Book contents
- Frontmatter
- Dedication
- Contents
- List of Illustrations
- Acknowledgments
- 1 Introduction
- Part I The Performance of Listening in Literary Narratives
- 2 Cut Sound: The Literary Staging of Silence
- 3 Visual and Sonic Imagery in Postcolonial Francophone Culture
- Part II The Performance of Listening in Film and Theater
- Part III The Performance of Listening in Music
- Bibliography
- Index
3 - Visual and Sonic Imagery in Postcolonial Francophone Culture
from Part I - The Performance of Listening in Literary Narratives
- Frontmatter
- Dedication
- Contents
- List of Illustrations
- Acknowledgments
- 1 Introduction
- Part I The Performance of Listening in Literary Narratives
- 2 Cut Sound: The Literary Staging of Silence
- 3 Visual and Sonic Imagery in Postcolonial Francophone Culture
- Part II The Performance of Listening in Film and Theater
- Part III The Performance of Listening in Music
- Bibliography
- Index
Summary
J'ai lu avec beaucoup d'intérêt votre article, ‘A la recherche de modernités non occidentales’ que j'ai trouvé tout à fait pertinent. En effet, celui-ci rappelle une réalité souvent oubliée: celle de la multiplicité possible des modernités. […] Dans toutes les études réalisées sur cette question, l'expérience occidentale de la modernité est toujours érigée en modèle indépassable, comme si la modernité de tel ou tel pays ne pouvait exister que par rapport à cette modernité-là. La dimension universelle du concept si riche de modernité a été, semble-t-il, tout bonnement confisquée par l'Occident.
[It was with much interest that I read your article ‘In Search of Non-Western Modernities,’ and I found it very topical. This piece brings up an oft-overlooked reality: that of the possible multiplicity of modernities. (…) In all the studies conducted on this question, the Western experience of modernity is always erected as an unachievable model, as if the modernity of this or that country could only exist in relation to Western modernity. The universal dimensions of a concept as rich as modernity has been, it seems, confiscated by the West. (my trans.)]
—Meriem, Paris, Letter to the Editor, Le Courrier de l'Atlas: le magazine du Maghreb en Europe, September 2008.Nothing to See, Hear?
On February 2, 2008, Wajdi Khalifa, the DJ and blogger for the Belgium-based Arab music radio show and blog Arabesque (http:// arabesque48fm.blogspot.com/) reported that Lebanese singer and national icon Faïrouz would perform eight sold-out shows in Damascus, Syria. This news—which was reported on websites, television, and in newspapers worldwide—stirred enormous excitement and contentious debate throughout the Arab world. Faïrouz had not performed live in Syria for nearly twenty years.
The Arabesque blog entry describes Faïrouz as the ‘plus grande chanteuse arabe depuis la disparition d'Oum Kalsoum’ [‘the biggest Arab chanteuse since the death of Umm Kulthum'].
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- Publisher: Liverpool University PressPrint publication year: 2018