Subcultures, Bodies and Spaces: Essays on Alternativity and Marginalization最新文献

{"title":"Chapter 4. Torment[Her] (Misogyny as an Artistic Device): Alternative Perspectives on the Misogynist Aesthetic of W.A.S.P.’s ‘The Rack’","authors":"Gareth Heritage","doi":"10.1108/978-1-78756-511-120181017","DOIUrl":"https://doi.org/10.1108/978-1-78756-511-120181017","url":null,"abstract":"","PeriodicalId":439873,"journal":{"name":"Subcultures, Bodies and Spaces: Essays on Alternativity and Marginalization","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132114612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Chapter 9. Out of Time: Anohni and Transgendered/Trans Age Transgression","authors":"A. Gardner","doi":"10.1108/978-1-78756-511-120181010","DOIUrl":"https://doi.org/10.1108/978-1-78756-511-120181010","url":null,"abstract":"The 82-year-old Black Avant-garde artist Lorraine O’Grady stares out of a black screen, she is unclothed bar a pair of silver earrings and choker; her mouth is painted a bright vermilion red. She lip-synchs to Anohni’s single ‘Marrow’ taken from the 2016 album Hopelessness. This ageing Black female artist is Anohni’s avatar, the image that represents her within a popular audio-visual culture, circulating on YouTube. \u0000 \u0000Anohni is a transgender musician whose recent 2016 and 2017 musical work and artistic collaborations emphasise intersectionality and feminism’s relationship with ecology. This chapter uses the music videos for Hopelessness and Paradise as a springboard from which to argue the complexity of transgressive potential in relation to ageing and ‘othered’ femininities. All except one of the videos use a similar method of inserting Anohni’s transgendered voice into the mouths of Black, ageing, non-normative women in what I argue is a strategy of displacement that doubles up the transgressive potential of Anohni’s work. She upsets a singular subjectivity through this process and also, if we think of her voice and its vocalisation as being some how out of sync, in so far as it is displaced, then her work also prioritises a sense of being ‘out of time’. \u0000 \u0000The chapter works primarily with two of Judith Halberstam’s concepts from her 2005 writing on ‘Queer temporality’ where she argues for the concept of a ‘queer time’ that lies beyond the logics of heteronormative and capitalist temporal certitude and trajectory and for the ‘patina of transgression’ (p.19) that transgendered bodies suggest. It formulates how the audio-visual contributions of one transgendered artist ushers into popular culture versions of liminal and flexible subjectivities in relation to gender and age that also encompass race and sexuality. This is a lot to deal with but it uses O’Grady’s work on miscegenation ‘When Margins become Centers’ (CCVA exhibition, 10/2015 – 01/2016) and work on TimeSpace and ageing (May and Thrift, 2001; Moglen, 2008; Baars, 2012; Hawkins, 2016) to ask questions about the transgressive potential of both transgendered voices and of ageing bodies, whose presence is emblematic of a ‘queer time’ (p.4), a kind of temporality that is ‘wilfully eccentric’ (p.1) and subject to a non normative life-course.","PeriodicalId":439873,"journal":{"name":"Subcultures, Bodies and Spaces: Essays on Alternativity and Marginalization","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131420187","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Chapter 11. Ageing Alternative Women: Discourses of Authenticity, Resistance and ‘Coolness’","authors":"S. Holland","doi":"10.1108/978-1-78756-511-120181012","DOIUrl":"https://doi.org/10.1108/978-1-78756-511-120181012","url":null,"abstract":"Abstract \u0000Authenticity is a key issue in any study of subcultures or groups who define themselves as alternative. I will discuss three different stages of research about ‘alternative’ women, with interviews conducted in the late 1990s, and then return interviews with some of the original participants in 2010 and 2018. At all three stages of data collection, the participants were at pains to place themselves as distanced or marginalized from the mainstream, by choice, articulated in various ways. At the same time, they placed themselves as being authentic or at the centre, with people they termed as part-timers, newbies, tourists and weekenders existing on the periphery and at the margins. How do they measure their place in the hierarchy, and whose hierarchy is it? The chapter asks, what is authenticity in alternative subcultures, why is it so important that such marginalized groups are authentic (to themselves, as well as to outsiders), and how do they achieve it. The chapter also explores how ageing and gender impacts on the participants’ identities as alternative women.","PeriodicalId":439873,"journal":{"name":"Subcultures, Bodies and Spaces: Essays on Alternativity and Marginalization","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121121609","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Chapter 5. Reight Mardy Tykes: Northernness, Peaceville Three and Death/Doom Music World","authors":"M. Yavuz","doi":"10.1108/978-1-78756-511-120181006","DOIUrl":"https://doi.org/10.1108/978-1-78756-511-120181006","url":null,"abstract":"Abstract \u0000After the extreme turn of the late 1980s and early 1990s of metal music, three northern England-based bands – My Dying Bride and Paradise Lost from Bradford, and Anathema from Liverpool, commonly referred to as ‘the Peaceville Three’ – went on to pioneer the musical style which came to be known as death/doom. Mid-1990s have seen these bands’ stylistic shift into a more gothic rock-influenced sound. This Paradise Lost-led shift gave birth to the style gothic/doom. Around this deviation, these bands also started to employ a different sense, or rather a sense, of locality in their music: Paradise Lost started calling themselves a Yorkshire band, instead of specifically Bradford; Anathema shot a video for their 1995 song ‘The Silent Enigma’ in Saddleworth Moor (historically part of West Riding of Yorkshire) in Manchester; and later, My Dying Bride became more and more ingrained in the Goth culture of Whitby, including releasing an extended-play titled The Barghest o’ Whitby (2011), a Dracula-inspired trail guide, and frequently appearing in festivals in Whitby. This ethnographic research with both musicians and fans further suggests the involvement of the North in making and perception of gothic/doom. Applying Michel de Certau’s idea stating that ‘every story is a spacial practice’ within the context of northern England landscape, gothic/doom metal style emerges as an act of northernness. The author proposes to discuss how this act is performed within these bands’ oeuvre and how it is perceived from the listener perspective using interviews with people from around the world, and musicological analyses of significant songs from the repertoire of this trio.","PeriodicalId":439873,"journal":{"name":"Subcultures, Bodies and Spaces: Essays on Alternativity and Marginalization","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117129452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Chapter 1. Do Androids Dream of Electric Sheep Dressed in Street Fashions?: Investigating Virtually Constructed Fashion Subcultures","authors":"Therèsa M. Winge","doi":"10.1108/978-1-78756-511-120181003","DOIUrl":"https://doi.org/10.1108/978-1-78756-511-120181003","url":null,"abstract":"Abstract \u0000In May 2016, Aleks Eror’s op-ed article ‘Dear fashion industry: Stop making up bogus subcultures’ on the HighSnobiety website accuses the fashion industry of creating ‘quasi-subcultures’, such as Normcore, Seapunk and Health Goth to promote specific fashion trends via the Internet. Eror argues that these fashion subcultures do not exist in resistance to mainstream culture (as he understands subcultures), but instead offer the specific fashions and their designers cache for being associated with a counterculture and connecting with alternative trends. Setting aside Eror’s narrow understanding of subcultures, he raises questions of authenticity and the current state of virtual fashion subcultures. \u0000 \u0000Still, there is evidence of these subcultures online and growing in substantial numbers regardless of their inception. Furthermore, persons identifying themselves with these groups practice alternativity, which delineates their scenes, artefacts, and practices from those of mainstream Western society. I pursue questions of authenticity regarding these recent fashion subcultures who appear to emerge in close proximity to the launch of specific fashions. The author explores the ways in which these fashion subcultural experiences differ from known subcultures. The author investigates notions of constructed resistance and perceived alternativity and marginalization, as well as how that positionality manifests into a fashion subculture identity.","PeriodicalId":439873,"journal":{"name":"Subcultures, Bodies and Spaces: Essays on Alternativity and Marginalization","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114602706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Index","authors":"","doi":"10.1108/978-1-78756-511-120181018","DOIUrl":"https://doi.org/10.1108/978-1-78756-511-120181018","url":null,"abstract":"","PeriodicalId":439873,"journal":{"name":"Subcultures, Bodies and Spaces: Essays on Alternativity and Marginalization","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127628172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}