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Bibliographie

Autor:  
Alle :: A, B, C, D, E, F, G, H, J, K, L, M, N, O, Ö, P, R, S, T, U, V, W, Y, Z 
Alle :: O'Brien, ... , Oliver, Orlando, Oscherwitz, ... , Owen 
Referenzen
Mazzei, Julie und O'Brien, Erin E.
You Got It, So When Do You Flaunt It? Building Rapport, Intersectionality, and the Strategic Deployment of Gender in the Field
Journal of Contemporary Ethnography, 38(3):358-383
2009

Schlüsselwörter: fieldwork, gender, intersectionality, access, rapport, identity

Zusammenfassung:

Mazzei and O’Brien’s essay builds on existing literature and different field experiences and examines how female researchers are able to access ‘the field’ and build rapport with informants, with the successful negotiation of socially constructed scripts that are dominant in the field setting. Their analysis demonstrates how field settings render various combinations of a researcher’s perceived attributes relevant, and how researchers can strategically utilize established scripts regarding these status group memberships to ethically gain the trust of informants. Establishing rapport, they argue, does not require a field researcher to adopt, reject or tweak a gender role which is determined by their field setting, rather it is dependant on the researcher’s ability to recognize and work within socially constructed meanings that are deemed relevant in the research setting and being able to establish agency via the culmination of their group memberships. These “socially constructed scripts” that are readily available to female researchers and allow them to negotiate their own gender and group memberships provide opportunities for the researcher to deploy gender to gain entry and establish rapport. Aligning or misaligning one’s gender with informants can have effects of gaining access and rapport, which at times, is out of the researcher’s control. However, they argue that the negotiation process is regular and ongoing, depending upon particular situations and informants. Therefore gender roles are neither necessarily static nor determined. The authors both write about ethical issues in the field and state that it is the job of the consciously intersectional researcher to be aware of how one is likely to be read in a setting and then to act within the confines of the field setting. Their essay uses a comparative case study design that uses the concept of “deploying gender” to build a more general, intersectional argument on the role of a researcher’s status group memberships for building rapport.

Oldenburg, Ray
The great good place: Cafés, coffee shops, bookstores, bars, hair salons, and other hangouts at the heart of a community
Marlowe, New York;Berkeley
0

Schlüsselwörter: City and town life Public spaces Leisure

Zusammenfassung:

The Great Good Place argues that "third places" - where people can gather, put aside the concerns of work and home, and hang out simply for the pleasures of good company and lively conversation - are the heart of a community's social vitality and the grassroots of democracy.

Oliver, Paul
Black Music in Britain
Open University Press, Buckingham
1990

Orlando, Valérie
From Rap to Raï in the Mixing Bowl: Beur Hip-Hop Culture and Banlieue Cinema in Urban France
Journal of Popular Culture, 36(3):395-415
2003

Oscherwitz, Dayna L.
Pop goes the Banlieue: Musical Métissage and the Articulation of a Multiculturalist Vision
Contemporary French and Francophone Studies, 8(1):43-50
2004

Zusammenfassung:

In this article Oscherwitz discusses the effects of the fusion of hip-hop music with different musical styles upon urban communities in France. She explains that although hip-hop has become the dominant vehicle for urban youth to articulate their vision of the world, in order to describe their social and material circumstances in the banlieue and to critique dominant culture stereotypes of the banlieue, the French banlieue musical scene is very different from American hip-hop culture. With regard to the criteria of space, the concept of the “banlieue“ extends beyond the literal banlieues of France’s largest cities and connotes a series of spaces that are linked to negative stereotypes of urbanity, while the “ghetto“ concept is more defined and spatially linked. Moreover, US-american hip-hop is a musical category that is clearly defined. French banlieue music in contrast can be described as a musical métissage, because it is a fusion of hip-hop with different musical styles. The different impacts are based upon the mixture of various ethnicities and cultures within French society and therefore form a discourse that challenges hegemonic conceptions of French national and cultural identity. By means of discussing the musical métissage that is reflective of France’s urban space, Oscherwitz wants to demonstrate an alternative, multiculturalist vision of France. French banlieue music, she argues, can be seen as a musical way of affirming the multiethnic composition of France’s population. This affirmation is underlined by the idea that traditional notions of fixed and stable French identities are responsible for racism and oppression, and is based on the suggestion that shared urban space forms the basis of collective identity and that diversity is allowed in such spaces. French banlieue music allegedly articulates a multiculturalist vision of identity and conceives the city as a space where cultures and communities interact and redefine themselves as a result of a plural, multiethnic, multicultural belonging.

Ossman, Susan
Suburban Battles and Dystopian Cosmopolitanisms
Anthropology News, 47(1):5
2006

Ossman, Susan und Terrio, Susan
The French Riots: Questioning Spaces of Surveillance and Sovereignty
International Migration, 44(2):5-21
2006

Zusammenfassung:

This paper examines the riots in France in late 2005 in terms of how they lead to a reconceptualization of the spaces of danger, culture, territory, and sovereignty. It traces a brief history of danger zones and immigration, noting how these two terms have increasingly overlapped. We analyse key discursive formations – legal, political, social scientific, and media – whose explanation for the emergence of the “immigrant” delinquent is linked to what is identified as a culture of poverty. They provide a sustained examination of recent legal reforms of juvenile law as well as judicial practices within the juvenile justice system to show the systematic exclusionary practices of what is claimed to be a colour blind republican system. They reveal a consensus across the political spectrum and among police, prosecutors, investigating magistrates, and new security experts on the need to privilege accountability, restitution, and retribution in the treatment of juvenile offenders. We present evidence from interviews and ethnographic observation among youths of all backgrounds. Ironically, while the children of immigrants seek to claim a voice in the national community, their peers from more privileged social milieu express increasing distance from national concerns, seeking to lead lives as Europeans or global citizens. We end by arguing that this needs to be taken into account in any analysis of frustrated and disenfranchised suburban youths. A transnational or supra-national sociology that accounts for the itineraries of immigrants of all kinds must be developed.

Ross, Andrew , Owen, Frank , Moby, , Knuckles, Frankie und Cooper, Carol
The Cult of the DJ: A Symposium
Social Text, 43:67-88
1995

Schlüsselwörter: Dj cult, music press, U.S, popular music cultures

Zusammenfassung:

This article documents a panel discussion that took place at a conference entitled 'A to the K: New Directions in Popular Music'. The panel problematizes the fact that there haven't been any decent publications on dance music, especially a credible history of the Dj in the U.S context. It is argued that the dance club has been one of the most important cultural institutions of the last two decades with regard to musical progress, fashion, courtship, performance and sexual display. Here the changing role of the Dj is emphasized as profound as it has moved from the position of the industry go-between, promoter to the position of independent producers and creators in their own right. This redefinition is considered as a revolutionary development in popular music. However, the panel criticizes that dance music has not received the deserved attention from the press in U.S- American music press, due to a regionally decentralized, racially segregated and genre-driven music scene. The panel addresses this neglect by elaborating on the difficulty to market house music acts and labels not investing their resources into dance music as well as the disregard of Djs as artists. Within this context the Djs position, influence on and meaning to the audience is thematized. Furthermore a lack of publications that hinders the development of an infrastructure involving a critical sensibility that appreciates dance music is mentioned. The panel points out the flavoring of rock music and “rockism“ or “rock ideology“ as well as (a return) to white middle class values leading to dance music being discredited and excluded. Moreover the panel addresses issues of racism and homophobia regarding the attitudes of the music press towards dance music as well as economic underpinnings that influenced the dance music club culture.