Queensland Aborigines,Multiple Realities and the Social Sources of Suffering: Psychiatry and Moral Regions of Being: Part 1

ABSTRACT This two part paper considers the experience of a range of magico‐religious experiences (such as visions and voices) and spirit beliefs in a rural Aboriginal town. The papers challenge the tendency of institutionalised psychiatry to medicalise the experiences and critiques the way in which its individualistic practice is intensified in the face of an incomprehensible Aboriginal ‘other’ to become part of the power imbalance that characterises the relationship between Indigenous and white domains. The work reveals the internal differentiation and politics of the Aboriginal domain, as the meanings of these experiences and actions are contested and negotiated by the residents and in so doing they decentre the concerns of the white domain and attempt to control their relationship with it. Thus the plausibility structure that sustains these multiple realities reflects both accommodation and resistance to the material and historical conditions imposed and enacted by mainstream society on the residents, and to current socio‐political realities. I conclude that the residents' narratives chart the grounds of moral adjudication as the experiences were rarely conceptualised by local people as signs of individual pathology but as reflections of social reality. Psychiatric drug therapy and the behaviourist assumptions underlying its practice posit atomised individuals as the appropriate site of intervention as against the multiple realities revealed by the phenomenology of the experiences. The papers thus call into question Australian mainstream ‘commonsense’ that circulates about Aboriginal and Torres Strait Islander people which justifies representations of them as sickly outcasts in Australian society.     

The Tenco effect. Suicide,San Remo,and the social construction of the canzone d'autore

Abstract

Canzone d'autore is an indigenous expression that has no precise equivalent in other languages. Its social use identifies a genre of popular song that presuppose the existence of an ‘autore’ taken in its most vigorous sense, meaning a ‘creator’, an ‘artist’– but how did this claim to artistry originate? How did it insinuate itself into the world of song, a genre that by definition belongs to the realm of what is traditionally called in Italian ‘musica leggera,’ with unmistakably pejorative connotations? In this essay, I will put forward a sociological interpretation of the genesis of the canzone d'autore, using as a strategic conceptual device the idea of cultural trauma. The traumatic event that I propose to explore, making use of this concept and its analytical machinery, is the suicide of the singer-songwriter Luigi Tenco during the seventeenth San Remo ‘Festival della Canzone’ (‘song festival’) – that is the best-known, most controversial, and most influential single event in the field of Italian ‘musica leggera’, an annual event regularly attended every year – via radio, television, or audience participation – by millions of Italians. Through a reconstruction of that suicide and above all of the public and dramatic events that followed in response to it, the paper examines the social process that transformed an individual tragedy into a collective, social drama, a process that not only produced a new musical classification, but also a new cultural and aesthetic category.     

At the Horizons of the Subject: Neo-liberalism,neo-conservatism and the rights of the child Part Two: Parent,caregiver, state

This paper is the second of two that examine the paradoxical relationship of the child to the liberal notion of the subject. Together they explore the range of contexts in which children's relationship to parents and other caregivers raise questions about the nature of the subject qua individual, and highlight the potential for a ventriloquist discourse around the child in which political projects are mobilized by neo-liberal and neo-conservative groups that purport to speak for the child. The first paper examined the emergence of two contradictory images: the ‘knowing’ fetal subject and the confused child; the second paper explores particular forms of presencing and absencing of the child in relation to parental rights and questions of social entitlements. Both papers speak to the contorted somatography and topography of the child-as-subject that is emerging at an historical juncture when children's rights are being mobilized to undermine the gains made by a range of heterodox subjects. They point to the limits of liberal constructions of the subject in struggles for emancipation.