O ovoj e-knjizi
Country music boasts a long tradition of rich, contradictory gender dynamics, creating a world where Kitty Wells could play the demure housewife and the honky-tonk angel simultaneously, Dolly Parton could move from traditionalist "girl singer" to outspoken trans rights advocate, and current radio playlists can alternate between the reckless masculinity of bro-country and the adolescent girlishness of Taylor Swift.
In this follow-up volume to A Boy Named Sue, some of the leading authors in the field of country music studies reexamine the place of gender in country music, considering the ways country artists and listeners have negotiated gender and sexuality through their music and how gender has shaped the way that music is made and heard. In addition to shedding new light on such legends as Wells, Parton, Loretta Lynn, and Charley Pride, it traces more recent shifts in gender politics through the performances of such contemporary luminaries as Swift, Gretchen Wilson, and Blake Shelton. The book also explores the intersections of gender, race, class, and nationality in a host of less expected contexts, including the prisons of WWII-era Texas, where the members of the Goree All-Girl String Band became the unlikeliest of radio stars; the studios and offices of Plantation Records, where Jeannie C. Riley and Linda Martell challenged the social hierarchies of a changing South in the 1960s; and the burgeoning cities of present-day Brazil, where "college country" has become one way of negotiating masculinity in an age of economic and social instability.
In this follow-up volume to A Boy Named Sue, some of the leading authors in the field of country music studies reexamine the place of gender in country music, considering the ways country artists and listeners have negotiated gender and sexuality through their music and how gender has shaped the way that music is made and heard. In addition to shedding new light on such legends as Wells, Parton, Loretta Lynn, and Charley Pride, it traces more recent shifts in gender politics through the performances of such contemporary luminaries as Swift, Gretchen Wilson, and Blake Shelton. The book also explores the intersections of gender, race, class, and nationality in a host of less expected contexts, including the prisons of WWII-era Texas, where the members of the Goree All-Girl String Band became the unlikeliest of radio stars; the studios and offices of Plantation Records, where Jeannie C. Riley and Linda Martell challenged the social hierarchies of a changing South in the 1960s; and the burgeoning cities of present-day Brazil, where "college country" has become one way of negotiating masculinity in an age of economic and social instability.
O autoru
Diane Pecknold is an associate professor of women’s and gender studies at the University of Louisville. Kristine M. McCusker is a professor of history at Middle Tennessee State University. Together they edited A Boy Named Sue: Gender and Country Music, published by University Press of Mississippi.
Ocenite ovu e-knjigu
Javite nam svoje mišljenje.
Informacije o čitanju
Pametni telefoni i tableti
Instalirajte aplikaciju Google Play knjige za Android i iPad/iPhone. Automatski se sinhronizuje sa nalogom i omogućava vam da čitate onlajn i oflajn gde god da se nalazite.
Laptopovi i računari
Možete da slušate audio-knjige kupljene na Google Play-u pomoću veb-pregledača na računaru.
E-čitači i drugi uređaji
Da biste čitali na uređajima koje koriste e-mastilo, kao što su Kobo e-čitači, treba da preuzmete fajl i prenesete ga na uređaj. Pratite detaljna uputstva iz centra za pomoć da biste preneli fajlove u podržane e-čitače.
