The Subject of Music as Subject of Excess and Emergence: Resonances and Divergences between Slavoj Žižek and Björk Guðmundsdóttir.
In answering the question "who is the subject of music," we argue that it is a subject of excess and emergence, and we rely on the definition and development of these terms by Žižek and Björk. Such a subject is movement and activity; it exceeds the experiences, objects, others and symbolic order tha...
| Publicado en: | International Journal of Žižek Studies Vol. 11; no. 3; pp. 203 - 229 |
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| Autores principales: | , |
| Formato: | Artículo |
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International Journal of Zizek Studies
2017
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=125301297&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 125301297 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17518229 7834 jtl: International Journal of Žižek Studies issn: 17518229 maglogo: N pubinfo: dt: 2017 vid: 11 iid: 3 pid: 59861 pub: International Journal of Zizek Studies artinfo: ui: 125301297 ppf: 203 ppct: 26 formats: fmt: @attributes: type: P size: 2.1MB tig: atl: The Subject of Music as Subject of Excess and Emergence: Resonances and Divergences between Slavoj Žižek and Björk Guðmundsdóttir. aug: au: Melançon, Jérôme Carpenter, Alexander affil: University of Regina (Canada) University of Alberta (Canada) su: Popular music Subjectivity in music sug: subj: Popular music Subjectivity in music keyword: Classical Music Creation Musical Subjectivization Popular Music Resonance Self-Transformation Subjectivity ab: In answering the question "who is the subject of music," we argue that it is a subject of excess and emergence, and we rely on the definition and development of these terms by Žižek and Björk. Such a subject is movement and activity; it exceeds the experiences, objects, others and symbolic order that make it who it is; and it emerges through desire and drive, and resonance and animation. We open with a brief discussion of Žižek's subject of excess, which we then relate to his approach to subjectivity in music. After an analysis of Björk's music, centered on the piece "Black Lake" and from a perspective informed by Žižek's account of subjectivity, we shift our attention to Björk's thoughts on music in order to find elements that allow for the development of a subject of emergence. While the elements of excess and emergence are present in both accounts of the subject, Žižek's and Björk's respective focus on one of these concepts allow us to develop a fuller picture of subjectivity, particularly but not exclusively as it is engaged with in musical activities. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of International Journal of Žižek Studies is the property of International Journal of Zizek Studies and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: International Journal of Žižek Studies holder: International Journal of Zizek Studies dt: @attributes: year: 2017 holdings: @attributes: islocal: N |
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