Madonna is perhaps one of the most consistently transgressive and self-transforming artists of the late 20th and early 21st centuries. The recent release of two critically acclaimed and best-selling albums and a sold-out world tour have renewed media and academic interest in the artist. Madonna presents a set of strikingly new challenges to cultural analysis, and new developments in Gender, Queer and Ethnic studies have shed more light on her entire oeuvre. Whilst the contributors do refer to classic cultural theorists such as Baudrillard, Zizek, Foucault and Barthes, new theoretical approaches to Madonna's work feature prominently. In view of this, the present volume offers new perspectives on Madonna's work to date, addressing her configurations of race, gender and sex(uality) and with special emphasis on her resurrection after the Sex backlash in the early 1990s. The collection focuses on new Madonna-related topics such as Hinduism, Judaism, Japanese culture, All-American culture, Queer culture, Motherhood and her influence on newer 'girl acts' such as the Spice Girls and Britney Spears. The book explores the themes of gender, sexuality, ethnicity and celebrity consumption through the lens of Madonna's songs, videos and shows. An international array of scholars portrays Madonna's popularisation of the notion that identity is not fixed and can be continuously rearranged and revamped. The book should have wide appeal for all those concerned with gender studies, cultural studies, ethnic studies, lesbian and gay musicology as well as popular music studies.
'… the variety of issues discussed in the text should make it a valuable and up-to-date resource with quite a wide audience.' Popular Music
Contents: Who's That Girl?: Introduction: Re-invention? Madonna's drowned worlds resurface, Santiago Fouz-HernÃ¡ndez and Freya Jarman-Ivens. Part I The Girlie Show: Gender Identities: Dragging out camp: narrative agendas in Madonna's musical production, Stan Hawkins; Madonna's girls in the mix: performance of femininity beyond the beautiful, Patricia Pisters; Where is the female body? Androgyny and other strategies of disappearance in Madonna's music videos, Corinna Herr. Part II Post-Virgin: Sexual Identities: Queer hearing and the Madonna queen, Keith E. Clifton; What it feels like for two girls: Madonna's play with lesbian (sub-)cultures, Freya Jarman-Ivens. Part III Drowned Worlds: Ethnic Identities: East is hot! 'Madonna's Indian Summer' and the poetics of appropriation, Michael Angelo Tata; Re-worlding the oriental: critical perspectives on Madonna as geisha, Rahul Gairola; The day the music died laughing: Madonna and Country, Sean Albiez; Crossing the border(line): Madonna's encounter with the Hispanic, Santiago Fouz-HernÃ¡ndez. Part IV Blond Ambition: Consuming Celebrity: Madonna's daughters: girl power and the empowered girl-pop breakthrough, David Gauntlett; Consuming Madonna then and now: an examination of the dynamics and structuring of celebrity consumption, Lisa PeÃ±aloza. Bibliography; Index.
Popular musicology embraces the field of musicological study that engages with popular forms of music, especially music associated with commerce, entertainment and leisure activities. The Ashgate Popular and Folk Music Series aims to present the best research in this field. Authors are concerned with criticism and analysis of the music itself, as well as locating musical practices, values and meanings in cultural context. The focus of the series is on popular music of the twentieth and twenty-first centuries, with a remit to encompass the entirety of the world’s popular music.
Critical and analytical tools employed in the study of popular music are being continually developed and refined in the twenty-first century. Perspectives on the transcultural and intercultural uses of popular music have enriched understanding of social context, reception and subject position. Popular genres as distinct as reggae, township, bhangra, and flamenco are features of a shrinking, transnational world. The series recognizes and addresses the emergence of mixed genres and new global fusions, and utilizes a wide range of theoretical models drawn from anthropology, sociology, psychoanalysis, media studies, semiotics, postcolonial studies, feminism, gender studies and queer studies.