Electric Feel.
Electric Feel: Transduction, Errantry and the Refrainassesses what certain logics gleaned from selected popular music songs might offer to ongoing efforts to renegotiate bonds, institutions and political possibilities shaped by the violences characteristic of capitalism, cisgender and white supremac...
| Publicado en: | Cultural Studies Vol. 28; no. 1; pp. 49 - 84 |
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| Formato: | Essay |
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Taylor & Francis Ltd
Jan2014
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=93009045&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 93009045 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 09502386 05G jtl: Cultural Studies issn: 09502386 maglogo: N pubinfo: dt: Jan2014 vid: 28 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 93009045 10.1080/09502386.2013.779735 ppf: 49 ppct: 35 formats: fmt: – @attributes: type: T – @attributes: type: P size: 216KB tig: atl: Electric Feel. aug: au: Keeling, Kara su: Feminism & music Deleuze, Gilles, 1925-1995 Glissant, Édouard, 1928-2011 Music & politics Anti-racism sug: subj: Feminism & music Deleuze, Gilles, 1925-1995 Glissant, Édouard, 1928-2011 Music & politics Anti-racism keyword: Édouard Glissant Édouard Glissant errantry feminism Gilles Deleuze love popular music ab: Electric Feel: Transduction, Errantry and the Refrainassesses what certain logics gleaned from selected popular music songs might offer to ongoing efforts to renegotiate bonds, institutions and political possibilities shaped by the violences characteristic of capitalism, cisgender and white supremacy, neoliberal multiculturalism and contemporary geopolitics. Making Gilles Deleuze and Felix Guattari's concepts of ‘the Refrain’, and ‘music’ available as heuristics and technologies to contribute to ongoing explorations of the role that sound plays and yet might play in contemporary Euro-American feminist cultural studies, this essay is animated by what might be called, following Édouard Glissant, a mode of ‘scholarly errantry’. If feminism was music and feminists musicians, it could be said that feminism's histories, its preoccupations, its shifting and fluid subjects and debates, its styles, its canonical texts and concepts, are its refrains, the things to which it returns, its territory, the aspects of feminism that exert a force in the world. These have political indices as well as scholarly, creative ones. Insofar as academic feminism traverses disciplines and constitutes itself as such through reference to those narratives and intellectual lineages that it claims as its own, it has carved out a terrain, a ‘field’, and a set of constituents, but nonetheless contested, organizations and their stated priorities, interests and common senses. The present essay asks, what music might contemporary feminisms make when their existing refrains are placed under pressure? How might sound and music offer insightful support for generating and relating concepts to the rapidly changing present circumstances that queer anti-racist feminisms actively participate in shaping? What tales of errantry might such feminisms tell today? pubtype: Academic Journal doctype: Essay src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Cultural Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Cultural Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2014 holdings: @attributes: islocal: N |
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