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21	"Another Darkchild Classic" : phonographic forgery and producer Rodney Jerkins' Sonic Signature Gillespie, Mark373 12 April 2018 (has links) This project communicates research on the subject of record production in popular music, specifically the function of the "sonic signature" in helping listeners to recognize production authorship, as observed in urban music recordings released between 2001 and 2005. The prevailing thesis of this study is that phonographic forgery plays a central role in enabling an identification process to take place whereby both listeners and producers become familiarized with specific production sounds in the field. This argument is expressed through an analysis in Chapters 2 and 3—the centerpiece of the work—that engages a number of productions of, and relating to, producer Rodney "Darkchild" Jerkins. In examining both forgeries of Jerkins' sonic signature and sonic signature forgeries undertaken by Jerkins himself, the text incorporates diverse theoretical perspectives such as Bourdieu's "field of production" (1993), Zizek's concept of "the Real" (1991), Genette's taxonomy of hypertextual relationships in literature (1997), and Barthes' theory of semiotic matrices in the language of fashion (1983). Throughout, the project's findings are supported and augmented by a discussion of analogous features in films, paintings, literature, and designer fashion. Chapter 2 introduces the idea of forgery in popular music. In addition to surveying the role of the contemporary record producer, Chapter 1 locates the historical and cultural significance of the sonic signature, provides an overview of its range in the field, and defines the term / Ce mémoire présente les résultats d'une recherche sur la pratique de la réalisation phonographique, et plus spécifiquement sur le rôle des « signatures sonores », qui permettent entre autres aux auditeurs de reconnaître la source auctoriale d'une réalisation donnée. L'hypothèse principale du mémoire, qui se concentre sur la période 2001-2005 de « urban music », propose que la contrefaçon joue un rôle central dans ce processus de reconnaissance, processus qui permet à la fois aux auditeurs et aux réalisateurs de devenir familiers avec des sonorités spécifiques dans le champ. Cette hypothèse s'appuie principalement sur l'analyse (chapitres 2 et 3) d'un certain nombre de productions phonographiques orbitant autour d'un réalisateur, soit Rodney « Darkchild » Jerkins. À travers l'examen, d'une part, de contrefaçons de la signature sonore de Jerkins et, d'autre part, de la contrefaçon par Jerkins de la signature sonore d'autres réalisateurs, le mémoire convoque plusieurs perspectives théoriques, dont la notion de « champ » de Bourdieu, le concept du « Réel » de Zizek, la taxonomie hypertextuelle de Genette, de même que la théorie des matrices sémiotiques élaborée par Barthes. Le mémoire s'appuie de plus sur l'étude de pratiques parallèles observées en cinéma, en peinture, en littérature et en design de mode. Alors que le chapitre 2 propose une définition de la contrefaçon en musique populaire, le chapitre 1, en plus de présenter succinctement le rôle du réalisateur contemporain, situe la signification culturelle de la signature sonore, définit la notion, pour finalement offrir un vue d'ensemble de sa portée dans le champ. ML 21.5 UL 2007 G478 Jerkins, Rodney Contrefaçon
22	Makro- und Mikrozeit: Zur Temporalität zeitgenössischer Musik Poller, Tom Rojo 23 October 2023 (has links) No description available. info:eu-repo/classification/ddc/780 ddc:780
23	A secularização segundo Peter L. Berger e Rodney Stark/William Sims Bainbridge Provenzi, Anoar Jarbas 19 August 2013 (has links) Made available in DSpace on 2016-04-25T19:20:28Z (GMT). No. of bitstreams: 1 Anoar Jarbas Provenzi.pdf: 1155462 bytes, checksum: 48318e7c0a982942ec4541880001698e (MD5) Previous issue date: 2013-08-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study is about the secularization according to Peter L. Berger (theory of secularization) and according to Rodney Stark/William Sims Bainbridge (rational choice theory). Berger (chapter 1) affirms in Sacred Canopy the decrease of religion in modernity, whereas Stark/Bainbridge (chapter 2) supports in A theory of religion its increasing or maintenance. However, both theories have problems (chapter 3). Berger is criticized to affirm the equivalence between modernity and secularization, the belief in a previous age of the faith and the necessity of religious monopoly; Stark/Bainbridge are criticized to defend previous power of rational choice theory, a decontextualized universal rationality and an merely economic approach of religious phenomenon / Este estudo é sobre a secularização segundo Peter L. Berger (teoria da secularização) e segundo Rodney Stark/William Sims Bainbridge (teoria da escolha racional). Berger (capítulo 1) afirma, na obra O dossel sagrado, a diminuição da religião na modernidade, enquanto Stark/Bainbridge (capítulo 2) defendem, na obra Uma teoria da religião, seu aumento ou manutenção. Mas ambas as teorias apresentam problemas (capítulo 3); Berger é criticado porque afirma a equivalência entre modernidade e secularização, a crença em uma pregressa idade da fé e a necessidade de monopólio religioso; Stark/Bainbridge são criticados porque defendem o poder preditivo da teoria da escolha racional, uma racionalidade universal descontextualizada e uma abordagem puramente econômica do fenômeno religioso Teoria da secularização Teoria da escolha racional Mercado religioso Monopólio religioso O dossel sagrado Uma teoria da religião Peter L. Berger, Rodney Stark William Sims Bainbridge Theory of secularization Rational choice theory Religious market Religious monopoly The sacred canopy A theory of religion
24	Adaptive Acts: Queer Voices and Radical Adaptation in Multi-Ethnic American Literary and Visual Culture Means, Michael M 01 January 2019 (has links) Adaptation Studies suffers from a deficiency in the study of black, brown, yellow, and red adaptive texts, adaptive actors, and their practices. Adaptive Acts intervenes in this Eurocentric discourse as a study of adaptation with a (queer) POC perspective. My dissertation reveals that artists of color (re)create texts via dynamic modes of adaptation such as hyper-literary allusion, the use of meta-narratives as framing devices, and on-site collaborative re-writes that speak to/from specific cultural discourses that Eurocentric models alone cannot account for. I examine multi-ethnic American adaptations to delineate the role of adaptation in the continuance of stories that contest dominant culture from marginalized perspectives. And I offer deep adaptive readings of multi-ethnic adaptations in order to answer questions such as: what happens when adaptations are created to remember, to heal, and to disrupt? How does adaptation, as a centuries-old mode of cultural production, bring to the center the voices of the doubly marginalized, particularly queers of color? The texts I examine as “adaptive acts” are radical, queer, push the boundaries of adaptation, and have not, up to this point, been given the adaptive attention I believe they merit. David Henry Hwang’s 1988 Tony award-winning play, M. Butterfly, is an adaptive critique of the textual history of Butterfly and questions the assumptions of the Orientalism that underpins the story, which causes his play to intersect with Pierre Loti’s 1887 novella, Madame Chrysanthéme, at a point of imperial queerness. Rodney Evans, whose 2004 film, Brother to Brother, is the first full-length film to tell the story of the black queer roots at the genesis of the Harlem Renaissance, uses adaptation as a story(re)telling mode that focalizes the “gay rebel of the Harlem Renaissance,” Richard Bruce Nugent (1906-1987), to Signify on issues of canonization, gate-keeping, mythologizing, and intracultural marginalization. My discussion of Sherman Alexie’s debut film, The Business of Fancydancing, is informed by my own work as an adaptive actor and showcases the power of adaptation in the activation of Native continuance as an inclusive adaptive practice that offers an opportunity for women and queers of color to amend the Spokane/Coeur d'Alene writer-director’s creative authority. Adaptive acts are not only documents, but they document movements, decisions, and sociocultural action. Adaptation Studies must take seriously the power and possibilities of “adaptive acts” and “adaptive actors” from the margins if the field is to expand—adapt—in response to this diversity of adaptive potential. Adaptation Adaptation Studies Queer POC Harlem Renaissance Multiethnic African American Native American Asian American Richard Bruce Nugent Pierre Loti M. Butterfly Brother to Brother The Business of Fancydancing Madame Chrysanthéme David Henry Hwang Rodney Evans Sherman Alexie Film and Media Studies
25	An “empire” without imperialism? A study of the Soviet-colonial dialectic from the October Revolution to its defeat Strandlund, Tyson Riel 22 October 2021 (has links) An analysis of Soviet history and political thought in the context of imperialism and colonialism This study attempts to clarify problems with dominant liberal narratives and historiography relating to the Soviet Union, particularly relating to questions of empire and colonialism, and instead platforms Third World Marxists and other anti-imperialist scholars and revolutionaries whose views have been effectively sidelined and stifled. By tracing the history of political thought around these questions from pre-revolutionary Marxists through to Cold War era anti-colonial and pan-African scholars and revolutionaries alongside developments in the dynamic and forms of imperialism, and by situating anti-colonial nationalisms in the context of worldmaking rather than state building, this text aims to contribute to analyses of Soviet policy and its relationship to the global history of decolonisation in the 20th Century. This work identifies serious theoretical and ideological deficiencies in existing literature and concludes that concise definitions of imperialism and empire such as those used by V.I. Lenin and Kwame Nkrumah are not consistent with commonly held beliefs about the role played by the Soviet Union in the history of anti-colonial and national liberation movements. Western liberal literature on this subject has suffered significantly as a result of political and ideological prejudices stemming directly from the US Cold War victory and psychological warfare campaigns targeting communist and anti-colonial movements to this end. My research indicates that misidentification and misuse of terms relating to empire and colonialism pose serious obstacles and risks to present and future efforts geared towards global peace and equality which add urgency to the correction of mistakes both in scholarly and popular historical, political, and cultural approaches to interpretations of Soviet history. / Graduate Soviet History Decolonisation Racism Imperialism National Liberation Colonialism Africa Anti-Imperialism Asia Cold War Communism Cosmopolitanism Engels Ethno-nationalism European History Fascism George Padmore Global History Historical Materialism Hitler India KUTV Kwame Nkrumah Lenin Marx Marxism M.N. Roy Marxism-Leninism Nationalism Nazism Nehru Neocolonialism October Revolution Pan-Africanism Philosophy Political History R. Palme Dutt Social Democracy Soviet Union Socialism Social History social fascism social imperialism Theoretical History United Nations USSR Afghanistan Indonesia Globalisation Walter Rodney WWI WWII United States Empire Russian Empire Third World Anti-Colonialism

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