- The Oxford Handbook of the New Cultural History of Music
- Introduction: Defining the New Cultural History of Music, Its Origins, Methodologies, and Lines of Inquiry
- Gender, Performativity, and Allusion in Medieval Services for the Consecration of Virgins
- Music, Violence, and the Stakes of Listening
- Music and Pain
- “The Road into the Open”: From Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century
- Understanding Schoenberg as Christ
- The Strange Landscape of Middles
- The Genre of National Opera in a European Comparative Perspective
- Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life
- Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis
- “Shooting the Keys”: Musical Horseplay and High Culture
- Yvette Guilbert and the Revaluation of the <i>Chanson Populaire</i> and <i>Chanson Ancienne</i> during the Third Republic, 1889–1914
- Remembrance of Jazz Past: Sidney Bechet in France
- An Evening at the Opera in Seventeenth-Century Venice
- Josquin des Prez, Renaissance Historiography, and the Cultures of Print
- From “the Voice of the Maréchal” to Musique Concrète: Pierre Schaeffer and the Case for Cultural History
- A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127–1279)
- <i>Ernani</i> Hats: Italian Opera as a Repertoire of Political Symbols during the Risorgimento
- Modalities of National Identity: Sibelius Builds a First Symphony
- Beethoven, Napoleon, and Political Romanticism
- Translating Herder Translating: Cultural Translation and the Making of Modernity
- The Eye of the Needle: Music as History after the Age of Recording
- Afterword: Whose Culture? Whose History? Whose Music?
Abstract and Keywords
This article studies selected works of Gustav Mahler and Sigmund Freud as enacting the history of subjectivity as a problematic narrative of the deconstruction and construction of identity. It views Mahler and Freud's cultural productions as historically parallel examples of a certain way of imagining human subjectivity as a reflective activity. It studies their ideas on identity as a form of assimilation, and looks at how their “works” took a turn towards subjectivity. The article shows that Freud, Mahler, and their modernist contemporaries did not opt to live in their songs and selves, but instead found a new way to imagine the relations among individuals.
John Toews is professor of history and director of the Comparative History of Ideas Program at the University of Washington. He has been the recipient of the MacArthur “Genius Grant,” and his most recent book, Becoming Historical: Cultural Reformation and Public Memory in Early Nineteenth-century Berlin (2004), won the Hans Rosenberg Prize of the American Historical Association for the best book in German and Central European history.
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