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- Genre: Electronic discussion groups--Saudi Arabia.
- Genre: Music--Arizona--21st century--History and criticism.
- Creators: Arizona State University
Description
The aim of this study was to investigate the issue of Saudi women’s right to drive through a critical analysis of the Saudi online discourse on women’s right to drive. In the study, the attempt was made to provide a critical contrastive analysis of the online debate for and against Saudi women’s right to drive. A review of the literature indicated that very little research has been done about critical discourse analysis (CDA) of online texts focusing on the representation and rights of Saudi women. Employing Fairclough’s three-dimensional framework, a corpus of written posts on the right to drive, written by Saudi women, was analyzed at three levels: (a) textual analysis, (b) discursive practice analysis, and (c) sociocultural practice. The findings of the analysis on the textual and discursive practice levels showed that the theme of ingroup and outgroup presentation was significant in the data. The findings also indicated that ideologies were expressed linguistically by means of naming, presuppositions, predication, and intertextuality. At the sociocultural practice level, the controversial struggle about the right to drive was situated in its broader sociocultural context, in which the complexity of the sociocultural practice of the Saudi Society was revealed.
ContributorsAlharbi, Badr (Author) / Adams, Karen L (Thesis advisor) / Long, Elenore (Committee member) / Warriner, Doris (Committee member) / Arizona State University (Publisher)
Created2016
Description
ABSTRACT A cultural overview of the so-called "early music movement" in Arizona, specifically the musicians who performed early music in the mid-to-late twentieth century, has never been undertaken. In applying ethnographic methods to Western art music, Kay Kaufman Shelemay suggests, in her 2001 article, "Toward an Ethnomusicology of the Early Music Movement," that a musical anthropology "would seem to hold great potential for the study of `Western music.'" In this paper I analyze and discuss issues related to "early music" in Arizona from roughly 1960 to 2008. In focusing primarily on the musicians themselves, I address issues in three primary areas: 1) the repertory and the so-called "early music revival;" 2) specific types of early music which have been presented in Arizona and the effects of economic factors; and 3) Arizona musicians' attitudes toward the repertory and their motivations for specializing in it. I then analyze Arizona musicians' involvement with both the early music repertory itself and with the community, identifying how musicians were exposed to early music and whether or not those first exposures began a long-lasting involvement with the repertory. In this section I also describe ways in which musicians define early music for themselves as well as analyze more critical areas such as musicians' formation of an "early music identity." I also asked informants to discuss how they see early music as being fundamentally different from other types of "classical" music and how they view their own places in that community of "difference." Finally, I compare musicians' thoughts on the "transformative" effect that some early music can have on performers and listeners and how that effect compares with similar phenomena in other types of Western art music.
ContributorsDe Fazio, James M (Author) / Haefer, John R (Thesis advisor) / Solis, Theodore (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2010