9780253031556-0253031559-Dolly Parton, Gender, and Country Music

Dolly Parton, Gender, and Country Music

ISBN-13: 9780253031556
ISBN-10: 0253031559
Author: Leigh H. Edwards
Publication date: 2018
Publisher: Indiana University Press
Format: Paperback 270 pages
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Book details

ISBN-13: 9780253031556
ISBN-10: 0253031559
Author: Leigh H. Edwards
Publication date: 2018
Publisher: Indiana University Press
Format: Paperback 270 pages

Summary

Dolly Parton, Gender, and Country Music (ISBN-13: 9780253031556 and ISBN-10: 0253031559), written by authors Leigh H. Edwards, was published by Indiana University Press in 2018. With an overall rating of 4.0 stars, it's a notable title among other Musical Genres (Music) books. You can easily purchase or rent Dolly Parton, Gender, and Country Music (Paperback) from BooksRun, along with many other new and used Musical Genres books and textbooks. And, if you're looking to sell your copy, our current buyback offer is $0.3.

Description

Dolly Parton is instantly recognizable for her iconic style and persona, but how did she create her enduring image? Dolly crafted her exaggerated appearance and stage personality by combining two opposing stereotypes―the innocent mountain girl and the voluptuous sex symbol. Emerging through her lyrics, personal stories, stage presence, and visual imagery, these wildly different gender tropes form a central part of Dolly’s media image and portrayal of herself as a star and celebrity. By developing a multilayered image and persona, Dolly both critiques representations of femininity in country music and attracts a diverse fan base ranging from country and pop music fans to feminists and gay rights advocates. In Dolly Parton, Gender, and Country Music, Leigh H. Edwards explores Dolly’s roles as musician, actor, author, philanthropist, and entrepreneur to show how Dolly’s gender subversion highlights the challenges that can be found even in the most seemingly traditional form of American popular music. As Dolly depicts herself as simultaneously "real" and "fake," she offers new perspectives on country music’s claims of authenticity.

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