FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W343888353> ?p ?o ?g. }

• W343888353 startingPage "255" @default.
• W343888353 abstract "In her critical inquiry Bread Out of Stone, Caribbean Canadian author Dionne Brand gestures to the implicit correlation between Freudian psychoanalysis and black music: Someone asks when did blues piano develop ... beyond the twelve-bar blues. She replies, stupendously, When Freud and Jung discovered more about the human psyche over in Europe all that thinking had an influence on blues My lover and I let out a loud, simultaneous Puhlease! Like Freud discovered the Mississippi Delta, like he set up a couch in a buffet flat in Chicago! (149) The anecdote suggests that disenfranchised African Americans, who were, of course, not members of the bourgeois European society whom Freud and Jung usually treated, developed their own form of psychotherapy, namely, the blues and black music in general. This parallel is to some extent unusual. Freud's interest in unconscious drives and desires does not speak to the African American experience, which was situated in the external realities of slavery and social marginalization. Freud's early manifestation of psychoanalysis, however--what the hysteric Anna O. termed the talking cure--did in fact deal with external events; specifically, it involved the narrativization of traumatic events. The talking cure, then, is a model of traumatic testimony and is decidedly comparable to black music. Toni Morrison makes this parallel in her novel Song of Solomon, and has certainly designated music as therapeutic in other works. In Rootedness: The Ancestor as Foundation, she explicitly argues that music was a long time, the art form that was healing for Black people (340). This assessment, however, is reinforced by the novel's treatment of black music in a particular way: music and song in Song of Solomon are situated as akin to the talking cure. This link is based on the ways in which expression, in both paradigms of testimony, has a performative function. As in conventional models of testimony like the talking cure, black music is a speech act that engenders emotional catharsis and brings latent memories to the fore. Song of Solomon, however, does not simply establish parallels between these two paradigms of testimony; ultimately, the novel inherently explores the ways in which they differ. Song of Solomon suggests that black music serves the same purpose as talk therapy, but its configuration as a model of testimony distinctly varies. So although the two paradigms may have the same emotional and psychological function--that is, what they do is similar--the ways in which they accomplish these underlying functions fundamentally differ. These differences are significant, as they encourage a reconsideration of the foundational dimensions of traumatic testimony as they are encoded in current discourses of trauma. Specifically, our understanding of traumatic testimony, particularly as talking cure, implicitly privileges two coefficients: language and Western culture. This emphasis on language predominately derives from notions of testimony as a narrative act, an assessment apparent in both nineteenth- and twentieth-century theories of trauma. Similarly, theories of trauma and testimony are grounded in Western assumptions and traditions, a Eurocentric perspective apparent in the works of individual critics such as Cathy Caruth and Judith Herman, and theorists who have historicized the concept of trauma such as Ruth Leys and Allan Young. The central place of both language and Western culture may be apparent in current theories of traumatic testimony; representations of black music as testimony in Song of Solomon, however, question their privileged status and so deviate from recent discourses of trauma. In this essay, I consider the ways in which black music is situated as an alternative to the talking cure in Toni Morrison's Song of Solomon, and explore how its status as a narrative paradigm and cultural artifact encourages a reconsideration of the central place of both language and Western culture in current theories of testimony. …" @default.
• W343888353 created "2016-06-24" @default.
• W343888353 creator A5004116241 @default.
• W343888353 date "2008-06-22" @default.
• W343888353 modified "2023-09-24" @default.
• W343888353 title "Alternatives to the Talking Cure: Black Music as Traumatic Testimony in Toni Morrison's Song of Solomon" @default.
• W343888353 cites W1585033912 @default.
• W343888353 cites W1592305992 @default.
• W343888353 cites W1621373383 @default.
• W343888353 cites W1933316608 @default.
• W343888353 cites W1990598998 @default.
• W343888353 cites W2002640116 @default.
• W343888353 cites W2036713380 @default.
• W343888353 cites W2077568497 @default.
• W343888353 cites W2105701094 @default.
• W343888353 cites W2889470652 @default.
• W343888353 cites W363522397 @default.
• W343888353 cites W620346274 @default.
• W343888353 cites W622764257 @default.
• W343888353 cites W627552793 @default.
• W343888353 cites W97211667 @default.
• W343888353 cites W54823997 @default.
• W343888353 hasPublicationYear "2008" @default.
• W343888353 type Work @default.
• W343888353 sameAs 343888353 @default.
• W343888353 citedByCount "1" @default.
• W343888353 countsByYear W3438883532012 @default.
• W343888353 crossrefType "journal-article" @default.
• W343888353 hasAuthorship W343888353A5004116241 @default.
• W343888353 hasConcept C11171543 @default.
• W343888353 hasConcept C115786838 @default.
• W343888353 hasConcept C124952713 @default.
• W343888353 hasConcept C139015958 @default.
• W343888353 hasConcept C142362112 @default.
• W343888353 hasConcept C15744967 @default.
• W343888353 hasConcept C189946632 @default.
• W343888353 hasConcept C52119013 @default.
• W343888353 hasConcept C73440236 @default.
• W343888353 hasConceptScore W343888353C11171543 @default.
• W343888353 hasConceptScore W343888353C115786838 @default.
• W343888353 hasConceptScore W343888353C124952713 @default.
• W343888353 hasConceptScore W343888353C139015958 @default.
• W343888353 hasConceptScore W343888353C142362112 @default.
• W343888353 hasConceptScore W343888353C15744967 @default.
• W343888353 hasConceptScore W343888353C189946632 @default.
• W343888353 hasConceptScore W343888353C52119013 @default.
• W343888353 hasConceptScore W343888353C73440236 @default.
• W343888353 hasIssue "2" @default.
• W343888353 hasLocation W3438883531 @default.
• W343888353 hasOpenAccess W343888353 @default.
• W343888353 hasPrimaryLocation W3438883531 @default.
• W343888353 hasRelatedWork W109454590 @default.
• W343888353 hasRelatedWork W119451438 @default.
• W343888353 hasRelatedWork W127014287 @default.
• W343888353 hasRelatedWork W1537607317 @default.
• W343888353 hasRelatedWork W161315949 @default.
• W343888353 hasRelatedWork W190940225 @default.
• W343888353 hasRelatedWork W2014073091 @default.
• W343888353 hasRelatedWork W2055974830 @default.
• W343888353 hasRelatedWork W2063107427 @default.
• W343888353 hasRelatedWork W2082503901 @default.
• W343888353 hasRelatedWork W2095379961 @default.
• W343888353 hasRelatedWork W2174221269 @default.
• W343888353 hasRelatedWork W2326686846 @default.
• W343888353 hasRelatedWork W2756076710 @default.
• W343888353 hasRelatedWork W2783075915 @default.
• W343888353 hasRelatedWork W3001794356 @default.
• W343888353 hasRelatedWork W317479613 @default.
• W343888353 hasRelatedWork W317686986 @default.
• W343888353 hasRelatedWork W98097061 @default.
• W343888353 hasRelatedWork W2473689753 @default.
• W343888353 hasVolume "42" @default.
• W343888353 isParatext "false" @default.
• W343888353 isRetracted "false" @default.
• W343888353 magId "343888353" @default.
• W343888353 workType "article" @default.