File Name: listening to war sound music trauma and survival in wartime iraq .zip
To witness war is, in large part, to hear it.
Listening to War is an original if deeply idiosyncratic book.
Martin Daughtry Corey K. Martin Daughtry. Oxford University Press. To state the obvious, modern warfare is extremely loud, often to the point of deafening. Seeking to break the silence sustaining the persistent visual emphasis on the experience and representation of modern war, J. These noises were all set against a wildly heterogeneous playlist or soundtrack of Western and Iraqi music, typically mediated through various modern sound technologies including, most significantly, the Apple iPod.
Daughtry, as might be expected, analyzes the range of ways both soldiers and citizens dealt with the sounds of weapons: learning how to respond to or ignore them was the most literal of survival skills. But Daughtry even more boldly explores the troubling function of sound itself as a potential weapon rather than just a warning or Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.
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Martin Daughtry, Listening to The decision to treat testimony in this way is never explicitly explained, and occasionally it is not entirely clear who is speaking in the text — his interlocutors through Daughtry, his interlocutors with Daughtry, or Daughtry himself. The second batch of categories is slightly more complex, marking four concentric circles radiating out from the epicentre of direct violence. Tinnitus, hearing loss, and traumatic brain injury related to the force of blasts, are the most common injuries reported from those serving in Iraq; they are caused not only by enemy fire and IEDs Improvised Explosive Devices , but by the very technology used by US combatants themselves if they do not use proper ear protection. In the other two zones, according to Daughtry, ethical thought is still possible. I am not convinced these statements are always borne out by facts. The limits of this study are, to a large extent, the auditory limits of the very sonic events Daughtry discusses.
Over the past several years I have been exploring the social dynamics of sound and listening in different contexts. The work I do draws from ethnomusicology, sound studies, the anthropology of the senses, and the ethnographic study of violence. The focus on violence, implicit in my early work, has intensified in recent years, as has my engagement with sound studies. But the emphasis on a the efficacy and fragility of cultural processes, b the phenomenology of listening, and c the persistence and transformation of sonic practices in the wake of social disruption has remained fairly consistent throughout.
Martin Daughtry Corey K. Martin Daughtry. Oxford University Press. To state the obvious, modern warfare is extremely loud, often to the point of deafening.
To witness war is, in large part, to hear it. And to survive it is, among other things, to have listened to it--and to have listened through it. Listening to War: Sound, Music, Trauma, and Survival in Wartime Iraq is a groundbreaking study of the centrality of listening to the experience of modern warfare. Based on years of ethnographic interviews with U. Martin Daughtry reveals how these populations learned to extract valuable information from the ambient soundscape while struggling with the deleterious effects that it produced in their ears, throughout their bodies, and in their psyches.
E-raamatut saab lugeda ning alla laadida kuni 6'de seadmesse. E-raamatut ei saa konverteerida teise formaati ega lugeda Amazon Kindle's. Ignoreeri ja kuva leht. Alates Suurem pilt. Tutvustus Sisukord Autori biograafia Arvustused Goodreads'ist To witness war is, in large part, to hear it. And to survive it is, among other things, to have listened to it--and to have listened through it.
The musicology of war and collective violence is a relatively young field, and appropriate theoretical frameworks for this research are still emerging. Here, an approach is outlined which, in keeping with the programme for music sociology outlined by Christian Kaden, is both systematic and historical in its approach. Perspectives from the sociology of violence Randalls Collins, Charles Tilly can help us understand the dynamics of collective violence, and thus the role of music within it. War is a cultural rather than natural phenomenon, and music plays significant roles in the rituals which enable wars to happen. Its emergence can be viewed, on the one hand, as a logical development of the turn towards explicitly political concerns in music research over the past twenty to thirty years. Music sociology investigates material and conceptual value systems, mediality and structures of social behaviour, the attribution of and expectations associated with particular roles, and in particular the functions of music in everyday life, and does so both synchronically and diachronically. And how can music sociology, thus defined, help us explore these issues?
This book studies the centrality of listening to the experience of modern warfare. Based on years of ethnographic interviews with US military service members and Iraqi civilians, as well as on direct observations of wartime Iraq, the book reveals how these populations learned to extract valuable information from the ambient soundscape while struggling with the deleterious effects that it produced in their ears, throughout their bodies, and in their psyches. The book examines the dual-edged nature of sound—its potency as a source of information and a source of trauma—within a sophisticated conc The book examines the dual-edged nature of sound—its potency as a source of information and a source of trauma—within a sophisticated conceptual frame that highlights the affective power of sound and the vulnerability and agency of individual auditors.
Предпочитаю вид спорта, в котором я могу выиграть. - Победа любой ценой? - улыбнулась Сьюзан. Защитник Джорджтауна перехватил опасную передачу, и по трибунам пронесся одобрительный гул. Сьюзан наклонилась к Дэвиду и шепнула ему на ухо: - Доктор. Он смотрел на нее с недоумением.
Когда я опустился на колени, чтобы помочь ему, этот человек стал совать мне пальцы прямо в лицо. Он хотел отдать кольцо. Какие же страшные были у него руки. - Вот тут-то вы и рассмотрели его кольцо.
Сьюзан, это же абсолютно ясно. Танкадо выгравировал ключ Цифровой крепости на кольце. Золото долговечно. Что бы он ни делал - спал, стоял под душем, ел, - ключ всегда при нем, в любую минуту готовый для опубликования.