東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Beyond Beyonce: Intersections of Rac...

Kehrer, Lauron Jockwig.

Linked to FindBook

Google Book

Amazon

博客來

Beyond Beyonce: Intersections of Race, Gender, and Sexuality in Contemporary American Hip-Hop ca. 2010-2016.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Beyond Beyonce: Intersections of Race, Gender, and Sexuality in Contemporary American Hip-Hop ca. 2010-2016./
Author:	Kehrer, Lauron Jockwig.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
Description:	274 p.
Notes:	Source: Dissertation Abstracts International, Volume: 78-10(E), Section: A.
Contained By:	Dissertation Abstracts International78-10A(E).
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10269516
ISBN:	9781369823127

Beyond Beyonce: Intersections of Race, Gender, and Sexuality in Contemporary American Hip-Hop ca. 2010-2016.
Kehrer, Lauron Jockwig.

Beyond Beyonce: Intersections of Race, Gender, and Sexuality in Contemporary American Hip-Hop ca. 2010-2016. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 274 p.

Source: Dissertation Abstracts International, Volume: 78-10(E), Section: A.

Thesis (Ph.D.)--University of Rochester, 2017.

Notions of hip-hop authenticity often rely on the construction of the rapper as a black, masculine, heterosexual, cisgender man. Artists that fall outside of this "normative" identity, including black women, white men and women, and queer and trans individuals, employ performance strategies that engage with and challenge this construction in order to render themselves legible to hip-hop audiences. Taking as its starting point the many scholarly discourses surrounding the performer Beyonce, this dissertation examines several of these strategies through a series of case studies that combine reception history with musical, textual, and visual analysis.

ISBN: 9781369823127Subjects--Topical Terms:

516178
Music.

Beyond Beyonce: Intersections of Race, Gender, and Sexuality in Contemporary American Hip-Hop ca. 2010-2016.
LDR:03367nmm a2200313 4500 001 2126139
005 20171115071443.5
008 180830s2017 ||||||||||||||||| ||eng d
020 $a 9781369823127
035 $a (MiAaPQ)AAI10269516
035 $a AAI10269516
040 $a MiAaPQ $c MiAaPQ
100 1 $a Kehrer, Lauron Jockwig. $3 3288221
245 1 0 $a Beyond Beyonce: Intersections of Race, Gender, and Sexuality in Contemporary American Hip-Hop ca. 2010-2016.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2017
300 $a 274 p.
500 $a Source: Dissertation Abstracts International, Volume: 78-10(E), Section: A.
500 $a Adviser: Lisa Jakelski.
502 $a Thesis (Ph.D.)--University of Rochester, 2017.
520 $a Notions of hip-hop authenticity often rely on the construction of the rapper as a black, masculine, heterosexual, cisgender man. Artists that fall outside of this "normative" identity, including black women, white men and women, and queer and trans individuals, employ performance strategies that engage with and challenge this construction in order to render themselves legible to hip-hop audiences. Taking as its starting point the many scholarly discourses surrounding the performer Beyonce, this dissertation examines several of these strategies through a series of case studies that combine reception history with musical, textual, and visual analysis.
520 $a Following an introduction that lays out key concepts and theoretical frameworks, the first chapter focuses on Nicki Minaj and her recent shift to a performance style in which she balances a feminine gender presentation with a hardened, masculine lyrical approach. Chapter 2 examines ways in which white women rappers Iggy Azalea and former members of the White Girl Mob (Kreayshawn, Lil Debbie, and V-Nasty) misappropriate black culture and concepts of "ratchetness" while mediating their white female identities and negotiating the expectations of mainstream hip-hop. In Chapter 3 I demonstrate how white, cisgender, heterosexual male rapper Macklemore's strategy for negotiating and articulating his own whiteness further marginalizes black LGBTQ artists by echoing white, mainstream concerns that hip-hop and, by extension, black communities are inherently more homophobic than white-dominated music genres and the communities that produce them. Chapter 4 explores the work of queer black artists active primarily in New York City, including Le1f, Zebra Katz, Cakes da Killa, and Azealia Banks, focusing on the influence of Ballroom culture on their musical output and positioning them within a black queer musical lineage. In the fifth and final chapter I explore the contemporary dominance of openly queer and trans rappers in New Orleans bounce, a local hip-hop genre, a phenomenon that is in part a consequence of the displacement and devastation of Hurricane Katrina. Ultimately, this dissertation uses feminist, queer, and critical race frameworks alongside musical analysis to de-center the normative rapper figure and assert that hip-hop is a musical response to the socio-political experiences of all its practitioners.
590 $a School code: 0188.
650 4 $a Music. $3 516178
650 4 $a LGBTQ studies. $3 2122706
650 4 $a Black studies. $3 2122689
690 $a 0413
690 $a 0492
690 $a 0325
710 2 $a University of Rochester. $b Music. $3 2096185
773 0 $t Dissertation Abstracts International $g 78-10A(E).
790 $a 0188
791 $a Ph.D.
792 $a 2017
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10269516