Genre Publics is a cultural history showing how new notions of 'the local' were produced in context of the Indonesian 'local music boom' of the late 1990s. Drawing on industry records and interviews, media scholar Emma Baulch traces the institutional and technological conditions that enabled the boom, and their links with the expansion of consumerism in Asia, and the specific context of Indonesian democratization. Baulch shows how this music helped reshape distinct Indonesian senses of the modern, especially as 'Asia' plays an ever more influential role in defining what it means to be modern.

Genre Publics is a cultural history showing how new notions of 'the local' were produced in context of the Indonesian 'local music boom' of the late 1990s. Drawing on industry records and interviews, media scholar Emma Baulch traces the institutional and technological conditions that enabled the boom, and their links with the expansion of consumerism in Asia, and the specific context of Indonesian democratization. Baulch shows how this music helped reshape distinct Indonesian senses of the modern, especially as 'Asia' plays an ever more influential role in defining what it means to be modern.

In recent decades, genre studies has focused attention on how genres mediate social activities within workplace and academic settings. Genre and the Performance of Publics moves beyond institutional settings to explore public contexts that are less hierarchical, broadening the theory of how genres contribute to the interconnected and dynamic performances of public life. Chapters examine how genres develop within publics and how genres tend to mediate performances in public domains, setting up a discussion between public sphere scholarship and rhetorical genre studies. The volume extends the understanding of genres as not only social ways of organizing texts or mediating relationships within institutions but as dynamic performances themselves. By exploring how genres shape the formation of publics, Genre and the Performance of Publicsbrings rhetoric/composition and public sphere studies into dialogue and enhances the understanding of public genre performances in ways that contribute to research on and teaching of public discourse.

"In this wonderfully bold and speculative anthology of writings, artists and critics offer a highly persuasive set of argument and pleas for imaginative, socially responsible, and socially responsive public art.... "--Amazon.

European Romanticism gave rise to a powerful discourse equating genres to constrictive rules and forms that great art should transcend; and yet without the categories and intertextual references we hold in our minds, "music" would be meaningless noise. Musical Genre and Romantic Ideology teases out that paradox, charting the workings and legacies of Romantic artistic values such as originality and anti-commercialism in relation to musical genre. Genre's persistent power was amplified by music's inevitably practical social, spatial, and institutional frames. Furthermore, starting in the nineteenth century, all music, even the most anti-commercial, was stamped by its relationship to the marketplace, entrenching associations between genres and target publics (whether based on ideas of nation, gender, class, or more subtle aspects of identity). These newly strengthened correlations made genre, if anything, more potent rather than less, despite Romantic claims. In case studies from across nineteenth-century Europe engaging with canonical music by Bizet, Chopin, Verdi, Wagner, and Brahms, alongside representative genres such as opéra-comique and the piano ballade, Matthew Gelbart explores the processes through which composers, performers, critics, and listeners gave sounds, and themselves, a sense of belonging. He examines genre vocabulary and discourse, the force of generic titles, how avant-garde music is absorbed through and into familiar categories, and how interpretation can be bolstered or undercut by genre agreements. Even in a modern world where transcription and sound recording can take any music into an infinite array of new spatial and social situations, we are still locked in the Romantics' ambivalent tussle with genre.

GENRE: AN INTRODUCTION TO HISTORY, THEORY, RESEARCH, AND PEDAGOGY provides a critical overview of the rich body of scholarship that has informed a “genre turn” in Rhetoric and Composition, including a range of interdisciplinary perspectives from rhetorical theory, applied linguistics, sociology, philosophy, cognitive psychology, and literary theory.

Political Prayer in Nineteenth-Century American Literature explores how American women writers such as Catharine Maria Sedgwick, Harriet Beecher Stowe, Rebecca Harding Davis, and Emily Dickinson translated petitioning – a political form for redress of grievances with religious resonance, or what Strand calls “political prayer” – in their literary works. At a time when petitioning was historically transforming governments, mobilizing masses, and democratizing North America, these White women writers wrote “literary petitions” to advocate for others in social justice causes such as antiremoval, antislavery, and labor reform, to transform American literature and culture, and to articulate an ambivalent political agency. Political Prayer in Nineteenth-Century American Literature introduces historic petitioning into literary study as an overlooked but important new lens for reading nineteenth-century fiction and poetry. Understanding petitions in these literary works – and these literary works as petitions – also helps us to understand women’s political agency before their enfranchisement, to explain why scholars have long debated and inconsistently interpreted the works of well-anthologized women writers, and to see more clearly the multidimensional, coexisting, and often competing religious and political aspects of their writings.