Music in Youth Culture: A Lacanian Approach
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Music in Youth Culture examines the fantasies of post-Oedipal youth cultures as displayed on the landscape of popular music from a post-Lacanian perspective. Jan Jagodzinski, an expert on Lacan, psychoanalysis, and education's relationship to media, maintains that a new set of signifiers is required to grasp the sliding signification of contemporary 'youth'. He discusses topics such as the figurality of noise, the perversions of the music scene by boyz/bois/boys and the hysterization of it by gurlz/girls/grrrls. Music in Youth Culture also examines the postmodern 'fan (addict)', techno music, and pop music icons. Jagodzinski raises the Lacanian question of 'an ethics of the Real' and asks educators to re-examine 'youth' culture.
guaranteed. There is no myth of an unreachable “courtly lady” operating anymore.12 Chivalry (and its subsequent form, that of a gentleman) once offered protection for the Lady, yielding to her every impossible demand. Now it is the pimp and/or the Madame of a brothel who has become the “materialized” enforcer extracting surplus value from sex-workers in exchange for the protective services offered. Johns are not to be dated on the “outside,” and passionate kissing on the mouth is usually
rhythms of past “psychosocial” events impacted future growth. Talk of stages referred to the libidinal body of the drives; to our oral, anal, sexual, gazing, and vocalizing bodies, which constantly interrupt the regularities of living, making us undergo processes of repression, frustration, and regression. For example, “tweens” may be identified as a 2 M Y C: A L A biological cohort aged nine to twelve, but their struggles are shaped by socioeconomic structures
postfeminist neo-noir femme fatale of the new millennium (Lena Olin as the hitwoman in Romeo Is Bleeding ; Linda Fiorentino in The Last Seduction) “doubles” her body in hyper-narcissism by so obviously displaying her own insatiable desire for sex and seduction when sadistically destroying the male ego.6 While bordering on a pornographic discourse, the obvious enjoyment of her own femininity escapes any possible male gaze in this context. All is not necessarily reduced just to her hysterical
his own story as to how he came to chose his rapper name. The signifiers point to fantasies of hyped boasting and toasting (e.g., Brother Marquis, Dr. Dre) and being “cool” (Ice-T, Ice Cube, Fresh Kid Ice, Easy-E, DJ Kool Herc). As alter egos, their a.k.a.’s present a black youth that struggles with the Law by perverting it. The sense of being “cool” embodies the kind of knowledge of the obscene side of the Law; as if a rapper knows its seamy side thoroughly; then you’re “good” ’cause you feel
jouissance—his alter ego. His alter ego, projected at the imaginary level as existing “outside” the Law where unlimited jouissance is available for him, finally takes over. The mass murderer is overwhelmed with such jouissance when a psychotic breakdown finally occurs and he goes on a killing spree. An event in his life occurs that is just too much to bear. The Symbolic Order encroaches on him to the point where his imaginary alter ego can no longer stave off the effects of the superegoic Real,