Righteous sounds and reproductive justice : the influence of Ani DiFranco's music for reproductive rights activists
Notice bibliographique
Résumé
In this thesis, I explore how the folk-rock music of Ani DiFranco has influenced the \nactivist commitments, sensibilities, and activities of reproductive rights activists. My \ninterest in the relation of popular music to social movements is informed by the work of \nSimon Frith (1987, 1996a, 1996b), Rob Rosenthal (2001), and Ann Savage (2003). Frith \nargues that popular music is an important contributor to personal identity and the ways \nthat listeners see the world. Savage (2003) writes that fans develop a unique relationship \nwith feminist/political music, and Rosenthal (2001) argues that popular music can be an \nimportant factor in building social movements. I use these arguments to ask what the \ninfluence of Ani DiFranco's music has been for reproductive rights activists who are her \nfans. \nI conducted in-depth interviews with ten reproductive rights activists who are fans of Ani \nDiFranco's music. All ten are women in their twenties and thirties living in Ontario or \nNew York. Each has been listening to DiFranco's music for between two and fifteen \nyears, and has considered herself a reproductive rights activist for between eighteen \nmonths and twenty years. \nI examine these women's narratives of their relationships with Ani DiFranco's music and \ntheir activist experience through the interconnected lenses of identity, consciousness, and \npractice. Listening to Ani DiFranco's music affects the fluid ways these women \nunderstand their identities as women, as feminists, and in solidarity with others. I draw on \nFreire's (1970) understanding of conscientization to consider the role that Ani's music \nhas played in heightening women's awareness about reproductive rights issues. The \nfeeling of solidarity with other (both real and perceived) activist fans gives them more \nconfidence that they can make a difference in overcoming social injustice. They believe \nthat Ani's music encourages productive anger, which in turn fuels their passion to take \naction to make change. Women use Ani's music deliberately for energy and \nencouragement in their continued activism, and find that it continues to resonate with \ntheir evolving identities as women, feminists, and activists. \nMy study builds on those of Rosenthal (2001) and Savage (2003) by focusing on one \nartist and activists in one social movement. The characteristics of Ani DiFranco, her fan \nbase, and the reproductive rights movement allow new understanding of the ways that \nfemale fans who are members of a female-dominated feminist movement interact with \nthe music of a popular independent female artist.
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Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,003 | 0,001 |
| Communication savante | 0,000 | 0,002 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
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