contextualizing the duo’s work within british comedy, shakespeare criticism, the history of sexuality, and their own historical moment, this book offers the first sustained analysis of the 20th century’s most successful double-act. over the course of a forty-four-year career (1940-1984), eric morecambe & ernie wise appropriated snippets of verse, scenes, and other elements from seventeen of shakespeare’s plays more than one-hundred-and-fifty times. fashioning a kinder, more inclusive world, they deployed a vast array of elements connected to shakespeare, his life, and institutions. rejecting claims that they offer only nostalgic escapism, hamrick analyses their work within contemporary contexts, including their engagement with many forms and genres, including variety, the heritage industry, journalism, and more. ‘the boys’ deploy shakespeare to work through issues of class, sexuality, and violence. lesbianism, drag, gay marriage, and a queer aesthetics emerge, helping to normalize homosexuality and complicate masculinity in the ‘permissive’ 1960s.
reimagining how we understand and write about the indigenous listening experience?
hungry listening is the first book to consider listening from both indigenous and settler colonial perspectives. a critical response to what has been called the “whiteness of sound studies,” dylan robinson evaluates how decolonial practices of listening emerge from increasing awareness of our listening positionality. this, he argues, involves identifying habits of settler colonial perception and contending with settler colonialism’s “tin ear” that renders silent the epistemic foundations of indigenous song as history, law, and medicine.
with case studies on indigenous participation in classical music, musicals, and popular music, hungry listening examines structures of inclusion that reinforce western musical values. alongside this inquiry on the unmarked terms of inclusion in performing arts organizations and compositional practice, hungry listening offers examples of “doing sovereignty” in indigenous performance art, museum exhibition, and gatherings that support an indigenous listening resurgence.
throughout the book, robinson shows how decolonial and resurgent forms of listening might be affirmed by writing otherwise about musical experience. through event scores, dialogic improvisation, and forms of poetic response and refusal, he demands a reorientation toward the act of reading as a way of listening. indigenous relationships to the life of song are here sustained in writing that finds resonance in the intersubjective experience between listener, sound, and space.
(来源indiebound) (1)检索条件： Acting. ( 主题词 )
加入成功
没有可借图书，您可对该书进行预约，等书还回后会按照预约顺序分配给您
确定预约