{"id":{"repo_id":"uno","oai_identifier":"oai:scholarworks.uno.edu:td-1569"},"canonical_url":"https://search.dev.ndltd.org/etd/uno/oai:scholarworks.uno.edu:td-1569","repository":{"repo_id":"uno","name":"University of New Orleans","base_url":"https://scholarworks.uno.edu/do/oai/"},"display":{"title":"Gendered Representations of Jazz Vocal Artists: A Critical Discourse Analysis of CD and Performance Reviews, and Interviews","abstract":"This study of contemporary jazz discourse and gender applies the techniques of critical discourse analysis, inspired by M.A.K. Halliday's systemic functional linguistics and Norman Fairclough's qualitative critical discourse analysis, to explicate the unequal distribution of power in society as represented by the institutions of jazz and mass media, in discourse about jazz vocal artists. Specifically, the study focuses on the way the genres of jazz CD review, jazz performance review, and interviews with jazz artists – disseminated via the institutions JazzTimes and Live New Orleans – represent the artists' identities, roles, achievements and skills. Following Norman Fairclough and the feminist scholar Mary Talbot, the study assumes that institutions of mass media not only discursively construct the gender of jazz vocal artists, but also represent the performers' achievement and skills from a hegemonic standpoint, reflecting the commonsense assumptions about women and men and their roles in patriarchal society.","abstract_html":"This study of contemporary jazz discourse and gender applies the techniques of critical discourse analysis, inspired by M.A.K. Halliday's systemic functional linguistics and Norman Fairclough's qualitative critical discourse analysis, to explicate the unequal distribution of power in society as represented by the institutions of jazz and mass media, in discourse about jazz vocal artists. Specifically, the study focuses on the way the genres of jazz CD review, jazz performance review, and interviews with jazz artists – disseminated via the institutions JazzTimes and Live New Orleans – represent the artists' identities, roles, achievements and skills. Following Norman Fairclough and the feminist scholar Mary Talbot, the study assumes that institutions of mass media not only discursively construct the gender of jazz vocal artists, but also represent the performers' achievement and skills from a hegemonic standpoint, reflecting the commonsense assumptions about women and men and their roles in patriarchal society.","abstract_has_math":false,"creators":["Jichova, Miroslava"],"institution":null,"degree_name":"M.A.","degree_level":"Thesis","degree_discipline":"English","degree_department":null,"school":null,"contributors":["Ioup, Georgette; Kanopasky, Abigail","Piano, Doreen"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2007,"date_issued":"2007-08-08T07:00:00Z","date_published":"2007-08-08T07:00:00Z","updated_at":"2026-07-24T05:28:36Z","subjects":["critical discourse analysis","qualitative analysis","social power","unequal distribution of power","power in Western society","empowerment","disempowerment","gender","gender studies","feminist studies","jazz studies","jazz","vocal jazz","jazz performance review","jazz CD review","interview","discourse of achievement","discourse of competence","discourse of incompetence","social representation","mass media discourse","mass media representations","mass media institutions","jazz vocalists","jazz artists","media production","media distribution","media consumption","Norman Fairclough","M.A.K. 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Following Norman Fairclough and the feminist scholar Mary Talbot, the study assumes that institutions of mass media not only discursively construct the gender of jazz vocal artists, but also represent the performers' achievement and skills from a hegemonic standpoint, reflecting the commonsense assumptions about women and men and their roles in patriarchal society."]},{"key":"dc:title","label":"Title","values":["Gendered Representations of Jazz Vocal Artists: A Critical Discourse Analysis of CD and Performance Reviews, and Interviews"]}]}],"canonical_facts":{"dc:contributor":["Ioup, Georgette; Kanopasky, Abigail","Piano, Doreen"],"dc:creator":["Jichova, Miroslava"],"dc:description.abstract":["This study of contemporary jazz discourse and gender applies the techniques of critical discourse analysis, inspired by M.A.K. Halliday's systemic functional linguistics and Norman Fairclough's qualitative critical discourse analysis, to explicate the unequal distribution of power in society as represented by the institutions of jazz and mass media, in discourse about jazz vocal artists. Specifically, the study focuses on the way the genres of jazz CD review, jazz performance review, and interviews with jazz artists – disseminated via the institutions JazzTimes and Live New Orleans – represent the artists' identities, roles, achievements and skills. Following Norman Fairclough and the feminist scholar Mary Talbot, the study assumes that institutions of mass media not only discursively construct the gender of jazz vocal artists, but also represent the performers' achievement and skills from a hegemonic standpoint, reflecting the commonsense assumptions about women and men and their roles in patriarchal society."],"dc:identifier":["https://scholarworks.uno.edu/td/569"],"dc:subject":["critical discourse analysis","qualitative analysis","social power","unequal distribution of power","power in Western society","empowerment","disempowerment","gender","gender studies","feminist studies","jazz studies","jazz","vocal jazz","jazz performance review","jazz CD review","interview","discourse of achievement","discourse of competence","discourse of incompetence","social representation","mass media discourse","mass media representations","mass media institutions","jazz vocalists","jazz artists","media production","media distribution","media consumption","Norman Fairclough","M.A.K. 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