Monthly Archives: February 2017

Thoughts Concerning “Repression of Discourse”

 

thoughts concerning ‘repression of discourse’


Thoughts Concerning “Repression of Discourse”

by Roger W. Smith

“There is not one but many silences, and they are an integral part of the strategies that underlie and permeate discourses.” — Michel Foucault, The History of Sexuality, Volume 1: An Introduction

 

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I was present at an after hours dinner at a Manhattan restaurant with colleagues at the office where I was working several years ago. Somehow, in the context of the conversation, I felt it was relevant and apropos to mention something I had recently read about racial stereotyping. I think it was something about false assumptions that underlie racial stereotyping and how this affects the terminology used to designate ethnic and racial origins and racial categories — I can’t quite recall.

The table fell silent. No one would say a word and the topic was dropped — they weren’t going to touch it with a ten foot pole. It was as if they had seen a ghost.

Perhaps one might say, this sounds rather complicated. Perhaps your listeners didn’t know what to say because they didn’t understand. I don’t believe that this was the case.

I think what was going on was what a psychiatrist would call repression — what, in this case, I would perhaps call “social repression” or “repression of discourse.” Psychological repression is defined in a Wikipedia article as follows:

Psychological repression, or simply repression, is the psychological attempt made by an individual to direct one’s own desires and impulses toward pleasurable instincts by excluding the desire from one’s consciousness and holding or subduing it in the unconscious. In psychoanalytic theory repression plays a major role in many mental illnesses, and in the psyche of the average person [italics added].

Repression (German: Verdrängung), a key concept of psychoanalysis, is a defense mechanism, but it pre-exists the ego, e.g., Primal Repression. It ensures that what is unacceptable to the conscious mind, which would arouse anxiety if recalled, is prevented from entering into it and is generally accepted as such by psychoanalytic psychologists.

https://en.wikipedia.org/wiki/Psychological_repression

 

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I feel that, as stated above, “repression of discourse” is the operative term to describe how my attempt to contribute to the conversation with my work colleagues was received. By this I mean that one cannot talk about some topics in “public” discourse. By “public,” I mean here to convey the idea of a conversation which occurs outside the home, for example with coworkers, in a school, or at a reception. I am not thinking of public forums such as political speeches or commencement addresses, although it is undoubtedly the case that strictures that apply to conversations in the workplace, say, often do apply equally to public speeches and pronouncements, and probably to advertising and the media.

What do I mean by “strictures that apply to conversations”? Topics that are taboo.

One of these topics is race. The topic seems to have become completely taboo in polite discourse; it cannot be brought up outside the home. Hence my experience at the dinner with coworkers.

In present day America, one cannot admit to having some prejudices (undisclosed ones), while it is the case, I would aver, that no one in actuality is free of them. Sometimes, it seems that one can’t even discuss the topic of prejudice itself, unless one’s PC credentials have been established beforehand and the person is making a sanctioned statement, such as someone protesting or inveighing publicly against racism.

 

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Subsequent to the dinner with my coworkers, I got to thinking about what I have clumsily termed “repression of discourse” and how it operates. Having experienced it, in this case, with regard to the topic of race, I got to thinking about what some other taboo topics might be. I started running possible scenarios through my mind.

What if, at the same dinner with my office colleagues, I had said: “Did I ever tell you about my favorite pornographic films? I love the genre of ______” (you name it: girl on girl, films depicting anal or oral sex, bondage, etc., etc.)? Or perhaps I might have said, without naming a specific type of sex act or perversion, “What are some of your all time favorite porno movies? I saw a great one in my hotel room on my last [business] trip to _______.” Think this conversational salvo would fly and be eagerly picked up by my dinner partners?

Or to go to even more ridiculous extremes, say that I introduce in a social setting/occasion, business lunch, or whatever the topic of masturbation and discuss, say, masturbatory practices by me at some time or other in my past or present life (e.g., “I usually prefer to masturbate at bedtime. How about you?”). Think that would fly?

Of course not.

Don’t worry. I am not planning to discuss nor have I ever been guilty of discussing such topics in such situations. But I was thinking, what is it that makes some topics unacceptable to introduce in all but perhaps the most private conversations, and then only in a specific context and at a sanctioned time, so to speak?

 

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It is a social convention, a given, that some topics are out of bounds in polite conversation, which perhaps is (or, perhaps I should say, undoubtedly is) as it should be. One can’t discuss such topics, for the most part, even in the abstract and/or in the most general sense. Agreed and acknowledged, with a caveat. As discussed further below, I feel the strictures go too far and are often used, under the cover of protecting us against uncalled for remarks, as an insidious form of censorship masquerading as concern for persons who might be offended. The problem, as I see it, is that it is often the case that subjects which should be aired get swept under the table in the name of political correctness.

Take a topic such as masturbation. Dr. Ruth can bring it up in one of her talks beecause she is known as an outspoken, anything goes (content wise) sex therapist. Philip Roth described it in Portnoy’s Complaint and people were shocked (or at least titillated), but, well, he was a writer — what could you expect? Nor can one discuss sexual practices — say, those viewed in a pornographic film — that one might enjoy or prefer, as a participant or observer.

You or I could not bring it up, should we be so inclined, under any circumstances, in a conversation held in public. It seems to me that — temporarily leaving aside the most embarrassing and private topics, which I have introduced only for the purposes of illustrating my point and of comparison — this kind of repression can be at times so extreme and sweeping (in the sense of all-encompassing and prohibitive — a sweeping edict) that discussions of some topics and issues which should not a priori be considered of an embarrassing or harmful nature can not be contemplated, where such discussion could often be innocuous, interesting, stimulating, and/or heuristic.

A reader of this post might think or say to him or herself, he’s probably a pervert, and, anyway, what’s the point? Is he saying that he thinks one should be entitled to discuss such embarrassing and/or offensive things in public?

I am not. Public standards of decency should be observed. Distinctions should be made regarding what is permissible to be said and discussed in public versus in private. But, what I am trying to do is to show how repression works (as I view it) in public.

 

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I think an analogy can be made with regard to discussing sexual topics in a non private setting and discussing other topics that have now earned taboo status, such as race.

In earlier times, through at least my grandparents’ lifetimes, topics of a sexual nature were prohibited in all but the most private settings, while language about ethnic and racial groups that would now be considered offensive was common. In my grandparents’ time, sex was virtually taboo as a topic and censorship standards were rigidly enforced. At the same time, ethnic slurs were printed and racial prejudices openly advocated or tolerated in the media without anyone noticing. Blacks were stereotyped and demeaned in vaudeville, the theater, and films. Insulting, pejorative terms for ethnic and racial groups were commonly used in conversation.

Now the public, which is to say most reasonable people, is hypersensitive to anything that smacks of or has a hint of racism. Racism has been eradicated, we want to believe (though we know it hasn’t).

Meanwhile, repression is alive and well.

Progress has been made, at least in the realm of public discourse and the media, where racial and ethnic slurs are prohibited. One hears them less in casual conversations nowadays. But, does this mean that we, as a nation, as people, have wiped the slate clean so that most people other than the lunatic fringe don’t have racial prejudices any more?

This is where I would say an emphatic no.

So why can’t assumptions underlying racism, and reverse racism, be examined and evaluated in a non private conversational setting? In my opinion, it would be salutary (psychologically speaking) to do so. Such conversations could be beneficial both when they occur between members of the same racial group, say, and when they occur between persons of different racial, religious, or ethnic groups.

 

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The PC “thought police” want to control what can and cannot be said, everywhere. I am all for maintaining standards of polite discourse — see my blog post on this topic at

Marquess of Queensberry rules for arguments (my personal views on the subject)

but I am opposed to “repression of discourse,” as defined above.

I feel that people should be able to talk freely, as long as they are respectful and polite. That contrary opinions and thoughts or facts that might call into question the prevailing orthodoxy should be shared. And that “error of opinion,” to use Thomas Jefferson’s phrase, should it be identified and so deemed, should, as Jefferson said, “be tolerated where reason is left free to combat it,” both in private and public discourse.

 

— Roger W. Smith

   February 2017

Shostakovich (Дмитрий Дмитриевич Шостакович)

 

русский перевод см ниже

 

The following is an email of mine to a friend which resulted from a conversation we were having yesterday.

 

— Roger W. Smith

  February 3, 2017

 

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You asked me yesterday if I liked Shostakovich.

The answer: do I ever!

He’s a quintessentially nationalistic composer. He wrote quite a bit of music with overt programmatic, thematic, or patriotic content. He also wrote much music that is very modern and very twentieth century — worthy of (and, in fact, better than, in my opinion) a Stravinsky.

It is hard to pigeonhole Shostakovich. A Wikipedia article

https://en.wikipedia.org/wiki/Dmitri_Shostakovich

states:

A polystylist, Shostakovich developed a hybrid voice, combining a variety of different musical techniques into his works. His music is characterized by sharp contrasts, elements of the grotesque, and ambivalent tonality; the composer was also heavily influenced by the neo-classical style pioneered by Igor Stravinsky, and (especially in his symphonies) by the post-Romanticism associated with Gustav Mahler. [Mahler was indeed a great influence on Shostakovich, and it has been said that one can hear echoes of the former composer’s works in the symphonies of the latter.]

I am not a musicologist, so I can speak only from experience as a listener, for the most part. But, I once said to my former therapist, who had an interest in Russian history and culture, that I believed Shostakovich to be one of the twentieth century’s greatest (if not the greatest) composers. A rival? I might suggest Bartók. I bet few others would make that choice.

Shostakovich reminds me of Aaron Copland. I feel that the two are comparable, except that I feel Shostakovich is the greater composer (which is not to detract from my admiration for Copland, whose works I do not know as well as I should).

Both he and Copland are infused with their country’s spirit, land, and grandeur. Both were prolific and composed in a wide variety of forms on the macro and micro levels, so to speak. Both composed supremely patriotic and nationalistic music which, when you hear it, results in your thinking, saying: it is so Russian or so American; it could only be Russian or American.

Both were not afraid to attempt grand themes — the Russian Revolution and The Great Patriotic War; Appalachia, the heartlands, Lincoln, the Great Depression, democracy — yet both composed highly cerebral, small scale works (e.g., their chamber works).

Nationalism and patriotism notwithstanding, both were fully in touch with the musical trends and styles of their times. Their music is anything but hackneyed, clichéd, or retrograde.

Neither composer was a political stooge or apologist. Shostakovich ran afoul of Stalinism and lived in fear of reprisal, it has been stated in books about him. (His music was criticized by Stalin himself.) Copland had leftist and Zionist sympathies.

 

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A word or two about my own experience of Shostakovich.

My parents gave me a portable record player as a gift upon my high school graduation. One of the first LP’s I purchased was a budget recording of Shostakovich’s fifth symphony conducted by Ernest Ansermet.

I was greatly impressed and stirred by the work, which I (by no means alone) regard as a masterpiece and one of the greatest symphonies ever. It is work which, in my opinion, is infused with the “Russian spirit,” whatever that means. It is haunting and powerful and has a sort of inner logic and sense of inevitability, a coherence, and a tightness of construction that remind me of Beethoven’s Fifth.

Another work of Shostakovich’s that I discovered early was his eleventh symphony (“The Year 1905”; 1957). The social philosopher Pitirim A. Sorokin, a Russian emigre who taught at Harvard, mentioned it in passing in his autobiography. Being an admirer of Sorokin, I had to hear the work. My uncle Roger Handy gave it to me as a Christmas present on an LP of a performance by André Cluytens. It was one of the first performances of the symphony; recordings of Shostakovich’s eleventh were rare then. The eleventh symphony is subtitled “The Year 1905”; it describes, musically, events of the Russian Revolution of 1905. It is extremely powerful and lyrical.

One notices here Shostakovich’s mastery of tone color, which sets him apart — in a class of his own, it would seem. A Wikipedia article notes that the eleventh symphony is scored for 3 flutes (3rd doubling piccolo), 3 oboes (3rd doubling cor anglais), 3 clarinets (3rd doubling bass clarinet), 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, snare drum, cymbals, orchestral bass drum, tam-tam, xylophone, tubular bells, 2 harps, celesta and strings. Similar eerie, powerful effects are accomplished in the composer’s fifteenth symphony, which includes a glockenspiel, celesta, vibraphone, castanets, snare drum, wood block, xylophone, and triangle.

One can also observe such mastery of tone color in, say, the fifth symphony. And, Shostakovich will often surprise, delight, or astonish the listener with original scoring, such as the piano passages in his first symphony and his fifth.

Eventually, I discovered Shostakovich’s quartets, which I feel are right up there with Bartók’s. Shostakovich wrote fifteen symphonies and fifteen quartets. I haven’t even mentioned his concertos. He was prolific!

An observation I would make about Shostakovich — being mindful that I am no doubt stating the obvious and that one doesn’t need my input to realize this – is that he is usually very original from one work to the next. One never knows what to expect or what one is going to hear. His fourth symphony, for example, was a complete break with his second and third symphonies, which were nothing like his brilliant first symphony, which was wholly fresh and original and which seemed to almost come out of nowhere; it did not seem to be indebted to a tutor or predecessor. His seventh, eighth, tenth, eleventh, and twelfth symphonies have similarities, but the fourth, fifth, sixth, ninth, thirteenth, fourteenth, and fifteenth symphonies are totally different, and each of them differs a lot from one of the others in that group. Similar astonishing variety of form and mood from one piece to the next can be seen in the quartets.

I should have also mentioned, individually, Shostakovich’s eighth symphony. It is a powerful work and one of his best. It doesn’t seem to be performed as often as it should. Don’t listen to it if you don’t feel like experiencing anguish — it is a work that conveys despair. There is very little sunlight; Vivaldi it is not.

 

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See also:

Posted on this blog are:

Shostakovich, symphony no. 11 (“The Year 1905”); Шостакович, Симфония № 11 («1905-й год»)

 

Shostakovich, “Песнь о лесах” (The Song of the Forests)

 

 

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Ниже изложен текст моего электронного письма другу, которое было написано после нашего вчерашнего разговора.

 

— Роджер У. Смит

    3 февраля 2017 г.

 

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Вчера Вы спросили, понравился ли мне Шостакович.

Ответ: безусловно!

Это композитор с ярко выраженными национальными особенностями. Он написал довольно много музыки с четким программным, тематическим или патриотическим содержанием. Он также написал значительное количество современных музыкальных произведений, отражающих дух двадцатого века, его творчество не уступает творчеству Стравинского (а, по моему мнению, даже превосходит).

Шостакович и сегодня интересен слушателям. В Википедии в статье

https://en.wikipedia.org/wiki/Dmitri_Shostakovich

говорится следующее:

В своих произведениях Шостакович использует уникальный стиль, в котором сочетаются различные музыкальные техники. Его музыка характеризуется резкими контрастами, элементами гротеска, амбивалентной тональностью; на его творчество сильно повлиял неоклассицизм, пионером которого был Игорь Стравинский, а также постромантизм (особенно в симфониях), с которым ассоциируется творчество Густава Малера. [Малер действительно оказал на него огромное влияние; говорят, что отголоски произведений Малера слышны в симфониях Шостаковича.]

Я не музыковед, мое мнение по большей части – это мнение слушателя. Но однажды я сказал своему врачу, который интересовался российской историей и культурой, что считаю Шостаковича одним из величайших (если не величайшим) композиторов двадцатого века. Есть ли у него конкуренты? Я бы назвал Бартока. Немногие сделали бы такой выбор.

Шостакович напоминает мне Аарона Копленда. Полагаю, это композиторы одного уровня, но все-таки Шостакович кажется мне более выдающимся композитором (что не уменьшает моего восхищения Коплендом, с чьим творчеством я знаком не настолько близко, как следовало бы).

Творчество и Шостаковича, и Копленда пронизано духом родной земли и ее величия. Оба плодотворно работали и создавали произведения самых разных форм на макро- и микроуровнях, так сказать. Оба сочиняли музыку в высшей степени наполненную патриотизмом и национальным духом. Слушая их произведения, люди думают: это настолько русская или американская музыка; что ее автор мог быть только русским или американцем.

Оба не боялись касаться великих тем – российской революции и Великой Отечественной войны; Аппалачии, самого сердца страны, Линкольна, Великой депрессии, демократии – но оба писали высокоинтеллектуальные произведения малой формы (например, камерные произведения).

Несмотря на национализм и патриотизм оба были хорошо знакомы с музыкальными тенденциями и стилями своей эпохи. Их музыку точно не назовешь банальной, шаблонной или ретроградной.

Ни один из композиторов не был марионеткой или апологетом какого-либо политического движения. В книгах о Шостаковиче говорится, что его деятельность шла вразрез с идеологией сталинизма, он жил в страхе перед репрессиями. (Его музыку подвергал критике сам Сталин.) Копленд был сторонником левых взглядов и сочувствовал сионистам.

 

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Пару слов о моем знакомстве Шостаковичем.

Мои родители подарили мне переносной проигрыватель в честь окончания школы. Одной из первых пластинок, которую я купил, была пластинка с записью пятой симфонии Шостаковича в исполнении Эрнеста Ансерме.

Я был впечатлен и тронут произведением, которое я (и не я один) считаю шедевром и величайшей из когда-либо написанных симфоний. По моему мнению, это произведение пронизано «русским духом», что бы это ни значило. Это запоминающееся, мощное произведение, в котором присутствует внутренняя логика и ощущение неизбежности. Оно характеризуется логичной и четко выстроенной формой и напоминает пятую симфонию Бетховена.

Еще одно произведение Шостаковича, которое я открыл для себя одним из первых, – это его одиннадцатая симфония (“1905 год”; 1957). Социолог и философ Питирим Александрович Сорокин, российский эмигрант, преподаватель Гарварда, мимоходом упомянул его в своей автобиографии. Будучи почитателем Сорокина, я просто обязан был послушать это произведение. Мой дядя, Роджер Хенди, подарил мне на Рождество пластинку с этой симфонией в исполнении Андре Клюитанса. Это одно из первых исполнений симфонии; записи одиннадцатой симфонии Шостаковича тогда были большой редкостью. Подзаголовок одиннадцатой симфонии – «1905-й год». В ней при помощи музыкальных средств описываются события русской революции 1905 года. Это очень сильное и лирическое произведение.

В нем Шостакович мастерски использует разнообразные звуковые оттенки, в этом он отличается от других композиторов. В статье в Википедии описана оркестровка одиннадцатой симфонии: 3 флейты (плюс флейта-пикколо), 3 гобоя (плюс охотничий гобой), 3 кларнета (плюс басовый кларнет), 3 фагота (плюс контрафагот), 4 валторны, 3 трубы, 3 тромбона, туба, литавры, треугольник, малый барабан, тарелки, большой барабан, тамтам, ксилофон, колокола, 2 арфы, челеста и струнные. Такие же мрачные и сильные звуковые эффекты мы слышим в пятнадцатой симфонии, при исполнении которой используются колокольчики, челеста, вибрафон, кастаньеты, малый барабан, деревянная коробочка, ксилофон и треугольник.

Такое же мастерское использование звуковых оттенков наблюдается, скажем, в пятой симфонии. Кроме того, Шостакович часто удивляет, или поражает слушателя оригинальной оркестровкой, например, удивительными пассажами на фортепиано в первой и пятой симфониях.

Однажды я открыл для себя квартеты Шостаковича, которые, я считаю, не уступают квартетам Бартока. Шостакович написал пятнадцать симфоний и пятнадцать квартетов. И это не считая концертов. Это огромное наследие!

Еще одно наблюдение, которое я хотел бы высказать, – я знаю, что говорю очевидные вещи и что никому не нужны именно мои высказывания, чтобы понять, что каждое произведение Шостаковича оригинально. Никогда не знаешь, чего ждать от следующего произведения. Четвертая симфония, например, стала полным прорывом после второй и третьей симфоний, которые даже сравнить нельзя с замечательной первой симфонией, которая свежа и оригинальна и, кажется, возникла из ничего; она не была написана под влиянием наставника или предшественника. Седьмая, восьмая, десятая и двенадцатая симфонии имеют схожие черты, но четвертая, пятая, шестая, девятая, тринадцатая, четырнадцатая и пятнадцатая симфонии абсолютно другие, причем они совершенно не похожи друг на друга. Такое же удивительное богатство форм и настроений наблюдается и в квартетах.

Стоит отдельно упомянуть восьмую симфонию Шостаковича. Сильное произведение, одно из лучших произведений композитора. Его исполняют не так часто, как стоило бы. Не стоит слушать его, если вы не готовы пережить страдание – это произведение приводит в отчаяние. В нем мало солнечного света; это не Вивальди.