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European Journal of American Studies, 12-4
European journal of American studies 12-4 | 2017 Special Issue: Sound and Vision: Intermediality and American Music Electronic version URL: https://journals.openedition.org/ejas/12383 DOI: 10.4000/ejas.12383 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference European journal of American studies, 12-4 | 2017, “Special Issue: Sound and Vision: Intermediality and American Music” [Online], Online since 22 December 2017, connection on 08 July 2021. URL: https:// journals.openedition.org/ejas/12383; DOI: https://doi.org/10.4000/ejas.12383 This text was automatically generated on 8 July 2021. European Journal of American studies 1 TABLE OF CONTENTS Introduction. Sound and Vision: Intermediality and American Music Frank Mehring and Eric Redling Looking Hip on the Square: Jazz, Cover Art, and the Rise of Creativity Johannes Voelz Jazz Between the Lines: Sound Notation, Dances, and Stereotypes in Hergé’s Early Tintin Comics Lukas Etter The Power of Conformity: Music, Sound, and Vision in Back to the Future Marc Priewe Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016) Johanna Hartmann “Talking ’Bout My Generation”: Visual History Interviews—A Practitioner’s Report Wolfgang Lorenz European journal of American studies, 12-4 | 2017 2 Introduction. Sound and Vision: Intermediality and American Music Frank Mehring and Eric Redling 1 The medium of music represents a pioneering force of crossing boundaries on cultural, ethnic, racial, and national levels. Critics such as Wilfried Raussert and Reinhold Wagnleitner argue that music more than any other medium travels easily across borders, language barriers, and creates new cultural contact zones (Raussert 1). -
Narrative Strategies and Music in Visual Albums
Narrative strategies and music in visual albums Lolita Melzer (6032052) Thesis BA Muziekwetenschap MU3V14004 2018-2019, block 4 University of Utrecht Supervisor: dr. Olga Panteleeva Abstract According to E. Ann Kaplan, Andrew Goodwin and Carol Vernallis, music videos usually do not have a narrative, at least not one like in classical Hollywood films. David Bordwell and Kristin Thompson state that such a narrative consists of events that are related by cause and effect and take place in a particular time and place. However, articles about music videos have not adequately addressed a new trend, namely the so called “visual album”. This medium is a combination of film and music video elements. Examples are Beyoncé’s much discussed visual album Lemonade from 2016 and Janelle Monáe’s “emotion picture” Dirty Computer from 2018. These visual albums are called ‘narrative films’ by sites such as The Guardian, Billboard and Vimeo, which raises questions about how narrative works in these media forms, because they include music videos which are usually non-narrative. It also poses the question how music functions with the narrative, as in most Hollywood films the music shifts to the background. By looking at the classical Hollywood narrative strategy and a more common strategy used in music videos, called a thread or motif strategy by Vernallis, I have analysed the two visual albums. After comparing them, it seems that both Lemonade and Dirty Computer make use of the motif strategy, but fail in achieving a fully wrought film narrative. Therefore, a different description to visual albums than ‘narrative film’, could be considered. -
Volume 16, Number 2 Fall 2017 Taboo: the Journal of Culture and Education Volume 16, Number 2, Fall 2017 Editors in Chief: Kenneth J
Fall 2017 Fall Volume 16, Number 2 Fall 2017 Taboo: The Journal of Culture and Education Volume 16, Number 2, Fall 2017 Editors in Chief: Kenneth J. Fasching-Varner, Louisiana State University David Lee Carlson, Arizona State University Senior Editors: Renee DesMarchelier, University of Southern Queensland Donna Y. Ford, Vanderbilt University Founding & Consulting Editor: Shirley R. Steinberg, University of Calgary Editorial Assistants: Anna Montana Cirell, Arizona State University Joshua Cruz, Arizona State University Lindsay Stewart, Louisiana State University Chau B. Vu, Louisiana State University Timothy Wells, Arizona State University Shufang Yang, Louisiana State University Honorary Editorial Board: Russell Bishop, University of Waikato, Aotearoa, New Zealand Ramón Flecha, Universitat de Barcelona Henry A. Giroux, McMaster University Ivor Goodson, University of Brighton, United Kingdom Aaron Gresson, Pennsylvania State University Rhonda Hammer, University of California, Los Angeles Douglas Kellner, University of California, Los Angeles Ann Milne, Kia Aroha College, Auckland, New Zealand Christine Quail, McMaster University William Reynolds, Georgia Southern University Birgit Richard, Goethe University, Frankfurt John Smyth, Federation University of Australia Leila Villaverde, University of North Carolina at Greensboro Board Members, In Memorium: Eelco Buitenhuis, University of the West of Scotland Brenda Jenkins, City University of New York Graduate Center Joe L. Kincheloe, McGill University (Founding Editor) Pepi Leistyna, University -
DAN KELLY's Ipod 80S PLAYLIST It's the End of The
DAN KELLY’S iPOD 80s PLAYLIST It’s The End of the 70s Cherry Bomb…The Runaways (9/76) Anarchy in the UK…Sex Pistols (12/76) X Offender…Blondie (1/77) See No Evil…Television (2/77) Police & Thieves…The Clash (3/77) Dancing the Night Away…Motors (4/77) Sound and Vision…David Bowie (4/77) Solsbury Hill…Peter Gabriel (4/77) Sheena is a Punk Rocker…Ramones (7/77) First Time…The Boys (7/77) Lust for Life…Iggy Pop (9/7D7) In the Flesh…Blondie (9/77) The Punk…Cherry Vanilla (10/77) Red Hot…Robert Gordon & Link Wray (10/77) 2-4-6-8 Motorway…Tom Robinson (11/77) Rockaway Beach…Ramones (12/77) Statue of Liberty…XTC (1/78) Psycho Killer…Talking Heads (2/78) Fan Mail…Blondie (2/78) Who’s Been Sleeping Here…Tuff Darts (4/78) Because the Night…Patty Smith Group (4/78) Touch and Go…Magazine (4/78) Ce Plane Pour Moi…Plastic Bertrand (4/78) Do You Wanna Dance?...Ramones (4/78) The Day the World Turned Day-Glo…X-Ray Specs (4/78) The Model…Kraftwerk (5/78) Keep Your Dreams…Suicide (5/78) Miss You…Rolling Stones (5/78) Hot Child in the City…Nick Gilder (6/78) Just What I Needed…The Cars (6/78) Pump It Up…Elvis Costello (6/78) Sex Master…Squeeze (7/78) Surrender…Cheap Trick (7/78) Top of the Pops…The Rezillos (8/78) Another Girl, Another Planet…The Only Ones (8/78) All for the Love of Rock N Roll…Tuff Darts (9/78) Public Image…PIL (10/78) I Wanna Be Sedated (megamix)…The Ramones (10/78) My Best Friend’s Girl…the Cars (10/78) Here Comes the Night…Nick Gilder (11/78) Europe Endless…Kraftwerk (11/78) Slow Motion…Ultravox (12/78) I See Red…Split Enz (12/78) Roxanne…The -
Beyoncé Feminism: Popular Music and Black Feminist Theory
AFR 372C, Spring 2018 Professor Omise’eke Natasha Tinsley MW 11-12 Email: [email protected] Office hours: W 12-2 Office: BUR 536C Beyoncé Feminism: Popular Music and Black Feminist Theory “Texas. Texas. Texas.” In her musical film Lemonade, Beyoncé—costumed in a spectacularly African-print dress—sings these opening words to “Daddy Lessons” while swaying to a single guitar at Fort Macomb, New Orleans. Departing from the wide-ranging locations of her self-titled album, this shot encapsulates the vision of her current work: an unapologetically black feminism that situates itself in the historical and political landscape of the U.S. South in general, and Texas and Louisiana in particular. In this course, we follow Beyoncé’s invitation to consider the U.S. South as a fertile site for black feminist imaginations and projects. Beginning with close readings of Lemonade and Beyoncé, we enter into conversation with other black feminist texts that engage black women’s aesthetic, spiritual, erotic, and political traditions in Louisiana, Texas, and Alabama. The course provides students with an introduction to media studies methodology as well as black feminist theory, and challenges us to imagine what gender politics look like when black women, and the U.S. South, become central rather than peripheral to our worldviews. Required Texts As part of its commitment to linking black feminism with popular culture, the course requires students to engage three kinds of texts: black feminist scholarship, on-line blogs and op-eds, and music videos. All course content will be available electronically, either on Canvas or through links provided in the syllabus. -
Metaphors in the Album Lemonade by Beyoncé
ISSN: 2302-920X Jurnal Humanis, Fakultas Ilmu Budaya Unud Vol 19.1 Mei 2017: 275-283 Metaphors in the Album Lemonade by Beyoncé Luh Putu Gika Winda Savitri1*, I Made Rajeg2, Sang Ayu Isnu Maharani3 [123]English Department Faculty of Arts – Udayana University 1[email: [email protected]], 2[email: [email protected] ], 3[email: [email protected]] *Corresponding Author Abstrak Metafora dianggap sebagai bahasa yang luar biasa meskipun umumnya digunakan dalam kehidupan sehari-hari. Selain digunakan dalam bahasa percakapan, metafora juga mudah ditemukan di dalam lirik lagu. Album terbaru yang dirilis oleh Beyonce berjudul Lemonade merupakan sumber data penelitian ini. Skripsi ini diberi judul “Metafora di Album Lemonade oleh Beyonce”. Tujuan umum penelitian ini adalah memahami metafora yang ditemukan dalam album tersebut. Teori metafora mutakhir yang di pelopori oleh Lakoff dan Johnson (2003) digunakan untuk penelitian ini. Selain itu, metode Metaphor Identification Procedure dari Pragglejaz (2007) membantu proses untuk mengidentifikasi ekspresi metafora dalam lirik yang terkandung dalam album. Penelitian ini menggunakan metode kualitatif dan kuantitatif. Hasil penelitian mengungkap keragaman ekspresi metaforis dan metafora konseptual yang jatuh di dalam kategori struktural, orientational, atau metafora ontologis. Ada 31 ekspresi metaforis ditemukan dan 28 metafora konseptual. Kebanyakan metafora konseptual menjelaskan konsep cinta. Kata kunci: metafora konseptual, Beyonce, target domain, source domain. 1. Background of Study Metaphors are commonly used in daily life. Although they are perceived as an extraordinary form of language, they can be easily heard in daily conversation. Moreover, metaphors and metaphorical expressions are frequently used to express and understand each other’s thoughts and actions. Metaphors are classified into different types, one example is the conceptual metaphor. -
01/18 Vol.2 Life in LP
01/18 Vol.2 Life in LP memoirmixtapes.com Memoir Mixtapes Vol.2: Life in LP January 1, 2018 Created by Samantha Lamph/Len Curated and edited by Samantha Lamph/Len and Kevin D. Woodall Visual identity design by J.S. Robson Cover stock photography courtesy of Daniele Levis Pelusi, publically available on Unsplash.com Letters from the Editors Dearest Friends, Readers, and Contributors: Hello again. Welcome back. We heard your origin stories last time; this time around we wanted to know about those moments that changed you, and I hope you’re ready to have your mind blown because the the albums that provided the soundtrack for those critical contributors in Memoir Mixtapes Vol.2: Life in LP definitely times. did not come to fuck around. Boy did you guys deliver. We asked them to tell us about an album that changed their life, and they proceeded to take us back in time to revisit Life in LP, Vol.2 of Memoir Mixtapes, has got a bit of those pivotal moments and experiences that changed them everything. We’ve got heartbreak, awakenings, self- irrevocably, for better, or for worse, or just for different. discovery, laughter. It’s all here. The work we were fortunate enough to have received, and the work we have been Every one of these 34 voices explores a unique experience, privileged to showcase here, reflects the widely complex and but each piece does have one thing in common: the fucked-up nature of the human condition. I’m very proud of soundtrack is fuckin’ killer. -
Tcu Daily Skiff
All's Faire page Todd's 'toons page3 Spring football page TCU DAILY SKIFF Friday, April 22, 1988 Texas Christian University, Fort Worth, TX 85th Year, No. 107 Air Force wins first national competition Cadet 1st Lt. Dean Clothier, special By Diane Wooldridge ton Hotel, Clothier said. participated and completed success- man and Lendrick Robinson. James Hoffman, Matt Rose, Wade units commander for both teams. "Parades and ceremonies for diffe- fully in the physical training test and Mike Kendrick and Dean Clothier Scott, Michael von Hoffman, Darren Staff Writer rent interest groups are their primary 5-mile run," said Jeff Bell, awards and Barker, Ted Blakeslee, Bret Cock- The cadets in Color Guard and the Ribbons were presented to 21 function," Clothier said. decorations officer. erham, Nguyen Le, Mike Kendric, TCU's Air Force ROTC Color Sabre team are volunteers who are cadets for physical fitness training, Guard and Sabre team won first place highly motivated, Clothier said. The Color Guard placed fourth at Angela Perein, Michael Von Hoff- Angela Julie, Sally Landurm, Shawn and 11 cadets received ribbons for Blankenship, Michael Carroll. in a national competition at the Air Current Cadet Col. Travis Willis is their first competition at Tulane Uni- man, Bret Cockerham and Pat Bruton outstanding academic progress. Scho- Force Academy in Colorado Springs, a pilot candidate and will graduate versity in March, Clothier said. received the award. John Cartwright, Ann Christian- larship ribbons were presented to 15 son. John Dorland, Jon McGinnis, Colo., this weekend. this semester. "The AFROTC Superior Perform- cadets, and six received ribbons for At the pass and review ceremony, Angela Pereira, Debbie Vuillemont, Air Force ROTC cadets received The change of command will offi- honors were given to A-Flight for the ance Award is given to 5 percent of distinctive general military course. -
We Made Lemonade: Black Women, Syncretic Religion, and Voodoo Aesthetics in American Culture
WE MADE LEMONADE: BLACK WOMEN, SYNCRETIC RELIGION, AND VOODOO AESTHETICS IN AMERICAN CULTURE A Senior Thesis submitted to the Faculty of the College of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Bachelor of Arts in American Studies By Ndeye Khar Reese Ndiaye Washington, D.C. April 19, 2018 WE MADE LEMONADE: BLACK WOMEN, SYNCRETIC RELIGION, AND VOODOO AESTHETICS IN AMERICAN CULTURE Ndeye Khar Reese Ndiaye Thesis Adviser: Adam Rothman, Ph.D. ABSTRACT Historically, syncretic religion has never been positively represented with such a broad platform as it has through Beyoncé’s Lemonade. Through the historical origins of the practice with its inception in the Americas and the Caribbean during the colonial period through the commercialization of Voodoo culture in modern-day New Orleans, the true meaning and purpose for syncretic religious practice was lost up until April 2016. On April 23, 2016 Beyoncé released her visual album Lemonade. It addressed varying themes including her husband’s infidelity, her increasingly louder political voice, and her endless support for Black Women. Much to the surprise of many, Beyoncé also made references to syncretic religious practice throughout the piece. This invited the question, “Why did Beyoncé choose to highlight syncretic religious practice throughout Lemonade?” This thesis examines the role that syncretic religion played in Beyoncé’s 2016 visual album, Lemonade. Using an interdisciplinary method of analysis including anthropology, film, history, and cultural studies, I use varying texts and cultural figures to make my point that Beyoncé’s usage of syncretic religion in her visual-album transforms the negative connotation of syncretic religion into one that is more positive. -
“We Should All Be Feminists” an Exploration of the Work of Beyoncé Giselle Knowles-Carter Shaped by Feminist Literature
“WE SHOULD ALL BE FEMINISTS” AN EXPLORATION OF THE WORK OF BEYONCÉ GISELLE KNOWLES-CARTER SHAPED BY FEMINIST LITERATURE Aantal woorden: 26 363 Axelle Hantson Studentennummer: 01301553 Promotor: Prof. dr. Marysa Demoor Masterproef voorgelegd voor het behalen van de graad master in de Taal- en Letterkunde: Engels Academiejaar: 2017- 2018 ii Acknowledgements I would like to thank everyone who has supported me throughout the process of writing this thesis. Firstly, I would like to thank my supervisor, Prof dr. Marysa Demoor for her tremendous support and advice she has given me. Secondly, I want to thank Prof. dr. Erik Steinskog from the University of Copenhagen for providing me with his syllabus from his class “Beyoncé, gender and race”, thus providing me with a lot of useful sources, and thirdly Prof. dr. Elisabeth Frost for her help. Lastly, I would also like to thank my family and friends, especially my mother, and close friends Sofie, Timothy, and Reinart for their continuous support and kind words. iii List of Abbreviations CFC: Crunk Feminist Collective CR: Consciousness-raising CRM: Civil Rights Movement HBCU: Historical Black Colleges and Universities R&B: Rhythm and blues iv Table of Contents Acknowledgements ........................................................................................................................ iii List of Abbreviations ...................................................................................................................... iv Table of Contents ............................................................................................................................ -
Beyoncé's Style in Lemonade
DOI: http://dx.doi.org/10.18226/19844921.v12.n25.01 Beyoncé’s style in Lemonade: a corpus-based analysis O estilo de Beyoncé em Lemonade: uma análise com base em corpus Natasha Barth Sidoruk* Rozane Rodrigues Rebechi** Abstract This study investigates the lexical style in Beyoncé’s album Lemonade (2016) by comparing its lyrics to those belonging to other artists’ works released simultaneously and to Beyoncé’s previous albums, in order to identify its distinctive semantic fields. AntConc is used to retrieve keywords from the lyrics. Recurring keywords are then analyzed in their contexts and eleven semantic fields are identified and discussed. The findings are compared to Lemonade’s critics’ reviews to reveal similarities and differences between their comments and this analysis, which takes quantitative data into consideration. The analysis confirms some of the features identified by the critics and provides a deeper insight into topics unnoticed by them. Keywords Corpus Linguistics. Corpus Stylistics. Beyoncé. Lemonade. Music review. Resumo Este estudo investiga o estilo lexical do álbum Lemonade (2016), de Beyoncé, comparando suas letras àquelas dos trabalhos de outros artistas lançados simultaneamente e de álbuns anteriores de Beyoncé, visando identificar seus campos semânticos característicos. AntConc é usado para determinar as palavras-chave das letras. As palavras-chave recorrentes são analisadas em seus contextos e onze campos semânticos são identificados e discutidos. Os resultados são comparados às críticas de Lemonade para identificar semelhanças e diferenças entre os comentários e esta análise, que parte de dados quantitativos. A análise confirma algumas das características identificadas pelos críticos e oferece um entendimento mais aprofundado sobre tópicos não percebidos por eles. -
Feminismo Encenado: Narrativas Do Feminino Em Beyoncé1
Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação 40º Congresso Brasileiro de Ciências da Comunicação – Curitiba - PR – 04 a 09/09/2017 Feminismo encenado: narrativas do feminino em Beyoncé1 Suzana Maria de Sousa MATEUS2 Universidade Federal de Pernambuco, Recife, PE RESUMO Em suas performances, Beyoncé agencia várias camadas em torno do feminino: nos traz a figura da mãe, da esposa, da mulher negra, da persona empoderada, dentre outras facetas. Esse artigo busca discutir algumas narrativas do feminino presentes nas encenações feministas de Beyoncé. Para isso, recorro à ficção com o objetivo de refletir sobre como a cantora se utiliza em suas performances de disposições miméticas para criar mundos narrativos onde personagens femininas são concebidas se assemelhando e ao mesmo tempo se diferenciando dos valores sociais e tradicionais nos quais se apoiam e emulam, e como o feminismo associado à artista pode ser pensado a partir da ficção. PALAVRAS-CHAVE: Beyoncé; feminismo; ficção; mimese; performance. SOBRE A BUSCA PELA VERDADE Quem é Beyoncé? Beyoncé Giselle Knowles-Carter, 36 anos, nascida em Houston, no Texas, negra, cantora pop com mais de 20 anos de carreira, vendas de discos que superam a marca dos 50 milhões mundo afora, ex-participante do grupo Destiny‟s Child. Quem é Beyoncé? Mãe de Blue e dos gêmeos Sir Carter e Rumi, esposa do rapper Jay Z, atualmente se dedicando a produções musicais e audiovisuais cada vez mais voltadas a pautar questões raciais e de gênero. Repito a pergunta: Quem é Beyoncé? Apesar de ter descrito essa pequena biografia da artista, não sei ao certo quem é Beyoncé.