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Peculiarly Mancunian? : Visions of a Past Manchester through Three Post-Punk Literary Frontmen
https://doi.org/10.18901/00000619
https://doi.org/10.18901/000006193e6e2a37-6c74-4a4e-bb0b-cfb698ddb930
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
148-172 Richard John Walker (593.7 kB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2015-07-08 | |||||
| タイトル | ||||||
| タイトル | Peculiarly Mancunian? : Visions of a Past Manchester through Three Post-Punk Literary Frontmen | |||||
| タイトル | ||||||
| タイトル | Peculiarly Mancunian? : Visions of a Past Manchester through Three Post-Punk Literary Frontmen | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | eng | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Psychogeography | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Pop culture | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Society of the Spectacle | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | Psychogeography | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | Pop culture | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | Society of the Spectacle | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| ID登録 | ||||||
| ID登録 | 10.18901/00000619 | |||||
| ID登録タイプ | JaLC | |||||
| 著者名 |
Walker, Richard John
× Walker, Richard John |
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| 著者名（英） |
Walker, Richard John
× Walker, Richard John |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | This paper is a psychogeographic study on the influence of home location on the work of three literarily fuelled working-class icons of the post-punk music scene in Manchester, England. Following an exploration on the ever-evolving meaning of psychogeography, I investigate how a past Manchester is revealed within the early works of Ian Curtis, Mark E. Smith and Morrissey, both through insights attained from contemporary writings and also by necessarily short analyses of output from the artists themselves. All three possess peculiarly Mancunian artistic and behavioural traits that emerged from a literate working-class artistic sensibility, one that has faded and arguably disappeared from the British working classes today but which possessed clearly defined links to established artistic traditions. This weakening of working-class based output in ‘rock and pop’ is perhaps a late-capitalist Internet–fuelled symptom of Guy Debord’s spectacle deepening its impact on local art scenes and might help us understand why the financially privileged appear to dominate pop culture in the UK today. | |||||
| 書誌情報 |
麗澤レヴュー en : Reitaku Review 巻 21, p. 148-172, 発行日 2015-06-30 |
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| 出版者 | ||||||
| 出版者 | 麗澤大学英米文化研究会 | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 1342-1115 | |||||
