Sunday, May 29, 2011

Destiny's Child - 'Say My Name'



Even popular music questions name politics, as heard in songs such as Destiny’s Child’s “Say My Name.” In all the previous examples, names are often taken away as means of social control and dominance; yet this single from 2000 reclaims the power of a name; specifically, when their partners refuse to say their names over the phone (with the implications of adultery). 

In the first verse, one of the singers states that "I am not the one to sit around and be played/So prove yourself to me/I'm the girl that you claim/Why don't you say the things/That you said to me yesterday?" Suspicious as to why her name is not being used in conversation, she states outright that her name needs to be connected to his claim. By asking the men to vocalize their names so that anyone – including an oblivious other woman – can hear, they are highlighting the innate connection between name and personhood. If he continues to speak to hear without address, no one can identify and pass judgment on the other side of the line. 

In this admittedly humorous example, the name continues to have connection with one’s own body. By voicing a name, we automatically think about them as a person. As discussed in Socrates, there is no separation between symbol and intended object, thus giving the symbol a greater semblance of power. The woman wants her name said as a term of respect, thus empowering her own physical identity. If the man in question is able to “say [her] name,” he is actually showing his commitment to her as a person. As popular music becomes more female-dominated, the resurgence of songs that follow similar trains of thought is unsurprising. 

The song also highlights the changing technology in our modern culture; with the rise of the internet and search engines, the connection between name and self-identity is more immediate than ever. By making our names into keywords, we create instantaneous links between a person’s accomplishments and news-worthy events, with the name as the central unifier. Just as names once resulted in power struggles between the dominator and the suppliant, we being defined again by society’s ability to control our names.

Saturday, May 28, 2011

Conclusion



As detailed in all five cases, the power of a name transcends an individual, and affects the way hegemony and social control operate in society. By letting another person or state modify, omit, or completely transform one’s name, they are given direct access to the alteration of one’s identity. In our contemporary times, we have begun to reclaim our names as symbols of self-pride and self-value, yet are still searching for answers regarding the full power of name identity. In early literary works such as Robinson Crusoe, non-Western names were easily replaced as examples of socio-normativity, regardless of the loss of cultural significance. As time progresses, our society has become aware of the intrinsic connection and importance of names to true internal identity, as reflected in The Handmaid’s Tale. Within a story of social repression, the control of names becomes one of the glaring issues faced by the oppressed minorities. Popular media, such as films and songs, have only supported the claim that name identity is essential to the formation of selfhood. Without control of one’s own name, we miss a fundamental piece of ourselves – a vocal and visual symbol of our inner selves to the outside world.

Friday, May 27, 2011

Works Cited


True Name 

   Sedley, David. "Plato's Cratylus." (2003): Web. 29 May 2011.       
          <http://assets.cambridge.org/052158/4922/sample/0521584922ws.pdf>.

Robinson Crusoe
     
     Defoe, Daniel. Robinson Crusoe. Dover Thrift Edition. New York: Dover Publications, 
          1998.

Spirited Away

     Satoshi , Ando. "Regaining Continuity with the Past: Spirited Away and Alice's Adventures
          in Wonderland." Bookbird: A Journal of International Children's Literature 46.1 (2008): 
          23-29. Web. 29 May 2011. <http://muse.jhu.edu/login?uri=/journals/bookbird/v046
          /46.1.satoshi.pdf>. 

      Spirited Away. Dir. Hayao Miyazaki." Walt Disney Pictures: 2001, Film. 

The Handmaid's Tale
      Atwood, Margaret. The Handmaid’s Tale. New York: Anchor Books, 1998.

Destiny's Child

     Say My Name. Destiny's Child. Sony BMG Music Entertainment: 2000, Web. 29 May 2011.