Prince as Queer Poststructuralist

Walser, Robert

doi:10.1080/03007769408591556

Cited by 18 publications

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“…No campo da musicologia, Prince é valorizado pela inventividade musical e poética, pelo virtuosismo como cantor e guitarrista e por sua habilidade singular com as técnicas e equipamentos de gravação. Outro assunto frequentemente abordado pelos musicólogos é sua atitude permanente de desafio à ordem patriarcal e à heteronormatividade (Walser 1994;Hawkins 2009;Hawkins, Nieblock 2011;Hawkins 2017). Em muitas de suas letras, videoclipes e shows, Prince construiu uma persona excêntrica e sexualizada, que incorpora características ao mesmo tempo masculinas e femininas, atraindo o interesse de biógrafos 5 e de pesquisadores de outras áreas, como a de estudos de gênero e sexualidade (Fuchs 1996;Whiteneir 2016;.…”

Section: As Controvérsiasunclassified

“…Em muitas de suas letras, videoclipes e shows, Prince construiu uma persona excêntrica e sexualizada, que incorpora características ao mesmo tempo masculinas e femininas, atraindo o interesse de biógrafos 5 e de pesquisadores de outras áreas, como a de estudos de gênero e sexualidade (Fuchs 1996;Whiteneir 2016;. Em artigo publicado em 1994, o musicólogo Robert Walser (1994) observou que a ambiguidade de Prince quanto à identidade de gênero seria uma expressão de sua insatisfação com a economia de desejos regulada pelas forças do sistema patriarcal. Walser argumenta que o cantor promovia em suas composições e performances o deslocamento constante de signos empregados para afirmar a distinção binária, central para a organização social dos conceitos de gênero, orientação sexual e, no caso norte-americano, de raça.…”

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Crítica musical e a significação social de gravações de Prince nos anos 1980

Lana

2021

Per musi

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Este trabalho aborda um debate social iniciado em meados dos anos 1980 por jornalistas e críticos musicais norte-americanos a respeito de dois discos de Prince. O primeiro, Around the World in A Day, foi lançado em 1985; o segundo, Parade: Music from the Motion Picture Under the Cherry Moon, foi lançado em 1986. O debate em torno desses álbuns foi instigado pela suposição de que eles fariam referências a gravações produzidas pelos Beatles em meados dos anos 1960. Este artigo propõe investigar a relação de Prince com jornalistas e críticos musicais, bem como os papéis exercidos por estes e outros agentes sociais no processo coletivo de significação dos álbuns do artista, incluindo músicos que colaboraram na produção deles.

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Section: As Controvérsiasunclassified

Crítica musical e a significação social de gravações de Prince nos anos 1980

Lana

2021

Per musi

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“…3 "Genderplay" denotes a switching of roles and toying with gender norms in ways that are designed to entertain as well as aspire to strategies of self-fashioning (Hawkins 2009; 2016, 28). See studies by Hawkins and Niblock (2011) and Walser (1994) that place primacy on excavating the particularities of Prince's negotiation of gendered identity. 4 Note that article II of this dissertation appears as a chapter in the collection.…”

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confidence: 99%

“…There are, of course, exceptions here, especially if one considers the broader field of popular music studies. Artists who have received much scholarly attention include Madonna (Bradby 1992;Danielsen and Maasø 2009;Hawkins 2002Hawkins , 2004aHawkins , 2004b, Prince (Danielsen 1997;Hawkins and Niblock 2011;Perone 2008;Walser 1994), and more recently Lady Gaga (Click et al 2013;Halberstam 2012;Iddon and Marshall 2014). See also Baker et.al.…”

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confidence: 99%

“…The concept is revisited and discussed more thoroughly later in this introduction chapter, particularly in relation to personal narrativity (the stories that circulate around pop artists) and how specific parts of artists' identities are conveyed to audiences while others are undercommunicated.3 "Genderplay" denotes a switching of roles and toying with gender norms in ways that are designed to entertain as well as aspire to strategies of self-fashioning (Hawkins 2009; 2016, 28). See studies by Hawkins and Niblock (2011) and Walser (1994) that place primacy on excavating the particularities of Prince's negotiation of gendered identity. 4 Note that article II of this dissertation appears as a chapter in the collection.…”

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Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé’s Partition

Hansen¹

2015

Popular Music and Society

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2017ii"iii"1 Also see Reynolds, who envisions pop coming to an end "not with a BANG but with a box set whose fourth disc you never got around to playing" (2011, ix). " 2"was frequently made evident by the three aforementioned artists. For example, the lyrics from Prince's "I would Die 4 U" (1984) seem to playfully reference how pop artists at times are able to transgress and oppose the strictures of gender -which is bound up with how his persona 2 was characterized to a large degree by genderplay 3while also raising the issue that pinpointing how this is achieved can be an arduous task. Certainly, matters of gender in pop music are intricate. And even though pop performances have the potential to subvert and transgress gender norms, it is striking how prevailing perceptions and expectations of gender persist both in popular culture and in Western culture more generally. As is made clear in this dissertation, gendered representations in pop are more often than not characterized by contesting symbols and signs, which can result in performances that elaborately redress dominant norms in the guise of opposition or innovation.Developments in the field of gender research have happened rapidly. Stan Hawkins (2017, 1) states this in the introduction to The Routledge Research Companion to Popular Music and Gender, 4 a volume that marks the twentieth anniversary of the seminal book on popular music and gender, Sexing the Groove (Whiteley 1997a).Hawkins (2017, 1) also points out that while there has been a surge of interest in research on popular music and gender, there is much work to be done still. Indeed, due to the ever-changing conventions of pop music production, performance, and consumption, there is a necessity for continuously devising new theories and methods for studying gendered identity in pop music. In particular, continuous developments in technology and media practices have led to changes in modes of representation and production that warrant scholarly scrutiny, not least with regard to the increasing significance of media convergence in the staging and showcasing of pop personae. 5 """""""""""""""""""""""""""""""""""""""""""""""""""""""" 2 In my usage of the term "persona" I am referring to the social role that pop artists assume, which can be described as the part of their personal selves that audiences are granted access to. This is not to be confused with how some artists perform in character, one notable example being David Bowie performing as Ziggy Stardust. The concept is revisited and discussed more thoroughly later in this introduction chapter, particularly in relation to personal narrativity (the stories that circulate around pop artists) and how specific parts of artists' identities are conveyed to audiences while others are undercommunicated.3 "Genderplay" denotes a switching of roles and toying with gender norms in ways that are designed to entertain as well as aspire to strategies of self-fashioning (Hawkins 2009; 2016, 28). See studies by Hawkins and Niblock (2011) and Walser (1994) that plac...

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Analysing the voice in popular music with categories of “voice”

Hörner

2019

Contemporary Popular Music Studies

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Prince as Queer Poststructuralist

Cited by 18 publications

References 3 publications

Crítica musical e a significação social de gravações de Prince nos anos 1980

Crítica musical e a significação social de gravações de Prince nos anos 1980

Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé’s Partition

Analysing the voice in popular music with categories of “voice”

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