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Freud and the problem with music: A ...

Duncan, Michelle R.

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

Record Type:	Electronic resources : Monograph/item
Title/Author:	Freud and the problem with music: A history of listening at the moment of psychoanalysis./
Author:	Duncan, Michelle R.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2013,
Description:	169 p.
Notes:	Source: Dissertation Abstracts International, Volume: 74-11(E), Section: A.
Contained By:	Dissertation Abstracts International74-11A(E).
Subject:	German literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3571195
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. - Ann Arbor : ProQuest Dissertations & Theses, 2013 - 169 p.

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

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

This item is not available from ProQuest Dissertations & Theses.

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.

ISBN: 9781303221514Subjects--Topical Terms:

699188
German literature.

Freud and the problem with music: A history of listening at the moment of psychoanalysis.
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245 1 0 $a Freud and the problem with music: A history of listening at the moment of psychoanalysis.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2013
300 $a 169 p.
500 $a Source: Dissertation Abstracts International, Volume: 74-11(E), Section: A.
500 $a Advisers: Patrizia McBride; Michael P. Steinberg.
502 $a Thesis (Ph.D.)--Cornell University, 2013.
506 $a This item is not available from ProQuest Dissertations & Theses.
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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