The Triumph of Venus the Erotics of the Market

Total Page:16

File Type:pdf, Size:1020Kb

The Triumph of Venus the Erotics of the Market The Triumph of Venus The Erotics of the Market Jeanne Lorraine Schroeder UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2004 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Schroeder, Jeanne Lorraine. The triumph of Venus : the erotics of the market / Jeanne Lorraine Schroeder. p. cm.—(Philosophy, social theory, and the rule of law ; 10) Includes bibliographical references and index. isbn 0–520-23431–6 (cloth : alk. paper) 1. Law and economics—Psychological aspects—Philosophy. 2. Sociological jusrisprudence. 3. Feminist jurisprudence. 4. Economic man. 5. Utilitarianism. 6. Romanticism. 7. Erotica. 8. Venus (Roman deity) I. Title. II. Series. k487.e3 s38 2004 340’.115—dc21 2003012770 Manufactured in the United States of America 13 12 11 10 09 08 07 06 05 04 10 9 8 7 6 5 4 3 2 1 The paper used in this publication meets the minimum require- ments of ANSI/NISO Z39.48–1992 (R 1997) (Permanence of Paper). For my mother This page intentionally left blank contents Introduction: Juno Moneta / 1 1. Pandora’s Amphora: The Eroticism of Contract and Gift / 7 Prologue: The Myth of Allgifts / 7 The Nature of Gift / 11 Gift as Potlatch / 26 The Eroticism of the Market / 42 Commodification and Relationship / 64 Epilogue: Pandora’s Gift / 81 2. Orpheus’s Desire: The End of the Market / 83 Prologue: Orpheus and Eurydice, Eros and Thanatos / 83 The Desire of Economics / 86 The Perfect Market / 107 Conclusion: The Ideal of the Market as the End of the Market / 138 3. Narcissus’s Death: The Calabresi-Melamed Trichotomy / 149 Prologue: Narcissus and Echo / 149 Viewing the Cathedral; Seeing the Feminine / 152 Three’s a Crowd: The Trichotomy / 159 Six Hypotheticals / 169 Property / 179 Procedural and Substantive Critiques / 187 Conclusion: The Masculine Phallic Metaphor / 202 4. The Midas Touch: The Lethal Effect of Wealth Maximization / 205 Prologue: The Golden Touch / 205 Defining Wealth / 208 viii contents The Denial of Enjoyment / 229 Lacan avec Posner / 240 Epilogue: The Ass’s Ears / 272 5. The Eumenides’ Return: The Founding of Law Through the Repression of the Feminine / 276 Prologue: The Deus ex Machina / 276 The Erinyes / 281 The Law’s Necessary Repression of the Feminine / 290 Epilogue: The Birth of Venus / 308 index / 313 Introduction: Juno Moneta The object of the law and the object of desire are one and the same, and remain equally concealed. gilles deleuze1 There is nothing which so generally strikes the imagination, and engages the affection of mankind, as the right of property. And yet there are very few, that will give themselves the trouble to consider the origin and foundation of [prop- erty]. Pleased as we are with the possession, we seem afraid to look back . as if fearful . william blackstone2 William Blackstone insisted that property, and therefore market relations, are driven by desire. This eroticism should not surprise us. Etymology tells us that money is a woman. The word “money” derives from Juno Moneta. Juno, queen of heaven, was the Roman goddess of womanhood, the personification of the feminine. Her title, “Moneta,” means “she who reminds and warns.” The word “money” reminds us that the feminine is a reminder—a warning. Nevertheless, the erotic nature of law and markets is deeply repressed in American culture. We turn away from the primal scene of the passionate ori- gins of markets with the same embarrassment and shame we experience when we contemplate our own origins in the parental bed. The ideal of the perfect market, like the idea of our own conception, is “real” in the Lacan- ian sense. To look back, to confront the real, is not merely frightening—it is deadly. And yet there is nothing we desire more. To be a subject is to be driven by desire. Subjectivity is the triumph of Venus. In recent years, the study of markets in American jurisprudence has been expropriated by the self-styled “law-and-economics” movement, the dominant discourse of private law in America’s most elite law schools. One of its appeals is that it gives an aura of scientific certainty and objectivity to legal analysis and normative policymaking. Despite its claim to scientific status, however, this scholarship is almost entirely devoid of methodological discussion and inter- 1. Gilles Deleuze, Coldness and Cruelty, Masochism 9, 85 (Jean McNeil trans., 1971). 2. William Blackstone, Two Commentaries on the Laws of England 2 (A. W. Brian Simpson intro., 1979). 1 2 introduction nal criticism, as though these matters were uncontroversial. Moreover, the practitioners of the “science” of law-and-economics rarely engage in empirical research. Instead, law-and-economics consists of deductions from dogmatic principles. Consequently, most law-and-economic proposals are classic cases of GIGO (garbage in—garbage out): nonfalsified theories are applied to untested assumptions in order to produce nonverifiable conclusions. Law-and- economics has all of the characteristics of a cult. Nevertheless, although it is frequently attacked in law reviews, particularly from scholars self-identified with the critical left, law-and-economics has not only prevailed; it has thrived. One reason for this is that much of this opposition to law-and-economics has taken the equally unsatisfactory form of romanticism, a viewpoint that unwit- tingly repeats the errors of utilitarianism. In this book, I argue that there are powerful psychoanalytic reasons why law-and-economics, as well as the roman- tic critique, continue to be so seductive despite their failures. The legal economist sees market participants, and therefore the market, as essentially rational. Market participants know their preferences and take appro- priate action reasonably calculated to maximize their atomistic, individualistic well-being conceived in terms of either “utility” or “wealth.” Markets are deemed efficient insofar as they enable rational economic actors collectively to achieve their goals. Although individual preferences may be irrational, in the sense of pregiven and subjective, homo oeconomicus is rational, single-minded, predictable, and objective in the pursuit of these irrational preferences. The romantic sees the economic vision of human nature as fundamentally flawed because it ignores, or de-emphasizes, “higher” aspects of human nature, such as spirituality, empathy, altruism, and so on. Surprisingly, these “New Age” neoromantics who emphasize the supposedly irrational aspect of human nature tend to confirm the utilitarian analysis of the market as cold and rational. Eroticism and other forms of “irrationality” are therefore seen as essentially different from and usually superior to economic relations. Their critique, however, remains impotent, precisely because it accepts a fundamental tenet of the approach they claim to condemn. Utilitarianism and romanticism are mirror images of each other. They val- orize opposites but fundamentally agree. They draw diametrically opposed conclusions from a shared erroneous assumption about law and market rela- tions. They both assume that market relations are inherently cold, atomistic, and “rational.” The utilitarian believes that “rationality” is the true essence of human nature, and therefore analyzes all human relations by analogy with the market. The romantic, in contrast, believes that human nature is essen- tially “irrational” in one way or another. Therefore, the market is an aberra- tion. At best, it is a necessary evil tolerated only insofar as it is limited in scope, as a means to provide basic physical needs. At worst it is a perversion that threatens to undermine all human relations and frustrate the achieve- ment of personhood. introduction 3 This book on utilitarianism and romanticism is an encounter with Hegelian philosophy and Lacanian psychoanalysis, and an exploration of the erotics of law and the market using metaphors drawn from classical mythol- ogy. I argue that the utilitarian-romantic analysis of the law and the market is incorrect for two interrelated reasons. First, Hegelian philosophy shows us that, far from being anti-erotic, market relations are the most basic and prim- itive from of eroticism. Meanwhile, Lacanian theory reveals that the femi- nine is the primal commodity; money is Juno Moneta. Consequently, the util- itarian is correct in seeing a fundamental similarity between erotic and economic behavior, but wrong in thinking that the former can be reduced to the latter. Rather, it is the latter that can be explained in terms of the for- mer. Venus triumphs over the market. To put this another way, both the util- itarian and the romantic see desire as external to law. In contradistinction, the Hegelian and Lacanian, following a Western philosophic tradition reach- ing back to Aristotelian virtue ethics, posit that law operates at the level of desire. Second, the rational-irrational dichotomy adopted equally by utilitarians and romantics is incompetent. Dialectical reasoning reveals that reason and passion are not inalterably opposed, but rather two aspects of the same con- cept. It is true that human beings are rational, as argued by utilitarians. But rationality represents only the potential of human nature. This potential must be actualized through desire. Consequently, desire drives human behavior, as romantics intuit. Through reason, the abstract person comes to understand that she can only actualize herself through recognition by other subjects— through love. Therefore, she rationally desires others: logic tells her to give way to passion. This does not imply, however, that the romantic is correct in assuming that passion is superior to logic. Rather, even at the ecstatic moment of jouissance, the subject must preserve a moment of the rationality that makes desire possible, or submerge her personhood in the abyss. My goal in this book is to reveal the internal, but repressed, logic of certain legal and economic concepts. I believe that the law-and-economics paradigm3 drawn from classical price theory is decadent; in the terminology of Imre Lakatos, it is a degenerating research program.4 I show that several attempts 3.
Recommended publications
  • Daft Punk Collectible Sales Skyrocket After Breakup: 'I Could've Made
    BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayFEBRUARY 25, 2021 Page 1 of 37 Leader; Travis Denning Makes History INSIDE Daft Punk Collectible Sales Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debutsSkyrocket at No. 1 on Billboard’s lion audience After impressions, Breakup: up 16%). Top Country• Spotify Albums Takes onchart dated April 18. In its first week (ending April 9), it earned$1.3B 46,000 in equivalentDebt album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cording• Taylor to Nielsen Swift Music/MRCFiles Data. ‘I Could’veand total Made Country Airplay No.$100,000’ 1 as “Catch” (Big Machine Label Group) ascends SouthsideHer Own marks Lawsuit Hunt’s in second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chartEscalating and fourth Theme top 10. It follows freshman LP BY STEVE KNOPPER Young’s first of six chart entries, “Sleep With- MontevalloPark, which Battle arrived at the summit in No - out You,” reached No. 2 in December 2016. He vember 2014 and reigned for nine weeks. To date, followed with the multiweek No. 1s “In Case You In the 24 hours following Daft Punk’s breakup Thomas, who figured out how to build the helmets Montevallo• Mumford has andearned Sons’ 3.9 million units, with 1.4 Didn’t Know” (two weeks, June 2017), “Like I Loved millionBen in Lovettalbum sales.
    [Show full text]
  • Artist Song Title N/A Swedish National Anthem 411 Dumb 702 I Still Love
    Artist Song Title N/A Swedish National Anthem 411 Dumb 702 I Still Love You 911 A Little Bit More 911 All I Want Is You 911 How Do You Want Me To Love You 911 Party People (Friday Night) 911 Private Number 911 The Journey 911 More Than A Woman 1927 Compulsory Hero 1927 If I Could 1927 That's When I Think Of You ​Ariana Grande Dangerous Woman "Weird Al" Yankovic Ebay "Weird Al" Yankovic Men In Brown "Weird Al" Yankovic Eat It "Weird Al" Yankovic White & Nerdy *NSYNC Bye Bye Bye *NSYNC (God Must Have Spent) A Little More Time On You *NSYNC I'll Never Stop *NSYNC It's Gonna Be Me *NSYNC No Strings Attached *NSYNC Pop *NSYNC Tearin' Up My Heart *NSYNC That's When I'll Stop Loving You *NSYNC This I Promise You *NSYNC You Drive Me Crazy *NSYNC I Want You Back *NSYNC Feat. Nelly Girlfriend £1 Fish Man One Pound Fish 101 Dalmations Cruella DeVil 10cc Donna 10cc Dreadlock Holiday 10cc I'm Mandy 10cc I'm Not In Love 10cc Rubber Bullets 10cc The Things We Do For Love 10cc Wall Street Shuffle 10cc Don't Turn Me Away 10cc Feel The Love 10cc Food For Thought 10cc Good Morning Judge 10cc Life Is A Minestrone 10cc One Two Five 10cc People In Love 10cc Silly Love 10cc Woman In Love 1910 Fruitgum Co. Simon Says 1999 Man United Squad Lift It High (All About Belief) 2 Evisa Oh La La La 2 Pac Feat. Dr. Dre California Love 2 Unlimited No Limit 21st Century Girls 21st Century Girls 2nd Baptist Church (Lauren James Camey) Rise Up 2Pac Dear Mama 2Pac Changes 2Pac & Notorious B.I.G.
    [Show full text]
  • Predestination As a Motif in Faulkner's Light in August Virginia A
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1976 Predestination as a Motif in Faulkner's Light in August Virginia A. Riegel Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Riegel, Virginia A., "Predestination as a Motif in Faulkner's Light in August" (1976). Masters Theses. 3441. https://thekeep.eiu.edu/theses/3441 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #2 TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings • . 11 I respectfully request Booth Library of .Eastern Illinois University not allow my thesis be reproduced because---------------- Date Author pdm Predestination as a Motif in Faulkner' s Light in August (TITLE) BY Virginia A. Riegel- B.S.
    [Show full text]
  • The Skeptical Gothic in Mary Shelley's Frankenstein
    ARTICLE https://doi.org/10.1057/s41599-020-0408-5 OPEN Anatomy of tragedy: the skeptical gothic in Mary Shelley’s Frankenstein ✉ Veronika Ruttkay 1 ABSTRACT Combining philosophical and literary perspectives, this paper argues that Mary Shelley’s Frankenstein is informed by a skeptical problematic that may be traced back to the work of the young David Hume. As the foundational text on romantic monstrosity, Fran- kenstein 1234567890():,; has been studied from various critical angles, including that of Humean skepticism by Sarah Tindal Kareem (Eighteenth-century fiction and the reinvention of wonder. Oxford University Press, Oxford, 2014) and Monique Morgan (Romant Net 44, doi:10.7202/ 013998ar, 2006). However, the striking connections with Hume’s Treatise have not been fully explored. The paper begins by comparing the three narrators of Frankenstein with three figures appearing in Hume’s Conclusion to Book I: the anatomist, the explorer, and the monster. It proceeds by looking at the hybrid “anatomies” offered by Hume and Shelley, suggesting that Frankenstein might be regarded as a tragic re-enactment and radicalization of Hume’s skeptical impasse. Whereas Hume alerted his readers to the dangers of a thor- oughgoing skepticism only to steer his argument in a new direction, Shelley shows those dangers realized in the “catastrophe” of the Monster’s birth. While Hume had called attention to the impossibility of conducting strictly scientific experiments on “moral subjects”, Shelley devises a counterfactual plot and a multi-layered narrative structure in order to explore that very impossibility. Interpreting Frankenstein as an instance of the “skeptical gothic”, I suggest that both the monster and the scientist (Victor) share some traits with Hume’s radically skeptical philosopher, including a tendency to give up responsibility for what Stanley Cavell (The Claim of Reason: Wittgenstein, skepticism, morality, and tragedy.
    [Show full text]
  • And Solidarity
    Contingency,rencYrlfooY, andsolidarity RICHARD RORTY U niaersityProfessor of Hamanities, Uniaersityof Virginia ry,,,*-_qCaUBRTDGE WP uNrvERsrrY PREss Published by the PressSyndicarc of dre University of Cambridge The Pitt Building Trumpington Street, Cambridge CB2 IRP 40 Vest 20th Suect, New York, NY 10011-4211,USA l0 Stamford Road, Oakleigh, Melbourne 3166, Australia @ Cambridgc University Press1989 First published 1989 Reprinted 1989 (thrice), 1990, l99l (cwice), 1992, 1993, 1994, r995 Printed in the United Sratesof America Library of Congess Catdoging-in-Publication Daa is available British Library Cataloging in Publication applied for ISBN0-521 -3538r -5 hardback ISBN0-52 I -1678l -6 paperback In memory of six liberals: my parentsand grandparents The agdlasrer lRabelais's word for those who do not laughJ, the non- thought of received ideas, and kitsch are one and the same, the three- headed enemy of the art born as the echo of God's laughter, the art that created the fascinating imaginative realm where no one owns the truth and everyone has the right to be understood. That imaginative realm of tolerance was born with modern Europe, it is the very image of Europe- of at least our dream of Europe, a dream many times betrayed but nonetheless strong enough to unite us all in the fraternity that stretches far beyond the little European continent. But we know that the wodd where the individual is respected (the imaginative world of the novel, and the real one of Europe) is fragile and perishable. if European culture seems under threat today, if the threat from within and without hangs over what is most precious about it - its respect for the individual, for his original thought, and for his right to an inviolable private life - then, I believe, that precious essenceof the European spirit is being held safe as in a treasure chest inside the history of the novel, the wisdom of the novel.
    [Show full text]
  • Mary Shelley - Proserpine Midas: Invention, It Must Be Humbly Admitted, Does
    FDD4LLCI00ZX » Book » Mary Shelley - Proserpine Midas: Invention, It Must Be Humbly Admitted, Does... Read Doc MARY SHELLEY - PROSERPINE MIDAS: INVENTION, IT MUST BE HUMBLY ADMITTED, DOES NOT CONSIST IN CREATING OUT OF VOID, BUT OUT OF CHAOS (PAPERBACK) Stage Door, 2017. Paperback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****.Mary Shelley, nee Mary Wollstonecraft Godwin, was born on the 30th August 1797 in Somers Town, London, to Mary Wollstonecraft and William Godwin. This rich heritage from which she was born was immediately disturbed by her mothers death when she was only 10 days old. Her father remarried four years later and despite the family s impoverished circumstances, which led to home schooling by... Read PDF Mary Shelley - Proserpine Midas: Invention, It Must Be Humbly Admitted, Does Not Consist in Creating Out of Void, But Out of Chaos (Paperback) Authored by Mary Shelley Released at 2017 Filesize: 4.82 MB Reviews Completely essential study publication. Better then never, though i am quite late in start reading this one. I am very easily could get a delight of reading a composed publication. -- Marilyne Macejkovic I actually started out reading this article ebook. This is for those who statte that there had not been a worth reading. Its been developed in an extremely easy way and it is just after i finished reading this book in which in fact modified me, change the way i really believe. -- Antonetta Ritchie IV This composed publication is fantastic. I was able to comprehended everything using this composed e book. It is extremely difcult to leave it before concluding, once you begin to read the book.
    [Show full text]
  • SOUL ASYLUM Biography by Arthur Levy
    SOUL ASYLUM biography by Arthur Levy “It’s a crazy mixed up world out there, Someone’s always got a gun and it’s all about money You live with loneliness, or you live with somebody who’s crazy It’s just a crazy mixed up world …” (“Crazy Mixed Up World”) Chapter 1. Every Cloud Has One Renewed and revitalized, Soul Asylum founders Dave Pirner and Dan Murphy return to rock’s front line with THE SILVER LINING, their first new studio release since 1998’s Candy From a Stranger. That album inadvertently kicked off a seven-year sabbatical for the group, which telescoped into the death of bassist Karl Mueller in June 2005, the other founding member of the triumvirate that has steered Soul Asylum through rock’s white water for the past two decades plus. The re-emergence of the group on THE SILVER LINING is as much a reaffirmation of Soul Asylum’s commitment to the music as it is a dedication to Karl, who worked and played on the album right up until the end. They were joined in the studio by not-so-new heavyweight Minneapolis drummer Michael Bland (who has played with everyone from Paul Westerberg to Prince). The band is now complemented by Tommy Stinson on bass, a member of fellow Twin Cities band the Replacements since age 13, and a pal of Dan’s since he was in high school and Tommy in junior high. Tommy was the only friend that Karl could endorse to replace himself in the band. This hard-driving lineup was introduced for the first time in October 2005, when they played sold-out showcase dates at First Avenue in Minneapolis and the Bowery Ballroom in New York – within three days.
    [Show full text]
  • 39 Silent Killers of Your Fantasy Draft
    SPECIAL REPORT Copyright © 2018, The Shandler Company, LLC 39 Silent Killers of your Fantasy Draft ME: As you get ready for the upcoming fantasy baseball season, there is something you need to know. YOU: What? Who, me? Yes, you. No matter how long you've been playing this game, there are dozens of deliberate and subconscious pitfalls you've been stumbling into each year. I've been playing fantasy baseball for over 30 years, and frankly, sometimes I can't help myself but make the same mistakes over and over again, too. But these are not just random mistakes – they are silent draft killers – and they affect our ability to evaluate players and plan our rosters. In many cases, we don't even realize what we're doing wrong, but our success depends on it. So I thought you should know about them. Are you saying that I'm a crappy fantasy player? No, no. Unless you are winning every year, you are like most everyone else, and we all tend to get pulled in. But it's good to be aware of these silent killers so you can work to overcome them. I count 39 of them. 39? That's a lot. Seriously? Hear me out. I'll even keep count for you. In General We all know that baseball lends itself to analysis. The result of each at-bat is an individual event that can be measured. But this measurement is always after the fact. We can count how many home runs a player hits, but that is only after he's hit them.
    [Show full text]
  • Song Catalogue February 2020 Artist Title 2 States Mast Magan 2 States Locha E Ulfat 2 Unlimited No Limit 2Pac Dear Mama 2Pac Changes 2Pac & Notorious B.I.G
    Song Catalogue February 2020 Artist Title 2 States Mast Magan 2 States Locha_E_Ulfat 2 Unlimited No Limit 2Pac Dear Mama 2Pac Changes 2Pac & Notorious B.I.G. Runnin' (Trying To Live) 2Pac Feat. Dr. Dre California Love 3 Doors Down Kryptonite 3Oh!3 Feat. Katy Perry Starstrukk 3T Anything 4 Non Blondes What's Up 5 Seconds of Summer Youngblood 5 Seconds of Summer She's Kinda Hot 5 Seconds of Summer She Looks So Perfect 5 Seconds of Summer Hey Everybody 5 Seconds of Summer Good Girls 5 Seconds of Summer Girls Talk Boys 5 Seconds of Summer Don't Stop 5 Seconds of Summer Amnesia 5 Seconds of Summer (Feat. Julia Michaels) Lie to Me 5ive When The Lights Go Out 5ive We Will Rock You 5ive Let's Dance 5ive Keep On Movin' 5ive If Ya Getting Down 5ive Got The Feelin' 5ive Everybody Get Up 6LACK Feat. J Cole Pretty Little Fears 7Б Молодые ветра 10cc The Things We Do For Love 10cc Rubber Bullets 10cc I'm Not In Love 10cc I'm Mandy Fly Me 10cc Dreadlock Holiday 10cc Donna 30 Seconds To Mars The Kill 30 Seconds To Mars Rescue Me 30 Seconds To Mars Kings And Queens 30 Seconds To Mars From Yesterday 50 Cent Just A Lil Bit 50 Cent In Da Club 50 Cent Candy Shop 50 Cent Feat. Eminem & Adam Levine My Life 50 Cent Feat. Snoop Dogg and Young Jeezy Major Distribution 101 Dalmatians (Disney) Cruella De Vil 883 Nord Sud Ovest Est 911 A Little Bit More 1910 Fruitgum Company Simon Says 1927 If I Could "Weird Al" Yankovic Men In Brown "Weird Al" Yankovic Ebay "Weird Al" Yankovic Canadian Idiot A Bugs Life The Time Of Your Life A Chorus Line (Musical) What I Did For Love A Chorus Line (Musical) One A Chorus Line (Musical) Nothing A Goofy Movie After Today A Great Big World Feat.
    [Show full text]
  • “Which Way Nigeria?”
    J EAN-CHRISTOPHE S ERVANT “Which way Nigeria?” MUSIC UNDER THREAT: A QUESTION OF MONEY, MORALITY, SELF-CENSORSHIP AND THE SHARIA “WHICH WAY NIGERIA?” Music under Threat: A Question of Money, Morality, Self-Censorship and the Sharia by JEAN-CHRISTOPHE SERVANT Published by Freemuse Editor in Chief: Marie Korpe Translated from French by Daniel Brown ISSN 1601-2127 Layout: Sigrún Gudbrandsdóttir Cover illustration: Ali Bature Printed in Denmark 2003 by Handy-Print © Freemuse 2003 The views in the report do not necessarily represent the views of Freemuse. Report no. 04/2003 Freemuse Wilders Plads 8 H · 1403 Copenhagen K. · Denmark tel: +45 32 69 89 20 · fax: +45 32 69 89 01 e-mail: [email protected] web: www.freemuse.org OTHER PUBLICATIONS BY FREEMUSE: 1st World Conference on Music and Censorship (2001, ISBN: 87-988163-0-6) “Can you stop the birds singing?” – The Censorship of Music in Afghanistan, by John Baily (2001, ISSN: 1601-2127) “A Little Bit Special” – Censorship and the Gypsy Musicians of Romania, by Garth Cartwright (2001, ISSN: 1601-2127) Playing With Fire – Fear and Self-Censorship in Zimbabwean Music, by Banning Eyre (2001, ISSN: 1601-2127) TABLE OF CONTENTS PREFACE 5 ABSTRACT 7 5 CASE STUDY: FEMI KUTI - ABOUT THE AUTHOR 8 the banning of "Bang, Bang, Bang" MAP 9 5.1 Biography of Femi Kuti 56 INTRODUCTION 11 5.1.1 NBC vs. Femi Kuti 59 1 THE YEARS OF DEMOCRAZY: 6 GANGSTA RAP AND MAKOSSA 1999-2002 15 6.1 High moral grounds versus 65 the "Music of the Devil" 2 GENERAL BACKGROUND ON NIGERIA 2.1 Religion 17 7 SHARIAPHRENIA 2.2
    [Show full text]
  • Consciousness, Accessibility, and the Mesh Between Psychology and Neuroscience
    BEHAVIORAL AND BRAIN SCIENCES (2007) 30, 481–548 Printed in the United States of America doi: 10.1017/S0140525X07002786 Consciousness, accessibility, and the mesh between psychology and neuroscience Ned Block Department of Philosophy, New York University, New York, NY 10003 [email protected] Abstract: How can we disentangle the neural basis of phenomenal consciousness from the neural machinery of the cognitive access that underlies reports of phenomenal consciousness? We see the problem in stark form if we ask how we can tell whether representations inside a Fodorian module are phenomenally conscious. The methodology would seem straightforward: Find the neural natural kinds that are the basis of phenomenal consciousness in clear cases – when subjects are completely confident and we have no reason to doubt their authority – and look to see whether those neural natural kinds exist within Fodorian modules. But a puzzle arises: Do we include the machinery underlying reportability within the neural natural kinds of the clear cases? If the answer is “Yes,” then there can be no phenomenally conscious representations in Fodorian modules. But how can we know if the answer is “Yes”? The suggested methodology requires an answer to the question it was supposed to answer! This target article argues for an abstract solution to the problem and exhibits a source of empirical data that is relevant, data that show that in a certain sense phenomenal consciousness overflows cognitive accessibility. I argue that we can find a neural realizer of this overflow if we assume that the neural basis of phenomenal consciousness does not include the neural basis of cognitive accessibility and that this assumption is justified (other things being equal) by the explanations it allows.
    [Show full text]
  • The Sigma Tau Delta Rectangle
    The Sigma Tau Delta Rectangle Journal of Creative Writing Sigma Tau Delta International English Honor Society Volume 90, 2015 Editor of Publications: Karlyn Crowley Associate Editors: Kacie Grossmeier Anna Miller Production Editor: Alex Velicer St. Norbert College De Pere, Wisconsin Honor Members of Sigma Tau Delta Chris Abani Mari Evans Kyoko Mori Kim Addonizio Anne Fadiman Scott Morris Edward Albee Philip José Farmer Azar Nafisi Julia Alvarez Robert Flynn Howard Nemerov Rudolfo A. Anaya Shelby Foote Naomi Shihab Nye Alison Bechdel H.E. Francis Sharon Olds Saul Bellow Alexandra Fuller Walter J. Ong, S.J. John Berendt Neil Gaiman Suzan–Lori Parks Robert Bly Charles Ghigna Laurence Perrine Vance Bourjaily Nikki Giovanni Michael Perry Cleanth Brooks Donald Hall Gin Phillips Gwendolyn Brooks Robert Hass David Rakoff Lorene Cary Frank Herbert Henry Regnery Judith Ortiz Cofer Peter Hessler Richard Rodriguez Henri Cole Andrew Hudgins Kay Ryan Billy Collins William Bradford Huie Mark Salzman Pat Conroy E. Nelson James Sir Stephen Spender Bernard Cooper X.J. Kennedy William Stafford Judith Crist Jamaica Kincaid Lucien Stryk Jim Daniels Ted Kooser Amy Tan James Dickey Ursula K. Le Guin Justin Torres Mark Doty Li-Young Lee Sarah Vowell Ellen Douglas Valerie Martin Eudora Welty Richard Eberhart David McCullough Jessamyn West Timothy Egan Erin McGraw Jacqueline Woodson Dave Eggers Daniel Mendelsohn Katja Esson Marion Montgomery Delta Award Recipients Richard Cloyed Elizabeth Holtze Elva Bell McLin Sue Yost Beth DeMeo Elaine Hughes Isabel Sparks Bob Halli E. Nelson James Kevin Stemmler Copyright © 2015 by Sigma Tau Delta All rights reserved under International and Pan–American Copyright Conventions.
    [Show full text]