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Dafydd Sills-Jones, Jouko Aaltonen and Pietari Kaapa

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Prince & the 1980s Reagan Age

Race, Gender, Sexuality, Class, Nation, & Popular Music’s Transnational Routes

Aaron E. Lefkovitz

This book explores the convergences and divergences between two symbolic cultural figures of the late twentieth and early-twenty-first centuries: Prince, a transgressive artist who consistently crossed popular musical, visual cultural, racial, gender, sexual, and national borders, and Ronald Reagan, the paradigmatic figure of the 1980s conservative turn. The text delineates the ways in which each figure illuminates key themes of the 1980s--from the reaction against the 1960s to its hyper-consumerism. Each chapter focuses on relationships between Prince, Reagan, and the cultural politics of race, gender, sexuality, class, and nation, providing broader case studies of the cultural manifestations of each of these categories in late twentieth-century and early-twenty-first century US and transnational cultures. 

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Hip Hop in Urban Borderlands

Music-Making, Identity, and Intercultural Dynamics on the Margins of the Jewish State

Miranda Crowdus

This book explores the role of Hip Hop in negotiating boundaries of identity in contemporary Israel. Hip Hop emerged in Israel in the early 1990s and is performed by many individuals and groups often divided by conflicting aesthetics, ideologies, positionalities, and national identities. Using an ethnographic, interdisciplinary approach, this text highlights the relationships between Jewish and non-Jewish identities operating in South Tel Aviv in grassroots and commercial Hip Hop initiatives. While this book focuses on one urban area, it addresses broader themes relating to popular music and globalization, including the disjuncture between the day-to-day experiences of practitioners and the ideological projections used to define them.

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Roberta Di Carmine

Cultural Metamorphoses in Contemporary Italian Cinema explores four different areas of study in contemporary Italian cinema: the migrants’ social struggle, the decline of the middle class, the isolation of the elderly, and gender inequality. This book focuses on four films produced between 2007 and 2013, specifically Io sono Li (Shun Li and the Poet, 2011), Giorni e nuvole (Days and Clouds, 2007), Pranzo di ferragosto (Mid-August Lunch, 2008), and Viaggio sola (A Five Star Life, 2013), examining a slice of contemporary Italian cinema to highlight specific socio-economic changes within the country over the past decade. Italian filmmakers Andrea Segre, Silvio Soldini, Gianni Di Gregorio, and Maria Sole Tognazzi concentrate on themes that refer to "metamorphoses" to exemplify several Italian societal changes deeply affected by economic challenges and strongly rooted in male-dominant ideology. These Italian filmmakers reevaluate cultural traditions and societal roles by depicting unconventional narratives and identities in their films and giving "voice to the voiceless."

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Edited by Germán Toro-Pérez

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Edited by Jacques Chamay and Jean-Paul Descoeudres

Adonis, the beautiful youth, born of the myrrh tree, loved by both Aphrodite and Persephone, hardly needs any introduction. His legend, of Oriental origin, spread early and rapidly to Greece and Italy. In Athens, his cult is attested as early as the 5th century, though representations of him in the arts remain surprisingly rare. Not so in South Italy, where from the early 4th century on his myth inspired some of the greatest vase-painters, especially in Apulia.

As the present systematic and richly illustrated analysis of his representations in South Italian Vase-painting, shows, Adonis played in Magna Graecia a much more important role than had hitherto been suspected.

Internationally recognized as the expert on South Italian Vase-painting, Alexander Cambitoglou has co-authored with Arthur Dale Trendall the fundamental work on its main school: The Red-figured Vases of Apulia, I: Early and Middle Apulian (1978) and II: Late Apulian (1982), and First and Second Supplement to The Red-figured Vases of Apulia (1983 and 1991). With Chr. Aellen and J. Chamay he has published Le peintre de Darius et son milieu in 1986 and again with J. Chamay in 1997, Céramique de Grande Grèce. La collection de fragments H. A. Cahn, and in 2006 Le don de la vigne: vase antique du baron Edmond de Rothschild (Matteo Campagnolo co-author). More recently, the two first Australian CVA fascicules have appeared in which he presents, with M. Turner as co-author, the collection of red-figured pottery from Apulia held by The University of Sydney’s Nicholson Museum (fasc. 1: 2008, 2: 2014). His work on Adonis’ plants has just come out in J. Chamay’s translation: Les plantes d’Adonis. Essai (Etudes genevoises sur l’Antiquité. Cahiers vol. 2, 2018).

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Zuzana Ben Lassoued-Balazsházyová

Reception of Diana Krall, Unique Jazz Phenomenon tracks Diana Krall’s piano and vocal interpretation from early to advanced development. Author analyzes her music compared to the major jazz pianists and vocalists and traces her European roots combined with North American influence. Musicality, aesthetics, and original interpretation are defined factors for the communication between the listener and the performer and the main characteristics of Diana Krall’s interpretation. Described are also influences of social media, management, marketing and the position of the woman in this society.

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Queering Freedom: Music, Identity and Spirituality

(Anthology with perspectives from over ten countries)

Edited by Karin Hendricks and June Boyce-Tillman

This book is intended to challenge the status quo of music learning and experience by intersecting various musical topics with discussions of spirituality and queer studies. Spanning from the theoretical to the personal, the authors utilize a variety of approaches to query how music makers might blend spirituality’s healing and wholeness with queer theory’s radical liberation.

Queering Freedom: Music, Identity and Spirituality represents an eclectic mix of historical, ethnomusicological, case study, narrative, ethnodramatic, philosophical, theological, and theoretical contributions. The book reaches an international audience, with invited authors from around the world who represent the voices and perspectives of over ten countries. The authors engage with policy, practice, and performance to critically address contemporary and historical music practices. Through its broad and varied writing styles and representations, the collection aims to shift perspectives of possibility and invite readers to envision a fresh, organic, and more holistic musical experience.

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Performance of Identity of Polish Tatars

From Religious Holidays to Everyday Rituals


Barbara Pawlic-Miskiewicz

The book presents the Tatar community in a new perspective, with its rituals and strategies that allow it to maintain the identity and distinguish itself, using categories of performance and performativity which – despite problems with normative definitions – have permanently entered a dictionary of culture analysis. The author describes and analyses Tatar religion-based customs and traditions, key moments of human life, as well as selected aspects of everyday life, which may be considered within the category of performances of identity. Tatar performances are deeply rooted in religion: Islam is a fundamental part of their identity and element of distinction. Following and performing the religious rules is strictly connected with the notions of ethnic identity and self-identification. Religious performances also serve them to preserve the figure of a Muslim Tatar.

This book is a unique work documenting the life of the Tatar ethnic minority.

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Otto Dix and the First World War

Grotesque Humor, Camaraderie and Remembrance

Michael Mackenzie

Otto Dix fought in the First World War for the better part of four years before becoming one of the most important artists of the Weimar era. Marked by the experience, he made monumental, difficult and powerful works about it. Whereas Dix has often been presented as a lone voice of reason and opposition in Germany between the wars, this book locates his work squarely in the mainstream of Weimar society. Informed by recent studies of collective remembrance, of camaraderie, and of the popular, working-class socialist groups that commemorated the war, this book takes Dix’s very public, monumental works out of the isolation of the artist’s studio and returns them to a context of public memorials, mass media depictions, and the communal search for meaning in the war. The author argues that Dix sought to establish a community of veterans through depictions of the war experience that used the soldier’s humorous, grotesque language of the trenches and that deliberately excluded women and other non-combatants. His depictions were preoccupied with heteronormativity in the context of intimate touch and tenderness between soldiers at the front and with sexual potency in the face of debilitating wounds suffered by others in the war.