Oscar Wilde,Music, and the ‘Opium-Tainted Cigarette’: Disinterested Dandies and Critical Play

This article shows how the musical references in Oscar Wilde's novel The Picture of Dorian Gray are important to the identity of the dandy, especially in relation to the literary-critical work of Matthew Arnold, whose guiding presence in Wilde's oeuvre has traditionally been somewhat underestimated. Wilde's male characters, although famously fond of music, reveal ‘disinterestedness’ in earnest musical pursuits, similar to the ‘Indian virtue of detachment’ outlined by Arnold in his exploration of ‘The Function of Criticism at the Present Time’ (1864, in Arnold, Culture and Anarchy and Other Writings, ed. by Stefan Collini (Cambridge: Cambridge University Press, 1993), pp. 26–51). Furthermore, the critical attitude of the dandy–aesthete intersects with the implications that we can read into the posture of the lounging opium smoker. Extensive scholarship has already established the relationship between the East and opium in fictional works by Thomas de Quincey, Wilkie Collins, Charles Dickens and Oscar Wilde. Music is an essential ingredient to this literature, too, both in terms of its narrative presence and because it is a key element in an ongoing, nineteenth-century British exploration of how stylistic innovations could be represented as ‘music’. After disclosing the close connections between dandyism and those nineteenth-century composers whose lives and works were often represented as dandyish (Berlioz, Chopin and Schumann), the essay builds from the tradition of opium-inspired fiction. It suggests Wilde's debt to Dickens's The Mystery of Edwin Drood (1870), while also showing Wilde's innovations in making shifts in character and narrative voice into indicators of narcotic consumption.     

Diverse Strains: Music and Religion in Dickens's Edwin Drood

Music in Dickens's final and unfinished novel, The Mystery of Edwin Drood, shares in the lethargy affecting traditional English community. That life has become stagnant in Cloisterham, the ancient city in which the novel is set, is nowhere more evident than in the desultory choral worship offered in its cathedral. Yet the unevenness of Dickens's writing in Edwin Drood does not make for consistency, and discrepancies in plotting extend to the musical occupations of its protagonists. By considering Edwin Drood alongside the shifting fortunes of choral music in Victorian Britain, this article focuses on what such discrepancies reveal about Dickens's notion of the place of religion in social renewal. Habitual forms of life in Cloisterham, such as the choral service of its cathedral, are being overwhelmed by marginal presences, arriving from the imperial East, but they may also give voice to a future revival. Something of the changeability in Dickens's feeling for established religion can be glimpsed in this duality.     

Enlivened Geographies of Volunteering: Situated,Embodied and Emotional Practices of Voluntary Action

Abstract

Examining the everyday practices and feelings of volunteering, in particular their situated, emotional and embodied nature, serves to place the experiences of volunteers centrally in accounts of what matters in the doing of volunteering and goes beyond service provision or active citizenship. Using qualitative evidence from three collaborative research projects, we present enlivened geographies of volunteering which focus on: the situatedness of formal volunteering in place and the negotiation of local ‘moral economies’ of norms and expectations surrounding access to volunteering opportunities and the practices of volunteering; complex positionings of informal volunteering in biographies of social participation; and intersections of embodiment and emotions in experiences among environmental volunteers. We contribute to the development of social geographies which are ‘more-than-representational’ and argue that connecting insights on everyday practices of volunteering with wider policy and practice agendas requires a focus on the enduring, but also emergent and excessive nature of the spaces of doing volunteering, on the relational nature of volunteering, and on opening up debates in the networks of research-policy-practice which understand spaces of volunteering as entailing more than volunteering.     

Reviews

Books Reviewed: David S.G. Thomas and Andrew Goudie (eds), The Dictionary of Physical Geography 3rd ed Ross A. Bradstock, Jann E. Williams and Malcolm A. Gill (eds), Flammable Australia: the Fire Regimes and Biodiversity of a Continent A. Carr, Grass Roots and Green Tape. Principles and Practices of Environmental Stewardship Felix Driver, Geography Militant: Cultures of Exploration and Empire G. Waitt, P. McGuirk, K. Dunn, K. Hartig and I. Burnley, Introducing Human Geography: Globalisation, Difference and Inequality I. Hay (ed.), Qualitative Research Methods in Human Geography A.J. Brown, Ill–starred Captains: Flinders and Baudin     

Digging up Unearthed down-under: a hybrid geography of a musical space that essentialises gender and place

Hybrid geographies are well developed in studies of human–nature relations and environmental humanities, but less so in geographies of music and gender. In this article, we use hybrid geographies to frame our critical engagement with Australia's triple j's Unearthed, a publically funded website and radio station that presents new music. Hybrid approaches enable us to understand gendered power relations in music by deconstructing the ways power differences are built on cultural, social, spatial and technological relations. Engaging netnographic and mixed-method approaches we critique Unearthed as a democratic music cyberspace. We identify the limited constructions of gender and geographic location, some of which are unique to this online presence, while others are shared with broader musical spaces. We argue that the interactions between technology, artists, fans and the online spaces, as mediated by Unearthed, situate emerging artists in relation to gender, geography and genre, and thus constrain possibilities for a more democratic musical space. Unearthed manifests as a musical space where rurality is exoticised while urban origins are diminished, and hegemonic masculinities remain dominant. We suggest that the potential of Unearthed can be realised if gender and geographic hegemonies are recognised and otherness is de-essentialised.     

Materiality and metaphor: Sound in circulation

Four recently published books examine sound in social contexts, including brass bands on the streets of New Orleans, Hawaiian steel guitar, the genre of Noise and its social circulation, and Aboriginal radio production in northern Australia. The authors present the material and metaphoric power of sound in social contexts through thoughtful and thorough historical research and long-term ethnographic study. The influential thinking of John Blacking, Steven Feld, and others is expanded and critiqued in new contexts. Three of the authors are editors or contributors to a recent publication on keywords related to sound in anthropology and ethnomusicology.     

异托邦：音乐节事活动的空间实践——以迷笛音乐节为例

文章使用异托邦理论为概念框架,以迷笛音乐节为案例,通过参与式观察与深度访谈法,试图揭示音乐节空间实践中构建的另类特征。研究发现,迷笛音乐节所承载的功能逐渐由叛逆的“出口”转变为“好玩”的生活方式;音乐节事空间实践中呈现出多元的功能并置,矛盾与流动的融合;音乐节事空间的文化实践也呈现出日常结构的超越与反抗,以及作为理想的补偿空间。周期性节事时空实践中文化的稳定性则使其成为对称而不可分割的系统性时空。该研究为节事空间提供了新的认知途径,也从节事的角度丰富了异托邦理论的微观案例。     

The nation in the region: flamenco and canzone napoletana as national icons in modern Spain and Italy (1880–1922)

Although the relationship between music and nationalism has been at the centre of recent cross‐disciplinary research, many areas remain unexplored. Among them are forms of ‘national music’ that nest overlapping identities, functioning simultaneously as vehicles of regional, ethnic, urban, global and diasporic belongings. This article focuses on the national dimension of these multilevel identities, concentrating on the swings and transmigrations between the national and the regional. It compares two Mediterranean traditions which, particularly between the late nineteenth and early twentieth centuries, have served as multilevel identifiers of national and regional belongings: flamenco and canzone napoletana (Neapolitan song). I argue that, besides geographically bounded identities, both genres were constructed as ‘national’ primarily abroad, rather than in their home countries, thus contributing to a theory of the ‘international’ dimension of ‘national’ music. In the case of flamenco, I focus on the irradiation centre of the time, Paris, although the modern notion of musical Spanishness was first associated with national identity in Russia. The canzone consolidated its international position mostly through the Italian diaspora, achieving a much wider reach than is ordinarily thought, both nationally and globally.     

Social practices and lifestyles in Italian youth cultures

Abstract

In recent decades, social research on youth in Italy has explored a wide range of issues through different interpretative and methodological approaches. However, there are very few studies that seek to identify the keynote features of the juvenile condition. This article argues that collective identities and forms of identification among youth are shaped more and more frequently through the sharing of social practices, of the meanings connected to these practices, and of more comprehensive lifestyles. With reference to four main fields (sport, music, politics, religion) and focusing on youth cultures, it analyses the connections between behaviours, attitudes, values and representations of youth actively involved in each of these different fields. The aim is to identify transversal processes through which young people today elaborate and adopt social practices and cultural profiles, create new social forms, and develop innovative signification processes.