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dc.contributor.authorLong, Lacey Brittany
dc.date.accessioned2014-03-04T20:03:19Z
dc.date.available2014-03-04T20:03:19Z
dc.date.issued2011-08
dc.identifier.otherlong_lacey_b_201108_ma
dc.identifier.urihttp://purl.galileo.usg.edu/uga_etd/long_lacey_b_201108_ma
dc.identifier.urihttp://hdl.handle.net/10724/27517
dc.description.abstractGreen Day's first mainstream album, American Idiot, protests at once the Iraq War, President Bush, and American credulity and paranoia. Released mere weeks before the 2004 presidential election, American Idiot responds to the Bitzerian exigence of wars, media-fueled panic, and domestic oppression, with the immediate goal of swaying the presidential election away from George W. Bush. I examine this album and the later 21st Century Breakdown in the context of its rhetorical situation as defined by Bitzer, challenged by Vatz, and modified by Consigny. Green Day constructs its argument for youth political action through three major archetypes—the credulous Idiot, the Last of the rebels, and the Faggot protester—encouraging listeners to participate in their fictive lives and learn that mass peaceful protest with the solidarity of powerful allies remains the only sustainable and honorable action in the face of wars, distortion, and injustice.
dc.languageeng
dc.publisheruga
dc.rightspublic
dc.subjectGreen Day
dc.subjectAmerican Idiot
dc.subject21st Century Breakdown
dc.subjectGeorge W. Bush Administration
dc.subjectpolitical speech
dc.subjectwar protest
dc.subjectprotest music
dc.subjectIraq War
dc.titleAmerican idiot to the "American eulogy"
dc.title.alternativeGreen Day's rock operas as apocalyptic political protest during the George W. Bush administration
dc.typeThesis
dc.description.degreeMA
dc.description.departmentEnglish
dc.description.majorEnglish
dc.description.advisorMichael Moran
dc.description.committeeMichael Moran
dc.description.committeeMichelle Ballif
dc.description.committeeValerie Babb


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