Discusión:Madonna studies

message: *Madonna is the most studied singer of all time
*Madonna gets cultural icon treatment
*Dicen los expertos en márketing que Madonna debería ser objeto de estudio en las escuelas de negocio.
*While Madonna scholars view themselves as scholarly rebels finding high theory and radical interpretability in pop culture ( unravelling clues to feminism , race and homosexuality in Madonna's signifier - drenched work ) , their critics ... Alt.culture: An A-z Guide to 90s America - Page 137; Steven Daly, ‎Nathaniel Wice · 1995
*She remains a witch in the terms I am using ; British culture has not yet found a defusing metaphor for her ... Where Madonna is innovative - and the reason why she creates such interest amongst feminists and cultural studies experts – is that she confuses whore and witch — The Sexual Metaphor - Page 174; Helen Weinreich-Haste · 1993
:[MADONNA : PLANTATION MISTRESS OR SOUL SISTER bell hookis The idea of studying the popularity of Madonna has been grist for the mills of many critics of trends in scholarship on American culture .  No writer has more precisely described what is at stake in such studies than bell hooks ...] | Black on White: Black Writers on what it Means to be White - Page 307 by David R. Roediger · 1998 
*Madonna's authority lies in the discrepancy between mass culture and high culture of critics and intellectuals whose views are mainly preserved in the universities and colleges of a Poe , an Eliot and a Hawthorne . New Directions in Comparative Literature - Page 143, 2008
*Xuxa: Já se disse tudo sobre ela . É como Madonna , que é objeto de estudos acadêmicos e do fanatismo mais delirante , tudo junto . Mas , recentemente , sua existência na | Brasil em tempo de TV - Página 150 por Eugênio Bucci (1996)
*One of the contributors, Laurie Schulze, points out that while some of the articles in the collection were trashed by both the conservative and the left-leaning popular press as attempting to dignify studying Madonna by using difficul theoretical jargon, other pieces were criticized as desperate attempys by "academic wannabes to look cool when they were really being "mercenary, overcelebratory, or just plain silly. Schulze goes on to suggest some of the tensions and dilemmas faced by academics, and other intellectuals, who want to gie their work a more autobiographical touch
"They didnt get the joke. The whole poin is that I'm not anybody's toy. People take everything so litereally, she told Cosmopolitan" 
*MADONNA Academic BOOM
*[... important not only because she reveals the global reach of media culture, but because she exemplifies how issues such as race and sexuality are increasingly articulated through culture rather than politics in the narrow sense.]
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*Finally if the zig-zag history of Madonna studies says anything about the future of critical theory (and of course, I think it does)...
*The Case of Madonna Studies/Body of Evidence: The Fatality of Madonna Studies una extensa crítica-historia y también aquí
*De Hegel a Madonna: Hacia una Economía General del “Fetichismo de la Mercancía”
*Madonna is no longer in the academic limelight and poststructuralist theorists are re-considering materialist issues....Madonna Studies remains an established field within Cultural studies
*Analizar a Madonna es profundizar en la evolución de muchos de los aspectos más relevantes de la sociedad de las últimas décadas. (podcast)
*writing about Madonna had produced connections with others outside academe that dissolved the boundaries between public and private, academic and popular, theory and practive. Though such boundaries may function in name only, the fact that Madonna broaches divisions underscores the extent of her cultural power — certainly large enough to link total strangers in dialogue and highlight the ephemerality of: The Madonna Connection
*"Madonnology" is a recognized sub-discipline of Cultural Studies, with its own courses, textbooks and associated scholarly apparatus. Indeed, when you read some of the stuff that academics have written about Madonna, such as her subversion of the subversion of the subversion of the male gaze in the Material Girl video, then you’re inclined to conclude that certain scholars should get out more. But marketing and consumer researchers, fortunately, are much too sensible to attend to self-indulgent academics squawking on about Madonna. Aren=t they?
*El populismo cultural revisitado (Debe decirse que en los estudios culturales el caso de Madonna ha sido tan excesivamente trabajado que se ha llegado al tedio, como ocurrió en las antiguas escuelas con el problema histórico sobre las causas de la Primera Guerra ..)
*Hardly any other popular artist has received as much attention from the scientific community as Madonna (cf. e.g. Schwichtenberg 1993), and `Like a Prayer' has since its release been one of her most discussed videos also in the academic context. Here I will briefly present three different academic studies of `Like a Prayer'. Scott (1993) emphasises race, McClary (1990) gender and Huhtamo and Lahti (1989) media
*[What makes the Madonna phenomenon interesting is, perhaps, its restaging of this contrversy in cultural criticism as a controversy in the area of the identify politics. Madonna and her reception provide a caution about too easily conflating camp with progressive politics. Madonna's reception, both positive and negative, suggests that camp can still be a political and critical force-perhaps even more so since becoming a more public sensibility-]
*[A performer of inimitable ubiquity, Madonna has satured the pages of glossy teen-magazines and academic journals alike over the past decade. Even more unusually, her dalliances with queer communities have, more often than not, been deliberatly and calculatedly cultivated, though the explanations for this vary from one commentator to another]
*[Madonna scholars are not so much interested in Madonna herself, but in the way they believe she shakes up traditional sociax roees and power hierarchies]
*Madonna has always made a lot of people uncomfortable, and she still does. But it's been conservatives who have complained the loudest, and whose charges have generated the Madonna- related media controversies we've come to expect.]
*[Every element, every postmodem pastiche or parody offered up in the Madonna multi-textual library is itself the result of a myriad of conscious, unconscious and sub-conscious readings which we bring with "us" to the text.]
*[It's flattering to me that people take the time to analyze me, that I've so infiltrated their psyches that they have to intellectualize my very being. I'd rather to be on their minds than off]
*[Much academic attention on Madonna has analysed her output in terms of feminism, queer theory, multiculturalism and postmodernism with the work of Cathy and Faith and Wasserlein providing foundational examples]
*[Postmodern theorists of cultural studies elevated Madonna to cult status with a slew of scholarly books in postmodern]
*[the 1990s thus saw a boom in the academic Madonna business – the books! the articles! the conferences! the courses! Scouring compulsively through all this material, I couldn't tell whether Madonna was a good singer (as well as a skilled ...]
*[Madonna is as ubiquitous in academic discourse as she is in the popular media. Already the subject of numberous academic essays in the mid-1980s. Cemented the institutionalization of a major subdivision of American media studies into Madonna studies]
:Analizar a Madonna es profundizar en la evolución de muchos de los aspectos más relevantes de la sociedad de las últimas décadas. Su figura ha sido abordada desde diferentes perspectivas dentro de lo que se conoce como los Madonna Studies y ha servido como caso de estudio para ilustrar desde procesos de articulación de identidades a estrategias de promoción y marketing. Y es que la carrera de Madonna está íntimamente ligada a la consolidación de la globalización, que podemos observar tanto en su relación con el canal MTV y el mundo de la publicidad como en la dimensión y alcance de sus giras. También fue paradigma de los postulados de la postmodernidad, creando un personaje ambiguo (a veces contradictorio) con recursos como la ironía, la parodia, la nostalgia y la cita, que derrumbaba (clichés) universales y rompía barreras entre la alta y la baja cultura.
Esta misma ambigüedad fue la que hizo que fuese difícilmente encasillable y dio lugar a todo tipo de interpretaciones desde el feminismo y el colectivo LGTB, que encontraron en Madonna un símbolo para crear comunidad. Aún hay mucho más, claro: la multitud de estilos musicales que ha aglutinado y popularizado en sus canciones, su adaptación a los cambios de la industria musical en la era digital… Toda una trayectoria que le ha permitido convertirse en un referente para gran parte de las artistas femeninas que copan en la actualidad los primeros puestos del pop internacional. Madonna ha abierto camino y ocupa una posición respetada; no ha sido una reina tirana, sino todo lo contrario, ha roto con la dinámica patriarcal de la lucha entre divas y ha apostado por la sororidad, colaborando con muchas artistas más jóvenes del panorama actual, a pesar de que los medios de comunicación no cejen en su empeño por encontrarle una sucesora.
*[What is most ironic, as Daniel Harris points out, is that the very Lacanian, Foucaultian and Baudrillardian academics who laud Madonna for challenging the fantasy of wholeness claimed by the rational, ego-centered bourgeois individual have made of her an auteur, solo generator of her image. These postmodernist have thus contributed at least as much as Madonna's biographers to her self-generated myth that she as individual is in control. For example, McClary (1990) writes as though Madonna is solely responsible for creating her music, which is not the case eve for the two songs McClary analyzes. As the Village Voice music critic Robert Christgau (1993) points out, if McClary had looked at other contemporary pop musicians (he suggests Paula Abdul) she would have found that Madonna's chord changes are not all that extraordinary] (Who's That Girl? Who's That Boy?: Clinical Practice Meets Postmodern Gender, Lynne Layton)
*[why many of Madonna's academic critics have chosen to look only at her trimuphs and not at her pain; the pain and contradictions are clearly there and Madonna herself seems unafraid to reveal them, although she may not be aware of how much she reveals.](Who's That Girl? Who's That Boy?: Clinical Practice Meets Postmodern Gender, Lynne Layton)
*[critics who want to make of Madonna as postmodern heroine simply omit all the textual evidence that shows her pain (for example, Kaplan 1993 and Schwitchtenberg 1993b). These critics laud her continual reinvention of self, seeing in it her refusal to be bound by cultural definitions of the femenine, and they are right to do so. This is one of Madonna's cultural meanings, one way that she is ready by such varied groups as young girls and postmodern academic theorists. At the same her longing for unity, her abusiveness to herself and others, and the pain that is everywhere in her work are ignored. It is in fact the exclusion of her pain that makes celebration possible. If we were to acknowledge it, we would notice how domination and submission inform everything she does; we would wonder whether Madonna's continual reinvention of self is product of joyful choice or of painful and driven necessity.](Who's That Girl? Who's That Boy?: Clinical Practice Meets Postmodern Gender, Lynne Layton)
*Kathy Schwichtenberg in her book, The Madonna Connection, asserts: Much like Karl Marx's 'social hieroglyph', Madonna can be read as a barometer of culture that directs our attention to cultural shift, struggles and changes.... The 'Madonna paradimg'´serves as a touchstone for theoretical discussions on issues of morality, sexuality, gender relations, gay politics, multiculturalism, feminisn, race, racism, pornography and, capitalism (to name a few).
*Las esferas académicas no escapan de su onda pop expansiva. El periodista inglés Simon Reynolds detalló que Madonna ha alcanzado las élites de estudiosos al ser analizada por universitarios en Frankfurt, Alemania: "Con frecuencia los profesores universitarios dedicados a los estudios culturales utilizan a Adorno como blanco de las críticas a modo de precuela de sus interpretaciones semióticas de la "resistencia hegemónica" codificada con los vídeos de Madonna". Reynolds también recordó su paso en la Facultad de Comunicación donde estudió: "Los periodistas incluso hacían mofa de la existencia de intelectuales, en Estados Unidos e Inglaterra, que usaban las teorías de Deleuze/Guattari para elucubrar análisis sobre cómo los videoclips de Madonna subvertían el capitalismo".
*Indeed, in the U.S in Australia, in Japan, in the whole of Western Europe, and good section of the rest of the globe, Madonnology is omnipresent. Madonna is in the majority of encyclopedias, whether they be generalist or specialized (music and cinema). In the French Quid of 2001, for instance, one of her Parisian concerts, is used to illustrate record amounts of decibels that a concert may generate. That concert, if you are to believe the specialist of Rock & Folk magazine, counts among the 101 most memorable dates in the history of rock. Madonna is interestingly defined in the New York Public Library Book of Popular Americana, between the legendary Welsh prince Madoc and the Mafia. But my favorite example is that of the 1995 Cambridge International Dictionary of English. Here is its definition of the word "virgin"; NOTA: pag 82 en adelante
*Madonna studies itself took a variety of forms (and not all of these necessarily counted as cultural studies), but underlying most of this work was the notion that any proper understanding of Madonna's cultural significance required scholars to pay careful and respectul attetion to the accounts offered by er fans
*Madonna: Like a Dichotomy. Students in communication classes find it useful to study Madonna because she is a fascinating and prolific cultural figure whose merit and intentions are matters of great controversy. As the quintessential music-video star, she is also perhaps the medium's most significant auteur. In the areas of women's roles, motherhood, sexuality, race and religion, Madonna critiques and challenges widespread beliefs while at the same time reinforcing some of them. In her video "Like a Virgin," Madonna carries her trashiness to an extreme as she both mocks what the female is "supposed to do" as a bride and seductress and at the same time usurps the aggressiveness that is "supposed to" be the male's prerogative. She is in a sense, both male and female. According to Rosemary Kowalski, Madonna has provided a useful corrective to the feminism of the 1970s in her suggestion that it is all right for women to dress like women. In almost every video, there is at least one sequence in which Madonna writhes on the floor or ground, crawling, or assuming an otherwise prone position. Further, in the area of race, Madonna, unlike other rock stars, makes her interracial themes so explicit that the viewer cannot overlook them. This forces the viewer to accept or reject her images--although because of her radical critique of religion, viewers may reject them on the grounds of "blasphemy" when in fact they may be responding to her portrayal of African-Americans. (Contains 19 notes.) (TB)
*"It uses Madonna as a case study because she is such a clear example of the agency of celebrity across the media apparatus, the processes of bringing a product to the marketplace and the ongoing negotiation of power and meaning through" ref / Madonna scholarship which focused solely on identity politics throught fornalist readings of cultural texts, and their reception to explore the influencia of the larger political economic, historical, and cultural contexts of capitalism
*Madonna studies (delta.tudelft.nl) - 2000
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*"She is human and more, with larger than life qualities that many scholars have noted."
*No doubt Madonna would have been studied exhaustively and exhaustingly in any event: Fiske, however, started it. Fiske recognizes there is something to be said for a political economy of the Madonna phenomenon, but not much: 'such an: Cultural Studies in Question - Page 150, Marjorie Ferguson, ‎Peter Golding · 1997
*Madonna's authority lies in the discrepancy between mass culture and high culture of critics and intellectuals whose views are mainly preserved in the universities and colleges of a Poe , an Eliot and a Hawthorne . — New Directions in Comparative Literature (pag 143, 2008)
*I use Madonna and her videos to teach Judith Butler's Gender Trouble and queer theory to undergraduates — Queering Christ: Beyond Jesus Acted Up; Robert Goss (2002), pag 177
*Perhaps the worst offenders, though, are Madonna and thesmall intellectual industry that has sprung up to analyse her everymove. A few weeks back, the BBC rounded them up for anOmnibus special, and the crap quotient went through the roof. - Sounds (1991, pag 9)
*[Students will associate Madonna, for example, with female sexuality, rebelliousness] — Women Versed in Myth: Essays on Modern Poets - Page 124, Colleen S. Harris, ‎Valerie Estelle Frankel · 2016
*“Tenured Radicals”: a postscript — by Roger Kimball 1991 (New Criterion)
*Afterword: All You Have to Say is "Thank You"... This essay's first incarnation was as a conference paper at the Fifth Annual Gay and Lesbian Studies Conference at Rutgers University in November 1991. This occurred at the height of that phenomenon that some have derisively-and unfortunately-deemed "Madonna Studies". I was amazed at the size of the audience and the outpouring of enthusiam that greeted the paper. — The Queer Sixties (Patricia Juliana Smith, 2013)
*1987 The Straits Times
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*2023: Madonna is entering her fifth decade of fame and fourth decade of significant attention by academia, predominantly, but not exclusively, in the field of cultural studies, dubbed 'Madonna Studies'. | Pop Stars on Film, Popular Culture in a Global Market
*2023: una breve mención de los Madonna scholars por Andrew O'Hagan
*2023: VigourTimes, buen análisis; en sintonía con TheCut
*empezó en 2020
--Chris (discusión) 03:00 3 mar 2019 (UTC)
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