Abstract
This article examines the passing of the rock ideology: the system of distinctions and stratifications whereby popular music was classified and argued over in terms of its cultural value and authenticity. It does this by analyzing parallel representations of the music industry in two contemporary novels: Jonathan Franzen's Freedom (2010) and Jennifer Egan's A Visit from the Goon Squad (2010). Both novels suggest that rock culture and the ideology underpinning it are finally nearing their end or, what amounts to much the same thing, have undergone such a radical transformation in recent years as to be unrecognizable.
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