caa a22 4500 388113162 CHVBK 20180307125358.0 cr unu---uuuuu 161130e199901 xx s 000 0 eng 10.1017/S026114300000876X doi S026114300000876X pii (NATIONALLICENCE)cambridge-10.1017/S026114300000876X Echard William An analysis of Neil Young's ‘Powderfinger' based on Mark Johnson's image schemata [Elektronische Daten] [William Echard] The analysis presented in this paper is one result of my interest in embodiment, and its potential role in the semiotic analysis of popular music. In cultural studies and symbolic anthropology, theorists often read the body as a carrier of codes, a surface for the inscription and negotiation of meaning. In popular music studies, this viewpoint often appears in fairly simple ways, and it also sometimes appears in a more subtle fashion. Richard Middleton, for example, considers the body both as a code-bearing surface, and as the ground for musical feeling, exploring how embodied experiences generate and interact with other levels of code (Middleton 1990, 1993). Similar things are done by Frith (1996), Walser (1993), Brackett 1995), and others. Copyright © Cambridge University Press 1999 Popular Music Cambridge University Press 18/1(1999-01), 133-144 0261-1430 18:1<133 1999 18 PMU https://doi.org/10.1017/S026114300000876X text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S026114300000876X text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Echard William NATIONALLICENCE 773 0- Popular Music Cambridge University Press 18/1(1999-01), 133-144 0261-1430 18:1<133 1999 18 PMU CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence SWISSBIB 222373474 BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge