Documents found
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9761.More information
AbstractIn this 1985 paper, the author reacts to the notion of copyright laws in the context of a pop culture environment that had transcended the brick-and-mortar principles in which the law was based. The artist leads us to understand the end of the producer-consumer paradigm: “After decades of being the passive recipients of music in packages, listeners now have the means to assemble their own choices, to separate pleasures from the filler. They are dubbing a variety of sounds from around the world, or at least from the breadth of their record collections, making compilations of a diversity unavailable from the music industry, with its circumscribed stables of artists, and an ever more pervasive policy of only supplying the common denominator.” Perhaps one of the strongest ideas in Oswald's paper is rooted in the fact that, by acting as a tight filter focused on big moneymaking hits, most record labels had already entered a vulnerable space in which their final product is not entirely theirs anymore. Oswald clearly articulates why the music -industry, powered by radio [among other distribution vehicles], lost their archaic right to have a tight ownership of every bit of sound. [Camilo La Cruz]
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9762.More information
AbstractIn the Democratic Republic of the Congo (former Zaire), it is generally assumed that popular musicians use magic to increase their popularity. Rumors about musicians describe in great detail their dealings with the occult, especially their alleged connections with human sacrifice. While musicians publicly deny the use of witchcraft, it is not because their position as “modern” musicians precludes this possibility, but because practicing witchcraft is considered anti-social, selfish and unpredictable. With Mobutu in power, corruption is part of a survival plan, and such rumors underline the idea that one can achieve personal success and social mobility by non abritrary means.
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9763.More information
AbstractIn this article, I argue for the positivity of shame, which is to say that shame produces effects that must be understood as simultaneously cultural, social, psychological and physiological. In turn this demands new ways of representing anthropological experience. I enlist ideas developed by Bourdieu and Mauss, and extend them through a consideration of other writers, fictional and academic. I argue for the necessity of telling stories and telling them differently if we are to be up to the challenges of shame.
Keywords: Probyn, honte, intérêt, relations entre indigènes et non-indigènes, expérience affective, Probyn, shame, interest, Indigenous and non-Indigenous relations, affective experience, Probyn, vergüenza, interés, relaciones entre indígenas y no indígenas, experiencia afectiva
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9764.More information
From the end of the 17th century, the rich bestiary of the fables offers an ideal field of exploration to test the hypothesis of the topics of sound. Among the many crows, storks, roosters, owls, pigeons, sparrows, eagles, peacocks, nightingales, most of them have a singular, recognisable, imitable voice. All or almost all of them are anthropomorphised, as well as speak and play a major role in fiction. This article seeks to address the following questions based on the fables of La Fontaine, Perrault, Furetière, Fénelon and Mme de Villedieu in addition to Philippe Desprez and Houdar de la Motte: are bird songs always treated according to aesthetic criteria or according to their effects on the audience? Are there any narrative topoi associated with the songs of birds, or even with the songs of certain birds? Or are birds rather character types with a specific song as a characteristic? What is the place of zoological knowledge in these representations?
Keywords: Singing, Chant, Birds, Oiseaux, Fables, Fables, Effects, Effets, Topoi, Topoï
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