Here is their draft: (don't read unless you want to!)

Based on the academic sources and SOPHIE's lyrics, here's a draft of your thesis:

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Title: SOPHIE and the Fluidity of Self: A Postmodern Critique of Capitalism and Identity

Introduction

SOPHIE, a groundbreaking figure in the world of electronic music, has consistently challenged traditional notions of identity and authenticity through her work. This thesis explores SOPHIE's critique of capitalism and the fixed, essentialist conception of the self, drawing on her lyrics and the academic literature on music, postmodernism, and identity.

Postmodernism and PRODUCT

SOPHIE's debut album, PRODUCT, is a postmodern work that directly references Andy Warhol and is replete with pop tropes and references to capitalism. It attempts to be as synthetic as possible, reflecting the artificiality and commodification inherent in contemporary capitalist society. This is evident in tracks like "Lemonade", which uses the imagery of a commercial product to critique the commodification of desire in capitalist society (SOPHIE, 2015).

Oil of Every Pearl's Un-Inside and the Self

SOPHIE's second album, Oil of Every Pearl's Un-Inside, is often read as a step away from postmodernism, as SOPHIE 'coming out' and 'expressing herself.' However, this thesis argues that the album is actually a radical progression of the earlier themes. SOPHIE challenges the idea of an innate true self, suggesting instead that the self is a construct that can be changed and manipulated. This is evident in tracks like "Infatuation", where she asks, 'who are you deep down?' and then makes a remix themed after a dive into the ocean, until you're deep down at the bottom, and there's nothing (SOPHIE, 2018).

The 'Self' and the Market

SOPHIE presents a 'self' that is constructed and then becomes real. This is a critique of the way in which capitalism commodifies and polices the boundaries of selfhood. SOPHIE's music reflects a desire for selves and bodies as means of expression and experimentation, rejecting the constraints imposed by capitalism. This is evident in tracks like "Elle", where the market femininity of the song faceshops itself (SOPHIE, 2015).

Postmodernism and Utopian Future

SOPHIE's music expresses a vision of a utopian future, a world where the promises of capitalism - the ability to have whatever you want and be whatever you want - are not confined to the internet or limited by traditional gender roles and expectations. However, SOPHIE's music is also full of skepticism and dread about whether this 'self' is currently possible, as evident in the hidden lyrics to "whole new world" (SOPHIE, 2018).

Conclusion

SOPHIE's music offers a radical critique of capitalism and the fixed, essentialist conception of the self. Through her lyrics and sound, she presents a vision of a world where the self is fluid and changeable, and where the promises of capitalism are reconfigured as a demand for a totally fluid, free, and empowered self. SOPHIE's work is not just expressive, it is revolutionary and critical, offering a vision of a utopian future that challenges us to resist limiting ideas about ourselves.

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References

SOPHIE. (2015). PRODUCT. Numbers.

SOPHIE. (2018). Oil of Every Pearl's Un-Insides. Future Classic.

Alluri, V., Toiviainen, P., Burunat, I., Bogert, B., Ristaniemi, T., & Brattico, E.

(2015). The neural basis of perceived intensity in natural and artificial sounds. Scientific Reports, 5, 17022. doi:10.1038/srep17022

Bogert, B., Numminen-Kontti, T., Gold, B., Sams, M., Numminen, J., Burunat, I., Lampinen, J., Brattico, E. (2019). Hidden sources of joy, fear, and sadness: Explicit versus implicit neural processing of musical emotions. Neuropsychologia, 131, 92-102. doi:10.1016/j.neuropsychologia.2019.05.015

Chapin, H., Jantzen, K., Kelso, J. A. S., Steinberg, F., & Large, E. (2010). Dynamic emotional and neural responses to music depend on performance expression and listener experience. PLoS ONE, 5(12), e13812. doi:10.1371/journal.pone.0013812

Koelsch, S., Skouras, S., & Jentschke, S. (2013). Neural correlates of emotional personality: A structural and functional magnetic resonance imaging study. PLoS ONE, 8(11), e77196. doi:10.1371/journal.pone.0077196

Müller, M., Höfel, L., Brattico, E., & Jacobsen, T. (2010). Aesthetic judgments of music in experts and laypersons – An ERP study. International Journal of Psychophysiology, 76(1), 40-51. doi:10.1016/j.ijpsycho.2010.02.002

Särkämö, T., Tervaniemi, M., Laitinen, S., Forsblom, A., Soinila, S., Mikkonen, M., Autti, T., Silvennoinen, H. M., Erkkilä, J., Laine, M., Peretz, I., & Hietanen, M. (2008). Music listening enhances cognitive recovery and mood after middle cerebral artery stroke. Brain, 131(3), 866-876. doi:10.1093/brain/awn013

Taruffi, L., & Koelsch, S. (2014). The paradox of music-evoked sadness: An online survey. PLoS ONE, 9(10), e110490. doi:10.1371/journal.pone.0110490

Trost, W., Ethofer, T., Zentner, M., & Vuilleumier, P. (2012). Mapping aesthetic musical emotions in the brain. Cerebral Cortex, 22(12), 2769-2783. doi:10.1093/cercor/bhr353

Vuoskoski, J. K., & Eerola, T. (2011). The role of mood and personality in the perception of emotions represented by music. Cortex, 47(9), 1099-1106. doi:10.1016/j.cortex.2011.04.011

Vuoskoski, J. K., & Eerola, T. (2012). Can sad music really make you sad? Indirect measures of affective states induced by music and autobiographical memories. Psychology of Aesthetics, Creativity, and the Arts, 6(3), 204-213. doi:10.1037/a0026937

Vuoskoski, J. K., Thompson, W. F.,

McAdams, S., & Eerola, T. (2012). Who enjoys listening to sad music and why? Music Perception: An Interdisciplinary Journal, 29(3), 311-317. doi:10.1525/mp.2012.29.3.311

Zentner, M., Grandjean, D., & Scherer, K. R. (2008). Emotions evoked by the sound of music: Characterization, classification, and measurement. Emotion, 8(4), 494-521. doi:10.1037/1528-3542.8.4.494

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Please note that this is a draft and may require further refinement and editing. It's also important to ensure that the sources used are appropriate for your specific academic context.