Christina Schoux Casey
Dados Biográficos
| ID | 167972 |
|---|---|
| NOME | Christina Schoux Casey |
| PRENOMES | Christina Schoux |
| SOBRENOME | Casey |
| ASSINATURA | CASEY C S |
| AFILIAÇÕES | Aalborg University |
| ORCID | 0000-0001-6047-8397 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 3 |
| TOTAL DE CITAÇÕES | 9 |
| TOTAL COMO AUTOR | 3 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2016 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2018 |
| ÍNDICE H | 2 |
She don’t need no help’
New Orleans bounce music is a dance-oriented hip-hop form that has emerged as a notably non-normative genre, in which queer Black bounce artists destabilise binary cultural paradigms and emphasise queerness as inclusive and relational. We explore how five artists' lyrics and public personae actively refute the consolidated, naturalised nexus of gender, sex, and sexuality by disentangling each of the three strands from one another. In order to exp…
New Orleans bounce music, sexuality, and affect
This article explores how language, sexuality, and affect are circuited in New Orleans bounce music. Bounce features lyrics that characterize the performers as queer, describe sex explicitly, celebrate sex between male-bodied people, and expose the hypocrisy of straight-acting men. Bounce lyrics are just one element of bounce performances, however, which consist of the reciprocal relationship between the dancers in the audience, the intensity of …
Ya Heard Me? Rhoticity in Post-Katrina New Orleans English
Sociolinguistic research has documented the change to rhoticity by white speakers in the American South, and the increase in rhoticity in New York City and New England. However, there has been scant investigation of rhoticity in New Orleans, Louisiana, which, as a linguistic island in the Gulf South argued to have strong historical ties to New York City, presents a particularly interesting site for investigation. The city's varieties of English h…
Ya Heard Me? Rhoticity in Post-Katrina New Orleans English
Sociolinguistic research has documented the change to rhoticity by white speakers in the American South, and the increase in rhoticity in New York City and New England. However, there has been scant investigation of rhoticity in New Orleans, Louisiana, which, as a linguistic island in the Gulf South argued to have strong historical ties to New York City, presents a particularly interesting site for investigation. The city's varieties of English h…
New Orleans bounce music, sexuality, and affect
This article explores how language, sexuality, and affect are circuited in New Orleans bounce music. Bounce features lyrics that characterize the performers as queer, describe sex explicitly, celebrate sex between male-bodied people, and expose the hypocrisy of straight-acting men. Bounce lyrics are just one element of bounce performances, however, which consist of the reciprocal relationship between the dancers in the audience, the intensity of …
Ya Heard Me? Rhoticity in Post-Katrina New Orleans English
Sociolinguistic research has documented the change to rhoticity by white speakers in the American South, and the increase in rhoticity in New York City and New England. However, there has been scant investigation of rhoticity in New Orleans, Louisiana, which, as a linguistic island in the Gulf South argued to have strong historical ties to New York City, presents a particularly interesting site for investigation. The city's varieties of English h…
She don’t need no help’
New Orleans bounce music is a dance-oriented hip-hop form that has emerged as a notably non-normative genre, in which queer Black bounce artists destabilise binary cultural paradigms and emphasise queerness as inclusive and relational. We explore how five artists' lyrics and public personae actively refute the consolidated, naturalised nexus of gender, sex, and sexuality by disentangling each of the three strands from one another. In order to exp…
New Orleans bounce music, sexuality, and affect
This article explores how language, sexuality, and affect are circuited in New Orleans bounce music. Bounce features lyrics that characterize the performers as queer, describe sex explicitly, celebrate sex between male-bodied people, and expose the hypocrisy of straight-acting men. Bounce lyrics are just one element of bounce performances, however, which consist of the reciprocal relationship between the dancers in the audience, the intensity of …
Psychology (2 obras) · Aesthetics (1 obras) · Affect (linguistics (1 obras) · Art (1 obras) · Business (1 obras) · Communication (1 obras) · Communication (1 obras) · Computer Science (1 obras) · Epistemology (1 obras) · Expression (computer science (1 obras)