![]() Roland Barthes's theorization of reading (and) jouissance provides a vivid counterargument by opening up the possibility of seeing literariness and pop pleasure as symbiotic rather than mutually exclusive. Books, special editions and articles published in France in the 60s are extensively examined in the first part to reveal their traditionalist consensus about the poetic value of the work of certain Auteurs-Compositeurs-Interprétes. ![]() It questions the presentation of certain singersongwriters as 'poets in their own right', as folk poets, auteurs, poet-composers, bards and troubadours. Adopting a Cultural Studies approach, this thesis thus outlines the role played by the prestige of literary institutions and an idealized view of oral poetry in the conceptualization of high-popular music. The term singing poets is coined in order to regroup artists who used poetic texts for their songs or adopted a poetic persona themselves, but also accounts for the reception of a particular style of popular music in the period and the countries under discussion as poetic/intellectual song. ![]() ![]() Its central claim is that the concept of the singing poet provided a crucial framing of the field of popular music in both countries and led to a reassessment of the links between literature and popular culture. This thesis is based on a comparative examination of popular music in Greece and France between 19.
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