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This monograph offers a unique analysis of social protest in
popular music. It presents theoretical descriptions, methodological
tools, and an approach that encompasses various fields of
musicology, cultural studies, semiotics, discourse analysis, media
studies, and political and social sciences. The author argues that
protest songs should be taken as a musical genre on their own. He
points out that the general approach, when discussing these songs,
has been so far that of either analyzing the lyrics or the social
context. For some reason, the music itself has been often
overlooked. This book attempts to fill this gap. Its central thesis
is that a complete overview of these repertoires demands a thorough
interaction among contextual, lyrical, and musical elements
together. To accomplish this, the author develops a novel model
that systemizes and investigates musical repertoires. The model is
then applied to four case studies, those, too, chosen among topics
that are little (or not at all) frequented by scholars.
The book aims to introduce a research concept called "Numanities",
as one possible attempt to overcome the current scientific, social
and institutional crisis of the humanities. Such crisis involves
their impact on, and role within, society; their popularity among
students and scholars; and their identity as producers and
promoters of knowledge. The modern western world and its economic
policies have been identified as the strongest cause of such a
crisis. Creating the conditions for, but in fact encouraging it.
However, a self-critical assessment of the situation is called for.
Our primary fault as humanists was that of stubbornly thinking that
the world's changes could never really affect us, as - we felt -
our identity was sacred. In the light of these approaches, the main
strengths of humanities have been identified in the ability to:
promote critical thinking and analytical reasoning; provide
knowledge and understanding of democracy and social justice;
develop leadership, cultural and ethical values. The main problems
of humanities are the lack economic relevance; the
socio-institutional perception of them as "impractical" and
unemployable; the fact that they do not match with technological
development. Finally, the resulting crisis consists mainly in the
absence (or radical reduction) of funding from institutions; a
decrease in student numbers a decrease in interest; a loss of
centrality in society. A Numanities (New Humanities) project should
consider all these aspects, with self-critical assessment on the
first line. The goal is to unify the various fields, approaches and
also potentials of the humanities in the context, dynamics and
problems of current societies, and in an attempt to overcome the
above-described crisis. Numanities are introduced not as a
theoretical paradigm, but in terms of an "umbrella-concept" that
has no specific scientific content in it: that particularly means
that the many existing new fields and research trends that are
addressing the same problems (post-humanism, transhumanism,
transformational humanities, etc.) are not competitors of
Numanities, but rather possible ways to them. Therefore, more than
a theoretical program, Numanities intend to pursue a mission, and
that is summarized in a seven-point manifesto. In the light of
these premises and reflections, the book then proceeds to identify
the areas of inquiry that Numanities, in their functions and
comprehensive approach, seek to cover. The following list should
also be understood as a statement of purposes for this entire book
series. These, in other words, will be the topics/areas we intend
to represent. Once elaborated on the foundations of Numanities, the
book features a second part that presents two case studies based on
two relatively recent (and now updated) investigations that the
author has performed in the fields of musical and animal studies
respectively. The two cases (and relative areas of inquiry) were
selected because they were considered particularly relevant within
the discussion of Numanities, and in two different ways. In the
first case-study the author discussed the most typical result (or
perhaps cause?) of the technophobic attitude that was addressed in
the first part of the book: the issue of "authenticity", as
applied, in the author's particular study, to popular music. In the
second case-study, he analyzes two different forms of comparative
analysis between human and non-human cognition: like in the former
case, this study, too, is aimed at a critical commentary on (what
the author considers) redundant biases in current humanistic
research - anthropocentrism and speciesism.
This monograph offers a unique analysis of social protest in
popular music. It presents theoretical descriptions, methodological
tools, and an approach that encompasses various fields of
musicology, cultural studies, semiotics, discourse analysis, media
studies, and political and social sciences. The author argues that
protest songs should be taken as a musical genre on their own. He
points out that the general approach, when discussing these songs,
has been so far that of either analyzing the lyrics or the social
context. For some reason, the music itself has been often
overlooked. This book attempts to fill this gap. Its central thesis
is that a complete overview of these repertoires demands a thorough
interaction among contextual, lyrical, and musical elements
together. To accomplish this, the author develops a novel model
that systemizes and investigates musical repertoires. The model is
then applied to four case studies, those, too, chosen among topics
that are little (or not at all) frequented by scholars.
The book aims to introduce a research concept called "Numanities",
as one possible attempt to overcome the current scientific, social
and institutional crisis of the humanities. Such crisis involves
their impact on, and role within, society; their popularity among
students and scholars; and their identity as producers and
promoters of knowledge. The modern western world and its economic
policies have been identified as the strongest cause of such a
crisis. Creating the conditions for, but in fact encouraging it.
However, a self-critical assessment of the situation is called for.
Our primary fault as humanists was that of stubbornly thinking that
the world's changes could never really affect us, as - we felt -
our identity was sacred. In the light of these approaches, the main
strengths of humanities have been identified in the ability to:
promote critical thinking and analytical reasoning; provide
knowledge and understanding of democracy and social justice;
develop leadership, cultural and ethical values. The main problems
of humanities are the lack economic relevance; the
socio-institutional perception of them as "impractical" and
unemployable; the fact that they do not match with technological
development. Finally, the resulting crisis consists mainly in the
absence (or radical reduction) of funding from institutions; a
decrease in student numbers a decrease in interest; a loss of
centrality in society. A Numanities (New Humanities) project should
consider all these aspects, with self-critical assessment on the
first line. The goal is to unify the various fields, approaches and
also potentials of the humanities in the context, dynamics and
problems of current societies, and in an attempt to overcome the
above-described crisis. Numanities are introduced not as a
theoretical paradigm, but in terms of an "umbrella-concept" that
has no specific scientific content in it: that particularly means
that the many existing new fields and research trends that are
addressing the same problems (post-humanism, transhumanism,
transformational humanities, etc.) are not competitors of
Numanities, but rather possible ways to them. Therefore, more than
a theoretical program, Numanities intend to pursue a mission, and
that is summarized in a seven-point manifesto. In the light of
these premises and reflections, the book then proceeds to identify
the areas of inquiry that Numanities, in their functions and
comprehensive approach, seek to cover. The following list should
also be understood as a statement of purposes for this entire book
series. These, in other words, will be the topics/areas we intend
to represent. Once elaborated on the foundations of Numanities, the
book features a second part that presents two case studies based on
two relatively recent (and now updated) investigations that the
author has performed in the fields of musical and animal studies
respectively. The two cases (and relative areas of inquiry) were
selected because they were considered particularly relevant within
the discussion of Numanities, and in two different ways. In the
first case-study the author discussed the most typical result (or
perhaps cause?) of the technophobic attitude that was addressed in
the first part of the book: the issue of "authenticity", as
applied, in the author's particular study, to popular music. In the
second case-study, he analyzes two different forms of comparative
analysis between human and non-human cognition: like in the former
case, this study, too, is aimed at a critical commentary on (what
the author considers) redundant biases in current humanistic
research - anthropocentrism and speciesism.
The book is the first annotated reader to focus specifically on the
discipline of zoosemiotics. Zoosemiotics can be defined today as
the study of signification, communication and representation within
and across animal species. The name for the field was proposed in
1963 by the American semiotician Thomas A. Sebeok. He also
established the framework for the paradigm by finding and
tightening connections to predecessors, describing terminology,
developing methodology and setting directions for possible future
studies. The volume includes a wide selection of original texts
accompanied by editorial introductions. An extensive opening
introduction discusses the place of zoosemiotics among other
sciences as well as its inner dimensions; the understanding of the
concept of communication in zoosemiotics, the heritage of biologist
Jakob v. Uexkull; contemporary developments in zoosemiotics and
other issues. Chapter introductions discuss the background of the
authors and selected texts, as well as other relevant texts. The
selected texts cover a wide range of topics, such as semiotic
constitution of nature, cognitive capabilities of animals, typology
of animal expression and many other issues. The roots of
zoosemiotics can be traced back to the works of David Hume and John
Locke. Great emphasis is placed on the heritage of Thomas A.
Sebeok, and a total of four of his essays are included. The Reader
also includes influential studies in animal communication (honey
bee dance language, vervet monkey alarm calls) as well as theory
elaborations by Gregory Bateson and others. The reader concludes
with a section dedicated to contemporary research. Readings in
Zoosemiotics is intended as a primary source of information about
zoosemiotics, and also provides additional readings for students of
cognitive ethology and animal communication studies.
A critical companion of zoosemiotics is the first attempt to
systematise the study of animal communication and signification
through its most important and/or problematic terms and concepts,
and its most representative scholars. It is a companion, in that it
attempts to cover the entire range of key terms in the field, and
it's critical, in that it aims not only to describe, but also to
discuss, problematise and, in some cases, resolve, these terms.
The book is the first annotated reader to focus specifically on the
discipline of zoosemiotics. Zoosemiotics can be defined today as
the study of signification, communication and representation within
and across animal species. The name for the field was proposed in
1963 by the American semiotician Thomas A. Sebeok. He also
established the framework for the paradigm by finding and
tightening connections to predecessors, describing terminology,
developing methodology and setting directions for possible future
studies. The volume includes a wide selection of original texts
accompanied by editorial introductions. An extensive opening
introduction discusses the place of zoosemiotics among other
sciences as well as its inner dimensions; the understanding of the
concept of communication in zoosemiotics, the heritage of biologist
Jakob v. Uexkull; contemporary developments in zoosemiotics and
other issues. Chapter introductions discuss the background of the
authors and selected texts, as well as other relevant texts. The
selected texts cover a wide range of topics, such as semiotic
constitution of nature, cognitive capabilities of animals, typology
of animal expression and many other issues. The roots of
zoosemiotics can be traced back to the works of David Hume and John
Locke. Great emphasis is placed on the heritage of Thomas A.
Sebeok, and a total of four of his essays are included. The Reader
also includes influential studies in animal communication (honey
bee dance language, vervet monkey alarm calls) as well as theory
elaborations by Gregory Bateson and others. The reader concludes
with a section dedicated to contemporary research. Readings in
Zoosemiotics is intended as a primary source of information about
zoosemiotics, and also provides additional readings for students of
cognitive ethology and animal communication studies.
A critical companion of zoosemiotics is the first attempt to
systematise the study of animal communication and signification
through its most important and/or problematic terms and concepts,
and its most representative scholars. It is a companion, in that it
attempts to cover the entire range of key terms in the field, and
it's critical, in that it aims not only to describe, but also to
discuss, problematise and, in some cases, resolve, these terms.
The Beatles and the Beatlesque address a paradox emanating from The
Beatles’ music through a cross-disciplinary hybrid of
reflections, drawing from both, musical practice itself and
academic research. Indeed, despite their extreme stylistic variety,
The Beatles’ songs seem to always bear a distinctive identity
that emerges even more in similar works by other artists, whether
they are merely inspired, derivative or explicitly paying
homage. The authors, a musicologist and music producer,
emphasize the importance of record production in The Beatles' music
in a way that does justice not only to the final artifacts (the
released songs) but also to the creative process itself (i.e., the
songs "in the making"). Through an investigation into the work of
George Martin and his team, as well as The Beatles themselves, this
text sheds light on the role of the studio in shaping the group's
eclectic but unique sound. The chapters address what makes a
song “Beatlesque”, to what extent production choices are
responsible for developing a style, production being understood not
as a mere set of technicalities, but also in a more conceptual way,
as well as the aesthetics, semiotics and philosophy that animated
studio activity. The outcome is a book that will appeal to both
students and researchers, as well as, of course, musicophiles of
all kinds.
What You See Is What You Hear develops a unique model of analysis
that helps students and advanced scholars alike to look at
audiovisual texts from a fresh perspective. Adopting an engaging
writing style, the author draws an accessible picture of the field,
offering several analytical tools, historical background, and
numerous case studies. Divided into five main sections, the
monograph covers problems of definitions, history, and most of all
analysis. The first part raises the main problems related to
audiovisuality, including taxonomical and historical questions. The
second part provides the bases for the understanding of audiovisual
creative communication as a whole, introducing a novel theoretical
model for its analysis. The next three part focus elaborate on the
model in all its constituents and with plenty of case studies taken
from the field of cinema, TV, music videos, advertising and other
forms of audiovisuality. Methodologically, the book is informed by
different paradigms of film and media studies, multimodality
studies, structuralism, narratology, "auteur theory" in the broad
sense, communication studies, semiotics, and the so-called
"Numanities." What You See Is What You Hear enables readers to
better understand how to analyze the structure and content of
diverse audiovisual texts, to discuss their different idioms, and
to approach them with curiosity and critical spirit.
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