Reviews: Novel Sounds: Southern Fiction in the Age of Rock and Roll. By Dore, Florence. New York: Columbia Univ. Press. 2018. xiii, 178 pp. Cloth, $85.00; paper, $28.00; e-book, $27.99.The Devil’s Music: How Christians Inspired, Condemned, and Embraced Rock ’n’ Roll. By Stephens, Randall J.. Cambridge, MA: Harvard Univ. Press. 2018. 337 pp. Cloth, $29.95.“Do You Have A Band?”: Poetry and Punk Rock in New York City. By Kane, Daniel. New York: Columbia Univ. Press. 2017. xii, 276 pp. Cloth, $90.00; paper, $30.00; e-book, $29.99.

One of the social phenomena of our time (1960s) has been the popularization of a kind of music among the youth known as rock 'n' roll. It was the intent of this study to determine if the medium of rock did, in fact, maintain a posture of promulgating unchastity, the use of drugs and departure from traditional concepts of family and religion.Supported by statements from leading rock musicians it was found that the big beat had a cultural root in the Negroid race. Coupling the big beat gospel rhythms of the south with the white country and western music, there was a mixing of black and white races musically.Rock's appeal was found to be visceral, sensual and focused on sex sensation. Added to psychedelic art, the rock medium supported philosophies of rebellion, dissent and anti-Christian principles. A survey of LDS students revealed that over 50 percent held an attitude of approval toward rock music.

<p>Intensively industrialized animal agriculture, or factory farming, poses many challenges for our notions of “life” and how it should be treated. Factory farming’s mass instrumentalization and exploitation of animals potentially unsettles both our most basic notions regarding the justice of sacrificing certain lives in order to improve other lives, and our decisions about which lives belong to each category. This thesis examines the factory farm as a site that relies upon and produces particular lessons about life. The first chapter explores factory farming’s insistence that economically useful features of animals can be endlessly manipulated and optimized, summarily rendering disposable all other aspects of their lives. Recent work on “neoliberal” economic ideology identifies the emergence of similar conclusions about <em>human</em> life under neoliberalism, yet animal life remains largely un-theorized in this context. Meanwhile, the field of critical animal studies is generating a rich body of work theorizing our exclusion of animals from full ethical and political consideration, but has yet to grapple with how the factory farm brings to bear its own economizing logic that intensifies the “othering” of animal life. The resulting pedagogy of life reverberates throughout the range of cultural responses to factory farming. Chapter Two discusses factory farm designer Temple Grandin’s work in order to illustrate how attempts to situate the site within ostensibly non-economic narratives of life such as ecology, comparative epistemology, and spirituality reveal ways that those narratives can become complicit with the factory farm’s neoliberal pedagogy. Chapter Three examines current representations of vegetarian identity, demonstrating that even resistant responses can reinscribe the factory farm’s sacrificial economy. The thesis concludes that alternative futures for critical resistance to the factory farm depend upon a more thorough apprehension of its conceptual reach, and concerted pedagogical and ethical work through and beyond its framing of both human and animal life.</p> / Doctor of Philosophy (PhD)

<p>Recent work in affect theory has addressed the category of what Sianne Ngai terms “ugly” feelings (Ngai 2007, Edelman 2004, Halberstam 2011) and the costs associated with the premium placed on so-called positive modes of thinking and feeling (Berlant 2011, Ahmed 2010, Love 2007), yet cynicism persists in many accounts as the feature of an undesirable political subjectivity. Likewise in popular and political discourse, cynicism is denounced as the mark of an ineffectual subject who chooses to opt out, rather than reach for supposedly obvious markers of (capitalist) achievement. This dissertation refuses these characterizations, instead considering cynicism as an affect bound up in neoliberal sociopolitical shifts. I argue that cynicism describes a feeling of living under structural conditions that curtail—in ways that are often effaced—the kinds of self-determining subjectivities that have been taken for granted as a feature of Western, liberal democracies and remain foundational to imagined modes of dissent. Exploring this situation in the context of three cultural frames—politics and governance, modes of labour in capitalist economies, and a structure of feeling premised on the pursuit of happiness—I examine cynical subjectivities in fiction, film, and American political discourse so as to 1) develop an inquiry into affect as situated between subject and structure; 2) acknowledge the commonality of a feeling of impasse and dominant cultural narratives that mask this frustration of agency; and 3) consider inertia and passivity as sensible orientations in a cultural moment in which the costs of momentum are becoming increasingly visible.</p> / Doctor of Philosophy (PhD)

This project chronicles an in-depth character study on the Manic Pixie Dream Girl trope in film. The term was coined in 2007 by a film critic about a very specific kind of female character—one who exists “solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures.” The MPDG has often been written off as nothing more than a stereotype or sexist characterization of a woman, but I argue that the MPDG can be much more than a flat character, as evidenced by the increasingly complex characterization of the MPDG in independent film. Based on case studies of several films, I discuss how the MPDG has grown from a supporting archetype into a well-rounded and multi-dimensional character. Based on a history of female depiction in film, a discussion of the critical interpretations of the MPDG, and these case studies, I argue that the MPDG has the potential to exist as a complex and realistic character rather than just an archetype.

People have organized around gender equality in modern America for the last century. However, with the advent of new technology, people largely organize in around social movements in online spaces. This thesis explores the ways in which new media expands a popular understanding of the Feminist movement.

In 1984, Stryper released its first album The Yellow and Black Attack and introduced audiences to a different kind of heavy metal. Instead of lyrics about sex, alcohol, and Satan, Stryper sang about Jesus, salvation, and God. While there were a number of fans ready for this change more were not. Members of the Church as well as members of the metal subculture were in agreement that Christianity and heavy metal were incompatible. Despite these objections, however, more bands emerged, and Christian metal became a significant genre within the Christian music industry. These bands presented Christian-oriented lyrics within the full spectrum of metal subgenres. This dissertation examines the ways in which Christian metal bands create an intersection between Christianity and the heavy metal subculture, infusing Christianity within the textual, visual, and musical structures of heavy metal. The author employs Deena Weinstein’s “metal code” to frame the analysis. The metal code includes the textual elements (band names, album and song titles, and song lyrics); the visual elements (band logos; album covers; and the various elements of the concert experience including the bands’ appearances, the staging, the interactions with the fans, and music videos); and the musical elements (timbre, modality, formal structure, and production of the songs and albums) that set metal apart from other musical genres. The dissertation also examines the concept of bands as “metal missionaries” that immerse themselves within the heavy metal subculture for the purpose of bringing the Christian message of hope and salvation. The author concludes that even though Christian metal bands modify aspects of elements that are otherwise incompatible with their Christian beliefs and message, they still maintain a sense of stylistic integrity that gives them credibility within the heavy metal subculture and allows them to fulfill their mission.

While insult has been a frequent topic for rhetorical study in the past, little if any work has gone toward the formation of a systematic theory of insult. Karina Korostelina has proposed a theory of intergroup identity insults, which appears promising from a socio-cultural perspective. However, her theory does not address the particularly rhetorical characteristics of insults, preferring instead to analyze them with reference to their socio-historic context. While her theory proves sound under scrutiny, it does little to shed light on pejorative rhetoric as rhetoric. In what follows, I would like to propose certain characteristics of pejorative rhetoric that may prove useful in developing a rhetorical understanding of insult. I will be using Korostelina’s theory as a starting place to ground my discussion of insult, but I will go beyond the socio-historic contexts to suggest a purely rhetorical aspect of insults that creates new meanings and associations independent of larger cultural contexts. While independent of cultural contexts, these new associations are still informed by cultural contexts. As such, I will be using coffee, a cultural artifact with a variety of social and culture meanings, as a lens from which to examine pejorative rhetoric. Ultimately, I propose that insult functions by drawing from the associations inherent in cultural artifacts in order to transform those associations into purely rhetorical associations, that is, associations that could not exist without the influence of pejorative rhetoric, thereby creating a rhetorical context independent of large cultural contexts.

Rock’n’roll has specific aesthetic — a set of invisible rules that each young rock musician accepts as a given. If one examines the history of rock’n’roll starting from 1950s, one will notice that there was a clear division in rock that separates the rock’n’roll of 1950s from rock of the second half of the 1960s and beyond—the rock that we know today. This thesis investigates how the visual aesthetic of rock’n’roll evolved from its origins in the 1950s blues tradition, how it was formed in the second half of the 1960s, and how it was modified in the first half of the 1970s. In particular, it focuses on the role played by the British band Rolling Stones as mediators between the 1950s early rock aesthetics rooted in the blues tradition and the Beats’ ideology and the subsequent generations of American rockers who emerged in the 1970s, such as the band New York Dolls. The final section of the thesis investigates how the New York Dolls adopted and transmitted the aesthetics of authenticity pioneered by the Stones to the new wave of punk and grunge bands. Although the thesis considers the music produced within this milieu, its primary focus is on the visual presentation and promotion of the new aesthetic through stage performances, publicity and the medium of television.

This project examines Dr. C. DeLores Tucker’s efforts to abolish the production and distribution of gangsta rap to the American youth. Though her efforts were courageous and daring, they were not sufficient. The thesis will trace Tucker’s crusade beginning in 1992 through the end of the 1990s. It brings together several themes in post-World War II American history, such as the issues of race, gender, popular culture, economics, and the role of government. The first chapter thematically explores Tucker’s crusade, detailing her methodology and highlighting pivotal events throughout the movement. The second chapter discusses how opposition from rap artists, and the music industry, media coverage of Tucker and her followers, and resistance from members of Congress contributed to the failure of her endeavor.