Discusión:Madonna studies

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[MADONNA : PLANTATION MISTRESS OR SOUL SISTER bell hookis The idea of studying the popularity of Madonna has been grist for the mills of many critics of trends in scholarship on American culture . No writer has more precisely described what is at stake in such studies than bell hooks ...] | Black on White: Black Writers on what it Means to be White - Page 307 by David R. Roediger · 1998

"They didnt get the joke. The whole poin is that I'm not anybody's toy. People take everything so litereally, she told Cosmopolitan" [1]

Analizar a Madonna es profundizar en la evolución de muchos de los aspectos más relevantes de la sociedad de las últimas décadas. Su figura ha sido abordada desde diferentes perspectivas dentro de lo que se conoce como los Madonna Studies y ha servido como caso de estudio para ilustrar desde procesos de articulación de identidades a estrategias de promoción y marketing. Y es que la carrera de Madonna está íntimamente ligada a la consolidación de la globalización, que podemos observar tanto en su relación con el canal MTV y el mundo de la publicidad como en la dimensión y alcance de sus giras. También fue paradigma de los postulados de la postmodernidad, creando un personaje ambiguo (a veces contradictorio) con recursos como la ironía, la parodia, la nostalgia y la cita, que derrumbaba (clichés) universales y rompía barreras entre la alta y la baja cultura.

Esta misma ambigüedad fue la que hizo que fuese difícilmente encasillable y dio lugar a todo tipo de interpretaciones desde el feminismo y el colectivo LGTB, que encontraron en Madonna un símbolo para crear comunidad. Aún hay mucho más, claro: la multitud de estilos musicales que ha aglutinado y popularizado en sus canciones, su adaptación a los cambios de la industria musical en la era digital… Toda una trayectoria que le ha permitido convertirse en un referente para gran parte de las artistas femeninas que copan en la actualidad los primeros puestos del pop internacional. Madonna ha abierto camino y ocupa una posición respetada; no ha sido una reina tirana, sino todo lo contrario, ha roto con la dinámica patriarcal de la lucha entre divas y ha apostado por la sororidad, colaborando con muchas artistas más jóvenes del panorama actual, a pesar de que los medios de comunicación no cejen en su empeño por encontrarle una sucesora.

  • [What is most ironic, as Daniel Harris points out, is that the very Lacanian, Foucaultian and Baudrillardian academics who laud Madonna for challenging the fantasy of wholeness claimed by the rational, ego-centered bourgeois individual have made of her an auteur, solo generator of her image. These postmodernist have thus contributed at least as much as Madonna's biographers to her self-generated myth that she as individual is in control. For example, McClary (1990) writes as though Madonna is solely responsible for creating her music, which is not the case eve for the two songs McClary analyzes. As the Village Voice music critic Robert Christgau (1993) points out, if McClary had looked at other contemporary pop musicians (he suggests Paula Abdul) she would have found that Madonna's chord changes are not all that extraordinary] (Who's That Girl? Who's That Boy?: Clinical Practice Meets Postmodern Gender, Lynne Layton)
  • [why many of Madonna's academic critics have chosen to look only at her trimuphs and not at her pain; the pain and contradictions are clearly there and Madonna herself seems unafraid to reveal them, although she may not be aware of how much she reveals.](Who's That Girl? Who's That Boy?: Clinical Practice Meets Postmodern Gender, Lynne Layton)
  • [critics who want to make of Madonna as postmodern heroine simply omit all the textual evidence that shows her pain (for example, Kaplan 1993 and Schwitchtenberg 1993b). These critics laud her continual reinvention of self, seeing in it her refusal to be bound by cultural definitions of the femenine, and they are right to do so. This is one of Madonna's cultural meanings, one way that she is ready by such varied groups as young girls and postmodern academic theorists. At the same her longing for unity, her abusiveness to herself and others, and the pain that is everywhere in her work are ignored. It is in fact the exclusion of her pain that makes celebration possible. If we were to acknowledge it, we would notice how domination and submission inform everything she does; we would wonder whether Madonna's continual reinvention of self is product of joyful choice or of painful and driven necessity.](Who's That Girl? Who's That Boy?: Clinical Practice Meets Postmodern Gender, Lynne Layton)
  • "It uses Madonna as a case study because she is such a clear example of the agency of celebrity across the media apparatus, the processes of bringing a product to the marketplace and the ongoing negotiation of power and meaning through" ref / Madonna scholarship which focused solely on identity politics throught fornalist readings of cultural texts, and their reception to explore the influencia of the larger political economic, historical, and cultural contexts of capitalism
  • Madonna studies (delta.tudelft.nl) - 2000
  • [3]
  • "She is human and more, with larger than life qualities that many scholars have noted."
  • No doubt Madonna would have been studied exhaustively and exhaustingly in any event: Fiske, however, started it. Fiske recognizes there is something to be said for a political economy of the Madonna phenomenon, but not much: 'such an: Cultural Studies in Question - Page 150, Marjorie Ferguson, ‎Peter Golding · 1997
  • Madonna's authority lies in the discrepancy between mass culture and high culture of critics and intellectuals whose views are mainly preserved in the universities and colleges of a Poe , an Eliot and a Hawthorne . — New Directions in Comparative Literature (pag 143, 2008)
  • I use Madonna and her videos to teach Judith Butler's Gender Trouble and queer theory to undergraduates — Queering Christ: Beyond Jesus Acted Up; Robert Goss (2002), pag 177
  • Afterword: All You Have to Say is "Thank You"... This essay's first incarnation was as a conference paper at the Fifth Annual Gay and Lesbian Studies Conference at Rutgers University in November 1991. This occurred at the height of that phenomenon that some have derisively-and unfortunately-deemed "Madonna Studies". I was amazed at the size of the audience and the outpouring of enthusiam that greeted the paper. — The Queer Sixties (Patricia Juliana Smith, 2013)

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