Abjection: and developing subjectivity,
200 n.42; as drawing/erasing bound-
aries, 150; and lamentation, 160; and
the maternal, 150; as opposed to re-
pression, 148; registers of, 143; as a
representation of separation, 149; and
the sublime, 163; and the Symbolic
Order, 161; and temporality, 150
Acoustic mirror, 16-17, 21-22; and de-
veloping subjectivity, 20-21; and
imitation, 169 n.27; and Ovid, 170
n.29; and performance
156; and
the Real, 150; representations of in
"Ihr BUd," 75; representations of in "I
Want You (She's So Heavy)," 27-28;
representations of in 1950S rock, 171
n.14; and the visual mirror stage, 169
Adams, John, 9-15
Alterity, 2, 39
"Amazing Grace," 143; and abjection, 145
Ambivalence: in "I Want You (She's So
Heavy)," 29; in
Oi Musik, 130
Analysis: applications of in classical and
popular music, 24
Angelic Upstarts, 106
Anxiety: in relation to fear and fright,
169 n.24
Anzieu, Didier, 21, 29, 121, 169 n.25, 200
n.42; and Oi subjectivity, 121
Backbeat: and the history of popular
musics, 190 n.23
Bailey, Robert: and thirds, 80
Bataille, Georges, 151; and abjection, 200
n.43, 200 n.49
Barthes, Roland: "The Grain of the
Voice;' 198 n.25
The Beatles: and the cry, 29-30; "I Want
You (She's So Heavy)," 25-37; and the
Real, 31-35;
Sgt. Peppers Lonely
Club Band and Abbey Road,
Beginnings: of rock songs, 173 n.26
Benjamin, Walter, 192 n.45
Benveniste, Emile, 196 n.80
Berg, Alban: Piano Sonata, Opus
Bick, Esther: and Oi subjectivity, I21;
and the signification of skin, 169 n.25
Bill Haley and the Comets, II2
Binaries: in the Imaginary and Symbolic
Order, 167 n.II
Castration anxiety: and music, 94, 97
Chion, Michel,
30, 91, 185 n.1O
Cooder, Ry: and Oi Musik, II7
Cockney Rejects, 106
The Cook, the Thief, His Wife, and Her
Luver: and abjection, 149
Crary, Jonathan, 183 n.35
Cries: and abjection, 146-147; and the
blues, 172 n.19; in classic Hollywood
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