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Symposium 135 ephemeral permanence. But we can return to a memory that is not polluted by other people's visions ofthe way things shall be. NOTES 1. Forexample, akeyword search for"surreal & terrorist attacks & United States" in New York Times archives calls up seventeen articles written between 1 1 September and 1 2 October 2001 . 2."Words of the War. A List," Harper's Magazine, 304, no. 1820 (January 2002): 24. 3.See Geneviève Breerette, "Plongée au cœur de la tourmentesurréaliste,"LeMonde, 7 March 2002, and David D'Arcy, "Surrealism in New York City: Art Movement Defies Definition, But Curators Keep Trying," National Public Radio, 5 March 2002: 2/mar/surrealism/index.html. 4.Avant Garde and Experimental Films [videorecording ]. Includes Un Chien andalou, Luis Bunuel, fit., 1928 (Sandy Hook, CT: Video Yesteryear, 1998). 5.Kaja Silverman, The Threshold ofthe Visible World (New York: Routledge, 1996), 10. 6.André Breton, Nadja (Paris: Gallimard, 1928), 1 . 7.Jacqueline Chénieux-Gendron, Surrealism (New York : Columbia University Press, 1990), 158. 8.BlaiseCendrars, "TheProseoftheTrans-Siberian and of Little Jeanne of France," Complete Poems, trans. Ron Padgett, intro. Jay Bochner (Berkeley, Los Angeles, and Oxford: University ofCalifornia Press, 1992), 13. 9.Breton, Nadja, 159-160. 10.Wolfgang Schivelbusch, The Railway Journey: Trains and Travel in the Nineteenth Century (New York: Urizen Books, 1979), 147. 11.Virginia Parrott Williams, Surrealism, Quantum Philosophy, and World War I (New York : Garland, 1987), 67. 12.Katharine Conley, Automatic Woman: The Representation of Woman in Surrealism (Lincoln: University ofNebraska Press, 1996), 6. 1 3.See Jonathan Crary, "Modernity, Hyperstimulus, and the Rise ofPopular Sensationalism," in Leo Chamey, ed., Cinema and the Invention of Modern Life (Berkeley: University ofCalifornia Press, 1 995), 4671 . 14.See Ben Singer, "The Poster in fin-desiècle Paris: 'That Mobile and Degenerate Art'," in Chamey, Cinema and the Invention ofModern Life, 75. 1 5.Crary, "Modernity, Hyperstimulus, and the Rise of Popular Sensationalism," 6. 1 6.Luis Bunuel, Mon derniersoupir (Paris : R. Laffont, 1 982). This book has been translated into English by Abigail Israel under the titles My Last Breath (London : Jonathan Cape, 1984, 1983) and My Last Sigh 19. 20. 21. 22. (New York : Vintage Books, 1984, 1983), 256. Ibid. Ibid., p. 251. See Jenaro Taléns, The Branded Eye: Buñuel's "Un Chien andalou, "(Minneapolis: University ofMinnesota Press, 1993). Chamey, "Introduction," CinemaandtheInvention of Modern Life, 2. Facing the Music On and Off Stage: Pedagogical Possibilities and Responsibilities in the Aftermath of September 11 Charlene Morton .... America! America! God shed his grace on tiiee Till selfish gain no longer stain The banner ofdie free! O beautiful for patriot dream That sees beyond die years Thine alabaster cities gleam Undimmed by human tears! .... "America, die Beautiful" by Katiiarine Lee Bates Philip Bohlmanargues forabroaderassignment for musicology by challenging its often "apolitical" and "aesthetically independent" status. He suggests that musicologists should "face the music" by moving beyond the study of western genres and into the examination of the corporeal and political dimensions ofall kinds of musical experiences. He explains that, unfortunately , many still practice "self-immunity" by maintaininganessentializeddefinitionofmusicas notation or cultural artifact.1 I add that, because musiceducatorsfollowmuchthesamespecialized training and studies as music students in general, theytoo are oftenpredisposed to apolitical understandings ofmusic. While this academic practice is maintained among many musicologists and music educators even today, most music lovers find it difficult to distancethemselvesfromthecorporealorpolitical importofsituatedsensibilities-whatBogdancalls feeling, power, and location problems. Bogdan acknowledges that her inability to choose a musi- 136 Philosophy of Music Education Review cal selection to commemorate the September 1 1 loss of lives was "perhaps an instance of [her] own feeling, power, and location problem as a teacher," something I have also struggled with in approaching not only this topic but other seemingly less politically or emotionally raw mêmes.2 Deborah Britzman summarizes similarconcerns in her observations ofteachers at summer arts institutes : "Teachers seemed to have two sorts of worries they [bring] to the Institute and to their eventual selection ofwhich artistic performances [will] be part of their school year curriculum: [first] they [think] of administrators who warn themto avoid controversy and [second, theythink of] their...


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