Hypo-allergenic musicologies: Brown and Hopps' unsung, liberationist allies
This paper offers three resources that might variegate the discursive breadth of Brown and Hopps' book The Extravagance of Music. First, five critical musicological lenses - implemented by Suzanne Cusick, Alisha Lola Jones, and E. Patrick Johnson to interpret musico-erotic experiences of divine...
Main Author: | |
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Format: | Electronic Article |
Language: | English |
Check availability: | HBZ Gateway |
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Published: |
Routledge
[2020]
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In: |
International journal for the study of the Christian church
Year: 2020, Volume: 20, Issue: 1, Pages: 23-37 |
Further subjects: | B
Queer Theology
B Liberation Theology B Alisha Lola Jones B E. Patrick Johnson B Subjugated knowledge B John Caputo B Extravagance of Music B Feminist Theology |
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520 | |a This paper offers three resources that might variegate the discursive breadth of Brown and Hopps' book The Extravagance of Music. First, five critical musicological lenses - implemented by Suzanne Cusick, Alisha Lola Jones, and E. Patrick Johnson to interpret musico-erotic experiences of divine encounter-contest any claims that critical musicology is allergic to religion and transcendence' (Brown and Hopps, 5 and 173). These vignettes and lenses also defend music's social meanings as crucial building blocks for models of divine extravagance. Second, protest music, reread through liberation theological lenses, provides another untapped, revelatory site of extravagant divine encounter. And finally, such attention to subjugated musico-theological knowledges invites discursive alliances with John Caputo's post-secular model of God and with Susan Ross's feminist re-vision of God's extravagant affections for humankind' (Extravagant Affections: A Feminist Sacramental Theology, 9). | ||
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650 | 4 | |a Extravagance of Music | |
650 | 4 | |a John Caputo | |
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650 | 4 | |a Feminist Theology | |
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