The Performance of Listening in Postcolonial Francophone Culture最新文献

Citational Hooks Citational钩子

The Performance of Listening in Postcolonial Francophone Culture Pub Date : 2018-06-01 DOI: 10.5949/liverpool/9781786940827.003.0004

Jennifer Solheim

{"title":"Citational Hooks","authors":"Jennifer Solheim","doi":"10.5949/liverpool/9781786940827.003.0004","DOIUrl":"https://doi.org/10.5949/liverpool/9781786940827.003.0004","url":null,"abstract":"In this chapter I conceptualize the citational hook, a term I use to describe within a cinematic or theatrical narrative, the interpretation of a popular song that imbues the lyrics with new and subversive or transgressive meaning), which is introduced through sing-along performances to Anglophone rock songs in Marjane Satrapi’s film Persepolis (2007) and Wajdi Mouawad’s play Incendies (2003). Working with Judith Butler’s concept of citation, Roland Barthes’s essay ‘The Grain of the Voice,’ and Michel Chion’s analysis of cinematic syncresis, I demonstrate how the performances in Mouawad’s and Satrapi’s respective works can be heard as subversions of French universalist stereotypes of Middle Eastern femininity and masculinity that are linked to the symbols of the veil and the gun. I contextualize the performances through the universalist representations of immigrant men and women in France that have led to strictures on Arab women’s dress and the social marginalization of Arab men. The sing-along performances demonstrate that it is imperative to look beyond received symbols of Middle Eastern women’s oppression and the stereotype of Middle Eastern men as inherently violent and to allow for a broad range of possibilities for how masculinity and femininity are expressed within Middle Eastern ethnic identities.","PeriodicalId":239689,"journal":{"name":"The Performance of Listening in Postcolonial Francophone Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130335807","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Beirut Calling 贝鲁特打电话

The Performance of Listening in Postcolonial Francophone Culture Pub Date : 2018-06-01 DOI: 10.5949/liverpool/9781786940827.003.0006

Jennifer Solheim

{"title":"Beirut Calling","authors":"Jennifer Solheim","doi":"10.5949/liverpool/9781786940827.003.0006","DOIUrl":"https://doi.org/10.5949/liverpool/9781786940827.003.0006","url":null,"abstract":"In the conclusion to Performance of Listening, I begin with an analysis of Lebanese avant-jazz trumpeter and visual artist Mazen Kerbaj’s recording “Starry Night”, an unedited excerpt of Kerbaj improvising on trumpet to the sight and sound of Israeli fighter jets dropping bombs on Beirut during the 2006 Israeli War. improvisation with the bombs. Digital media has upped the ante for sound in culture and, by extension, the possibilities for the performance of listening. Digital works offers more flexibility in artistic media, and higher speed and lower cost of production and distribution. The latter issues are of particular interest in considering how blogs issue a call to listen. Kerbaj’s 2006 performance and posts presaged the use of social media in the Arab Spring and the role of drones, digital media, and correspondence in the Syrian Civil War, Daesh (the Islamic State), and terrorist attacks. Digital discourse has changed much about our cultures and societies, and the call to listen in postcolonial Francophone culture is no exception: it was digital discourse that led to Kerbaj not only becoming known in French culture, but also becoming an artist who expresses himself in French, by choice—as a non-native speaker.","PeriodicalId":239689,"journal":{"name":"The Performance of Listening in Postcolonial Francophone Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127831527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Covering French Universalism 覆盖法国普遍主义

The Performance of Listening in Postcolonial Francophone Culture Pub Date : 2018-06-01 DOI: 10.5949/LIVERPOOL/9781786940827.003.0005

Jennifer Solheim

{"title":"Covering French Universalism","authors":"Jennifer Solheim","doi":"10.5949/LIVERPOOL/9781786940827.003.0005","DOIUrl":"https://doi.org/10.5949/LIVERPOOL/9781786940827.003.0005","url":null,"abstract":"Readings of the CD liner notes of Idir’s Identités (1999) and the lyrics to his song ‘La France des couleurs’ [‘The France of Colors’] (2007) as well as the memoir The Veil of Silence by feminist singer-songwriter Djura (1991), demonstrate how these musicians of Algerian-Kabyle origin have created an alter-globalist culture within French world music. Kabyle music in French is often introduced to the public with a ‘split consciousness,’ with one address to a French-speaking audience and another to a Kabyle audience. While this split consciousness in framing can be seen as a conscious act of promotion, it also creates the rhetorical problem that Abdelkebir Khatibi might call dédoublement, a splitting and fragmentation of public identity. Nonetheless, I argue, Idir and Djura play ably on universalist representations of North African immigrants in France—the men as violent toward and oppressive of women, the women as either victims or complicit aggressors toward other women—in order to call these representations into question. These artists offer an alternative vision of French universalism—an act of ‘covering,’ or reinterpreting French universalism, much like one interprets a song in a cover version. The alter-globalist ‘cover’ expands the definition of French to include a range of languages and cultural practices.","PeriodicalId":239689,"journal":{"name":"The Performance of Listening in Postcolonial Francophone Culture","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123615198","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Cut Sound 降低声音

The Performance of Listening in Postcolonial Francophone Culture Pub Date : 2018-06-01 DOI: 10.5949/LIVERPOOL/9781786940827.003.0002

Jennifer Solheim

引用次数: 0

Visual and Sonic Imagery in Postcolonial Francophone Culture 后殖民法语文化中的视觉和声音意象

The Performance of Listening in Postcolonial Francophone Culture Pub Date : 2018-06-01 DOI: 10.5949/liverpool/9781786940827.003.0003

Jennifer Solheim

引用次数: 0