The Sound of Laïcité

IF 0.8 Q2 AREA STUDIES
J. Dell
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引用次数: 0

Abstract

Sound control policies already had a long history in the French-controlled settlements of the Senegalese coast by the time the prefect of Dakar issued a decree in 1953 prohibiting the use of loudspeakers on public roads and in the open-air courtyards of private residences. Such policies aimed at silencing the nighttime recitation of poems known in the Wolof language of Senegambia as xasida (and referred to by French administrators as chants religieux). Derived from the Arabic term for “ode” (qaṣīda), such poems formed a key component of the liturgy of Senegal's expanding Sufi orders. In this same period, the first Senegalese-owned printing presses began disseminating xasida in printed form more widely than ever, and at times against the wishes of the leadership of the Muridiyya, one of Senegal's leading sufi orders. By highlighting the intertwined nature of print, public recitation, and sound control in midcentury Senegal, this article seeks to illuminate the institutional and political contexts that shaped the production and reception of specific genres of Islamic scholarship in the late colonial period.
Laïcité之声
到1953年达喀尔省长颁布法令禁止在公共道路和私人住宅的露天庭院使用扬声器时,声音控制政策在法国控制的塞内加尔海岸定居点已经有了很长的历史。这些政策旨在压制塞内冈比亚沃洛夫语中被称为“xasida”(法国行政人员称之为“chants religieux”)的夜间诗歌朗诵。这些诗源于阿拉伯语的“颂歌”(qaṣīda),是塞内加尔不断扩大的苏菲派礼拜仪式的重要组成部分。在同一时期,第一批塞内加尔拥有的印刷机开始以印刷形式比以往任何时候都更广泛地传播xasida,有时违背塞内加尔主要苏菲派之一Muridiyya领导层的意愿。通过强调本世纪中叶塞内加尔印刷、公开朗诵和声音控制的相互交织的本质,本文试图阐明在殖民后期形成特定类型伊斯兰学术的生产和接受的制度和政治背景。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.90
自引率
0.00%
发文量
54
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