By Doris Leibetseder
Queer Tracks describes motifs in well known track that deviate from heterosexual orientation, the binary gender procedure and stuck identities. This intriguing state-of-the-art paintings bargains with the most important options of present gender politics and queer concept in rock and dad song, together with irony, parody, camp, mask/masquerade, mimesis/mimicry, cyborg, transsexuality, and dildo. in keeping with a constructivist idea of gender, Leibetseder asks: 'Which queer-feminist techniques are utilized in rock and dad music?' 'How do they function?' 'Where do they occur?' Leibetseder's methodological procedure is to find subversive techniques in queer thought, that are extensively utilized in rock and dad tune, with out assuming that those strategies have been first invented in idea. additionally this publication explains the place precisely the subversiveness is positioned in these techniques and in renowned music.With the aid of a brand new type of wisdom move the writer combines sociological and cultural theories with useful examples of rock and dad tune. The subversive personality of those queer motifs is proven within the paintings of up to date well known musicians and is whilst relating to classical discourses of the humanities.Queer Tracks is a revised translation of Queere Tracks. Subversive Strategien in Rock- und Popmusik, initially released in German.
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Extra info for Queer Tracks: Subversive Strategies in Rock and Pop Music
Barbara Brockhaus is apparently not completely clear herself about what she just said. This is suggested in the following lines: ‘Mind the pause before he speaks. It’s long. ’ However, the missing ‘cutting edge’ appears in the song lyrics of the first song on her CD. ’, where she reminds her boss that she does every task and works fast Irony – The Cutting Edge 33 and that she is the last person to leave the office, which is why she wants to be paid fairly. However, she would not do any dirty work for him.
1–2. 38 Hutcheon, Irony’s Edge, p. 35. , Hutcheon quotes C. Paglia, Sex, Art and American Culture: Essays (New York, 1992), p. 4. 40 Hutcheon, Irony’s Edge, Hutcheon quotes McClary, ‘Feminine Endings’, p. 149. 41 Hutcheon, Irony’s Edge, p. 35. 43 Reena Mistrey writes in her online essay about Madonna and Queer Theory that this ambiguity also has its disadvantages, because the public does not always read this weak irony in the way in which it is intended. An experiment showed that the interpretations of videos such as ‘Papa Don’t Preach’ and ‘Open Your Heart’ vary a great deal.
According to Haraway the valid premise here is ‘The political struggle is to see from both perspectives at once because each reveals both dominations and possibilities unimaginable from the other vantage point. 26 Hutcheon cites feminist theorists, according to whom irony removes the legitimacy of the prescription of essentialist or natural gender identities. Judith Butler’s argument serves as an example of this, which as Claire Colebrook states, explains that: 22 24 p. 14. , p. 12. Ibid. , p. 15.
Queer Tracks: Subversive Strategies in Rock and Pop Music by Doris Leibetseder