Abstract
AbstractThis chapter argues that queerness’s collegial alignment with ethnomusicology stems from a shared colonialist-masculinist foundation. Focusing on the ways in which the textual artifacts of queerness adhere closely to citation-based formats reliant upon theoretical canons, and the propensity of queer theory to ‘encompass’ globally dispersed sites, subjects, and practices, a provincial discourse on sexuality and subjectivity is revealed as continually self-represented as universal and unmarked, and instrumental in the monologic creation of a Euro- and Anglocentric epistemic line. Highlighting the differences between emotion and affect, it is ultimately argued that a queer embrace of both rage and its own capitalist/postmodern lineage would be instrumental in its annihilating occupation of ethnomusicology—a type of home work (rather than imperialist expansion) with salubrious consequences for a more global, epistemic equity.
Publisher
Springer International Publishing
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