Prescribing Sound: Willem Van de Wall and the Carceral Origins of American Music Therapy

From 1921 until 1936, musician Willem Van de Wall pioneered the modern use of therapeutic music in American prisons and psychiatric institutions. His therapy was steeped in the methods and philosophy of social control, and after World War II, it shaped the professionalizing field of music therapy. Van de Wall's influence reveals an overlooked connection between modern clinical practice and the techniques of control employed in prisons and psychiatric hospitals of the early twentieth century. Given music therapy's broader impact as an element of postwar self-help culture, its relationship to social control practices also disrupts longstanding scholarly ideas about the so-called “therapeutic ethos.” The therapeutic ethos did not originate solely in efforts by the middle classes to adjust to bourgeois modernity. The case of music therapy suggests that some elements of “therapeutic culture” were always coercive and always directed toward the maintenance of race, gender, and class hierarchies.

BOURGEOIS MODERNITY VERSUS THE HISTORICAL ARISTOCRACY IN CHRISTOPH MEINERS'S POLITICAL THOUGHT

Christoph Meiners (1747–1810), a major historian and philosopher of the German late Enlightenment, has received increasing recognition as a significant thinker in the emergence of nineteenth-century racial theories. The scholarly focus on Meiners's hierarchical view of race and its legacy has led to the classification of his broaderoeuvreas conservative, or even reactionary. By examining hisGeschichte der Ungleichheit der Stände unter den vornehmsten europäischen Völkern(1792), written in response to the French Revolution and the contemporary circumstances of the Holy Roman Empire, this article sheds new light on his work, as well as on an under-researched line of thought in the 1790s. Rather than a conservative or reactionary work, this text is a radical critique of the German aristocracy that ultimately recommends the abolition of most significant aristocratic privileges and the overhaul of its membership in favour of the bourgeoisie. This article presents not only a more complex understanding of Christoph Meiners's ideas, but also calls for a reappraisal of the categories applied to late eighteenth- and early nineteenth-century intellectuals both in Germany and in Europe more broadly.

Domesticating the avant-garde in a nationalist era: Aesthetic modernism in 1930s Turkey

This paper investigates the rise of aesthetic modernism in Turkey’s early republican era (i.e., the late 1920s and the 1930s), with an emphasis on the influence of international cultural currents on Turkey’s intelligentsia. The paper concentrates on the modernist ideas and works of the D Group, who advocated a high modernism in the plastic arts, and the literary modernism of the socialist poet Nâzım Hikmet (Ran). Firstly, it addresses the historiographical argument that aesthetic modernism in Turkey was a derivative enterprise, a low-grade replica of European modernism. Secondly, it argues that the early republican intelligentsia found itself in a dilemma with regard to modernist currents. For them, aesthetic modernism was a sign of the modern epoch, but it also carried a radical potential for a critique of bourgeois modernity. Aesthetic modernism not only promised change, functionality, and renewal, but also manifested such disturbing symptoms of modernity as individualism, melancholy, degeneration, and restlessness. The paper reaches the conclusion that figures such as the D Group artists and Nâzım Hikmet translated the avant-garde international currents of aesthetic modernism into the early republican context, opting for positive and optimistic versions of modernism rather than adopting its more alienating, pessimistic, and despairing features. Through their works, an intellectual debate on aesthetic modernism was initiated in early republican Turkey.

Body, Sensuousness, Eros and the New Aesthetic Order from Schiller to Rushdie

In the present article, I look into the culture-building power of Eros from Schiller’s ideas of “the aesthetic state of mind” in Letters on the Aesthetic Education of Man, through the Pre-Raphaelites’ eroticism to the nineteenthcentury fin de siècle aestheticized homoeroticism and beyond. I argue that eroticism is a reaction to the increasing sense of alienation brought about by bourgeois modernity. The “moments” and texts used to illustrate the thesis that eroticism shaped an alternative order are far from exhausting a very large list which could add nuances to the argument. The body is one of the essential aspects tackled, since eroticism cannot be conceived in its absence. The body may be an object of desire around which imagination weaves its yarn, or a blank page to be inscribed, or a danger zone, or a hypertrophied space projected by the lover’s longing for fusion. Eroticism in Salman Rushdie’s novels is the focus of my approach after a survey of some landmarks of erotic imagination. I argue that his novels are a new stage of the imagination infused by Eros. The article probes into how two centuries of aesthetic modernity have been shaped by the reality principle proposed by Schiller and how that essentially erotic model has suffered changes in time.