Apoliteic music: Neo-Folk,Martial Industrial and ‘metapolitical fascism’

ABSTRACT

Shekhovtsov suggests that there are two types of radical right-wing music that are cultural reflections of the two different political strategies that fascism was forced to adopt in the ‘hostile’ conditions of the post-war period. While White Noise music is explicitly designed to inspire racially or politically motivated violence and is seen as part and parcel of the revolutionary ultra-nationalist subculture, he suggests that ‘metapolitical fascism’ has its own cultural reflection in the domain of sound, namely, apoliteic music. This is a type of music whose ideological message contains obvious or veiled references to the core elements of fascism but is simultaneously detached from any practical attempts to realize these elements through political activity. Apoliteic music neither promotes outright violence nor is publicly related to the activities of radical right-wing political organizations or parties. Nor can it be seen as a means of direct recruitment to any political tendency. Shekhovtsov's article focuses on this type of music, and the thesis is tested by examining bands and artists that work in such musical genres as Neo-Folk and Martial Industrial, whose roots lie in cultural revolutionary and national folk traditions.     

A rhetoric of style: Eleanor Rigby and the reordering of popular music

In this paper, we present a synthesis of Kenneth Burke’s rhetoric of identification and Jay Lemke’s social semiotics to frame Eleanor Rigby by the Beatles as a unique point in the phylogenesis of recorded popular music. We emphasise the social semiotic functioning of string arrangements as styles, with style also being understood in the manner of Burke, and style names and definitions being drawn from a corpus analysis of string arrangements for popular music. We argue that, through a rhetoric of style, Eleanor Rigby made canonical claims against rock's cultural counterpart, classical music. We demonstrate the working of the rhetoric and its political implications in the context of the counter-cultural forces active during the mid-1960s.     

Correction sequences and semiotic resources in ensemble music workshops: the case of Conduction®

The paper examines the phenomenon of correction of musical action by analysing ensemble music workshops devoted to Conduction®, a way of making music together on the basis of a codified gestural lexicon addressed by a conductor to instrumentalists. In particular, it focuses on correction sequences initiated by the conductor and related to the musical material to be played and discusses the techniques used by the conductor to construct and sequentially organize correction, showing how these are accomplished through the interplay and mutual contextualization of talk and further audible and visible semiotic resources. Based on the fine-grained analysis of two correction sequences, the study stresses the role of multimodality for investigating music and pedagogy from an interactional perspective, while highlighting the peculiarities of Conduction as performative and educational practice.     

“Un nodo avviluppato”. Rossini’s La Cenerentola as a prototype of multimodal resemiotisation

ABSTRACT

Since its early beginnings in Italy in the sixteenth century, opera has always been a multimodal text, integrating verbal, musical, and stage resources. Verbal resources can be unpacked in lyric verse for vocal pieces in closed form, narrative verse or prose for recitative, and stage directions; musical resources include instrumental and vocal music, whereas stage resources incorporate stage design, singers’ and dancers’ kinesics, and set and costume arrangements. However, opera has been rarely studied in multimodal terms, as it has been mainly explored from musicological standpoints, hence prioritising music and barely taking into account the interplay of other resources. As a case study, epitomising the Golden Age of opera, La Cenerentola by Rossini has been selected, as it exemplifies how the theatrical and compositional conventions of the genre work concurrently with its metatextual components. Stage adaptations will be also analysed in two film operas, that is, Jean-Pierre Ponnelle’s La Cenerentola (Germany, 1981) and Carlo Verdone’s Cenerentola, Una favola in diretta (Italy, 2014). Opera will be interpreted as a prototype of multi-level resemiotisation, also in a critical light, as the libretto is resemiotised (1) as a musical composition; (2) as a mise-en-scène, and (3) as a film opera.     

Mapping Cultural Auracy: The Sonic Politics of The Day the Earth Stood Still

Anna Kassabian writes in Hearing Film that “classical Hollywood film music is a semiotic code, and that it can and should be subjected to various semiotic and cultural studies methods, such as discourse analysis and ideology critique” (p. 36). This paper examines the sound of a particular Hollywood film—the B-Grade 1950 science fiction “classic” The Day the Earth Stood Still (1951)—in order to perform the kind of analysis Kassabian demands; but also to argue that the analysis needs to encompass not only music, but all sonic elements of the film. Furthermore, the paper argues for development of a cultural auracy that will complement studies of verbal and visual literacies in multimodal and multimedia texts.     

Beyond the Ode to Joy? The Politics of the European Anthem

Anthems are conventionally viewed as helping to unify and mobilise populations by generating a sense of shared identity. Beethoven's Ode to Joy, which currently serves as the European anthem, occupies a more equivocal place in the European Union's symbolic armoury. Whether performed with or without Schiller's original text, the piece raises important questions regarding the nature of the European Union and the purpose of Beethoven's music within contemporary European politics. Nevertheless, given that any practical alternatives also raise significant difficulties, Beethoven's Ode to Joy can be regarded as a useful prompt for reasoned discussions regarding the future of the European Union, especially if reunited with the text of Schiller's An die Freude.     

British fascism,fascist culture,British culture

ABSTRACT

In reading British fascism as a cultural phenomenon, historians have started to chart the cultural products and visions of British fascists during the interwar and post-war periods. Such analysis has tended to focus on fascists’ discourse on culture (particularly the ways that they position liberalism and modernism as degenerate), or on the cultural texts of fascists/fascism in the form of, inter alia, literature, music, dress and art. George Mosse goes as far as to argue that it is only through a cultural interpretation of fascism that we can come to understand the movement ‘from the inside out’. However, the notion of fascist culture is contentious, and not simply because the meanings of both ‘fascism’ and ‘culture’ are highly contested. Eschewing Mosse’s invitation to interpret fascism as culture, Richardson nevertheless argues that ‘the cultural’ can be understood as one approach to fascism. In this article, Richardson discusses six ways into a critical cultural analysis of the continuing presence of fascist political projects, focusing in particular on the British variant.     

When cinema borrows from stage: theatrical artifice through indexical explicitness in The Cook,the Thief,His Wife and Her Lover and Dogville

ABSTRACT

Framed within the debate on the different nature of theatrical and filmic communication, the study considers two avant-garde films by Greenaway, The Cook, the Thief, His Wife and Her Lover, and von Trier, Dogville, as examples of texts that travel from one medium to another and show closeness to the theatre. This is revealed not solely through the artificiality and the enclosure of the setting and the mise-en-scène, but also at the level of the discourse understood as the ensemble of images, music, gestures, and dialogue. The two films exhibit an unnaturalness unusual in cinema, a medium in which the editing realises a seemingly realistic representation of characters and events. The discussion focuses on how such a sensation of artificial non-realism is achieved in the films. It is argued that it derives from the marked explicit relation between the various levels of communication in the two films, the verbal and the visual, as well as between the dialogue contributions by the different participants in the narrative, characters, and narrator. The construct adopted for the analysis is indexicality, which is interpreted in a broad sense and that, as is discussed, contributes to the “monstrative” dimension of the films in terms of the explicitness of the communication.     

‘I can’t remember a more depressing time but I don’t blame anyone for that’: remembering and commemorating the wartime internment of enemy aliens in Britain

ABSTRACT

In October 2000, David Cesarani decried the unnecessary internment of refugees from Nazi Germany in Britain during the Second World War on the BBC Radio 4 programme Behind the Wire. Until the last few decades, little was known about the internment of enemy aliens by the British during the war. However, in recent years, novels such as David Baddiel’s The Secret Purposes, published in 2004, and exhibitions such as ‘Schwitters in Britain’ at the Tate Britain in 2013, have introduced a wider audience to this oft-forgotten part of the British wartime narrative. Some of those interned in Britain were sent to Canada and Australia, which led to the greatest tragedy of the entire internment debacle, the sinking of the Arandora Star. The year 2015 marked the seventy-fifth anniversary of this tragedy, and the memory of those who were lost lives on in the British–Italian community. However, outside those affected by the Arandora Star disaster, little is commemorated or understood by the general public. Yet the legacy of the former internees is all around us. Who has not, on visiting the British Library, walked past former internee’s Eduardo Paolozzi’s statue of Newton? What connoisseur of classical music has not enjoyed the sound of the Amadeus Quartet, perhaps the only positive outcome of internment? Pistol’s article will examine the memory of the camps and consider the differences between how internment has been remembered and commemorated by former internees and the general public.     

BOOK REVIEWS

Books reviewed in this issue. The Real Story of the Romanian ‘Revolution’
SILVIA MARTON 1989 à l'est de l'Europe: une mémoire controversée, edited by Jérôme Heurtaux and Cédric Pellen. La mort des Ceau?escu: la vérité sur un coup d'Etat communiste, by Catherine Durandin and Guy Hoedts. A hedgehog approach to capitalism
Paul Auerbach 23 Things They Don't Tell You About Capitalism, by Ha‐Joon Chang. A Scottish Salmond in a sea of banalities?
Tom Gallagher Salmond Against the Odds, by David Torrance. Israel: the politics of brute force
Geoffrey Bindman The Punishment of Gaza, by Gideon Levy. Heath: no need to be loved
Mark Garnett Edward Heath: The Authorised Biography, by Philip Ziegler. The politics of rebellious music
Nico Pizzolato Reds, Whites and Blues: Social Movements, Folk Music and Race in the United States, by William G. Roy. Lloyd George's wrong choices
Dick Leonard David Lloyd George: The Great Outsider, by Roy Hattersley. The constraints on American caesars
Richard Briand American Caesars: Lives of the American Presidents, from Franklyn D. Roosevelt to George Bush, by Nigel Hamilton. Faltering Habermas
Gianfranco Pasquino Europe: The Faltering Project, by Jürgen Habermas. Some light on the Prince of Darkness
Andrew Blick The Third Man: Life at the Heart of New Labour, by Peter Mandelson. Trio: Inside the Blair, Brown, Mandelson Project, by Giles Radice.     

Nazlı's photographic games: Said and art history in a contrapuntal mode

ABSTRACT

Through a focus on photographic portraits commissioned in the late nineteenth century by the Ottoman-Egyptian Princess Nazl? Han?m, Roberts analyses the ways they tested Ottoman and western conventions. An examination of Nazl?'s strategic engagement with photography in this period positions her within the often-separated domains of Egyptian nationalism, Ottoman political reform, western Orientalist art and a proto-feminist moment of Egyptian women's history. One of the striking things about the Nazl? portraits is their transgressive inventiveness. This is transgression as Edward Said defines it, with an emphasis on crossing boundaries, testing and challenging limits, and cutting across expectations. Nazl?'s inventiveness is apparent through her canny experimentation with the codes of portrait photography and the ways she deploys her portraits as tokens of exchange within her culture and with her European interlocutors. Roberts argues that Nazl? Han?m's use of photography operates in a contrapuntal mode in the Saidean sense of a simultaneity of voices that sound against, as well as with, each other. Over the last three decades Said's writings have provided a crucial methodological framework for the critique of western Orientalist visual culture. Recently art historians have repositioned this corpus of western imagery in relation to art by practitioners from the region and addressed cultural exchanges. Said's seminal text Orientalism has been pivotal within these debates. Yet it is not so much this landmark book, but rather Said's writings on music, in which we can find an alternative approach to cross-cultural exchange. By transposing this model into the domain of art history, Roberts engages with his notion of reading contrapuntally. Said was interested in the broader applicability of this term, although its potential as an interpretive model for the visual arts remains unexamined. Through this case study of Nazl? Han?m's photographs, Roberts reassesses the value of Said's writings on music for understanding nineteenth-century visual culture.     

Punk Subculture in Mexico and the Anti-globalization Movement: A Report from the Front

This article explores some strands of the current movement against capitalist globalization. It examines the affinity between punk subculture and autonomous politics taking the Mexican punk scene as an example. Based on participant observation it describes what Bourdieu would call the habitus of punk in Mexico. Recorded music, subcultural style and political ideas arrive into this habitus where they are selectively adopted. Thus, attempts to articulate punk in Mexico to the "anti-globalization" movement are somewhat different than in the United States and Canada.     

From book to stage to screen: semiotic transformations of Gothic horror genre conventions

ABSTRACT

This paper adopts a multimodal social semiotic approach for exploring the semiotic changes involved in the transformation of a novel into stage and screen productions. It examines how semiotic resources are deployed in each medium through elements of mise-en-scène, such as speech, music, sound, lighting, props, staging, and cinematographic techniques, and the viewing perspectives that are thus established for audiences. The genre of Gothic horror is selected for this purpose, given how this form of performance has transfixed audiences for centuries and has been adapted for both the stage and the screen. In order to demonstrate how each performance medium has produced its own unique set of foregrounding devices to enthral and captivate audiences, a comparative analysis of excerpts from the novel The Woman in Black by Susan Hill, a videotaped theatrical performance, and the 1989 British television film of the same name is undertaken. The paper discusses the implications of the multimodal semiotic approach for developing a better understanding of the semiotic transformations that horror genre conventions undergo in different media and the viewership positions that are thus re-drawn for audiences. The paper concludes with a view of multimodal recontextualisation processes which form the underlying basis of human sociocultural life.     

Doing (things with) sounds: introduction to the special issue

This special issue aims at analyzing music as a site of social semiosis, i.e., at investigating the manifold ways in which music is constituted as a socially shared event. The papers collected here follow three main threads, considered as central aspects of music making: studying the kind of coordination and participation required to make music together; looking at the semiotic resources employed by musicians to construct their roles in interaction; examining the relationship between language and music. A variety of perspectives is adopted, ranging from social semiotics to conversation analysis, anthropology, multimodal analysis, and critical discourse analysis. Such a variety is also reflected in the musical traditions – Western art music, jazz, gospel, church hymns, pop music – and in the settings under examination, which comprise instructional activities like musical classes and rehearsals, as well as ordinary conversations and written accounts of musicians' biographies. Issues of epistemicity and authority, intersubjectivity, correction of musical action, solidarity, and ideology are thereby addressed. The issue thus aims at exploring the richness and complexity of music making as a social practice, and documents how the integration of different disciplinary perspectives can offer fruitful insights on music as a domain of sociality which lies at the intersection of aurality and writing, norm and creativity, individuality and collectiveness.     

Advertising and the conquest of culture

Thomas Frank's important The conquest of cool: Business culture, counterculture, and the rise of hip consumerism usefully described the advertising industry's “conquest of cool” in the 1960s and beyond, the co-optation of the hip and the cool for the purposes of advertising marketing. This article argues that, since Frank's book appeared, the “convergence of commerce and content” – as the advertising industry calls it – has meant that the production of content is even more entwined with advertising than ever before. The first part of this article describes this shift with particular attention paid to the production of advertising music, which increasingly employs well-known rock, hip-hop, and other popular musicians. The analytical portion of this article draws on the studies of Richard A. Peterson and others on the rise of the socially elite “omnivore” consumer of cultural products to argue that advertising has played a crucial role in this shift, emphasizing the cool and the trendy. Last, the article updates Pierre Bourdieu's influential notion of cultural capital, for, if social elites are more omnivorous in their tastes, then cultural capital today must increasingly be associated with knowledge of the trendy, not only the fine arts.     

Towards a new semiotics of landmark knowledge

This paper proposes to reconsider the relation between language, truth and knowledge, based on an integrational semiology as developed by Roy Harris: at its centre of interest is the question of what it is to know the name of a landmark, and how that in turn relates to the general concept of landmark knowledge. It is claimed here that previous research interested in referential talk involving landmarks adopted a “mythological” view of language and communication, which leads to conflating knowledge with verbal displays of knowledge. Taking the present author's fieldwork in Bellinzona, the capital of Italian-speaking Switzerland, as a case in point, it is argued that by generating communicational situations where informants are unaware of being objects of study and can no longer rely on an “ideal” (and idealized) name–referent relationship (i.e. for each object there is one “proper” name), it becomes possible to understand reference as an integrational process (rather than as a form of linguistic knowledge), which in turn lends further support to the notion of knowledge as integration.     

Harnessing Market Competition in PPP Procurement: The Importance of Periodically Taking a Strategic View

Public‐Private Partnerships (PPP) procurement is routinely portrayed as offering greater scope for harnessing competitive market forces to secure Value for Money (VfM) than traditional procurement approaches ( OECD 2008 ). The aim of this article is (a) to demonstrate the importance of periodically taking a more systematic and strategic view when assessing VfM in PPP procurement ( OGC 2003 ), and (b) to develop an analytical framework for such an analysis. Road infrastructure procurement in South East Queensland is used as a case study to test the usefulness of the proposed framework, and to show how a narrow focus on individual contracts increases the risk of overlooking overdependence on one supplier ( OGC 2003 ). Discussion focuses on the need to combine detailed analysis of individual contracts with longitudinal analyses of market competitiveness when assessing best VfM.     

The Ambiguity of Love: Beauvoir,Honneth and Arendt on the Relation Between Recognition,Power and Violence

The paper sketches out an account of ambiguous and agonistic love by drawing on the work of Simone de Beauvoir, Axel Honneth and Hannah Arendt. To begin with, I reconstruct the ambiguity of love within the conceptual framework of a paradigm of recognition. I argue further that the social relation of love, understood as an intertwine between dependence and independence, entails a power dynamic. Insofar as the dynamic actualises as “power in concert” or “power with”, namely as mutual empowerment, love unfolds as free love. Finally, I show how agonistic love is damaged by turning into violent domination.     

The Impact of the Australian Government Job Network Contracting on Not‐for‐Profit Service Providers

This article examines the impact of Australian government contracting for the provision of Job Network services on not‐for‐profit organisations ¹ . The term not‐for‐profit is used to categorise organisations which are variously described as non‐government, non‐profit, community and third sector organisations ( Lyons 2001 ).