K A Hansen
Biographic Data
| ID | 48801 |
|---|---|
| NAME | K A Hansen |
| GIVEN NAMES | K A |
| FAMILY NAME | Hansen |
| SIGNATURE | HANSEN K A |
| AFFILIATIONS | University of Inland Norway |
| ORCID | 0000-0003-3215-295X |
| VERIFIED | Yes |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 17 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
Personal Storyworlds
By combining perspectives from transmedial narratology and musicology, this article explores how the notion of a “personal storyworld” can offer new opportunities for understanding the transmedial processes whereby pop artists’ personas are continually (re-)constructed and (re-)negotiated through and across myriad points of contact between artists and audiences. Emphasis is placed on the performative potential of audiovisual aesthetics and public…
Mapping the music of migration
This article adds to existing scholarship on music and migration by presenting and reflecting on the work undertaken in the project ‘Mapping the Music of Migration’ (2019–2021, www.mamumi.eu ), which comprised partners from seven European countries and focused on storytelling about music and its potential to enable intercultural exchange and counter negative stereotypes. The key activities of the project involved the collection of migrants’ ‘Song…
Negotiating girlhood in rock music
Nandi Bushell (b. 2010) is a British-Zulu drummer and multi-instrumentalist whose early career has garnered much attention from audiences and the international music press. In this article, we investigate the case of Bushell as a point of entry for understanding children's participation in mainstream popular music culture and the broader public sphere. We explore Bushell's social media presence, creative output and public reception in relation to…
The ambiguity of 'new' masculinities
Conversations concerning gender ideals, gender roles and equality have been revitalized in the public sphere following the rise of the #MeToo movement, and increased scrutiny is directed towards th
Leder
Staging a ‘real’ masculinity in a ‘fake’ world
A distinction between creativity and commerce as opposing forces is central to discourses surrounding popular music, and this distinction facilitates a gendered hierarchy of valued and devalued forms of musical labour. The practice of singing has typically been coded as feminine and has held a lower status than the masculinized practices of playing an instrument or composing. Accordingly, male pop singers tend to be assessed as inauthentic – and,…
Saturation Season
Following the self-release of their Saturation album trilogy in 2017, American hip-hop group Brockhampton broke through to an international audience. The period of the trilogy’s release – known as “Saturation Season” – is notable for the large body of creative content the group produced and released online. In this article, the authors demonstrate how the group’s new media practices query the boundaries that separate amateurs and professionals, c…
Leder
Azealia Banks
During the 2010s a new generation of queer hip hop artists emerged, providing an opportunity to engage with a set of politics defined by art, fashion, lyrics and music. A leading proponent of this movement was Azealia Banks, the controversial rapper, artist and actress from New York. This study instigates a critical investigation of her performance strategies in the track and video, 'Chasing Time' (2014), offering up various perspectives that pro…
Fashioning a Post Boy Band Masculinity
Zayn Malik’s debut solo album, Mind of Mine (2016), topped numerous charts worldwide and made him the only British male solo artist to have debuted at the top of the prestigious Billboard 200 album chart with a first album, thus extending the astounding commercial success he had previously achieved with the boy band One Direction. This article examines the considerable changes to image and style that accompanied Zayn’s transition to a solo career…
Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé's Partition
This article examines the feminist argument that Beyoncé presents through her personal narrative in relation to the audiovisual aesthetics of the music video Partition (2013), which arguably objectifies the female in accordance with normalized perceptions of gender and sexuality. The video is characterized by striptease aesthetics and hyperembodied display, firmly grounded within the tradition of contemporary pop videos that stylize the body both…
Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé's Partition
This article examines the feminist argument that Beyoncé presents through her personal narrative in relation to the audiovisual aesthetics of the music video Partition (2013), which arguably objectifies the female in accordance with normalized perceptions of gender and sexuality. The video is characterized by striptease aesthetics and hyperembodied display, firmly grounded within the tradition of contemporary pop videos that stylize the body both…
Fashioning a Post Boy Band Masculinity
Zayn Malik’s debut solo album, Mind of Mine (2016), topped numerous charts worldwide and made him the only British male solo artist to have debuted at the top of the prestigious Billboard 200 album chart with a first album, thus extending the astounding commercial success he had previously achieved with the boy band One Direction. This article examines the considerable changes to image and style that accompanied Zayn’s transition to a solo career…
The ambiguity of 'new' masculinities
Conversations concerning gender ideals, gender roles and equality have been revitalized in the public sphere following the rise of the #MeToo movement, and increased scrutiny is directed towards th
Azealia Banks
During the 2010s a new generation of queer hip hop artists emerged, providing an opportunity to engage with a set of politics defined by art, fashion, lyrics and music. A leading proponent of this movement was Azealia Banks, the controversial rapper, artist and actress from New York. This study instigates a critical investigation of her performance strategies in the track and video, 'Chasing Time' (2014), offering up various perspectives that pro…
Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé's Partition
This article examines the feminist argument that Beyoncé presents through her personal narrative in relation to the audiovisual aesthetics of the music video Partition (2013), which arguably objectifies the female in accordance with normalized perceptions of gender and sexuality. The video is characterized by striptease aesthetics and hyperembodied display, firmly grounded within the tradition of contemporary pop videos that stylize the body both…
Fashioning a Post Boy Band Masculinity
Zayn Malik’s debut solo album, Mind of Mine (2016), topped numerous charts worldwide and made him the only British male solo artist to have debuted at the top of the prestigious Billboard 200 album chart with a first album, thus extending the astounding commercial success he had previously achieved with the boy band One Direction. This article examines the considerable changes to image and style that accompanied Zayn’s transition to a solo career…
Azealia Banks
During the 2010s a new generation of queer hip hop artists emerged, providing an opportunity to engage with a set of politics defined by art, fashion, lyrics and music. A leading proponent of this movement was Azealia Banks, the controversial rapper, artist and actress from New York. This study instigates a critical investigation of her performance strategies in the track and video, 'Chasing Time' (2014), offering up various perspectives that pro…
Leder
Leder
Staging a ‘real’ masculinity in a ‘fake’ world
A distinction between creativity and commerce as opposing forces is central to discourses surrounding popular music, and this distinction facilitates a gendered hierarchy of valued and devalued forms of musical labour. The practice of singing has typically been coded as feminine and has held a lower status than the masculinized practices of playing an instrument or composing. Accordingly, male pop singers tend to be assessed as inauthentic – and,…
Saturation Season
Following the self-release of their Saturation album trilogy in 2017, American hip-hop group Brockhampton broke through to an international audience. The period of the trilogy’s release – known as “Saturation Season” – is notable for the large body of creative content the group produced and released online. In this article, the authors demonstrate how the group’s new media practices query the boundaries that separate amateurs and professionals, c…
The ambiguity of 'new' masculinities
Conversations concerning gender ideals, gender roles and equality have been revitalized in the public sphere following the rise of the #MeToo movement, and increased scrutiny is directed towards th
Mapping the music of migration
This article adds to existing scholarship on music and migration by presenting and reflecting on the work undertaken in the project ‘Mapping the Music of Migration’ (2019–2021, www.mamumi.eu ), which comprised partners from seven European countries and focused on storytelling about music and its potential to enable intercultural exchange and counter negative stereotypes. The key activities of the project involved the collection of migrants’ ‘Song…
Negotiating girlhood in rock music
Nandi Bushell (b. 2010) is a British-Zulu drummer and multi-instrumentalist whose early career has garnered much attention from audiences and the international music press. In this article, we investigate the case of Bushell as a point of entry for understanding children's participation in mainstream popular music culture and the broader public sphere. We explore Bushell's social media presence, creative output and public reception in relation to…
Personal Storyworlds
By combining perspectives from transmedial narratology and musicology, this article explores how the notion of a “personal storyworld” can offer new opportunities for understanding the transmedial processes whereby pop artists’ personas are continually (re-)constructed and (re-)negotiated through and across myriad points of contact between artists and audiences. Emphasis is placed on the performative potential of audiovisual aesthetics and public…
Art (7 works) · Sociology (7 works) · Aesthetics (6 works) · Law (6 works) · Music History and Culture (6 works) · Gender Studies (5 works) · Literature (5 works) · Political science (5 works) · Psychology (5 works) · Visual arts (5 works)