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Michael L. Siciliano draws on nearly two years of ethnographic research as a participant-observer in a Los Angeles music studio and a multichannel YouTube network to explore the contradictions of creative work. Creative Control explains why “cool” jobs help us understand how workers can participate in their own exploitation.
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La rachat de la maison de disque par Béatrice Martin « a une symbolique très forte ».
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The use of live popular music performance as a platform to address gendered and sexual violence and trauma within the popular music industry can be demonstrated through the analysis of Kesha’s performance of “Praying” at the 2018 Grammy Awards. Analyzing the artist’s vocal and artistic delivery, in addition to her public persona following her allegations of sexual abuse against producer Lukasz Gottwald (Dr. Luke), illustrates how live performance—building on and contrasting with social media campaigns, such as #FreeKesha and #MeToo, and studio recordings—is a uniquely effective mode of processing individual and collective trauma.
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« Le protocole d’accréditation Commande un Angelot a été conçu afin de s’attaquer aux violences à caractère sexuel dans les bars et les événements festifs ou sociaux. Celui-ci vise à prévenir ces situations et à venir en aide aux personnes en difficulté. Le Collectif social, un organisme sans but lucratif qui souhaite déployer et soutenir la réalisation d’initiatives de nature communautaire ou sociale qui répondent aux besoins des communautés étudiantes des établissements d’enseignement supérieur, est derrière ce projet. »
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This article extends our understanding of how university students make sense of, and respond to, sexual violence in the night-time economy (NTE). Based on semi-structured interviews with 26 students in a city in England, we examine students’ constructions of their experiences of sexual violence within the NTE, exploring their negotiations with, and resistance to, this violence. Building upon theories of postfeminism, we interrogate the possibilities for resistance within the gendered spaces of the NTE and propose a disaggregated conceptualization of agency to understand responses to sexual violence, thereby offering useful insights for challenging sexual violence in the NTE and in universities.
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"Reexamining feminist sexual politics since the 1970s-the rivalries and the remarkable alliances"--
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Le 19 août 2020, la soprano Chloé Briot dénonce dans La Lettre du Musicien des agressions sexuelles répétées portées par un collègue chanteur lors de la production de l’opéra L’inondation. Faute d’avoir été entendue et défendue par sa direction, elle annonce encore avoir porté plainte devant la justice française dès le mois de mars de la même année et vouloir ainsi « en finir avec la loi du silence ». Pourquoi l’artiste lyrique n’a-t-elle pas été entendue à plusieurs reprises malgré ses plaintes auprès de ses collègues et de la production ? Dans quelle mesure cette agression sexuelle est-elle symptomatique d’un mode de fonctionnement sexiste plus large du monde de l’opéra français ? Peut-on parler effectivement d’une « loi du silence » dénoncée par la chanteuse ? Si oui, que risquent ceux et celles qui dénonceraient des faits sexistes et des violences sexuelles ?
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This article examines our ethical responsibility toward artists engaged in harmful behaviors. Specifically, I demonstrate when and why we are morally obligated to withdraw our public and financial support from Artists Who Cause Harm such as Louis C.K., Terry Richardson, and Ryan Adams. Using a moral distinction presented by Philippa Foot and others, I identify this support as enabling harm when the wealth and influence that we support removes typical barriers that protect victims from harm and interposes barriers that prevent victims from avoiding harm. I proceed to demonstrate that our personal support is morally significant, and we have a moral responsibility to make contributions to collective action when the cost is low or the degree of belief that others will contribute is high. Here we have both a strong belief that others will withdraw support and a relatively low cost to ourselves to do so. I acknowledge that enabling current harms is only a sufficient condition to withdrawing support from an artist and should not minimize other reasons for avoiding certain artists and their works. However, when we do believe that our support enables an artist engaged in harmful behaviors, we have an obligation to withdraw that support.
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"Writers across the globe speak out against sexual assault and abuse in this powerful new poetry anthology, edited by Sue Goyette. These collected poems from writers across the globe declare one common theme: resistance. By exploring sexual assault and violence in their work, each writer resists the patriarchal systems of power that continue to support a misogynist justice system that supports abusers. In doing so, they reclaim their power and their voice. Created as a response to the Jian Ghomeshi case, writers including Joan Crate, Ashley-Elizabeth Best, and Beth Goobie are, as editor Sue Goyette explains, a "multitude, resisting." The collection could not be more timely. The work adds a new layer to the ever-growing #MeToo movement. Resistance underscores the validity of all women's experiences, and the importance of dignifying such experiences in voice, however that may sound. Because once survivors speak out and disrupt their pain, there is no telling what else they can do."--