Disruptive Divas Feminism Identity and Popular Music 1st Edition by Lori Burns, Melisse Lafrance ISBN 0815335539 9780815335535

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ISBN 10: 0815335539 
ISBN 13: 9780815335535
Author: Lori Burns, Melisse Lafrance

Disruptive Divas Feminism Identity and Popular Music 1st Table of contents:

1. Primary Objectives and Critical Stance
2. Terminology and Music Resources
3. Song Lyrics
4. What’s Love Got to Do with It? Affective Engagements and Objects of Inquiry
5. A Cultural Studies Approach to Women and Popular Music
6. Disruptive Divas, Feminism, and Identity: Primary Terms and Concepts
7. Disruption
8. Feminism
9. Identity
10. On “Doing” Cultural Studies
11. The Problematics of Interpretation: Reading Popular Music
12. Author-Centered Reading versus Reader-Centered Reading
13. Reader-Response Criticism
14. Reader-Oriented Criticism and Popular Cultural Texts
15. Making Sense of Popular Music: Cultural Studies Meets Musicology
16. “Close Readings” of Popular Song: Intersections among Sociocultural, Musical, and Lyrical Meanings
17. Musical Engagement and Disciplinarity
18. Musical Content and “Traditional” Music Theory
19. What Do Music Theorists Want?
20. “Meaning” in Music: Toward a Culturally Informed Analysis
21. Codes and Competences.
22. Code Manipulation.
23. Contradictory Meanings and Oppositional Readings.
24. “Ideological” Readings.
25. Feminist Interpretations of Codes.
26. Analytic Method
27. Content Analysis: Lyrical and Musical Elements
28. Interpretive Analysis: Conceptual Framework and Theoretical Categories
29. Musical Meaning (in Relation to Lyrics)
30. Lyrical Meaning (in Relation to Music)
31. Tori Amos, “Crucify” (1991)
32. The Problems of Agency and Resistance in Tori Amos’s “Crucify” (Mélisse Lafrance)
33. “Crucify,” Verse 1: Self-Surveillance, Powerlessness, Discipline
34. “Crucify,” Pre-chorus: The Dual Nature of Femininity
35. “Crucify,” Chorus: Disciplining the Feminine
36. “Crucify,” Verse 2: Resistance
37. “Crucify,” Bridge: The Problem of Resistance
38. Interpretive Summary
39. Musical Agency: Strategies of Containment and Resistance in “Crucify” (Lori Burns)
40. The Video of “Crucify”
41. “Crucify”: Verse
42. “Crucify”: Pre-chorus
43. “Crucify”: Chorus
44. “Crucify”: Bridge and Overall Narrative
45. Courtney Love (Hole), Live through This (1994)
46. Cultures of Injury: Courtney Love on Violence Against Women and the Patriarchal Aesthetic (Mélisse Lafrance)
47. Situating Courtney Love and Hole in the Late-Twentieth-Century Popular Imaginary
48. Reading Courtney Love: Discourse and Power
49. The Politics of Female Corporeality: Feminist Theory, Violence Against Women, and Beauty Culture
50. Feminist Perspectives on Violence against Women
51. Feminist Theories of Patriarchal Beauty Culture
52. Selected Readings of Hole’s Live through This
53. “Asking for It”
54. “Jennifer’s Body”
55. “Miss World.”
56. “Plump.”
57. Musical Force: Violence and Resistance in “Violet” (Lori Burns)
58. General Stylistic Features of “Violet”
59. “Violet”: Verse
60. “Violet”: Pre-chorus
61. “Violet”: Chorus
62. Me’Shell Ndegéocello, “Mary Magdalene” (1996)
63. Textual Subversions: The Narrative Sabotage of Race, Gender, and Desire in the Music of Me’Shell Ndegéocello (Mélisse Lafrance)
64. Poststructuralism and Textuality: Reading as Writing
65. Resistance through Rereading
66. Biblical Interpretations of Mary Magdalene
67. Writing Blackness In
68. Rereading Jesus, Rewriting Salvation
69. Denaturalizing Sex/Destabilizing Desire
70. Me’Shell Ndegéocello: “Critically Queer”
71. Revising the Sexual “Gaze”: Musical Attributions of Power in “Mary Magdalene” (Lori Burns)
72. Lyrical Meaning
73. Musical Meaning
74. “Mary Magdalene”: Introduction
75. “Mary Magdalene”: Verse Lyrics
76. “Mary Magdalene”: Verse Music
77. “Mary Magdalene”: Chorus
78. “Mary Magdalene”: Bridge
79. “Mary Magdalene”: Verse 2 and Final Chorus Sequence
80. Interpretive Conclusions
81. P.J. Harvey, Is This Desire? (1998)
82. Terrains of Trouble: P.J. Harvey and the Topography of Desire (Mélisse Lafrance)
83. Philosophical Perspectives on Desire: Jacques Lacan and Jean-Paul Sartre
84. Mass Media Engagements with Is This Desire?
85. Reading Queer Desire in the Work of P.J. Harvey
86. Selected Readings of the Works on Is This Desire?
87. “Lays Open like a Road”: The Transience of Desire in”Angelene”
88. “In Time I’d Have Won You”: The Vicissitudes of Desire in “Catherine”
89. “She Went out Looking for Someone”: Searching for Fulfilled Desire in “My Beautiful Leah”
90. Interpretive Summary
91. The Crafting of Desire: Musical Voice and Musical Embodiment (Lori Burns)
92. Production.
93. Instrumental Techniques.
94. Vocal Techniques.
95. Musical Design and Structure.
96. “Catherine”
97. “Catherine”: Introduction
98. “Catherine”: Verse
99. “Catherine”: Chorus
100. “Catherine”: Coda
101. “The Garden”
102. “The Garden”: Verses 1 and 2
103. “The Garden”: Chorus
104. “The Garden”: Verse 3 and Final Chorus
105. “Is This Desire?”
106. “Is This Desire?”: Introduction and Verses 1 and 2
107. “Is This Desire?”: Pre-chorus
108. “Is This Desire?”: Chorus
109. “Is This Desire?”: Verse 3 and Final Chorus
110. Appendix 1 Song Lyrics
111. Tori Amos, “Crucify” (1991)

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Tags: Lori Burns, Melisse Lafrance, Disruptive, Divas Feminism