaton Castle, Whitby, N. Yorkshire, England 24 Community of St. Peter the Apostle, Glos. England 26 St. Peter's Convent, Wakefield, West Yorkshire, England 27 Order of the Holy Cross, Berkeley, California, U.S A 29 Ewell Monastery, West Mailing, Kent, England (Cistercian) 31 For Burnham (House of Prayer) Slough, England (Cistercian) 32 Russell Savage, Assistant Organist, St. James (Anglican) Church, Vancouver, British Columbia. Assistant Organist, Westminster Abbey, Mission, British Columbia, Canada. ©1990 Mount Angel Abbey, St. Benedict Oregon 97373 Introduction This volume follows, in natural sequence, the series: Liturgical Music in andBenedictine women in Monasticism. the Canterbury Although Communion there are which not a great base numbertheir life of on monasteries the Rule of St. of men Benedict, they are a witness to the monastic calling. in severalEach cases,Monastery where was I was asked not ableto explain to compile its historical sufficient and information liturgical modus I gathered vivendi, this from but GordonThe Benedictine Beattie, O.S.B., and CistercianR.A.F., monk Monastic of Ampleforth Yearbook (1990) Abbey. edited by Rev. Dom I wish to thank all who contributed to this work.
    [Show full text]
  • The Multiple Personalities of Daniel J. Boorstin: a Third Image Analysis
    The Multiple Personalities of Daniel J. Boorstin: A Third Image Analysis Michael E. Meagher, University o f Missouri, Rolla This article presents a new interpretation of Boorstin's political thought. I contend that there are three Daniel J. Boorstins. and that the third image represents the core of Boorstin's political thought. The third image centers on Boorstin's insistence that an essence guides and directs American politics and thought. Boorstin terms his version of essence "givenness." According to Boorstin, essence, or "givenness," was assigned to America by a Supreme Being. While Louis Hartz bases his concept of "irrational Lockeanism" in the thought of a social contract theorist. Daniel Boorstin bases his notion in the essence of God. Daniel J. Boorstin is often overlooked as a political thinker. Yet there are many reasons for studying his political thought, not the least of which is his grand theory of American life and politics. Boorstin is convinced, like Louis Hartz, that there is an essential substance to American life. Hartz explained American political development in terms of a monolithic American philosophy he termed "irrational Lockeanism." According to Hartz, John Locke has acquired a stranglehold on American life, limiting its develop­ ment, preventing the appearance of competing philosophies, and at times resulting in a neurotic style of behavior (e.g., the so-called "Red Scare"). Boorstin shares Hartz s belief in an essential substance to American life, but in contrast to Hartz Boorstin bases his version of substance on a more abstract, even mystical foundation. Boorstin labels his version of irra­ tional Lockeanism "givenness." In America, values are "given;" that is, accepted without hesitation.
    [Show full text]
  • The Magic Flute
    The Magic Flute PRODUCTION INFORMATION Music: Wolfgang Amadeus Mozart Text (English): Emanuel Schikaneder English Translation: J.D. McClatchy World Premiere: Vienna, Theater auf der Wieden Austria, September 30, 1791 Final Dress Rehearsal Date: Friday, December 13, 2013 Note: the following times are approximate 10:30am – 12:30pm Cast: Pamina Heidi Stober Queen of the Night Albina Shagimuratova Tamino Alek Shrader Papageno Nathan Gunn Speaker Shenyang Sarastro Eric Owens Production Team: Conductor Jane Glover Production Julie Taymor Set Designer George Tsypin Costume Designer Julie Taymor Lighting Designer Donald Holder Puppet Designers Julie Taymor and Michael Curry Choreographer Mark Dendy 2 Table of Contents Production Information 2 An Introduction to Pathways for Understanding Study Materials 4 Meet the Characters 5 The Story of The Magic Flute Synopsis 6 Guiding Questions 8 The History of Mozart’s The Magic Flute 10 Guided Listening Overture 12 I’m sure that there could never be 13 Such loveliness beyond compare 14 Don’t be afraid, now hear my song 15 The wrath of hell is burning in my bosom 16 Now I know that love can vanish 17 If only I could meet her 18 Pa-pa-ge-na! – Pa-pa-ge-no! 19 The Magic Flute Resources About the Composer 20 The Enlightenment & Singspiel 22 Online Resources 25 Additional Resources The Emergence of Opera 26 Metropolitan Opera Facts 30 Reflections after the Opera 32 A Guide to Voice Parts and Families of the Orchestra 33 Glossary 34 References Works Consulted 38 3 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students.
    [Show full text]
  • Western and Contemporary Global Conceptions of Creativity in Relief Against Approaches from So-Called "Traditional" Cultures¹
    ISSUES IN INTEGRATIVE STUDIES No. 15, pp. 1-48 (1997) Western and Contemporary Global Conceptions of Creativity in Relief Against Approaches from So-Called "Traditional" Cultures¹ by Robert Weiner John F. Kennedy University Orinda, CA Abstract: For the past few centuries, many in the West have defined their culture as "modern," "dynamic," and "creative," in opposition to other cultures which they have called "traditional," "backward," and "static." With the increasing globalization of the 20th century, however, this distinction has revealed itself as misleading. This article attempts to determine what distinctions might legitimately be made about conceptions of creativity in so-called "traditional" and so-called "modern" cultures. It seeks to illuminate how creativity (as the West has commonly defined the term) is expressed in "traditional" cultures, and how some traditional activities might cause us to modify the common Western understanding of creativity. "CREAT1VITY" and its derivatives are words which fill today's newspapers, advertisements, books, college course catalogs, business reports, and everyday speech. Like "invention," "innovation," and "discovery," with which it is frequently synonymous, "creativity" is rarely defined, but it is almost always used in a very positive way. So ubiquitous is the word "creativity," that most people are surprised to learn that it was coined little more than a century ago (Ward, 1875) and became common only in the past fifty years (Webb, 1987, p. 19). While the general conception of creativity was being formulated in the West from the Renaissance onward, the term itself was finally invented when European thinkers began to feel that technical invention and scientific discovery revealed some parallels with creation in literature and the arts: in each case, something new seemed to be brought into being, and the processes seemed in some ways similar.
    [Show full text]
  • Memory, Music, Epistemology, and the Emergence of Gregorian Chant As Corporate Knowledge
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2012 "Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge Jordan Timothy Ray Baker [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Epistemology Commons, Medieval Studies Commons, and the Musicology Commons Recommended Citation Baker, Jordan Timothy Ray, ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge. " Master's Thesis, University of Tennessee, 2012. https://trace.tennessee.edu/utk_gradthes/1360 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jordan Timothy Ray Baker entitled ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance:
    [Show full text]
  • 19 What Angels? Gregorian Chant and Spiritual Meaning in a Secular World
    Fabian Lochner 19 What angels? Gregorian chant and spiritual meaning in a secular world: Reflections on an artistic collaboration between Gregorian chant ensemble Schola Nova Silvana and British poet Hilary Stobbs In conspectu angelorum psallam tibi. — Ps. 137.1 (138.1) What angels? Gregorian chant and spiritual meaning in a [In the countenance of the angels shall I sing praises unto you.] secular world Fabian Lochner Introduction Gregorian chant is a vast and extraordinary repertoire of devotional song, mostly in Latin, used for centuries in the formal liturgical wor- ship of Christian faith communities all over medieval Western Europe.1 1 There are few introductory-level publications on Gregorian chant for the musical practitioner and the ones available have some notable limitations. In the UK, The RSCM Guide to Plainchant (RSCM 2015) provides a starting point. Its American counterpart, Beginners Guide to Singing Gregorian Chant Notation, Rhythm and Solfeggio (Jones 2010) is of rather less value. TheRSCM Guide offers a chant primer by Dr Mary Berry (reprinted unchanged from a 1979 RSCM publication), supple- mented by an Anthology of Plainchant by John Rowlands-Pritchard which includes welcome transcriptions of chants from English sources but omits any reference to early chant notations (neums) and their rhythmic interpretation, pioneered by Dom Eugène Cardine (1970/1981). Rembert Herbert (1999), on pp. 63–93 contains a very accessible general introduction to chant and its history and much 350 Fabian Lochner Gregorian chant remains officially the ‘special music’ of the Catholic Church.2 However, the liturgical practice of Latin chant, as a full annual cycle of daily worship, is now limited to very few, mostly monastic, communities.3 Meanwhile, millions of ordinary people are drawn to listening to chant recordings in the privacy of their homes for reasons not necessarily else of value, to be discussed later in this chapter.
    [Show full text]
  • The Impact of Westernization on Tongan Cultural Values Related to Business
    Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 5-2009 The mpI act of Westernization on Tongan Cultural Values Related to Business Lucas Nelson Ross Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the International Business Commons, and the Social Psychology Commons Recommended Citation Ross, Lucas Nelson, "The mpI act of Westernization on Tongan Cultural Values Related to Business" (2009). Masters Theses & Specialist Projects. Paper 69. http://digitalcommons.wku.edu/theses/69 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. THE IMPACT OF WESTERNIZATION ON TONGAN CULTURAL VALUES RELATED TO BUSINESS A Thesis Presented to The Faculty of the Department of Psychology Western Kentucky University Bowling Green, Kentucky In Partial Fulfillment Of the Requirements for the Degree Master of Arts By Lucas Nelson Ross May 2009 THE IMPACT OF WESTERNIZATION ON TONGAN CULTURAL VALUES RELATED TO BUSINESS Date Recommended _April 30, 2009______ ______ Tony Paquin ___________________ Director of Thesis ______Betsy Shoenfelt__________________ ______Reagan Brown___________________ ____________________________________ Dean, Graduate Studies and Research Date ACKNOWLEDGEMENTS First, I would like to thank my thesis chair, Dr. Tony Paquin, for putting up with my awkward sentences, my lack of transitions, and my total disregard of conjunctive adverbs. I would also like thank the other members on my committee, Dr. Betsy Shoenfelt and Dr. Reagan Brown, for their support and input. Finally, I would like to thank my family for always accepting the “I have to work on my thesis” excuse.
    [Show full text]
  • Liturgical Ensembles
    NATIONAL ASSOCIATION of PASTORAL MUSICIANS PASTORAL August-September 2008 Music Liturgical Ensembles s Daily Mass section with complete Lectionary readings, psalm refrain and verses, antiphons, presidential prayers and hymn suggestions s All the great features of Today’s Missal— seasonal music and everything you need for Sundays and holy days for the entire year s Three seasonal issues, plus the annual Music Issue (included with subscription) s Excellent second missal— get 50 for your daily Mass chapel Advent-Lent 2009 issue now available Learn more at Cocp.org/td Call today for a FREE sample 1-800-LITURGY (548-8749) | OCP.ORG the price. The NPM staff has worked hard to reduce expenses in order to hold down costs for members. This year’s report shows overall expenses to be $40,000 lower than in 2005, the year of our last national convention. Over the past few years I have been impressed and moved by the generosity of NPM members in their personal and financial support. Thanks to member gifts in 2007, the Association was able this year to provide sixteen undergraduate and graduate students with more than $34,000 in scholarship funds for the coming academic year. Members showed strong support for the work of the Association by contributing more than $50,000 to the 2007 NPM Annual Fund—more than in From the President any previous year. The numbers, of course, tell only part of the story. The real measure of NPM is in the ministry of its Dear Members, members—the musicians, clergy, liturgists, and other leaders who serve the Church at prayer.
    [Show full text]
  • The Schola Gregoriana of Cambridge
    The Schola Gregoriana of Cambridge Newsletter Spring 2017 News of Associates: We are delighted to welcome as new Associates: Rev. Dom Peter Burns OSB, Suzanne Cabral, Dr. Eileen French, Alan Gardner, Roger Hill, John Mackenzie, Hilary Peters, Kamala Singh and Anna Svendsen. We record with sadness the deaths of Muriel Dean, Rosemary McCabe and Reg Selous. FROM THE DIRECTOR The Schola’s activities in recent years have taken place in the shadow of the sudden and unexpected decision of the Community of Jesus to sell St Benedict’s, thus requiring the Schola to find new accommodation for its library, archives, and liturgical paraphernalia, and to make new arrangements for administration of the Schola. We were sorry to have to say farewell to Bill and Holly and Sr Hannah, as well as Ron Minor. We are grateful to the Fathers of the Birmingham Oratory, who have generously made new accommodation available to us. The task of relocation has consumed a great part of our trustees’ energies, and limited the Schola’s capacity to engage in other initiatives. Nevertheless, the Schola’s team of musical directors have remained busy in the meantime, and the Schola has been involved in many and various activities. Space does not permit me to mention each individual event, but I hope that in briefly describing some of our more memorable activities readers will be able to appreciate the range of our current work, and the vital and unique role that the Schola 1 continues to play in passing on the treasures of the Gregorian tradition to future generations.
    [Show full text]
  • The Social Production and Consumption of Chinese Internet Literature
    International Journal of Communication 11(2017), 2584–2604 1932–8036/20170005 Redefining Relations Between Creators and Audiences in the Digital Age: The Social Production and Consumption of Chinese Internet Literature YUYAN FENG IOANA LITERAT Teachers College, Columbia University, USA This article examines the ways in which the traditional relationship between authors and their audiences is being challenged and redefined in the context of Chinese Internet literature. We look at the evolution of the reader–writer dynamic in line with the development of online literary spaces in China, analyze the crucial role of social media as both curator and mediator, and trace the development of participatory cultures and commercial dynamics in these literary communities. This analysis illustrates how the relationship between authors and audiences—traditionally indirect and distant—has become, in online spaces, more direct, informal, and bidirectional while maintaining a significant commercial ethos. We argue that both the production and the consumption of Chinese Internet literature are quintessentially social activities, as online spaces open up new possibilities for communication and collaboration, both between authors and readers and among readers themselves. Keywords: Internet literature, China, online communities, participatory culture, authorship, creativity Internet literature has enjoyed enormous popularity and widespread participation in China over the last decade. According to a recent report from the China Internet Network Information Center (2016), there are now 297 million online literature users in China—43.1% of the country’s Internet users. A wide variety of online platforms is dedicated to Internet literature in China, including forums, literature websites, and social networks and blogs, which provide multiple channels for users to create, publish, read, and distribute literary content.
    [Show full text]
  • Nostalgia in Anime: Redefining Japanese Cultural Identity in Global Media Texts
    NOSTALGIA IN ANIME: REDEFINING JAPANESE CULTURAL IDENTITY IN GLOBAL MEDIA TEXTS A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Masters of Arts in Communication, Culture and Technology By Susan S. Noh, B.A. Washington, DC April 24, 2017 Copyright 2017 by Susan S. Noh All Rights Reserved ii NOSTALGIA IN ANIME: REDEFINING JAPANESE CULTURAL IDENTITY IN GLOBAL MEDIA TEXT Susan S. Noh, B.A. Thesis Advisor: Michael S. Macovski, Ph.D. ABSTRACT Anime has become a ubiquitous facet of the transnational global media flow, and continues to serve as a unique and acknowledged example of a non-Western media form that has successfully penetrated the global market. Because of its remarkable popularity abroad and a trend towards invasive localization techniques, there have been observations made by Japanese culture scholars, such as Koichi Iwabuchi, who claim that anime is a stateless medium that is unsuitable for representing any true or authentic depiction of Japanese culture and identity. In this paper, I will be exploring this notion of statelessness within the anime medium and reveal how unique sociocultural tensions are reflected centrally within anime narratives or at the contextual peripheries, in which the narrative acts as an indirect response to larger societal concerns. In particular, I apply the notions of reflective and restorative nostalgia, as outlined by Svetlana Boym to reveal how modern Japanese identity is recreated and redefined through anime. In this sense, while anime may appeal to a larger global public, it is far from being a culturally stateless medium.
    [Show full text]
  • Hellenomania: Ancient and Modern Obsessions with the Greek Past
    Hellenomania: ancient and modern obsessions with the Greek past Book or Report Section Accepted Version Harloe, K. and Momigliano, N. (2018) Hellenomania: ancient and modern obsessions with the Greek past. In: Harloe, K., Momigliano, N. and Farnoux, A. (eds.) Hellenomania. British School at Athens - Modern Greek and Byzantine Studies. Routledge, Abingdon. ISBN 9781138243248 Available at http://centaur.reading.ac.uk/71771/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Publisher: Routledge All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Introduction. Hellenomania: ancient and modern obsessions with the Greek past. Als ich dann am Nachmittag nach der Ankunft auf der Akropolis stand und mein Blick die Landschaft umfasste, kam mir plötzlich der merkwürdige Gedanke: Also existiert das alles wirklich so, wie wir es auf der Schule gelernt haben?! In the afternoon after arriving, as I stood on the Acropolis and cast my view on the landscape, suddenly a strange thought came to me: so, does it all really exist as we have learnt at school?! (Freud 1936) Hellenism, Romantic Hellenism, Hellenomania Of all the obsessions with Greece’s past envisioned by the MANIA series,
    [Show full text]