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Freud and the problem with music : = A history of listening at the moment of psychoanalysis.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Freud and the problem with music :/
其他題名:	A history of listening at the moment of psychoanalysis.
作者:	Duncan, Michelle R.
面頁冊數:	1 online resource (169 pages)
附註:	Source: Dissertation Abstracts International, Volume: 74-11(E), Section: A.
標題:	German literature. -
電子資源:	click for full text (PQDT)
ISBN:	9781303221514

Freud and the problem with music : = A history of listening at the moment of psychoanalysis.
Duncan, Michelle R.

Freud and the problem with music :A history of listening at the moment of psychoanalysis. - 1 online resource (169 pages)

Source: Dissertation Abstracts International, Volume: 74-11(E), Section: A.

Thesis (Ph.D.)--Cornell University, 2013.

Includes bibliographical references

An analysis of voice in performance and literary theory reveals a paradox: while voice is generally thought of as the vehicle through which one expresses individual subjectivity, in theoretical discourse it operates as a placeholder for superimposed content, a storage container for acquired material that can render the subjective voice silent and ineffectual. In grammatical terms, voice expresses the desire or anxiety of the third rather than first person, and as such can be constitutive of both identity and alterity. In historical discourse, music operates similarly, absorbing and expressing cultural excess. One historical instance of this paradox can be seen in the case of Sigmund Freud, whose infamous trouble with music has less to do with aesthetic properties of the musical art form than with cultural anxieties surrounding him, in which music becomes a trope for differences feared to potentially "haunt" the public sphere. As a cultural trope, music gets mixed up in a highly charged dialectic between theatricality and anti-theatricality that emerges at the Viennese fin-de-Siecle, a dialectic that continues to shape both German historiography and the construction of modernity in contemporary scholarship.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9781303221514Subjects--Topical Terms:

685498
German literature.
Index Terms--Genre/Form:

554714
Electronic books.

Freud and the problem with music : = A history of listening at the moment of psychoanalysis.
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502 $a Thesis (Ph.D.)--Cornell University, 2013.
504 $a Includes bibliographical references
520 $a An analysis of voice in performance and literary theory reveals a paradox: while voice is generally thought of as the vehicle through which one expresses individual subjectivity, in theoretical discourse it operates as a placeholder for superimposed content, a storage container for acquired material that can render the subjective voice silent and ineffectual. In grammatical terms, voice expresses the desire or anxiety of the third rather than first person, and as such can be constitutive of both identity and alterity. In historical discourse, music operates similarly, absorbing and expressing cultural excess. One historical instance of this paradox can be seen in the case of Sigmund Freud, whose infamous trouble with music has less to do with aesthetic properties of the musical art form than with cultural anxieties surrounding him, in which music becomes a trope for differences feared to potentially "haunt" the public sphere. As a cultural trope, music gets mixed up in a highly charged dialectic between theatricality and anti-theatricality that emerges at the Viennese fin-de-Siecle, a dialectic that continues to shape both German historiography and the construction of modernity in contemporary scholarship.
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