In the United States, rural culture is frequently thought of as traditional and “authentically” American. This belief stems from settler colonial histories in which Native lands are stolen and “settled” by white colonial communities. Through this process, the rugged “frontier” becomes a symbol of American identity, and rural communities become the home of “real” Americans. Because settler colonization is invested in maintaining systems of white supremacy, sexism, and heteropatriarchy, these “real” Americans are figured as normatively white and straight. This dissertation analyzes the rhetorical construction of rurality in the United States, specifically focusing on the ways in which settler colonial histories shape national discussions of rural sexuality. I theorize a rhetorical practice I call rural drag, a process by which individuals in settler society can assert membership in white heteropatriarchy by performing “rurality.” I trace the development of this rhetorical practice through three case studies. In the first, I analyze 19th-century Texan legislative writings during the creation of Texas A&M University. These writings and related correspondences reveal a baseline of white supremacist and settler colonial rhetorics upon which the university established its ethos. In the second, I look at how these rhetorics continue to inform performances of sexuality and gender at Texas A&M. These performances derive from earlier rhetorical practices designed to create a space for white settler privilege. Together, these two case studies suggest that rhetorical practices shape and are shaped by the spaces in which they are practiced and the rhetorical histories of these spaces. In my final case study, I interrogate national discourses of rurality through an analysis of country western music to show how rhetorics of rurality are simultaneously local and national. I conclude by challenging scholars of rhetoric and queer studies to recognize that the relationship between rhetoric and place is key to recognizing our relationship to privilege and oppression in the United States. To further this, I propose a decolonial queerscape pedagogy that accounts for the multiple overlays of sexual identities and practices that travel through the academy while challenging the colonial histories and actions upon which the academy is built.

No description available.

Orientador: Jose Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T17:30:30Z (GMT). No. of bitstreams: 1 Pinto_JoaoPaulodoAmaral_M.pdf: 6828945 bytes, checksum: b0e6967a207bca86632cf629ed108239 (MD5) Previous issue date: 2008 / Resumo: Esse trabalho é resultado de uma pesquisa sobre a obra musical do músico e compositor Tião Carreiro (José Dias Nunes, 1934-1993). O enfoque principal foi identificar os elementos constitutivos e as características do estilo desse artista como instrumentista de viola, instrumento reconhecido como o símbolo da chamada música caipira. Para tanto, foram analisados musicalmente os dois LPs instrumentais do violeiro gravados em 1976 e 1979. Além disso, foram abordados os aspetos históricos da viola caipira, do segmento instrumental sertanejo e da trajetória do artista no mercado fonográfico. A partir das análises musicais, foi identificado um conjunto de elementos e técnicas utilizados pelo músico para construir seus toques e solos. A pesquisa também relacionou e caracterizou musicalmente as matrizes e gêneros, caipiras ou não, utilizados pelo violeiro na gravação desses dois discos. Entre eles, destaca-se o pagode de viola, gênero criado no final dos anos cinqüenta a partir da combinação de algumas matrizes musicais e que, por ter se tornado a marca principal do violeiro, foi objeto de uma investigação mais aprofundada. / Abstract: This work is the result of a research on the musical work of the musician and composer Tião Carreiro (José Dias Nunes, 1934-1993). The main focus was to identify the constituent elements and the characteristics of the style of this artist as a viola (Brazilian ten-string guitar) instrumentalist, considering the viola a recognized instrument as the symbol of what is so called música caipira (typical rural music of the central-southern region of Brazil). For that, the two first instrumental LPS of the artist, recorded in 1976 and 1979, were musically analysed. Besides that, historical aspects of viola caipira, also from the instrumental sertanejo segment and the trajectory of the artist in the phonographic market were approached. From these musical analyses a group of elements and techniques used by the musician to build his touches and solos was identified. The research also related and musically characterized the origins and genders, caipira or not, used by the violeiro in the recordings of these two records. Among them, there is one in particular, the pagode de viola, gender created at the end of the fifties's, from the combination of some musical origins and that, for having become the main mark of the violeiro, was the subject of a deepened investigation. / Mestrado / Mestre em Música

Made available in DSpace on 2017-07-10T18:55:46Z (GMT). No. of bitstreams: 1 Rosana.pdf: 593482 bytes, checksum: b069ec2f4ebfb890a0f41b766c0f6483 (MD5) Previous issue date: 2007-02-13 / Caipira music, or the call root Sertaneja music, is heard and/or admired for a few people. This fact occurs due the crystallized image that the society, mainly in the urban zone, has of the countryside man, which it is still seen, in the present, as a caricature. This fact can be seen in the representation of the caipira Nerso da Capitinga in the TV program Zorra Total, of Rede Globo (TV company). Therefore, the objective of this research is to reflect about this representation of the countryside man, rescuing cultural and social elements that had allowed that this image was crystallized from a pejorative and caricatured form. For this, it was used the French branch of Discourse Analysis (DA) underlining the concepts of discursive formations, ideological formations and discursive memory. / A música caipira, ou a chamada música sertaneja raiz, é ouvida e/ou admirada por poucos. Esse fato deve-se à imagem cristalizada que a sociedade, principalmente da zona urbana, tem do homem do campo, o qual ainda é visto, nos dias de hoje, de forma caricaturada, haja vista a representação do caipira Nerso da Capitinga no programa Zorra Total, da Rede Globo. Por isso, objetiva-se nesta pesquisa, refletir sobre esta representação do homem do campo, resgatando elementos culturais e sociais que permitiram que esta imagem se cristalizasse de forma pejorativa e caricaturada. Para isso, utilizou-se da Análise do Discurso de linha francesa (AD), priorizando os conceitos de formações discursivas, formações ideológicas e memória discursiva.

Through the mid-twentieth century, a significant pattern of migration occurred between Appalachia and the Pacific Northwest, with Washington’s thriving timber industry offering compelling economic opportunities. Many workers and families from western North Carolina settled in the small mountain town of Darrington, Washington, frequently accompanied by their banjos and guitars. As a group of young bluegrass enthusiasts from Seattle established relationships with Darrington’s “Tar Heel” musicians, a collaborative music community formed, laying the foundation for the region’s contemporary bluegrass scene. Drawn from a series of ethnographic interviews, this project illuminates the development of a bluegrass community in western Washington, while identifying several of its key contributors. The resultant narrative explores the musical legacy of Appalachian migration to the Pacific Northwest, culminating in its convergence with the urban folk music revival of the 1960s. This work contributes to a growing body of scholarship that challenges the traditional geo-cultural assumptions encompassing bluegrass music.

本論文は、日本人男性とカントリー音楽を事例とした、日本人のアメリカ文化との遭遇に関する研究である。本論文では、なぜ日本人男性がアメリカのカントリー音楽とそのシンボルであるカウボーイを消費したかについて考察する。日本人男性は、これらの「典型的」とも言われるアメリカのシンボルを通して、日本の国家建設や、方向性に必要不可欠な、日本人男性性について議論していたと主張する。 / This dissertation is a case study about the Japanese encounter with American culture by dealing with Japanese men and American country music. I investigate why Japanese men consumed American country music and cowboy images that served as the music's main symbol. Those Japanese men's encounter with American country music shows us that Japanese men received this music from the US in multifaceted ways, rather than simply as a way to understand US-Japan relations. I argue that these Japanese men used American country music and cowboy images to debate about Japanese masculinity, which was intrinsic to Japanese nation-building, aims and identities. / 博士(アメリカ研究) / Doctor of Philosophy in American Studies / 同志社大学 / Doshisha University

David Harrison Macon (1870-1952) is often memorialized for his showmanship rather than his banjo playing. To compartmentalize such a significant American musician yields a wide gap within scholarship about Macon, country music history and the banjo. Macon’s banjo playing, documented through over two-hundred and fifty recordings made between the 1920s and 1950s, represents an array of cultures, eras, ethnicities, and styles all preserved in the repertoire of one of the most prolific country musicians of the 20th century. This study reveals Macon’s playing by considering such factors as influences that preceded his professional tenure, identifying elements within his playing from specific stylistic origins, and by technically notating selections from Macon’s canon that represent those influences. To understand the instrumental playing of one of early country music’s most important figures broadens understanding of banjo influences from the nineteenth century which laid the foundation for the instrument’s renaissance in the twentieth century.

No description available.

Made available in DSpace on 2016-04-28T19:34:02Z (GMT). No. of bitstreams: 1 Cristiane da Silva Ferreira.pdf: 1980075 bytes, checksum: 06433258777a5f9ba249eca8fe3e1d1c (MD5) Previous issue date: 2015-12-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study deals with the discursive ethos in the literary and musical constituency of country music manner- songs written in verse based on oral narratives that express their composers rural context and whose musical accompaniment is made only by the guitar - produced in 1950 s in São Paulo. Our main objective is to examine how the incorporation of the discursive ethos s intersemiotic traits operates in the construction of the identity of the country music manner songs enunciator s discourse and provides us with different interdiscourses evincing their underlying pretexts. This work s subject has great social and academic relevance, contributing to studies of one of the main cultural expressions of the people who compound São Paulo s historic, social and cultural scenario, which is the country music manner, as well as discussing the ethos s efficiency in the literary and musical genesis. Thus, we advocate that the discursive ethos - comprehended in its intersemiotic dimension, including the linguistic and melodic components - reveals an enshrined corpus, revealing the founding intentions of country music manner s discourse. The corpus is composed of song lyrics, which are nowadays, according to Ribeiro (2006b), the most known and played ones. For this purpose, we based this study on the theoretical and methodological assumptions of the French Discourse Analysis, specifically Maingueneau s theoretical works and the studies of Costa (2011) about the literary and musical discourse. In view of a more consistent apprehension of the discursive ethos, we introduced the methodology of song analysis proposed by Tatit. The analyses showed that the enunciator invests himself of an ethos which values the identity practices established in the discursive memory of the co- enunciator, revealing the founding intentions of the country music manner songs discourse / Esta pesquisa trata sobre o ethos discursivo na constituência lítero-musical da moda de viola produzida na década de 1950, em São Paulo. Para tanto, traçamos como objetivo principal examinar de que forma a incorporação dos traços intersemióticos do ethos discursivo opera na construção da identidade do enunciador do discurso da moda de viola e nos oferece elementos para identificarmos diferentes interdiscursos que comprovem sua ação fundadora. O tema mostra-se de grande relevância social e acadêmica, pois amplia o estudo de uma das principais manifestações culturais de sujeitos que compuseram o cenário histórico-social e cultural de São Paulo, que é a moda de viola; além de discutir sobre a eficácia do ethos no processo de constituência lítero-musical. Diante disso, defendemos a tese de que o ethos discursivo, apreendido em sua dimensão intersemiótica, que compreende os componentes linguístico e melódico, explicita um corpo consagrado, de forma a revelar a ação fundadora do discurso da moda de viola. O corpus é constituído por textos da moda de viola os quais, conforme Ribeiro (2006b), são exemplos dos mais conhecidos e tocados atualmente. Para tanto, embasamo-nos nos pressupostos teórico-metodológicos da Análise do Discurso de linha francesa, advindos dos estudos de Maingueneau (1997, 2007, 2008, 2009, 2010, 2013, 2015) e nos estudos de Costa (2011), acerca do discurso lítero-musical. Tendo em vista uma apreensão mais consistente do ethos discursivo, inserimos a metodologia de análise de canção proposta por Tatit (2012). As análises apontam que o enunciador investe-se de um ethos que valoriza as práticas identitárias alojadas na memória discursiva do co-enunciador, de modo a revelar a ação fundadora do discurso da moda de viola

Made available in DSpace on 2016-04-28T19:34:29Z (GMT). No. of bitstreams: 1 Cristiane da Silva Ferreira.pdf: 688381 bytes, checksum: c948b24125c3d91914e8c99680cdbc3e (MD5) Previous issue date: 2008-10-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The real meaning of the Brazilian original country music s lyrics leads us to a culture full of traditions, habits and social values, the rural culture that comes from a mix of Indian, European and African cultures. By the lyrics discourse, we get to know also the ideology and the ethos of the country man, representing a social group that contributes to the nation s progress. This ethos is somewhat predictable, because of the memory and the stereotype our society has, regarding that country man. After these considerations, our intention with this work is to examine how the ethos, showed in those six lyrics we chose, reveals identifying and cultural aspects of the Brazilian men. According to Maingueneau (1997), the ethos is inseparable from the enunciative scene where the performance occurs. So we could conclude, in our sampling, the relation between them, because the scene is built so that it reveals the character of the performer, who has a life style similar to the author of the lyrics lifestyle. The generic and ideologic coercion within these discourses allow us to conceive the native country music as a discursive kind of music. Aiming at the above objectives, the Discourse Analysis proved to be an adequate method, because its relation with Linguistic, Psychoanalysis and History, made it possible for us to explore the language and the discourse, linking them to social-historic factors / O discurso das letras de música de raiz nos remete a uma cultura permeada de tradições, hábitos e valores sociais que resultou do hibridismo cultural indígena, europeu e africano: a cultura caipira. Por meio do discurso das letras, conhecemos, ainda, a ideologia e o ethos do homem caipira, representante de um grupo social que contribuiu para o progresso do país. Este ethos, de certa forma, nos é previsível devido à memória discursiva e aos estereótipos que permeiam a sociedade em relação ao caipira. Diante destas considerações, o que pretendemos neste trabalho é examinar como o ethos manifestado nas seis letras selecionadas nos revela aspectos identitários e culturais do homem brasileiro. Conforme postula Maingueneau (1997), o ethos discursivo é inseparável da cena enunciativa na qual ocorre a representação da enunciação. Sendo assim, pudemos concluir em nossa amostra a relação entre ambos, pois a cena é construída de modo que evidencie o caráter do enunciador que, dada a semelhança do modo de vida, representa o sujeito-autor das letras. As coerções genéricas e ideológicas nestes discursos nos permitiram conceber a música de raiz como um gênero discursivo. Tendo em vista os objetivos expostos acima, a Análise do Discurso mostrou-se uma metodologia adequada porque sua relação com a Lingüística, a Psicanálise e a História nos permitiu explorar a língua e o discurso, relacionando-os a fatores histórico-sociais