“我以为这是首歌,但结果是一个警笛”:以色列战时平民的聆听

IF 0.2 1区 艺术学 0 MUSIC
Abigail Wood
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引用次数: 0

摘要

从警笛声到天空中的轰鸣声;从扭曲的广播播放列表到军事葬礼上的寂静,声音是以色列战时平民体验的核心。本文以2012年至2014年在加沙与哈马斯武装分子发生武装冲突期间犹太以色列人的公共话语为基础,探讨了在国家紧急情况下平民倾听和发声的做法。战争时期的声音不仅会让人耳朵刺痛,还涉及一系列身体动作:刺激身体活动,引发声音反应,并成为谈话的焦点。民族音乐学最近的研究试图将战时的音景和聆听练习理论化,但迄今为止,大多数研究都集中在战斗人员身上。基于之前关于声音研究和公民准备的文献,在本文中,我将重点放在战时平民倾听制度上,认为具体的倾听和声音实践表明了国家与公民之间关系的重新配置,其特征是相互共同构建的警惕,并阐明了自律公民的共识模型,有助于维持集体弹性。然而,这也加剧了社会中的民族分裂,并支持了证券化的新自由主义实践。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
‘I thought it was a song but it turned out to be a siren’: civilian listening during wartime in Israel
ABSTRACT From warning sirens to loud booms in the sky; from tweaked radio playlists to the silence of a military funeral, sound is central to the civilian experience of wartime in Israel. Drawing upon public discourse among Jewish-Israelis during periods of armed conflict with Hamas militants in Gaza during 2012 and 2014, this article explores practices of civilian listening and sounding during times of national emergency. More than just making the ears prick, wartime sounds are implicated in an assemblage of bodily action: stimulating the body to move, prompting vocal responses and serving as a focal point for conversation. Recent work in ethnomusicology has sought to theorise soundscapes and listening practices during wartime – yet most work to date has focused on combatants. Building on previous literature in sound studies and on civil preparedness, in this article I focus on wartime regimes of civilian listening, arguing that embodied listening and sounding practices index a reconfiguration of the relationship between the state and its citizens, characterised by mutually co-constructed vigilance, and articulating consensual models of disciplined citizenship that help to sustain collective resilience, yet which also reinforce ethnonational divisions in society and bolster neoliberal practices of securitisation.
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来源期刊
CiteScore
1.10
自引率
25.00%
发文量
29
期刊介绍: Articles often emphasise first-hand, sustained engagement with people as music makers, taking the form of ethnographic writing following one or more periods of fieldwork. Typically, ethnographies aim for a broad assessment of the processes and contexts through and within which music is imagined, discussed and made. Ethnography may be synthesised with a variety of analytical, historical and other methodologies, often entering into dialogue with other disciplinary areas such as music psychology, music education, historical musicology, performance studies, critical theory, dance, folklore and linguistics. The field is therefore characterised by its breadth in theory and method, its interdisciplinary nature and its global perspective.
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