Study Questions for Wendy Fonarow's book Empire of Dir
[updated February 12, 2007
- What methods does Fonanow use to analyze indie music?
- What are the theoretical notions she uses (i.e. which concepts are important in her analysis)?
- How are the differences between "indie" and "mainstream" defined?
- How are the differences between behavior at indie concerts vs. at dances characterized?
- Why is it that indie fans don't like guitar solos?
- What's new about the ways in which Fonarow examines concerts?
- How does Fonarow situate Indie music in relation to Puritanism?
- How does Fonarow talk about the trickster? Why is it a useful metaphor for thinking about indie music?
- What is the role of the British weekly music press in the indie community?
- How is indie seen to manifest a contradiction between Western and West African metaphysics?
- How does Fonorow make the argument that participation in indie gigs is a
rite of passage?
- What does "participant framework" mean, as Fonarow uses the term?
- What are the different "zones of participation" at an indie gig, according to Fonarow?
- Describe the participatory spectatorship and subjectivities of gig audience members in the different zones.
- How is indie seen to manifest a contradiction between Puritan ascetism and Romantic emotionalism?
- What does Fonorow mean by the illusion of performance?
- How does indie convey credibility and authenticity?
- How is gender a relevant category in analyses presented in the book?