Music theory of almost all ages has relied on nature in its attempts to explain music. The understanding of what 'nature' is, however, is subject to cultural and historical differences. In exploring ways in which music theory has represented and employed natural order since the scientific revolution, this volume asks some fundamental questions not only about nature in music theory, but also the nature of music theory. In an array of different approaches, ranging from physical acoustics to theology and Lacanian (...) psychoanalysis, these essays examine how the multifarious conceptions of nature, located variously between scientific reason and divine power, are brought to bear on music theory. They probe the changing representations and functions of nature in the service of music theory and highlight the ever-changing configurations of nature and music, as mediated by the music-theoretical discourse. (shrink)

An examination of the unconscious as it relates to popular music and the first truly interdisciplinary book on philosophy and popular music with equal weight given to each discipline.

In Listening Subjects, David Schwarz uses psychoanalytic techniques to probe the visceral experiences of music listeners.

Consciousness has been described as one of the most mysterious things in the universe. Scientists, philosophers, and commentators from a whole range of disciplines can't seem to agree on what it is, generating a sizeable field of contemporary research known as consciousness studies. Following its forebear Music and Consciousness: Philosophical, Psychological and Cultural Perspectives, this volume argues that music can provide a valuable route to understanding consciousness, and also that consciousness opens up new perspectives for the study of music. It (...) argues that consciousness extends beyond the brain, and is fundamentally related to selves engaged in the world, culture, and society. The book brings together an interdisciplinary line up of authors covering topics as wide ranging as cognitive psychology, neuroscience, psychoanalysis, philosophy and phenomenology, aesthetics, sociology, ethnography, and performance studies and musical styles from classic to rock, trance to Daoism, jazz to tabla, and deep listening to free improvisation. Music and Consciousness 2 will be fasinating reading for those studying or working in the field of musicology, those researching consciousness as well as cultural theorists, psychologists, and philosophers. (shrink)

Volume 17, the first volume of _The Annual _published by The Analytic Press, includes John Gedo's examination of the "epistemology of transference" and Edwin Wallace's outline of a "phenomenological and minimally theoretical psychoanalysis." Studies in applied psychoanalysis focus on the art of Edvard Munch ; George Eliot's _Romolo _; and psychoanalysis and music.

This paper investigates musical relationships in the case of the early mother-infant dyadic interactions. To accomplish this task, it is first needed to come back to some important authors from the tradition of both phenomenology and psychoanalysis. The theories of Husserl, Schutz and Taipale will prove themselves to be useful. Secondly, I shall deepen the investigation of the early mother-infant interactions through the prism of theories coming from Winnicott, Stern and Thomas Fuchs. My main task will be to demonstrate (...) that these early interactions have a musical quality, similar to Colwyn Trevarthen’s thematization of communicative musicality. To prove my point, I have to first establish the features that make these early interactions be musical-like. Winnicott’s potential space and the example of babbling will follow my argumentation. I will also stress on the importance of the face-to-face interaction through affect attunement and mutual tuning-in. All these interactions are modes of being-with-another (Stern). An example will be found throughout this paper, namely a specific mode of being-with-another, which was called by Winnicott the primary maternal preoccupation. (shrink)

Nourishing the Inner Life of Clinicians and Humanitarians: The Ethical Turn in Psychoanalysis, demonstrates the demanding, clinical and humanitarian work that psychotherapists often undertake with fragile and devastated people, those degraded by violence and discrimination. In spite of this, Donna M. Orange argues that there is more to human nature than a relentlessly negative view. Drawing on psychoanalytic and philosophical resources, as well as stories from history and literature, she explores ethical narratives that ground hope in human goodness and (...) shows how these voices, personal to each analyst, can become sources of courage, warning and support, of prophetic challenge and humility which can inform and guide their work. Over the course of a lifetime, the sources change, with new ones emerging into importance, others receding into the background. Donna Orange uses examples from ancient Rome, from twentieth century Europe, from South Africa, and from nineteenth century Russia. She shows how not only can their words and examples, like those of our personal mentors, inspire and warn us; but they also show us the daily discipline of spiritual self-care, although these examples rely heavily on the discipline of spiritual reading, other practitioners will find inspiration in music, visual arts, or elsewhere and replenish the resources regularly. Nourishing the Inner Life of Clinicians and Humanitarians will help psychoanalysts to develop a language with which to converse about ethics and the responsibility of the therapist/analyst. This is an exceptional contribution highly suitable for practitioners and students of psychoanalysis and psychotherapy. Donna M. Orange teaches, consults, and offers study groups for psychoanalysts and gestalt therapists. She seeks to integrate contemporary psychoanalysis with radically relational ethics. Recent books are _Thinking for Clinicians: Philosophical Resources for Contemporary Psychoanalysis and the Humanistic Psychotherapies _, and _The Suffering Stranger: Hermeneutics for Everyday Clinical Practice_, both from Routledge. (shrink)

In recent times it has seemed to many people as if the unifying impact of mass forms of popular culture has been overshadowed by the postmodernism of cultural pluralism, identity politics, niche marketing and lifestyle diversity. Using insights from psychoanalysis, this new book suggests that powerful forces may still be at work extending and deepening their hold on popular experience through the unifying forms of modern culture. The practices and aesthetic codes of popular culture provide ways of confronting and (...) managing the basic psychic tensions and anxieties of modern life, appealing globally across the deep divides of class, gender and ethnicity. In a series of extended illustrations, Barry Richards explores the emotional underpinnings of the rise of football as the 'people's game', the appeal of the motor car and other consumer goods, the strategies of advertising, the cultural predominance of pop music, and popular images of the countryside. While each phenomenon has a range of meanings of its own, the illustrations reveal the common positive side of these cultural forms, which serve as vehicles for psychological integration. At the core of this book is the idea that the pleasures of popular culture are at their strongest and best when they confirm our sense of belonging in the social order. Despite the constraint and disappointment inevitably involved in this, the reconciliation with authority which it brings is vital for the containment of the anxieties with which we all struggle. Disciplines of Delight reveals how psychoanalytic thinking can add to social understanding and is an original contribution to current debates on the nature of contemporary society. (shrink)

Stanley Cavell was one of the most distinguished and wide-ranging philosophers of his time. This posthumous volume assembles an array of writings that Cavell left behind, synthesizing into a cohesive intellectual vision unpublished works on modernity, music, skepticism, psychoanalysis, anthropology, tragedy, and the human voice.

This article offers a case study in how historians of science can use musical theater productions to understand the cultural reception of scientific ideas. In 1970, Stephen Sondheim and George Furth's musical Company opened on Broadway. The show engaged with and reflected contemporary theories and ideas from the human sciences; Company's portrayal of its 35-year-old bachelor protagonist, his married friends, and his girlfriends reflected present-day theories from psychoanalysis, sexology, and sociology. In 2018, when director Marianne Elliott revived the show (...) with a female protagonist, Company once again amplified contemporary dilemmas around human sciences expertise—this time, the biological fertility clock. Through Company, Sondheim and Furth—and later Elliott—constructed arguments about modern society that paralleled those put forth by contemporary human scientists, including psychoanalytic models of the mind, the lonely crowd phenomenon, and shifting conceptions of masculinity and femininity. Because of their wide popularity and potential for readaptation, musicals such as Company offer a promising source base for analyzing the relationship between contemporary society and scientific expertise in specific historical contexts. (shrink)

Memories and Monsters explores the nature of the monstrous or uncanny, and the way psychological trauma relates to memory and narration. This interdisciplinary book works on the borderland between psychology and philosophy, drawing from scholars in both fields who have helped mould the bourgeoning field of relational psychoanalysis and phenomenological and existential psychology. The editors have sought out contributions to this field that speak to the pressing question: how are we to attend to and contend with our monsters? The (...) authors in this volume examine the ways in which we might best relate to our monsters, and how the legacies of ancient traumas and anxieties continue to affect our current stories, memories and everyday practices. Covering such manifestations of the monstrous as racism, crimes against humanity, trauma as portrayed in music and art, and the Holocaust, this book explores the impact the uncanny has on our individual and collective psyches. By focusing on a very specific theme, and one that excites the imagination, Memories and Monsters stokes the flames of an important current movement in relational psychoanalysis. It will appeal to psychoanalysts and psychoanalytic psychotherapists, as well as professionals in psychology and graduate school students and tutors in the fields of both psychology and philosophy. (shrink)

This volume brings together an international array of scholars to reconsider the meaning and place of poststructuralism historically and demonstrate some of the ways in which it continues to be relevant, especially for debates in aesthetics, ethics, and politics. The book's chapters focus on the works of Butler, Deleuze, Derrida, Foucault, Irigaray, Kristeva, Lacan, and Lyotard-in combination with those of Agamben, Luhman, Nancy, and Nietzsche-and examine issues including biopolitics, culture, embodiment, epistemology, history, music, temporality, political resistance, psychoanalysis, revolt, and (...) the visual arts. The contributors use poststructuralism as a hermeneutical strategy that rejects the traditional affirmation of unity, totality, transparency, and representation to instead focus on the foundational importance of open-ended becoming, difference, the unknowable, and expression. This approach allows for a more expansive definition of poststructuralism and helps demonstrate how it has contributed to debates across philosophy and other disciplines. Historical Traces and Future Pathways of Poststructuralism will be of particular interest to researchers in philosophy, politics, political theory, critical theory, aesthetics, feminist theory, cultural studies, intellectual history, psychoanalysis, and sociology. (shrink)

In this remarkable survey of "the communicative repertory of humans," John Gedo demonstrates the central importance to theory and therapeutics of the communication of information. He begins by surveying those modes of communication encountered in psychoanalysis that go beyond the lexical meaning of verbal dialogue, including "the music of speech," various protolinguistic phenomena, and the language of the body. Then, turning to the analytic dialogue, Gedo explores the implications of these alternative modes of communication for psychoanalytic technique. Individual chapters (...) focus, in turn, on the creation of a "shared language" between analyst and analysand, the consequences of the analytic setting, the form in which the analyst casts particular interventions, the curative limits of empathy, the analyst's affectivity and its communication to the patient, and the semiotic significance of countertransference and projective identification. Gedo does not proffer semiotics as a substitute for metapsychology. He is explicit that communicative skill is always dependdent on somatic events within the central nervous system. Indeed, it is because Gedo's hierarchical approach to communication builds on our current understanding of a hierarchically organized central nervous system that his clincal observations become insights into basic psychobiological functioning. Grounded in Gedo's four decades of clinical experience, _The Languages of Psychoanalysis_ points to a new venue of clinical research and conceptualization, one in which attentiveness to issues of communication will not only foster linkages with contemporary neuroscience, but also clarify and enlarge the therapeutic possibilities of psychoanalytic treatment. (shrink)

John O'Neill explores the human passions as both the object of psychoanalysis and the creative principle of Freud's own discovery and practice of psychoanalysis. Love, hate, anger, jealousy, envy, knowledge, and ignorance: the passions dominate infancy, adolescence, and adulthood, marking them with narcissism, murder, seduction, and self-destruction. They are both the soul's theater and the soul of theater, art, literature, and music. If fear, hate, envy, and jealousy rival love, beauty, and knowledge, or turn into one another, they (...) just as surely expand the human heart. The original essays in this volume analyze the human passions in Freud's metapsychology, from the case histories of Dora, Rat Man, and Schreber to his studies of Leonardo da Vinci, Gradiva, and the "Case of Homosexuality in a Woman." Other essays are devoted to Macbeth, the Judgment of Solomon, Virginia Woolf, and Freud's own adolescence. In constructing a genealogy of the passions from early to late modernity, these studies show the subtle interaction of psychic and social conflict, of ambivalence and disavowal in the workings of the human soul. Contributors are John O'Neill, William Kerrigan, Donald L. Carveth, Jerome Neu, Kathleen Woodward, Claire Kahane, Mary Jacobus, John Forrester, Ellie Ragland, Geoff Miles, and Laurence A. Rickels. (shrink)

This article takes its point of departure from late Lacan's meditations on the incompatibility of psychoanalysis with Japanese culture due to its non-European linguistic basis. The article argues that this emphasis on language narrowly conceived fails to keep pace with the interconnected, multi-media, all-encompassing nature of the unconscious today. Illustrating this point, the article focuses on the figure of the hikikomori: middle-class Japanese youths who have withdrawn from all conventional social contact to indulge exclusively computer-based interactions. Thanks to the (...) overlap with the related figure of the ‘Bedroom DJ’, the analysis then moves on to the ambient music of Richard D. James, aka Aphex Twin. It argues for the validity of the concept of an ‘audio unconscious’ distinct from Lacan's unconscious ‘structured like a language’. The final part of the article, however, examines one of James's music videos and discerns in it modes of jouissance that psychoanalysis can still describe. (shrink)

The concept of the sinthome - the construction which provides a unique structuring of jouissance, but which is divested of any symbolic meaning - arrived late in Lacan’s work, in his seminar on 1975-6. The sinthom’s most notable application in Žižek’s output is found in Part I of his The Sublime Object of Ideology, in which he explores the homology between the form of commodities and of dreams. It has since been used widely in discussions of literature, art, and cinema, (...) but is missing from musicology, aside from the occasional remark from Žižek himself. This paper demonstrates that the medial caesura which deflects the tonal trajectory of a sonata exposition, and not the themes themselves, should be identified as the locus of this aspect of Schubert’s compositional voice. Drawing on ideas emerging from Žižek’s critique of Hitchcock, the aim is to demonstrate how the Lacanian concept of the sinthom reveals a deeper, more fundamental intertextuality in Schubert’s compositional project than has hitherto been available. (shrink)

The Psychosis of Race offers a unique and detailed account of the psychoanalytic significance of race, and the ongoing impact of racism in contemporary society. Moving beyond the well-trodden assertion that race is a social construction, and working against demands that simply call for more representational equality, The Psychosis of Race explores how the delusions, anxieties, and paranoia that frame our race relations can afford new insights into how we see, think, and understand race's pervasive appeal. With examples drawn from (...) politics and popular culture--such as Candyman, Get Out, and the music of Kendrick Lamar--critical attention is given to introducing as well as explicating on several key concepts from Lacanian psychoanalysis and the study of psychosis, including foreclosure, phallus, the Name-of-the-Father, sinthome, and the objet petit a. By elaborating a cultural mode to psychosis and its understanding, an original and critical exposition of the effects of racialization, as well as our ability to discern the very limits of our capacity to think through, or even beyond, the idea of race, is provided. The Psychosis of Race speaks to an emerging area in the study of psychoanalysis and race, and will appeal to scholars and academics across the fields of psychology, sociology, cultural studies, media studies, and the arts and humanities. (shrink)

Mixing fiction, history, psychoanalysis, and personal fantasy, Teresa, My Love turns a past world into a modern marvel, following Sylvia Leclercq, a French psychoanalyst, academic, and incurable insomniac, as she falls for the sixteenth-century Saint Teresa of Avila and becomes consumed with charting her life. Traveling to Spain, Leclercq, Julia Kristeva's probing alter ego, visits the sites and embodiments of the famous mystic and awakens to her own desire for faith, connection, and rebellion. One of Kristeva's most passionate and (...) transporting works, _Teresa, My Love_ interchanges biography, autobiography, analysis, dramatic dialogue, musical scores, and images of paintings and sculpture to engage the reader in Leclercq's--and Kristeva's--journey. Born in 1515, Teresa of Avila outwitted the Spanish Inquisition and was a key reformer of the Carmelite Order. Her experience of ecstasy, which she intimately described in her writings, released her from her body and led to a complete realization of her consciousness, a state Kristeva explores in relation to present-day political failures, religious fundamentalism, and cultural malaise. Incorporating notes from her own psychoanalytic practice, as well as literary and philosophical references, Kristeva builds a fascinating dual diagnosis of contemporary society and the individual psyche while sharing unprecedented insights into her own character. (shrink)

This article argues that through her songs and music videos Pagan Poetry, Cocoon and Hidden Place, versatile artist Björk is able to carve out a space for erotic tenderness. This erotic tenderness will be unearthed as a queer or minor sexuality, in the sense that it goes against a phallic and genital majoritarian account of sexuality. Tender sexuality might not be obviously queer, yet a detour through the early work of Freud will show how our hegemonic account of sexuality is (...) built upon a repression of such a tender sexuality. Freud’s psychoanalysis is only able to regard this sexual tenderness in a negative vein as a pathological symptom. Supported primarily by the works of Deleuze, Guattari and Muñoz, this article will propose that Björk’s artistry is able to produce a line of flight outside of this tender-less sexuality, liberating an otherwise repressed minor tender sexuality through a visually and sonically becoming-woman, becoming-child, becoming-BwO and becoming-molecular. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Books ReceivedAquinas on Being. By Anthony Kenny. Oxford: Clarendon Press, 2002. Pp. x + 212. Price not given.Before and after Avicenna: Proceedings of the First Conference of the Avicenna Study Group. Edited by David C. Reisman, with the assistance of Ahmed H. al Rahim. Leiden: Brill, 2003. Pp. xix + 302. Price not given.Beside Still Waters: Jews, Christians, and the Way of the Buddha. Edited by Harold Kasimow, John (...) P. Keenan, and Linda Klepinger Keenan. Boston: Wisdom Publications, 2003. Pp. 284. Paper $14.95.The Buddhist Unconscious: The ālaya-vijñāna in the Context of Indian Buddhist Thought. By William S. Waldron. London and New York: RoutledgeCurzon, 2003. Pp. xvi + 269. Price not given.Comparative Political Philosophy: Studies under the Upas Tree. Edited by Anthony J. Parel and Ronald C. Keith. Lanham, Maryland: Lexington Books, 2003. Pp. xxxviii + 260. Paper $26.95.The Confucian Quest for Order: The Origin and Formation of the Political Thought of Xun Zi. By Masayuki Sato. Leiden: Brill, 2003. Pp. xviii + 500. Price not given.Gathering the Meanings: The Compendium of Categories: The Arthaviniścaya Sūtra and Its Commentary Nibandhana. Translated from the Sanskrit by N. H. Samtani. Berkeley: Dharma Publishing, 2002. Pp. xxxiv + 390. Price not given.I Have Arrived, I Am Home: Celebrating Twenty Years of Plum Village Life. By Thich Nhat Hanh. Berkeley: Parallax Press, 2003. Pp. 253. Paper $25.00.Identity and the Moral Life. By Mrinal Miri. New Delhi: Oxford University Press, 2003. Pp. xvii + 132. Hardcover Rs 645.00.Indian Philosophers and Postmodern Thinkers: Dialogues on the Margins of Culture. By Carl Olson. New Delhi: Oxford University Press, 2002. Pp. xv + 331. Hardcover Rs 950.00.Islamic Humanism. By Lenn E. Goodman. New York: Oxford University Press, 2003. Pp. xiii + 273. Price not given.Letting Go: The Story of Zen Master Tōsui. Translated by Peter Haskel. Honolulu: University of Hawai'i Press, 2001. Pp. xv + 167. Hardcover $45.00. Paper $16.95.A Life Journey to the East: Sinological Studies in Memory of Giuliano Bertuccioli (1923-2001). Edited by Antonino Forte and Federico Masini. Kyoto: Scuola Italiana di Studi sull'Asia Orientale, 2002. Pp. xxxv + 280. Price not given.The Measure of Things: Humanism, Humility and Mystery. By David E. Cooper. Oxford: Clarendon Press, 2002. Pp. ix + 372. Price not given. [End Page 277]Mencius, Hume and the Foundations of Ethics. By Xiusheng Liu. Aldershot, Hampshire: Ashgate Publishing Limited, 2003. Pp. vii + 204. Price not given.Monks and Monarchs, Kinship and Kingship: Tanqian in Sui Buddhism and Politics. By Chen Jinhua. Kyoto: Scuola Italiana di Studi sull'Asia Orientale, 2002. Pp. xiii + 310. Price not given.Music in the Sky: The Life, Art, and Teachings of the 17th Gyalwa Karmapa Ogyen Trinley Dorje. By Michele Martin. Ithaca: Snow Lion Publications, 2003. Pp. 351. Paper $18.95, U.K. £12.95.New Confucianism: A Critical Examination. Edited by John Makeham. New York: Palgrave Macmillan, 2003. Pp. 262. Hardcover $55.00.On the Boundaries of Theological Tolerance in Islam: Abū Hāmid Al-Ghāzalī's Faysal al-Tafriqa Bayna al-Islām wa al-Zandaqa. By Sherman A. Jackson. Oxford: Oxford University Press, 2002. Pp. xiv + 156. Hardcover Rs 295.00.Pandita Ramabai's American Encounter: The Peoples of the United States (1889). By Pandita Ramabai and translated and edited by Meera Kosambi. Bloomington: Indiana University Press, 2003. Pp. xi + 284. Hardcover $59.95. Paper $29.95.Parmenides of Elea: A Verse Translation with Interpretative Essays and Commentary to the Text. By Martin J. Henn. Westport, Connecticut: Praeger, 2003. Pp. 147. Hardcover $59.95.Philosophes taoïstes, tome II: Huainan Zi, texte traduit, présenté et annoté sous la direction de Charles le Blanc et de Rémi Mathieu. Paris: Éditions Gallimard, 2003. Pp. lxxxiii + 1182. Hardcover €56,90.The Philosophy and Ethics of the Vīraśaiva Community. By Dan A. Chekki. Lewiston, New York: The Edwin Mellen Press, 2003. Pp. xxv + 287. Hardcover $119.95.Poems of Hanshan. Translated by Peter Hobson with introduction by T. H. Barrett. Walnut Creek, California: AltaMira Press, 2003. Pp. viii + 151. Hardcover $65.00. Paper $19.95.Psychoanalysis and Buddhism: An Unfolding Dialogue. Edited by Jeremy D. Safran. Boston... (shrink)

Mixing fiction, history, psychoanalysis, and personal fantasy, Teresa, My Love turns a past world into a modern marvel, following Sylvia Leclercq, a French psychoanalyst, academic, and incurable insomniac, as she falls for the sixteenth-century Saint Teresa of Avila and becomes consumed with charting her life. Traveling to Spain, Leclercq, Julia Kristeva's probing alter ego, visits the sites and embodiments of the famous mystic and awakens to her own desire for faith, connection, and rebellion. One of Kristeva's most passionate and (...) transporting works, _Teresa, My Love_ interchanges biography, autobiography, analysis, dramatic dialogue, musical scores, and images of paintings and sculpture to engage the reader in Leclercq's--and Kristeva's--journey. Born in 1515, Teresa of Avila outwitted the Spanish Inquisition and was a key reformer of the Carmelite Order. Her experience of ecstasy, which she intimately described in her writings, released her from her body and led to a complete realization of her consciousness, a state Kristeva explores in relation to present-day political failures, religious fundamentalism, and cultural malaise. Incorporating notes from her own psychoanalytic practice, as well as literary and philosophical references, Kristeva builds a fascinating dual diagnosis of contemporary society and the individual psyche while sharing unprecedented insights into her own character. (shrink)

We characterize science in terms of nihilism: the nihilism of science is something faced not in what science i mplies, but as the very essence of science as such. The nihilism of science is the birth of the truth of Nietzsche's announcement "God is dead" from within science as it must now face its repressed subjective core. But in truth, as the Psychoanalytic tradition has determined, it is subjectivity itself that is a bottomless searching-the subject is itself born from nothing. (...) In this way it becomes clear that the nihilism of science is in fact the birth of a nothingness as the essence of science insofar as it embraces the nothingness of its own subjectivity. Therefore, we show that the proper determination of the crisis of science is not made via phenomenology, as Husserl attempted in the early 20th century, but can only be made properly in a philosophical-psychoanalytic register. This nihilism is encoded within science in its very modality of thought , as Heidegger well understood: science thinks by means of "representation", and it is this "representational thinking" which prevents the expression of the repressed core of subjectivity. Therefore, by overcoming representation, it is seen that science will no longer be in despair to determine itself as a self, but come to see that this self, grounded in nothingness, in fact becomes its greatest and final expression, that is, as a self rooted not in an unending yearning for the transcendent certainty of a ground, but in a productive desire -self as will-to-create, will-to-power . This transition from the self as rooted in Desire qua lack to a self as determined by an infinitely productive desire is shown to be, in fact, the transition from Lacan to Deleuze. Once this transition is accomplished, it becomes clear that the anti-representational mode of thinking, accompanied by the productive self as will-to-power, determines science not from a transcendent metaphysic , but as an aesthetically determined modality of pure creativity-i.e., as an art . We then conclude by speculating on the proper form of art that this new science should take. We see that anti-representational thinking, rooted in the self as infinite creativity , is determined not by concepts, but by play or performances . Perhaps, then, we should consider music as determining the proper artistic form of this new kind of science? In this way we finally come to see the possibility for the first time of music as a new kind of science. Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;}. (shrink)

The Parallax View is Slavoj Zizek's most substantial theoretical work to appear in many years; Zizek himself describes it as his magnum opus. Parallax can be defined as the apparent displacement of an object, caused by a change in observational position. Zizek is interested in the "parallax gap" separating two points between which no synthesis or mediation is possible, linked by an "impossible short circuit" of levels that can never meet. From this consideration of parallax, Zizek begins a rehabilitation of (...) dialectical materialism.Modes of parallax can be seen in different domains of today's theory, from the wave-particle duality in quantum physics to the parallax of the unconscious in Freudian psychoanalysis between interpretations of the formation of the unconscious and theories of drives. In The Parallax View, Zizek, with his usual astonishing erudition, focuses on three main modes of parallax: the ontological difference, the ultimate parallax that conditions our very access to reality; the scientific parallax, the irreducible gap between the phenomenal experience of reality and its scientific explanation, which reaches its apogee in today's brain sciences ; and the political parallax, the social antagonism that allows for no common ground. Between his discussions of these three modes, Zizek offers interludes that deal with more specific topics--including an ethical act in a novel by Henry James and anti-anti-Semitism.The Parallax View not only expands Zizek's Lacanian-Hegelian approach to new domains but also provides the systematic exposition of the conceptual framework that underlies his entire work. Philosophical and theological analysis, detailed readings of literature, cinema, and music coexist with lively anecdotes and obscene jokes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Acts of Enjoyment: Rhetoric, Žižek, and the Return of the SubjectJames J. Brown Jr. and Joshua GunnActs of Enjoyment: Rhetoric, Žižek, and the Return of the Subject by Thomas Rickert. Pittsburgh: University of Pittsburgh Press, 2007. Pp. x + 252. $24.95, hardcover.Thomas Rickert had a falling-out with his brother, and this distresses him so much that his disrupted relation is described as “traumatic.” Rickert reports that while listening (...) to a portable CD player during a run on an unexpectedly warm winter day, a song by the now defunct jazz/rock band Morphine reminded him of a happy time at a pool hall with his brother (24). Mediated—or better, medicated—by music, the homological happiness of running in the sun and a positive past memory also resurfaced a painful relational rupture, the reason of which Rickert omits to underscore that mysterious, “little detail or object” of the Real that marks his singular finitude as a writing subject (216 n. 11). We’ll want to come back to this curiously deliberate omission, but for the present we note Rickert is not simply an undead author but a human being with relations and feelings. He is not just a gifted scholar or a bundle of reflections, but a nexus of body and movement and words and affect. If there is anything that Rickert’s study can be said to work through with brilliance, humor, and grace, it is the reality of complex personhood.Rickert’s brotherly confession comes in Chapter 1 as a way to introduce a psychoanalytic understanding of subjectivity, and more specifically, to help illustrate how trauma works itself out as an afterwardness or “belatedness” ( Nachträglichkeit ): traumatic events from the past are not reckoned with or worked-through until some coincidence or reminder, such as a similar [End Page 183] sensory experience, reintroduces the event in doubled re-presentation (18–27). This implies the “subject” (a paradigm person) is a kind of timedelay, a self-conscious temporal moving that becomes this way through re-presentation. The rhetorical subject is analogously a retrojected reckoning with events past (not all traumatic) that Rickert identifies as a scene of writing, a locus that has important implications for rhetorical studies in general and writing pedagogy in particular. Rickert’s logic is as follows: if we agree that the subject is a belated one in the psychoanalytic sense, then how we teach rhetoric needs to change. Rickert opens the book with the observation that his students are producing excellent cultural critiques but that such critiques do not lead the students to change their actions (1–7), perhaps evidence enough that something is not quite right in a classroom grounded by “cultural studies pedagogy” and ideology critique—or at the very least, proof that something has changed. The opening gambit is simply that a “postpedagogy” premised on an understanding of rhetorical subjectivity as belatedness is better than a status quo rooted in the rational subject of the Enlightenment.Mostly through a Žižek-filtered, Lacanian lens, Acts of Enjoyment then undertakes a retake of the rhetorical field, frequently scanning from the traumatic ontology of the rhetorical subject to that domain of knowledge that we hold dear, the subject of rhetoric. In Chapter 2, the (primal) scene thus shifts from the slo-mo subject to rhetorical studies, initially through a reassessment of Kinneavy’s “communications triangle,” but ultimately in response to the shock treatment of poststructuralism. The initial theoretical traumas introduced by Victor Vitanza, Diane Davis, Sharon Crowley, and others discussed in Chapter 1 are threaded into an account of “poststructural” redress in Chapter 2: as is true of all forms of trauma, the initial poststructural jolt delivered to the concept of subjectivity was deadened; poststructural theory was eventually used to “shore up rather than challenge Kinneavy’s triangle” (37). To truly work-through our traumatized subject in both senses, we need a second trauma: Lacanian psychoanalysis. Presumably, “poststructuralist thought” is to be opposed because it has no account of the subject (21–24); “Lacan,” after all, “is not a poststructuralist” (48). The remainder of the chapter is then used to deploy Lacan’s conceptual lexicon.Just as... (shrink)

This book is a philosophical study of the relations between hearing and thinking about music. The central problem it addresses is as follows: how is it possible to talk about what a listener perceives in terms that the listener does not recognize? By applying the concepts and techniques of analytic philosophy the author explores the ways in which musical hearing may be described as nonconceptual, and how such mental representation contrasts with conceptual thought. The author is both philosopher and musicologist (...) and uniquely combines the perspectives of both disciplines. Exploring the philosophical questions of mental representation in the relatively neglected, nonverbal domain of music, this study is a major contribution to the philosophical understanding of music perception and cognitive theory. (shrink)

This book is about what exceeds or resists calculation--in life and in death. Its two parts and nine chapters highlight, in their coupling of Freud and Derrida, the accidents both in and of psychoanalytic writing, and the philosophical question of what limits the openness of our horizon.

What is consciousness? Why and when do we have it? Where does it come from, and how does it relate to the lump of squishy grey matter in our heads, or to our material and social worlds? While neuroscientists, philosophers, psychologists, historians, and cultural theorists offer widely different perspectives on these fundamental questions concerning what it is like to be human, most agree that consciousness represents a 'hard problem'. -/- The emergence of consciousness studies as a multidisciplinary discourse addressing these (...) issues has often been associated with rapid advances in neuroscience-perhaps giving the impression that the arts and humanities have arrived late at the debating table. The longer historical view suggests otherwise, but it is probably true that music has been under-represented in accounts of consciousness. Music and Consciousness aims to redress the balance: its twenty essays offer a timely and multi-faceted contribution to consciousness studies, critically examining some of the existing debates and raising new questions. -/- The collection makes it clear that to understand consciousness we need to do much more than just look at brains: studying music demonstrates that consciousness is as much to do with minds, bodies, culture, and history. Incorporating several chapters that move outside Western philosophical traditions, Music and Consciousness corrects any perception that the study of consciousness is a purely occidental preoccupation. And in addition to what it says about consciousness the volume also presents a distinctive and thought-provoking configuration of new writings about music. (shrink)

What can be gained from a dialogue between psychoanalysis and religion? David Black brings together contributors from a wide range of schools and movements to discuss this question.

Written in a readable, accessible style, with plenty of up-to-date examples Psychoanalysis and Culture provides a brilliant introduction to key issues in the area of application of psychoanalytic theories to culture. The author argues that we cannot grasp the complexity of contemporary global issues without understanding some of the unconscious processes which underlie them. After introducing some major modern and postmodern psychoanalytic approaches, Minsky offers a broad-ranging critique of Lacan's theory of culture and the unconscious. She explores a range (...) of crucial and topical questions: how should we explain women's historical subordination and what is now often seen as a crisis in male identity? What constitutes 'masculinity' apart from power and control? How important is the father, actually and symbolically in children's development in the context of lone-parent families? Why is contemporary culture often still so violent and destructive? Why is consumer culture so attractive to so many and why is it so difficult to put limits on economic growth in the interests of preventing environmental disaster? This book will be of great interest to students and scholars in sociology, women's studies, cultural studies, psychology and history as well as psychoanalytic studies. It will also appeal to the general reader interested in the psychology of cultural change. (shrink)

Artists inspired by music and musicians -- Composers inspired by art and artists -- Twin talents : artist-musicians and musician-artists -- Musicians pose for the artists : a history of portrait iconography.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Acts of Enjoyment: Rhetoric, Žižek, and the Return of the SubjectJames J. Brown Jr. and Joshua GunnActs of Enjoyment: Rhetoric, Žižek, and the Return of the Subject by Thomas Rickert. Pittsburgh: University of Pittsburgh Press, 2007. Pp. x + 252. $24.95, hardcover.Thomas Rickert had a falling-out with his brother, and this distresses him so much that his disrupted relation is described as “traumatic.” Rickert reports that while listening (...) to a portable CD player during a run on an unexpectedly warm winter day, a song by the now defunct jazz/rock band Morphine reminded him of a happy time at a pool hall with his brother (24). Mediated—or better, medicated—by music, the homological happiness of running in the sun and a positive past memory also resurfaced a painful relational rupture, the reason of which Rickert omits to underscore that mysterious, “little detail or object” of the Real that marks his singular finitude as a writing subject (216 n. 11). We’ll want to come back to this curiously deliberate omission, but for the present we note Rickert is not simply an undead author but a human being with relations and feelings. He is not just a gifted scholar or a bundle of reflections, but a nexus of body and movement and words and affect. If there is anything that Rickert’s study can be said to work through with brilliance, humor, and grace, it is the reality of complex personhood.Rickert’s brotherly confession comes in Chapter 1 as a way to introduce a psychoanalytic understanding of subjectivity, and more specifically, to help illustrate how trauma works itself out as an afterwardness or “belatedness” ( Nachträglichkeit ): traumatic events from the past are not reckoned with or worked-through until some coincidence or reminder, such as a similar [End Page 183] sensory experience, reintroduces the event in doubled re-presentation (18–27). This implies the “subject” (a paradigm person) is a kind of timedelay, a self-conscious temporal moving that becomes this way through re-presentation. The rhetorical subject is analogously a retrojected reckoning with events past (not all traumatic) that Rickert identifies as a scene of writing, a locus that has important implications for rhetorical studies in general and writing pedagogy in particular. Rickert’s logic is as follows: if we agree that the subject is a belated one in the psychoanalytic sense, then how we teach rhetoric needs to change. Rickert opens the book with the observation that his students are producing excellent cultural critiques but that such critiques do not lead the students to change their actions (1–7), perhaps evidence enough that something is not quite right in a classroom grounded by “cultural studies pedagogy” and ideology critique—or at the very least, proof that something has changed. The opening gambit is simply that a “postpedagogy” premised on an understanding of rhetorical subjectivity as belatedness is better than a status quo rooted in the rational subject of the Enlightenment.Mostly through a Žižek-filtered, Lacanian lens, Acts of Enjoyment then undertakes a retake of the rhetorical field, frequently scanning from the traumatic ontology of the rhetorical subject to that domain of knowledge that we hold dear, the subject of rhetoric. In Chapter 2, the (primal) scene thus shifts from the slo-mo subject to rhetorical studies, initially through a reassessment of Kinneavy’s “communications triangle,” but ultimately in response to the shock treatment of poststructuralism. The initial theoretical traumas introduced by Victor Vitanza, Diane Davis, Sharon Crowley, and others discussed in Chapter 1 are threaded into an account of “poststructural” redress in Chapter 2: as is true of all forms of trauma, the initial poststructural jolt delivered to the concept of subjectivity was deadened; poststructural theory was eventually used to “shore up rather than challenge Kinneavy’s triangle” (37). To truly work-through our traumatized subject in both senses, we need a second trauma: Lacanian psychoanalysis. Presumably, “poststructuralist thought” is to be opposed because it has no account of the subject (21–24); “Lacan,” after all, “is not a poststructuralist” (48). The remainder of the chapter is then used to deploy Lacan’s conceptual lexicon.Just as... (shrink)

Like Alice following the white rabbit into a topsy-turvy world where the laws of logic don't apply, subversive thinking unearths the mysteries behind the mundane. Tracking the White Rabbit is a fascinating, original work that invites us to use depth psychology to challenge our deepest assumptions about world politics, theology, social norms, everyday speech, and usual ideas of sex and emotion. Raised in an environment of McCarthyism and rock-and-roll, Jungian analyst Lyn Cowan shows readers-through provocative essays on memory and homosexuality, (...) music and the art of cursing-that we can flip our ingrained attitudes on their heads and achieve a better understanding of our cultural landscape. America has been plagued by a flattening of its psychic life, Cowan argues, exhibited in the escalating need for external stimulation and the distrust of intense emotion. With humor and insight, she confronts the "isms" that entrap our imaginations (capitalism, fundamentalism, feminism, sexism, antisemitism, communism) in order to unearth a more soul-serving culture. Encouraging us to mine the creativity of spontaneous imagination, this psychology brings dramatic new ideas and themes into focus, breaking down barriers and yielding fresh perspectives on some of the more pressing individual dilemmas of our time: abortion, gender, language, homosexuality, and victimization. (shrink)

Music is elusive. describing it is problematic. In particular its aesthetic properties cannot be captured in literal description. Beyond very simple terms, they cannot be literally described. In this sense, the aesthetic description of music is essentially nonliteral. An adequate aesthetic description of music must have resort to metaphor or other nonliteral devices. I maintain that this is because of the nature of the aesthetic properties being described. I defend this view against an apparently simple objection put by Malcolm Budd. (...) dealing with this objection will take us into some surprising terrain. We are led to consider issues concerning privacy and the language for describing sensations. In the light of these considerations, I develop the essentially nonliteralist thesis and explore some of its consequences. (shrink)

Norbert Elias (1897-1990) is now widely regarded as one of the greatest sociologists of the 20th century. The challenge and profundity of his work are still being assimilated. Some have suggested that in time, he will be regarded as the Copernicus or Darwin of sociology, the man who set the subject on its scientific course. These four volumes provide a comprehensive and penetrating survey of Elias's life and work. They pinpoint the main fields of research which Elias and his followers (...) have explored: the civilizing process; state-formation; knowledge, religion and science; informalization; power; established-outsider figurations in fields such as class, gender and race; the sociology of the body; the sociology of the emotions; the sociology of leisure, sport and the arts; the sociology of the professions; medicine and psychoanalysis; crime and punishment; drug use and abuse. The collection also explores the various critiques of Elias's `figurational' or `process' sociology and counter-critiques by Elias's followers. The volumes successfully locate the work of Elias and his followers in the context of modern sociology, especially in relation to writers such as Mannheim, Adorno, Parsons, Goffman, Foucault and Bourdieu. In the penetrating, original and informative Introduction, Eric Dunning and Stephen Mennell elucidate Elias's sociological contributions and the bearing his life experiences had on his work. The collection is an invaluable resource for anyone interested in the sociological contribution of Norbert Elias. The collection is organized in the following 4 volumes: Volume 1 Focuses on Elias's work in the context of his life and career, and reviews his place in the contemporary social sciences, especially in relation to such figures as Michel Foucault and Pierre Bourdieu. Also discussed in this volume are Elias's pathbreaking contributions to such issues as: the 'agency-structure' dilemma; habitus; power; involvement and detachment; knowledge and the sciences; time; and the relations between history and sociology. Volume 2 Addresses Elias's major empiricallybased contributions to sociological theory, especially the theories of the civilizing process, state formation and established-outsider figurations. Also discussed are informalization and de-civilizing processes, and the applications of the established-outsider theory to such fields as race, gender and sexuality. Volume 3 Examines figurational contributions to special areas of sociology such as: the sociology of the body; the sociology of the emotions; the sociology of everyday life, sport, leisure, lifestyles, taste, music and the arts; deviance and crime; the sociology of health and illness; psychiatry, psychoanalysis, and psychology; death and dying; and drugs and tobacco use. Volume 4 Focuses on criticisms of Elias's work and the responses of Elias and his sociological followers. Key themes are: civilization and the Holocaust; sports violence, especially soccer hooliganism; the meanings and value of concepts like 'development', 'evolution' and 'change'; and the relative merits of long-term and short-term approaches. The end of the volume returns to the issue of Elias's place in contemporary sociology and the growing worldwide recognition of the significance of his contribution. Eric Dunning is Professor Emeritus of Sociology at the University of Leicester; Stephen Mennell is Professor of Sociology, University College Dublin. (shrink)

In this paper, I compare three different views of the relation between subjectivity and modernity: one proposed by Elisabeth Young-Bruehl, a second by theorists of institutionalised individualisation, and a third by writers in the Foucaultian tradition of studies of the history of governmentalities. The theorists were chosen because they represent very different understandings of the relation between contemporary history and subjectivity. My purpose is to ground psychoanalytic theory about what humans need in history and so to question what it means (...) to talk ahistorically about what humans need in order to thrive psychologically. Only in so doing can one assess the relation between psychoanalysis and progressive politics. I conclude that while psychoanalysis is a discourse of its time, it can also function as a counter-discourse and can help us understand the effects on subjectivity of a more than thirty year history in the West of repudiating dependency needs and denying interdependence. (shrink)

Demonstrating the connections between contemporary psychoanalysis, Jewish thought and Jewish history, this volume is a significant contribution to the traditions of dialogue, debate and change-within-continuity that epitomize these disciplines. The authors of this volume explore the cross-disciplinary connections between psychoanalysis and Jewish thought, while seeking out the resonance of new meanings, to exemplify the uncanny similarities that exist between ancient Rabbinic methods of interpretation and contemporary psychoanalytic theory and methodology, particularly the centrality of the question and the deconstruction (...) of narrative. In doing so, this collaboration addresses the bi-directional influence between, and the relevance of, the Jewish interpretive tradition and psychoanalysis to provide readers with renewed insight into key topics such as Biblical text and midrash, religious traditions, trauma, gender, history, clinical work and the legacies of the Holocaust on psychoanalytic theory. Creating an intimate environment for interdisciplinary dialogue, this is an essential book for students, scholars and clinicians alike, who seek to understand the continued significance of the multiple connections between psychoanalysis and Jewish thought. (shrink)

Genealogies -- Psychoanalysis and archaeology -- Freud in the sacred grove -- Colonial rescriptings -- War, decolonization, psychoanalysis -- Colonial melancholy -- Haunting and the future -- The ethical ambiguities of transnational feminism -- Hamlet in the colonial archive.

While acknowledging that Pierre Boulez is not a philosopher, and that he is wary of the potential misuse of philosophy with regard to music, this study investigates a series of philosophically charged terms and concepts which he uses in discussion of his music. Campbell examines significant encounters which link Boulez to the work of a number of important philosophers and thinkers, including Adorno, Lévi-Strauss, Eco and Deleuze. Relating Boulez's music and ideas to broader currents of thought, the book illuminates a (...) number of affinities linking music and philosophy, and also literature and visual art. These connections facilitate enhanced understanding of post-war modernist music and Boulez's distinctive approach to composition. Drawing on a wide range of previously unpublished documentary sources and providing musical analysis of a number of key scores, the book traces the changing musical, philosophical and intellectual currents which inform Boulez's work. (shrink)

These free-wheeling, often exhilarating dialogues—which grew out of the acclaimed Carnegie Hall Talks—are an exchange between two of the most prominent figures in contemporary culture: Daniel Barenboim, internationally renowned conductor and pianist, and Edward W. Said, eminent literary critic and impassioned commentator on the Middle East. Barenboim is an Argentinian-Israeli and Said a Palestinian-American; they are also close friends. As they range across music, literature, and society, they open up many fields of inquiry: the importance of a sense of place; (...) music as a defiance of silence; the legacies of artists from Mozart and Beethoven to Dickens and Adorno; Wagner’s anti-Semitism; and the need for “artistic solutions” to the predicament of the Middle East—something they both witnessed when they brought young Arab and Israeli musicians together. Erudite, intimate, thoughtful and spontaneous, Parallels and Paradoxes is a virtuosic collaboration. (shrink)

The concept of the world soul is difficult to understand in large part because over the course of history it has been invoked to very different ends and within the frameworks of very different philosophical systems, with very different concepts of the world soul emerging as a result. This volume brings together eleven chapters by leading philosophers in their respective fields that collectively explore the various ways in which this concept has been understood and employed, covering the following philosophical areas: (...) Platonism, Stoicism, Medieval, Indian (Vedāntic), Kabbalah, Renaissance, Early Modern, German Romanticism, German Idealism, American Transcendentalism, and contemporary quantum mechanics and panpsychism theories. In addition, short reflections illuminate the impact the concept of the world soul has had on a small selection of areas outside of philosophy: harmony, biology (spontaneous generation), the music of Henry Purcell, psychoanalysis, and Gaia theories. (shrink)