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.
underestimated when it comes to class struggle. “Reality” (RL) as a symbolically structured myth is never a closed system; it is never an objective correspondent structure but an incomplete open system that always represses its inherent antagonism to make it appear complete (see Zizek, 1996b, 113, 115). This is its stabilizing fantasy, a fiction that rests on the impossibility of acknowledging its abjected Other, its underside or underbelly. The “nigger” could not exist without the “nigga.” Given
self-devastation of their egos, must find the informer amongst them who “ratted” them out. De Niro’s character in both Heat and The Score remains “cool,” no mater how much “heat” is on. The body boundary is fortified so that no anxiety emerges. The operative heist is “no sweat.” No nurse is about to wipe his brow. The similarities with gangsta rappers are apparent when dueling with mics or on the streets as gangsters. Vince Hanna (Pucino), on the other had, in the name of duty to the Law, hides
signifier and the signified of the virtual body. The concept also helps us to better understand the idea of “writing on the body” as the “semiotic signification” of Ko}n’s music. It is their musical signature as a force of noise—of becoming-animal—which is felt internally, the musical signifiers being affectively loaded with feelings that ra(n)ge from song to song— relentlessly like the drive (Trieb) itself. In the video, the skin literally bubbles with the rage of his inner demons—the drives
gratification. Its objects are fantasmatic while its satisfaction is hallucinatory. The functioning of the drives when we desire is always partial. They have been sublimated, so that the object of desire that we try to grasp is always partial as well. It’s structure remains metonymic, a part of an indefinable whole. Such objects are only lures, they embody metaphorically only a “bit” of the Real—as objet a. The drive attempts to grasp this object, but always fails. It always encircles and loops
(usually) suicide. This is a result of an alienation from the Symbolic Order. If the sublimation fails in the separation from the Mother, then this is a psychosis of a serial killer. Fans killing and stalking their idols as in the case of Mark Chapman’s killing of John Lennon is a psychotic act, but not a serial one. The binary couplet can be reductively summed up once again in pop-psyche fashion as the pervert being “bad” on the outside and “good” on the inside, while the sadist seems “good” on