Public consciousness, political conscience and memory in Latin American nueva canción

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Popular music and/as event: subjectivity, love and fidelity in the aftermath of rock ’n’ roll

This article concerns the usefulness of attaching a philosophy of the event to popular music studies. I am attempting to think about the ways that rock ’n’ roll functions as a musical revolution that becomes subjected to a narrative of loss accompanying the belief that the revolution has floundered, or even disappeared completely. In order to think about what this narrative of loss might entail I have found myself going back to the emergence of rock ’n’ roll, to what we might term its ‘event’, and then working towards the present to take stock of the current situation. The article is divided into three parts. Part One attempts to think of the emergence of rock ’n’ roll and its attendant discourse alongside Alain Badiou’s notion of event, looking at ways in which listening subjects are formed. Part Two continues the discussion of listening subjectivity while shifting the focus to objects associated with phonography. Part Three attends to a number of difficulties encountered in the Badiouian project and asks to what extent rock music might be thought of as a lost cause. All three parts deal with notions of subjectivity, love and fidelit

The Nietzschean Self: Moral Psychology, Agency, and the Unconscious by Paul Katsafanas

Review of The Nietzschean Self: Moral Psychology, Agency, and the Unconscious by Paul Katsafana

The same distant places: Bob Dylan's poetics of place and displacement

This article explores the emphasis in Bob Dylan's work on memory, place, and displacement. It rehearses some key issues raised by recent theorists who have been interested in the connections between these themes before proceeding to discuss tropes of displacement in Dylan's work. Topics covered include the importance of the city and its projection of the rural, the theme of moving on and its association with accumulated experience, and the ability of Dylan continually to reinvent himself. The article closes with a reflection on the album Time Out of Mind as a distillation of themes of place and displacement that can be found throughout Dylan's work and argues that the work presents a poetics of displacement that cannot shed the pull of place and the desire for homely permanence

Mapping of transcription termination within the S segment of SFTS phlebovirus facilitated the generation of NSs-deletant viruses

SFTS phlebovirus (severe fever with thrombocytopenia syndrome virus; SFTSV) is an emerging tick-borne bunyavirus that was first reported in China in 2009. Here we report the generation of a recombinant SFTSV (rHB29NSsKO) that cannot express the viral non-structural protein (NSs) upon infection of cells in culture. We show that rHB29NSsKO replication kinetics are greater in interferon (IFN)-incompetent cells and that the virus is unable to suppress IFN induced in response to viral replication. The data confirm for the first time in the context of virus infection that NSs acts as a virally encoded IFN antagonist and that NSs is dispensable for virus replication. Using 3’ RACE we mapped the 3’ -end of the N and NSs mRNAs, showing that the mRNAs terminate within the coding region of the opposite open reading frame. We show that the 3’ end of the N mRNA terminates upstream of a 5’ -GCCAGCC-3’ motif present in the viral genomic RNA. With this knowledge, and using virus-like particles, we could demonstrate that the last 36 nt of the NSs ORF were needed to ensure the efficient termination of the N mRNA and were required for recombinant virus rescue. We demonstrate it is possible to recover viruses lacking NSs, expressing just a 12 amino acid NSs peptide or viruses encoding eGFP or a NSs-eGFP fusion protein in the NSs locus. This opens the possibility for further studies of NSs and potentially the design of attenuated viruses for vaccination studies

La coreografía de la nostalgia: canciones, imágenes y lugares en “Fados”, (2007), de Carlos Saura

At the time of its release in 2007, Carlos Saura’s Fados was presented as the third in a trilogy of films about modern urban musics, following Flamenco (1995) and Tango (1998). Like those films, Fados is dedicated to a particular genre – the Portuguese music of the film’s title – and presented as a series of performances. Stylistically it is closer to Flamenco in that it dispenses with plot, narrative and characters (still important in Tango), opting instead to proceed via staged performances involving singers, instrumentalists and dancers. Like the earlier films the main ‘action’ is shot on a large sound stage which has been fitted with an assembly of partitions, screens, mirrors and theatre props to create a distinct space for each performance and to allow the interaction of live and pre-recorded material, the latter delivered via projection, still photography and recorded sound