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- Creators: Department of Marketing
- Creators: Doty, Roxanne L
Description
The concept of recognition developed through the 20th century as a form of political legitimation has served a central if problematic role in understanding international politics. On the one hand, recognition aims toward establishing essential collective identities that must be conceived as relatively stable in order to then gain respect, receive political protection, and occupy both physical and discursive space. On the other hand, recognition tacitly accepts a social constructivist view of the subject who can only become whole unto itself – and in turn exercise positive liberty, freedom, or agency – through the implied assent or explicit consent of another. There is an inherent tension between these two understandings of recognition. The attempt to reconcile this tension often manifests itself in forms of symbolic and systemic violence that can turn to corporeal harm. In order to enter into the concept, history, politics and performativity of recognition, I focus on what is often viewed as an exceptionally complex and uniquely controversial case: the Israel-Palestine conflict. Undergoing a discourse analysis of three epistemic communities (i.e., the State/diplomatic network, the Academic/intellectual network, the Military-Security network) and their unique modes of veridiction, I show how each works to construct the notion of ethno-nationalism as a necessary political logic that holds the promise of everything put in its right place: Us here, Them there. All three epistemic communities are read as knowledge/power networks that have substantial effect on political subjects and subjectivities. Influenced by the philosophy of Hegel and Levinas, and supported by the works of Michel Foucault, Wendy Brown, Alphonso Lingis, Jacques Derrida, Patchen Markell, and others, I show the ways in which our current politics of recognition is best read as violence. By tracing three discursive networks of knowledge/power implicated in our modern politics of recognition, I demonstrate forms of symbolic violence waged against the entire complex of the Israel-Palestine conflict in ways that preclude a just resolution based on mutual empathy, acknowledgment, and (re)cogntion.
ContributorsBar, Eyal (Author) / Doty, Roxanne L (Thesis advisor) / Ashley, Richard K. (Thesis advisor) / Walker, Stephen (Committee member) / Arizona State University (Publisher)
Created2016
Description
This thesis explores virtuosity as it applies to the following five clarinet works: Grand Duo Concertant by Carl Maria von Weber, Solo de Concours by André Messager, Caprice by Anders Koppel, Live Wire by Theresa Martin, and The Bangui Anomaly by Eric Mandat. By detailing the clarinet’s development, including its creation in the early 18th century and key innovations over the next several hundred years, the histories of several key clarinet manufacturers are described to further analyze the innovation of music at the time. This background is necessary to understand the foundation of the clarinet and how virtuosity is tied closely to its mechanical development. Based on this fundamental information, virtuosity is comprised of three pillars: technical proficiency, musicianship, and recognition. In order for a piece or performer to be considered virtuosic, they must exemplify all three pillars. Technical proficiency applies to physically manipulating the instrument, including finger agility, articulation, voicing, dynamic and intonation control, among others. Musicianship further describes personal interpretation within stylistic boundaries, and the ability to implement interpretive judgement. Finally, recognition serves as esteemed acknowledgement from a panel of field critics. Accompanying this paper is a creative performance recording of the five aforementioned clarinet pieces, demonstrating virtuosity through a wide range of musical genres and eras.
ContributorsGraf, Selena (Author) / Gardner, Joshua (Thesis director) / Spring, Robert (Committee member) / School of Music (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05