Redneck Liberation: Country Music as Theology
Mercer University Press, 2003 - 170 pàgines
In this unique book, David Fillingim explores country music as a mode of theological expression. Following the lead of James Cone's classic, "The Spirituals and the Blues, Fillingim looks to country music for themes of theological liberation by and for the redneck community. The introduction sets forth the book's methodology and relates it to recent scholarship on country music. Chapter 1 contrasts country music with Southern gospel music--the sacred music of the redneck community--as responses to the question of theodicy, which a number of thinkers recognize as the central question of marginalized groups. The next chapter "The Gospel according to Hank," outlines the career of Hank Williams and follows that trajectory through the work of other artists whose work illustrates how the tradition negotiates Hank's legacy. "The Apocalypse according to Garth" considers the seismic shifts occuring during country music's popularity boom in the 1980s. Another chapter is dedicated to the women of country music, whose honky-tonky feminism parallels and intertwines with mainstream country music, which was dominated by men for most of its history. Written to entertain as well as educate and advance, "Redneck Liberation will appeal to anyone who is interested in country music, Southern religion, American popular religiosity, or liberation theology.
Què opinen els usuaris - Escriviu una ressenya
No hem trobat cap ressenya als llocs habituals.
Altres edicions - Mostra-ho tot
album American apocalyptic artists audience become blues called career celebrates chapter cheatin Christian continue core country music cowboy criticism culture Dance death dignity early embodies equal example experience expressed fact fans Feel female feminist followed Garth Garth Brooks George gone gospel songs Hank Williams Hank's heaven hillbilly honky-tonk hope human interpretation John Jones liberation life's listeners living look Loretta Lynn Lynn's mainstream male marginalized meaning moral moved never one's oppression Parton performance perhaps persons poor popular portrays Press protagonist question record redneck reflects rejection relationships religion religious response rock romantic roots rural seen sense sexual Side single sings social sound South Southern Spirituals standards stands story style suffering suggests tell themes theological traditional ultimate University values voice woman women working-class Wynette York
Pàgina 1 - He sings more sincere than most entertainers because the hillbilly was raised rougher than most entertainers. You got to know a lot about hard work. You got to have smelt a lot of mule manure before you can sing like a hillbilly.