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Country Boys et Redneck Women : Nouveaux essais sur le genre et la musique country BON
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5,22 USD (environ 4,51 EUR) USPS Media MailTM.
Lieu où se trouve l'objet : Pawleys Island, South Carolina, États-Unis
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Estimé entre le jeu. 7 août et le mar. 12 août à 94104
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Numéro de l'objet eBay :266959761332
Caractéristiques de l'objet
- État
- Bon état
- Commentaires du vendeur
- “clean and unmarked, actual photo of item offered”
- ISBN
- 9781496805058
À propos de ce produit
Product Identifiers
Publisher
University Press of Mississippi
ISBN-10
1496805054
ISBN-13
9781496805058
eBay Product ID (ePID)
217102777
Product Key Features
Book Title
Country Boys and Redneck Women : New Essays in Gender and Country Music
Number of Pages
304 Pages
Language
English
Topic
History & Criticism, Gender Studies, Composers & Musicians, Popular Culture, Women's Studies, Genres & Styles / Country & Bluegrass
Publication Year
2016
Illustrator
Yes
Genre
Music, Social Science, Biography & Autobiography
Book Series
American Made Music Ser.
Format
Trade Paperback
Dimensions
Item Height
0.8 in
Item Weight
17.9 Oz
Item Length
9.1 in
Item Width
6 in
Additional Product Features
Intended Audience
Trade
LCCN
2015-023700
Dewey Edition
23
Reviews
"This thoughtful collection of essays offers compelling evidence that a gendered lens helps us understand how country music negotiates its own generic identity, as well as ongoing issues in authenticity, race, class, and social relations. The editors of the groundbreaking A Boy Named Sue have collected a powerful new series of essays that incorporate subsequent developments in masculinity studies, as well as in country music scholarship. The collection shows the value and necessity of methodological variety and interdisciplinarity, and it documents the global reach of country music as it addresses dislocations both individual and collective. It will be of interest not only to scholars in gender studies and country music but also to anyone interested in how the many tensions between tradition and transgression are constantly being negotiated in popular culture." --Joli Jensen, Hazel Rogers Professor of Communication at the University of Tulsa and author of The Nashville Sound, In this sequel to their highly ambitious and successful A Boy Named Sue , Pecknold and McCusker have produced a collection that more than stands on its own. The essays presented, while recalling insights of the original, address new research, topics, and trends that reflect a dynamic and vibrant field. Ultimately, Country Boys and Redneck Women argues cogently that gender is central to understanding country musics past, present, and future.Michael T. Bertrand, author of Race, Rock, and Elvis, This thoughtful collection of essays offers compelling evidence that a gendered lens helps us understand how country music negotiates its own generic identity, as well as ongoing issues in authenticity, race, class, and social relations. The editors of the groundbreaking A Boy Named Sue have collected a powerful new series of essays that incorporate subsequent developments in masculinity studies, as well as in country music scholarship. The collection shows the value and necessity of methodological variety and interdisciplinarity, and it documents the global reach of country music as it addresses dislocations both individual and collective. It will be of interest not only to scholars in gender studies and country music but also to anyone interested in how the many tensions between tradition and transgression are constantly being negotiated in popular culture.Joli Jensen, Hazel Rogers Professor of Communication at the University of Tulsa and author of The Nashville Sound, In this sequel to their highly ambitious and successful A Boy Named Sue , Pecknold and McCusker have produced a collection that more than stands on its own. The essays presented, while recalling insights of the original, address new research, topics, and trends that reflect a dynamic and vibrant field. Ultimately, Country Boys and Redneck Women argues cogently that gender is central to understanding country music's past, present, and future., This thoughtful collection of essays offers compelling evidence that a gendered lens helps us understand how country music negotiates its own generic identity, as well as ongoing issues in authenticity, race, class, and social relations. The editors of the groundbreaking A Boy Named Sue have collected a powerful new series of essays that incorporate subsequent developments in masculinity studies, as well as in country music scholarship. The collection shows the value and necessity of methodological variety and interdisciplinarity, and it documents the global reach of country music as it addresses dislocations both individual and collective. It will be of interest not only to scholars in gender studies and country music but also to anyone interested in how the many tensions between tradition and transgression are constantly being negotiated in popular culture., "In this sequel to their highly ambitious and successful A Boy Named Sue , Pecknold and McCusker have produced a collection that more than stands on its own. The essays presented, while recalling insights of the original, address new research, topics, and trends that reflect a dynamic and vibrant field. Ultimately, Country Boys and Redneck Women argues cogently that gender is central to understanding country music's past, present, and future." --Michael T. Bertrand, author of Race, Rock, and Elvis
Dewey Decimal
781.642081
Synopsis
Country music boasts a long tradition of rich, contradictory gender dynamics, creating a world where Kitty Wells could play the demure housewife and the honky-tonk angel simultaneously, Dolly Parton could move from traditionalist "girl singer" to outspoken trans rights advocate, and current radio playlists can alternate between the reckless masculinity of bro-country and the adolescent girlishness of Taylor Swift. In this follow-up volume to A Boy Named Sue, some of the leading authors in the field of country music studies reexamine the place of gender in country music, considering the ways country artists and listeners have negotiated gender and sexuality through their music and how gender has shaped the way that music is made and heard. In addition to shedding new light on such legends as Wells, Parton, Loretta Lynn, and Charley Pride, it traces more recent shifts in gender politics through the performances of such contemporary luminaries as Swift, Gretchen Wilson, and Blake Shelton. The book also explores the intersections of gender, race, class, and nationality in a host of less expected contexts, including the prisons of WWII-era Texas, where the members of the Goree All-Girl String Band became the unlikeliest of radio stars; the studios and offices of Plantation Records, where Jeannie C. Riley and Linda Martell challenged the social hierarchies of a changing South in the 1960s; and the burgeoning cities of present-day Brazil, where "college country" has become one way of negotiating masculinity in an age of economic and social instability., Essays that overthrow stereotypes and demonstrate the genre's power and mystique. Contributions by Georgia Christgau, Alexander S. Dent, Leigh H. Edwards, Caroline Gnagy, Kate Heidemann, Nadine Hubbs, Jocelyn Neal, Åse Ottosson, Travis Stimeling, Matthew D. Sutton, and Chris Wilson Country music boasts a long tradition of rich, contradictory gender dynamics, creating a world where Kitty Wells could play the demure housewife and the honky-tonk angel simultaneously, Dolly Parton could move from traditionalist ""girl singer"" to outspoken trans rights advocate, and current radio playlists can alternate between the reckless masculinity of bro-country and the adolescent girlishness of Taylor Swift. In this follow-up volume to A Boy Named Sue, some of the leading authors in the field of country music studies reexamine the place of gender in country music, considering the ways country artists and listeners have negotiated gender and sexuality through their music and how gender has shaped the way that music is made and heard. In addition to shedding new light on such legends as Wells, Parton, Loretta Lynn, and Charley Pride, it traces more recent shifts in gender politics through the performances of such contemporary luminaries as Swift, Gretchen Wilson, and Blake Shelton. The book also explores the intersections of gender, race, class, and nationality in a host of less expected contexts, including the prisons of WWII-era Texas, where the members of the Goree All-Girl String Band became the unlikeliest of radio stars; the studios and offices of Plantation Records, where Jeannie C. Riley and Linda Martell challenged the social hierarchies of a changing South in the 1960s; and the burgeoning cities of present-day Brazil, where ""college country"" has become one way of negotiating masculinity in an age of economic and social instability., Country music boasts a long tradition of rich, contradictory gender dynamics, creating a world where Kitty Wells could play the demure housewife and the honky-tonk angel simultaneously, Dolly Parton could move from traditionalist "girl singer" to outspoken trans rights advocate, and current radio playlists can alternate between the reckless masculinity of bro-country and the adolescent girlishness of Taylor Swift. In this follow-up volume to A Boy Named Sue , some of the leading authors in the field of country music studies reexamine the place of gender in country music, considering the ways country artists and listeners have negotiated gender and sexuality through their music and how gender has shaped the way that music is made and heard. In addition to shedding new light on such legends as Wells, Parton, Loretta Lynn, and Charley Pride, it traces more recent shifts in gender politics through the performances of such contemporary luminaries as Swift, Gretchen Wilson, and Blake Shelton. The book also explores the intersections of gender, race, class, and nationality in a host of less expected contexts, including the prisons of WWII-era Texas, where the members of the Goree All-Girl String Band became the unlikeliest of radio stars; the studios and offices of Plantation Records, where Jeannie C. Riley and Linda Martell challenged the social hierarchies of a changing South in the 1960s; and the burgeoning cities of present-day Brazil, where "college country" has become one way of negotiating masculinity in an age of economic and social instability.
LC Classification Number
ML3524.C615 2016
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- c***i (151)- Évaluations laissées par l'acheteur.Dernier moisAchat vérifiéThe quality, condition, value, and appearance are all perfect. Perfect shipping, book packaged safely, and shipping was fast. The seller is an awesome person who helped me out with getting this book in my collection. Will 100% do business with again.
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- a***c (246)- Évaluations laissées par l'acheteur.Dernier moisAchat vérifiéExcellent in all respects. Outstanding value. Accurate description, very well packaged and quick delivery.
lawrencelegend
100% d'évaluations positives•5,6 000 objets vendus
Inscrit comme vendeur particulierEn conséquence, les droits des consommateurs découlant de la législation européenne ne s'appliquent pas. La Garantie client eBay continue de s'appliquer pour la plupart des achats.
Catégories populaires de cette Boutique
Évaluations du vendeur (2.477)
- c***i (151)- Évaluations laissées par l'acheteur.Dernier moisAchat vérifiéThe quality, condition, value, and appearance are all perfect. Perfect shipping, book packaged safely, and shipping was fast. The seller is an awesome person who helped me out with getting this book in my collection. Will 100% do business with again.
- o***o (3630)- Évaluations laissées par l'acheteur.Dernier moisAchat vérifiéexcellent LP
- a***c (246)- Évaluations laissées par l'acheteur.Dernier moisAchat vérifiéExcellent in all respects. Outstanding value. Accurate description, very well packaged and quick delivery.