Papers by Theresa Steward
Routledge eBooks, Jun 18, 2024
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Intellect Books, Jul 15, 2019
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Russ Bestley, Mike Dines, Alastair Gordon and Paula Guerra (eds.): The Punk Reader: Research Tran... more Russ Bestley, Mike Dines, Alastair Gordon and Paula Guerra (eds.): The Punk Reader: Research Transmissions from the Local and the Global, published by Intellect Books and The University of Chicago Press, August 2019. Edited by Bestley, Dines, Gordon and Guerra, designed by Russ Bestley. A first edition of this book was originally produced as a very short run proof print via the University of Porto, Portugal, in conjunction with KISMIF and the Punk Scholars Network. At that stage, the original named editors were Dines, Gordon and Guerra and Russ Bestley worked as graphic designer to pull the project together and create a final book layout. Bestley was also heavily involved in editing and proofing the various stages of the book through to printing. played a major part in not just the visual outcome of that content but also the editing (arranging and selecting material, text editing and visual editing), acting as more than simply someone who makes a graphic ‘product’ and in more of a c...
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Middle East Journal of Culture and Communication
In this article I assess the convoluted relationship between Iranian popular musicians and the We... more In this article I assess the convoluted relationship between Iranian popular musicians and the Western media. Iranian music is generally discussed within a framework of resistance and Iranian musicians are often presented as political ‘revolutionaries’. In this process, many contradictions emerge; musicians crave publicity and recognition, yet resist it in an attempt to present an image of themselves as part of a subversive Iranian ‘underground’, a highly-laden term which in itself is much contested among Iranian musicians. By examining specific media representations, interviewing musicians, and portraying them in an Iranian film marketed toward Western audiences, Bahman Ghobadi’s No One Knows About Persian Cats (2009) illustrates how Iranian musicians exist in a multi-faceted world, beyond protest and defiance. Musicians actively participate in their representation in the media by simultaneously perpetuating certain collective images and attempting to portray a unique sense of self...
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Popular Communication
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Popular Communication
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BRILL Middle East Journal of Culture and Communciation, 2020
In this article I assess the convoluted relationship between Iranian popular musicians and the We... more In this article I assess the convoluted relationship between Iranian popular musicians and the Western media. Iranian music is generally discussed within a framework of resistance and Iranian musicians are often presented as political 'revolutionaries'. In this process, many contradictions emerge; musicians crave publicity and recognition, yet resist it in an attempt to present an image of themselves as part of a subversive Iranian 'underground' , a highly-laden term which in itself is much contested among Ira-nian musicians. By examining specific media representations, interviewing musicians, and portraying them in an Iranian film marketed toward Western audiences, Bahman Ghobadi's No One Knows About Persian Cats (2009) illustrates how Iranian musicians exist in a multi-faceted world, beyond protest and defiance. Musicians actively participate in their representation in the media by simultaneously perpetuating certain collective images and attempting to portray a unique sense of self-identity.
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Popular Communication, 2017
Theresa Parvin Steward (2017) In between home and homeland: Diaspora identity as a cultural hybri... more Theresa Parvin Steward (2017) In between home and homeland: Diaspora identity as a cultural hybrid in Mohsen Namjoo's " Cielito Lindo " , Popular Communication, 15:3, 207-220. Abstract Rather than resisting either new or old culture, Iranian musicians in the diaspora embrace both their new host environments and their native homeland, creating a place between cultural assimilation and preservation, helping to shape new sounds of exile. This essay explores how singer-songwriter Mohsen Namjoo embraces the new and familiar, the traditional and popular, in creating an original cultural hybrid from influences from his native and host environments. Issues of cultural identity and the politics of location and displacement will be discussed alongside themes of personal and collective nostalgia and musical creativity. The textual and musical analysis of Namjoo's re-adaptation of the familiar Mexican ranchera song, " Cielito Lindo, " will uncover unique nuances and layers of meaning that will not only shed light on one musician's personal journey to exile, but will also speak to a greater collective experience of Iranians today who continue to be torn between home and homeland.
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Books by Theresa Steward
Alastair Gordon and Mike Dines are seeking contributions from the inter-disciplinary areas of cul... more Alastair Gordon and Mike Dines are seeking contributions from the inter-disciplinary areas of cultural studies, musicology and social sciences, for an edited text on the global punk/DiY ‘scenes’ of the 2000s onwards; reflecting upon the notion of origins, music(s), identity, legacy, membership and circulation. Aiming to continue the work of George McKay – and, most notably his DiY Culture: Party and Protest in Nineties Britain (1998) – this volume will attempt to traverse the global as a means of mapping the existence of punk/DiY post-2000. As such, this volume will adopt an essentially analytical perspective so as to raise questions initially over the dissemination of the scene and subsequently over its form, structure and cultural significance beyond the 1990s.
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Papers by Theresa Steward
Books by Theresa Steward