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Through her mordant commentary on a rich selection of texts by major thinkers from two millennia of Christian theology, Heidi Epstein shows in the first part of Melting the Venusberg that music as the erotic embodiment of human engenderment has been ignored or suppressed, while music as the expression of transcendent harmony, order, and restraint has been extolled.
The second re-constructive part of Melting the Venusberg draws on ignored sources and lost tropes from the Christian tradition as well as on insights from the music and thought of historical and contemporary woman composers and performers from Hildegard of Bingen and Lucrezia Vizzana to Rosetta Tharpe and Diamanda Galas. Through this recuperative synthesis, music's theological significance changes keys, as it moves beyond its symbolic function as divinely ordained, harmonious microcosm into more dissonant metaphorical registers. Those who have ears to hear will be delighted.
|Introduction : "musing the obscure" : the problem of music and meaning||1|
|Pt. 1||Critique of masculinist theologies of music|
|Ch. 1||Phallic rage for order : traditional theologies of music||11|
|Ch. 2||Sexing the semitone : music's historical engendering||32|
|Ch. 3||"Inebriate bewitchment" : harmony's eternal return||70|
|Pt. 2||Feminist reconstruction|
|Ch. 4||Critical counterpoint : arpeggiating a feminist theology of music||119|
|Ch. 5||Twisted sisters' theological grist : music as redemptive transgression||140|
|Ch. 6||"Foul Ooze" : new icons of abjection||160|
|Da Capo : "sing for our time too" : future theologies of attunement||185|