BUNKERS OF SOVEREIGNTY AND SOUND: Logos, void and the untranslatability of Buddhist precession in colonial Sri Lanka
Identifieur interne : 000105 ( Main/Exploration ); précédent : 000104; suivant : 000106BUNKERS OF SOVEREIGNTY AND SOUND: Logos, void and the untranslatability of Buddhist precession in colonial Sri Lanka
Auteurs : Mangalika De SilvaSource :
- Cultural studies [ 0950-2386 ] ; 2014.
Descripteurs français
- Pascal (Inist)
- Wicri :
- topic : Acoustique, Bouddhisme, Bruit.
English descriptors
- KwdEn :
Abstract
Aristotle instituted a proto-imperial politics of sound by partitioning the voice into intelligible logos (deliberative reason) and primitivized phoné or bare voice. Logos/ phoné speaks to the precarious translative movement of vociferous actors from injury as resonating affect to reasoned speech claiming rights, redress and law. In 1915 colonial Ceylon (Sri Lanka), Buddhist and Muslim crowd action and, the repressive state apparatus clashed through failed translations of voice and law that expressed and mobilized heteronomies of sovereignty and spatiality, the sacred and profane. Eurocentric sonic insensibility has been optically analogized as 'sound-blindness'. Colonial sound-blindness was reciprocally mediated by the state's visual investment in spatial hygiene. Sound-blindness was not apperceptual auditory error but an episteme wherein natives were constituted as objects of knowledge through sonics. A colonial politics of 'unwanted sound' inscribed prescriptive 'urban rhythms' of noise/space control. Ideologies of nuisance noise codified by police decrees from the second half of the nineteenth century onward culminated in repressive violence against Buddhist processions in 1915. Colonial fantasies of anomic sonic encounter were heightened by the escape of colonized voice from the 'alphabetic regimens' of European sovereignty. Threatening native cacophony instigated a 'bunker aesthetic' of administered space enclosed around neuralgic sites of contaminating sonic difference. In this context, the soundscape was presented as a 'scanscape' through which colonial subjects were allowed to assume filtering forms of auditory public appearance and not others. Reacting to this disciplinary matrix, a Derridean echographic auto-affectivity emerged as the resonating vocal substance of majoritarian Buddhist nationalism.
Affiliations:
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Le document en format XML
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<term>Colonial policy</term>
<term>Dislocation</term>
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<term>Noise</term>
<term>Procession</term>
<term>Sound</term>
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<term>Bouddhisme</term>
<term>Ceylan</term>
<term>Asie méridionale</term>
<term>Procession</term>
<term>Période coloniale</term>
<term>Bruit</term>
<term>Dislocation</term>
<term>Son</term>
<term>Illocution</term>
<term>Paysage sonore</term>
<term>Politique coloniale</term>
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<front><div type="abstract" xml:lang="en">Aristotle instituted a proto-imperial politics of sound by partitioning the voice into intelligible logos (deliberative reason) and primitivized phoné or bare voice. Logos/ phoné speaks to the precarious translative movement of vociferous actors from injury as resonating affect to reasoned speech claiming rights, redress and law. In 1915 colonial Ceylon (Sri Lanka), Buddhist and Muslim crowd action and, the repressive state apparatus clashed through failed translations of voice and law that expressed and mobilized heteronomies of sovereignty and spatiality, the sacred and profane. Eurocentric sonic insensibility has been optically analogized as 'sound-blindness'. Colonial sound-blindness was reciprocally mediated by the state's visual investment in spatial hygiene. Sound-blindness was not apperceptual auditory error but an episteme wherein natives were constituted as objects of knowledge through sonics. A colonial politics of 'unwanted sound' inscribed prescriptive 'urban rhythms' of noise/space control. Ideologies of nuisance noise codified by police decrees from the second half of the nineteenth century onward culminated in repressive violence against Buddhist processions in 1915. Colonial fantasies of anomic sonic encounter were heightened by the escape of colonized voice from the 'alphabetic regimens' of European sovereignty. Threatening native cacophony instigated a 'bunker aesthetic' of administered space enclosed around neuralgic sites of contaminating sonic difference. In this context, the soundscape was presented as a 'scanscape' through which colonial subjects were allowed to assume filtering forms of auditory public appearance and not others. Reacting to this disciplinary matrix, a Derridean echographic auto-affectivity emerged as the resonating vocal substance of majoritarian Buddhist nationalism.</div>
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