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"A must-read for all those who want to find out what this country is really made of." ---Scotland on Sunday
Peer-to-peer music exchange, sampling, and digital distribution have garnered much attention in recent years, notably in debates about authorship, intellectual property, media control, and ‘Web 2’. However, empirical scholarship on how these technologies are used creatively by musicians and fans is still sparse. In this interdisciplinary ethnography of ‘bedroom producer’ culture, Andrew Whelan examines interaction and exchange within a specific online milieu: peer-to-peer chatrooms dedicated to electronic music, focusing on a genre known as ‘breakcore’. The author draws on semantic anthropology, ethnomethodology, sociolinguistics, and critical musicology to explore the activity afforded by this controversial and criminalised environment. Through in-depth analysis of often ritually vituperative text-based interaction, discussions of music, and the samples used in that music, Whelan describes the cultural politics and aesthetics of bedroom producer identity, highlighting the roles gender and ethnicity play in the constitution of subcultural authenticity. Empirically driven throughout, this book also engages with a spectrum of social theory; in doing so, it highlights the intersections between gender, interaction, technology and music. This book will prove valuable for students and scholars with interests in gender and language use, computer-mediated communication, online subcultures and virtual community, and the evolution, production and distribution of electronic music.
"The writing is superb, the insights come with astonishing and rich rapidity, and the moral and intellectual intelligence behind them strikes me as unflinchingly honest and scrupulous."--Reginald Gibbons, Editor, TriQuarterly
Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. Visit us online at www.1stWorldLibrary.ORG - - The problem of education is twofold: first to know, and then to utter. Every one who lives any semblance of an inner life thinks more nobly and profoundly than he speaks; and the best of teachers can impart only broken images of the truth which they perceive. Speech which goes from one to another between two natures, and, what is worse, between two experiences, is doubly relative. The speaker buries his meaning; it is for the hearer to dig it up again; and all speech, written or spoken, is in a dead language until it finds a willing and prepared hearer. Such, moreover, is the complexity of life, that when we condescend upon details in our advice, we may be sure we condescend on error; and the best of education is to throw out some magnanimous hints. No man was ever so poor that he could express all he has in him by words, looks, or actions; his true knowledge is eternally incommu-nicable, for it is a knowledge of himself; and his best wisdom comes to him by no process of the mind, but in a supreme self-dictation, which keeps varying from hour to hour in its dictates with the variation of events and circumstances.
This volume investigates the ways in which the Catholic Church used cinema as a space for action within the complex dynamics of modern mass society. Within this context it analyses the Catholic Church's Tilm policy illuminating for the Tirst time, by means of a systematic analysis, a vast body of documents preserved at the Vatican Secret Archives and at numerous Italian Catholic archives - some of them indexed and opened to scholars. Amongst them we Tind Archivio Storico dell'Istituto Luigi Sturzo [Historical Archive of the Luigi Sturzo Institute] and the Archivio dell'Istituto per la storia dell'Azione Cattolica e del Movimento Cattolico in Italia Paolo VI [Archive of the Institute for the History of Catholic Action and the Catholic Movement in Italy Paul VI]; other only partially indexed like the Nazareno Taddei Archive or faced with the risk of closure, like the Associazione Cattolica Esercenti Cinema [Catholic Exhibitors' Association] Archive.
The Italian Metamorphosis, 1943-1968 is the first book to bring together all aspects of Italian visual culture from this fascinating period. Through seventeen scholarly essays and hundreds of lavish full-color and duotone reproductions, this volume captures the era's greatest achievements in the fields of painting, sculpture, artists' crafts, literature, photography, cinema, fashion, architecture, and design.
Neapolitan Postcards gathers a diverse group of international scholars to investigate unexplored transnational aspects of the intimate yet globally popular canzone napoletana. Performed and beloved worldwide in almost every language, the style had hits such as “Funiculì funiculà” (1880) and “’O sole mio” (1898) which sold millions of copies. These hits fueled the tradition’s spread across the world over the course of the twentieth century with the eventual popularity of covers by singers and musicians of all music genres and styles, from popular music to opera and jazz. This book is the first scholarly work that considers the specific complexities of the international Neapolitan Song scenes through case studies from Argentina, England, Greece, and the United States, employing analyses of compositions, iconographical sources, international films, mechanical musical instruments, performances, and recordings devoted to the canzone napoletana.