By Neil R. Nehring
The migration of cynical educational rules approximately postmodernism into track journalism are traced during this ebook. the results of this migration is a frequent fatalism over the power of the song to take in any expression of defiance in well known song.
The publication synthesizes a couple of fields: American and British educational and journalistic track feedback; aesthetic and literary heritage and idea from romanticism via postmodernism; replacement track similar to feminist punk and grunge; political economic system, which has fueled the obsession with advertisement incorporation; and subcultural sociology.
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Extra info for Popular Music, Gender and Postmodernism: Anger Is an Energy
What I want to stress in Jameson is one of his central theses in his often cited 1984 essay "Postmodernism, or the Cultural Logic of Late Capitalism" (an essay which was unchanged in his similarly titled 1991 book). That thesis proposes that a general "waning of affect" has occurred in postmodern life, most evident in a diminished emotional engagement with the arts. There is no distinction of "high" and "popular" arts here; distinctions in quality no longer exist, supposedly, in a postmodern world filled with incoherent pastiche.
The unexamined nature of postmodern views, which will be quite clear, indicates that the ways we might transform society are "not to be found in the study of power" as an abstract theoretical matter, as Greil Marcus argues. 2 What has particularly concerned me, therefore, since the events of 1991 that I recount in Chapter 4—the establishment reaction to Nirvana's breakthrough and to the appearance of the Riot Grrrls—is writing on alternative music by younger journalists and scholars that features favorable references to postmod ernism.
His descriptions of power operating virtually untouchably have been highly influential on the fatalistic strain of postmodernism. ) Through their control of specialized discourses, Foucault found, various institutions such as medicine, psychiatry, and the penal system control language itself. Foucault emphasized at the same time that power is not exercised by any person or any intentional actor. Those "subject" to power, therefore, could hardly intervene in specialist discourse so as to confer their own meanings because there is no human opponent to fight.
Popular Music, Gender and Postmodernism: Anger Is an Energy by Neil R. Nehring