Popular music and World War II: The rhetoric of continuation

Mohrmann, G. P.; Scott, Fran

doi:10.1080/00335637609383328

Cited by 18 publications

(3 citation statements)

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“…This liter-THE RHYTHM OF RHETORIC 255 ature divides itself between concerns over the general influence of music on rhetorical form (Holmberg, 1985;Knupp, 1981;LeCoat, 1976 andMorhmann &Scott, 1976) and approaching music as a medium from a rhetorical standpoint, (Auld, 1984;Burns, 1988;Chaffee, 1985;Francesconi, 1986;Lull, 1985Lull, , 1987McLaughlin, 1970;Rasmussen, 1994;Rickert, 1979and Shepherd, 1985.…”

Section: Musical and Rhetorical Theorymentioning

confidence: 97%

The rhythm of rhetoric: Jesse Jackson at the 1988 democratic national convention

Wilson

1996

Southern Communication Journal

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Section: Musical and Rhetorical Theorymentioning

confidence: 97%

The rhythm of rhetoric: Jesse Jackson at the 1988 democratic national convention

Wilson

1996

Southern Communication Journal

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“…During World War II, music was used among Canadian soldiers to boost morale rather than to explicitly excite the men into battle (Pieslak, 2009). Popular songs in the 1930s came from American artists and were marked by the influence of jazz, with lyrics that continued to address separation caused by war, stories of happy resolutions, reinscribing American cultural values rather than being overtly patriotic (Mohrmann & Scott, 1976;Pieslak, 2009). "The attachment to loved ones, the goodness and purity of servicemen, the righteousness of the cause…such themes were regular in the music, and they were most successful when treated with humor or when couched in forms that made them singable, danceable, or both" (Mohrmann & Scott, 1976, p. 155).…”

Section: Caring Tensionsmentioning

confidence: 99%

“…"The attachment to loved ones, the goodness and purity of servicemen, the righteousness of the cause…such themes were regular in the music, and they were most successful when treated with humor or when couched in forms that made them singable, danceable, or both" (Mohrmann & Scott, 1976, p. 155). The use of music as entertainment and morale improvement was so pervasive, that Mohrmann and Scott (1976) argued that "America swung rather than marched into World War II" (p. 145). In Canada, by 1942, the federal government realized that morale was at an all-time low and acknowledged that this was negatively impacting soldiers' experiences of battle exhaustion, discipline within their units, and combat performance.…”

Section: Caring Tensionsmentioning

confidence: 99%

Performing Veteranhood Through the Creative Arts: An Ethnographic Study of Recognition and Sociality Among Veterans Living in a Canadian Seniors’ Village

Graham¹

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This research explores the performance of veteranhood through the creative arts. It investigates how music-making affects sociality and recognition of Canadian World War II and Korean War veterans living in long-term care. I draw upon phenomenology as the guiding theoretical framework to explore the embodied dimensions of sociality, recognition, and performance of veteran identity through the creative arts. This dissertation draws upon other theorists beyond phenomenology to analyze the myriad dimensions of institutional veteran care. I make the following arguments in this dissertation: First, I argue that the veteran-residents were provided with care for their physical well-being, as well as care for their social identities as veterans. I iii Table of Contents v Chapter 1: Introduction The Social Contract The Field site The Connection between Veterans and the Arts Constructing a Meaningful Life through the Arts Caring Tensions Positionality and Methodology Chapter Outline Chapter 2: Literature Review and Theoretical Framework Institutional Ethnographies on Ageing Canadian Veterans in Long-Term Care Anthropological Engagements with Ageing Critiques of Biomedicine The Biomedicalization of Dementia Sociality through a Phenomenological Lens Intersubjectivity and the We-Relation Music-making as Embodied Selfhood and Sociality Creative Arts as Therapy Contribution to the Field Chapter 3: Restoring a Generation of Veterans Treating the Biological Body A Cup of Coffee and a Song vi Treating the "Living Death" Remembering Veteran Identity Re-experiencing shared pasts through song The Creative Arts as Milieu Therapy Conclusion Chapter 4: Becoming a Resident Being Acted Upon The Medicalization of Life and Fragmentation of Self Becoming a "Resident" Day Schedules and Docile Bodies Crisis and Protracted Liminality Back to the Barracks: Living together as Veteran-Residents Reclaiming Agency Performative Struggles for Recognition through Idioms of Resistance "This is my house" "I'm not invited in my own home" Re-possessing Selfhood Conclusion Chapter 5: Ambivalence and Parallel Doxas of Care The Social Field of Care Staff Portering between Doxas of Care Invitations to Play as an Invitation to Expand the Self Shifting Between Modes of Being: I'm not in the Jazz Band Returning Them to What? "Doing the Stats" Conclusion Chapter 6: Constructing New Personhoods through Group Music-Making Evoking New Identities in a Musical Milieu vii Peer Recognition The Jazz Café Conclusion Chapter 7: The Politics of Recognition "Dispensia" Reprise The Ethopolitics of Veteran Care A Veteran-Centred Milieu Self-Presentation and Singing "In," not "Out" of the Choir Recognizing Veterans on Remembrance Day The Politics of Recognition A Selected Few Singing for a Generation Conclusion Chapter 8: Conclusion Future Research Directions References 1 Chapter country would provide pension income to all who needed it. An engineer from Toronto, Walter Segsworth, spearheaded the idea that the soldiers recovering in hospital could be taught to be busy. "Young wo...

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Art Versus Science as Ways of Generating Knowledge About Materialism

Belk¹

1966

Perspectives on Methodology in Consumer Research

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Popular music and World War II: The rhetoric of continuation

Cited by 18 publications

References 2 publications

The rhythm of rhetoric: Jesse Jackson at the 1988 democratic national convention

The rhythm of rhetoric: Jesse Jackson at the 1988 democratic national convention

Performing Veteranhood Through the Creative Arts: An Ethnographic Study of Recognition and Sociality Among Veterans Living in a Canadian Seniors’ Village

Art Versus Science as Ways of Generating Knowledge About Materialism

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