|
"'[L]ife and death all innertwined': PJ Harvey, Nation, and Landscape"
Schuhmaier, Sina
|
Dokumenttyp:
|
Präsentation auf Konferenz
|
|
Erscheinungsjahr:
|
2024
|
|
Veranstaltungstitel:
|
IASPM UK and Ireland Conference: Place, Perspective and Popular Music
|
|
Veranstaltungsort:
|
Newcastle, United Kingdom
|
|
Veranstaltungsdatum:
|
04.-06.09.2024
|
|
Verwandte URLs:
|
|
|
Sprache der Veröffentlichung:
|
Englisch
|
|
Einrichtung:
|
Philosophische Fakultät > Anglistik II - Anglistische Literatur- u. Kulturwissenschaft (Lusin 2015-)
|
|
Fachgebiet:
|
820 Englische Literatur
|
|
Abstract:
|
Popular music occupies a central role within constructions of national identity and the nation’s heritage, and it is via (popular music’s) places and specific local surroundings that the nation is articulated. PJ Harvey’s work has always sat uneasily with these discourses, but her more recent albums complicate things even further: while explicitly rooted in place, they challenge dominant connotations of the British landscape in which they are set. Both her acclaimed 2011 album Let England Shake and the recent I Inside the Old Year Dying (2023) refuse to serve a naturalisation of Englishness through its landscape; instead, they posit the natural and the cultural as a site of complex intertwinement.
In this paper, I will focus on I Inside the Old Year Dying (2023), whose lyrics are based on Harvey’s long poem Orlam (2022). The album’s motifs are at once mythical-anthropological and distinctly regional, not least because of Harvey’s use of archaic Dorset dialect. Like Let England Shake before it, the album is concerned with natural-cultural cycles of becoming and renewal, rooted in a landscape which is unsettling rather than idyllic, morbid rather than plentiful. At work here is a ‘post-pastoral’ (Gifford) aesthetic infused with motifs from the folk horror tradition, which I will put into dialogue with the dark turn in New Nature Writing. By applying this framework to Harvey’s lyrics, I place the album in the discipline of literary studies, which I suggest as a valuable perspective for popular music studies while remaining aware of its own blind spots and cultural biases.
|
 | Dieser Eintrag ist Teil der Universitätsbibliographie. |
 Suche Autoren in
Sie haben einen Fehler gefunden? Teilen Sie uns Ihren Korrekturwunsch bitte hier mit: E-Mail
Actions (login required)
 |
Eintrag anzeigen |
|
|
