Popular music has long understood that human rights, if attainable at all, involve a struggle without end. The right to imagine an individual will, the right to some form of self-determination and the right to self-legislation have long been at the forefront of popular music's approach to human rights. At a time of such uncertainty and confusion, with human rights currently being violated all over the world, a new and sustained examination of cultural responses to such issues is warranted. In this respect music, which is always produced in a social context, is an extremely useful medium; in…mehr
Popular music has long understood that human rights, if attainable at all, involve a struggle without end. The right to imagine an individual will, the right to some form of self-determination and the right to self-legislation have long been at the forefront of popular music's approach to human rights. At a time of such uncertainty and confusion, with human rights currently being violated all over the world, a new and sustained examination of cultural responses to such issues is warranted. In this respect music, which is always produced in a social context, is an extremely useful medium; in its immediacy music has a potency of expression whose reach is long and wide.
Ian Peddie teaches English and Cultural Studies at Florida Gulf Coast University. His edited collection, The Resisting Muse: Popular Music and Social Protest (Ashgate), a finalist in the Association for Recorded Sound Collections book of the year, was published in 2006. He is an avowed humanist, and one of the harmonizing themes in his work is the way in which human interaction is governed by a cohesive inequality. He has published numerous essays on authors such as Irvine Welsh, Langston Hughes, T.S. Eliot, and Thomas McGrath, as well as on topics such as class, poverty, and radicalism. These topics inform his approach to popular music, where he has written on Led Zeppelin, Goldie, and Billy Bragg.
Inhaltsangabe
List of Illustrations List of Contributors Foreword General Editor's Preface Acknowledgements Introduction 1 Long Played Revolutions: Utopic Narratives, Canzoni d'autore 2 Treaty Now: Popular Music and the Indigenous Struggle for Justice in Contemporary Australia 3 Intense Emotions and Human Rights in Nepal's Heavy Metal Scene 4 Songs of the In-Between: Remembering in the Land that Memory Forgot 5 How a Music about Death Affirms Life: Middle Eastern Metal and the Return of Music's Aura 6 The "Dangerous" Folksongs: The Neo-folklore Movement of Occupied Latvia in the 1980s 7 Yugoslav and Post-Yugoslav Encounters with Popular Music and Human Rights 8 Víctor Jara: The Artist and His Legacy 9 No Country for Young Women: Celtic Music, Dissent, and the Irish Female Body 10 Long Live the Revolution? The Changing Spirit of Chinese Rock 11 Fascist Music from the West: Anti-Rock Campaigns, Problems of National Identity, and Human Rights in the "Closed City" of Soviet Ukraine, 1975-84 147 Bibliography Discography Index
List of Illustrations List of Contributors Foreword General Editor's Preface Acknowledgements Introduction 1 Long Played Revolutions: Utopic Narratives, Canzoni d'autore 2 Treaty Now: Popular Music and the Indigenous Struggle for Justice in Contemporary Australia 3 Intense Emotions and Human Rights in Nepal's Heavy Metal Scene 4 Songs of the In-Between: Remembering in the Land that Memory Forgot 5 How a Music about Death Affirms Life: Middle Eastern Metal and the Return of Music's Aura 6 The "Dangerous" Folksongs: The Neo-folklore Movement of Occupied Latvia in the 1980s 7 Yugoslav and Post-Yugoslav Encounters with Popular Music and Human Rights 8 Víctor Jara: The Artist and His Legacy 9 No Country for Young Women: Celtic Music, Dissent, and the Irish Female Body 10 Long Live the Revolution? The Changing Spirit of Chinese Rock 11 Fascist Music from the West: Anti-Rock Campaigns, Problems of National Identity, and Human Rights in the "Closed City" of Soviet Ukraine, 1975-84 147 Bibliography Discography Index
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