blah-femetag:typepad.com,2003:weblog-5002272008-06-13T19:18:42+01:00a blog for now, for thinking about politics and what being in the present might meanTypePadmusic, masculinity and the voice-identity relationtag:typepad.com,2003:post-513100322008-06-13T19:18:42+01:002008-06-13T19:25:34+01:00In any critical engagement with masculinity, attention to sonic materials will inevitably challenge the field of men’s studies as it has been constituted since the late 1970s: much of that field has consistently emphasized discourses grounded in the visual (descriptions...blahfemehttp://blahfeme.typepad.com/blahfeme/2008/06/music-masculini.htmlnationalism: a fragment tag:typepad.com,2003:post-484111702008-04-14T15:25:06+01:002008-04-14T15:25:56+01:00The element which holds together a given community cannot be reduced to the point of symbolic identification: the bond linking together its members always implies a shared relationship toward the Thing ... This relationship toward the Thing ... is what...blahfemehttp://blahfeme.typepad.com/blahfeme/2008/04/nationalism-a-f.htmlthe vocal fetish (i)tag:typepad.com,2003:post-475686502008-03-23T17:39:00+00:002008-03-26T17:54:14+00:00Here we have it laid out in all its giddying and disorientating grandeur, that passage from Joyce’s Ulysses (1922): Besides how could you remember everybody? Eyes, walk, voice. Well, the voice, yes: gramophone. Have a gramophone in every grave or...blahfemehttp://blahfeme.typepad.com/blahfeme/2008/03/the-vocal-fetis.htmlthe vocal fetish (ii)tag:typepad.com,2003:post-475687682008-03-22T17:42:00+00:002008-03-26T17:58:25+00:00Woolf herself makes such a messianic investment in the voice in ‘Anon’, a late essay (1941), in which she evokes an archaic voice not unlike that which excites Septimus; she mythologizes the origins of literature, that enemy of orality (as...blahfemehttp://blahfeme.typepad.com/blahfeme/2008/03/the-vocal-fet-1.htmlthe vocal fetish (iii)tag:typepad.com,2003:post-475691662008-03-21T17:47:00+00:002008-04-14T01:27:34+01:00These formidable specifics of song, of singing or, even, of songing, haunt late nineteenth-century and early modernist European literatures and musics. The terms by which song has consistently been bracketed off from speech are complex and constitute a fundamental problem...blahfemehttp://blahfeme.typepad.com/blahfeme/2008/03/the-vocal-fet-2.htmlthe vocal fetish (iv)tag:typepad.com,2003:post-475698662008-03-20T17:46:00+00:002008-03-26T17:59:34+00:00It was psychoanalysis that brought the fetish into common parlance and, although Woolf herself was hostile to Freud’s work, it was the Woolfs’ press, the Hogarth Press, that began to publish Freud’s works in English in 1921. It was also...blahfemehttp://blahfeme.typepad.com/blahfeme/2008/03/the-vocal-fet-3.htmlthe late, the romantic ...tag:typepad.com,2003:post-470419402008-03-14T20:25:09+00:002008-03-14T20:27:36+00:00[In romantic criticism] we are faced, at once, with a fatal confusion between two selves: the one specific, particular, historical, and chaotic, the other capable of the lofty lucidity of total self-understanding. The gap between the two is so wide...blahfemehttp://blahfeme.typepad.com/blahfeme/2008/03/the-late-the-ro.htmlanger-passion-commitment ... as symptom?tag:typepad.com,2003:post-461377802008-02-25T17:53:48+00:002008-02-26T01:22:05+00:00Lacan is always there with a twist, a spasm, a neat and terrifying paradox to unthink the stubbornly always-already thinkable, to make strange what is given, to shake up and reorder the relations among power, ethics and selfhood. For anger,...blahfemehttp://blahfeme.typepad.com/blahfeme/2008/02/anger-passion-c.html