2003
DOI: 10.1525/can.2003.18.2.156
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The Listening Subject of Japanese Modernity and His Auditory Double: Citing, Sighting, and Siting the Modern Japanese Woman

Abstract: From approximately 1887 through World War 1, a surge of commentaries were written and circulated in the Japanese print media about the "strange" and "unpleasant" (mimizawarina) sounds issuing from the mouths of schoolgirls. Male intellectuals of various affiliations located the source of their dismay in verbending forms such as texo, noxo, dawa that occurred at the end of schoolgirl utterances. 1 They called such speech forms "schoolgirl speech" (jogakuseikotoba). It was jarring to their ears; it sounded vulga… Show more

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Cited by 131 publications
(53 citation statements)
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“…From this perspective, voice needs to be understood as an ideological construct that has crucially shaped the modern (post)colonial world and has contributed to legitimizing relations of domination and abuse (De Certeau 1988;Inoue 2003).…”
Section: Voice In Euro-american Modernitymentioning
confidence: 99%
“…From this perspective, voice needs to be understood as an ideological construct that has crucially shaped the modern (post)colonial world and has contributed to legitimizing relations of domination and abuse (De Certeau 1988;Inoue 2003).…”
Section: Voice In Euro-american Modernitymentioning
confidence: 99%
“…On account of its microcosmic, shifter‐like “mobility and mediality” (Inoue 2003:163), the vocable can mean different things to different people and accomplish different kinds of work depending on specific historical contingencies and cultural contexts. As I argue here, it is possible to locate contemporary Georgian musicians' turn to vocables as a means of connecting with global audiences through identifiably Georgian language within the same intellectual and ideological genealogy as the Futurist poets and their universally accessible non‐referential poetry.…”
Section: Vocables In Georgian World Music19mentioning
confidence: 99%
“…Most Japanese writing on jazu-kissa fixes its historical centre in the 1960s, and much of the existing literature consists of ancecdotal memorialising by representatives of this generational moment (Adoribu-hen 1989 and Soejima 2002, among others). Inoue Miyako describes how women's vocal character and language use have been monitored, contained and marginalised by male practices of listening that reduced the sounds of progressive female speech styles -and modern female sociality more generally -to non-referential 'unpleasant' sounds (Inoue 2003). The institutional strictness of silent listening in jazu-kissa is legendary.…”
Section: See Taylor Atkins' Excellent History Blue Nipponmentioning
confidence: 99%