Sound and identity explored through the Indian Tamil diaspora and Tamil Nadu

Sound is very much a part of identity. While identities are neither singular nor stable, they can be expressed through sound in daily life. Scholars have used soundscapes in geography to understand urban environments within cities, rural national park systems, and provide musical insights into cultural landscapes. However, furthering discussion on the role of sound in identity can move concepts of soundscape and cultural landscape forward. The goal of this paper is to investigate how identity and culture, though they are dynamic, can be performed and stabilized through sound in particular moments and yet also exist banally. Soundscapes through both spoken language and music can give geographers further insights on identity and place. Sound can also show how non-dominant identities distinguish themselves from larger national identities. With research in Tamil Nadu, India and Cleveland, OH, this paper examines sound’s role in identity, belonging, and community through lived experience and performance. Focusing on intersections and tensions between soundscapes, this paper investigates how the Tamil soundscape is used to assert and perform identity.     

Sounding “brown”: Everyday aural discrimination and othering

Recent political geographic scholarship has revisited the relevance of banal, everyday nationalism in the context of identity. This article contributes to that literature by focusing more specifically on the role of sound – accent and language – in everyday, banal “othering” and discrimination driven by heightened nationalism. Examining sound, both how it is perceived and experienced, lends insights into how nationalism and exclusion play out in everyday life. Contextualizing and nuancing broader issues of “othering” and discrimination through sound demonstrates that exclusion is not always visual or overt. Based on three years of fieldwork and interviews with Indian Tamils living in the United States, this research examines the banality of nationalism in aural encounters. First, it highlights subtle othering and microaggressions as well as their physical, emotional, and psychological effects. Second, it demonstrates how language and accent can be used to “flag” otherness in ordinary daily interactions and spaces. Third, it shows how attention to aural ‘flagging’ reveals nuance of complex identities often binarized during climates of heightened nationalism. Ultimately, this article demonstrates that the impacts of nationalism are embedded in people's daily lives and identities through subtle discriminatory aural encounters.     

市内激励源对古建筑振动的影响

为了分析在不同激励下振动对古建筑的影响,选择苏州市省级文物保护单位——玉涵堂古建筑进行振动测试。记录了环境振动、地下轨道交通激励、人群社会活动激励和音响激励四种工况时一座两层砖木阁楼的振动信号。发现经过严格振动控制的地下轨道交通激励对古建筑振动的贡献可以忽略;环境振动和音响激励时段古建筑横向振动速度达标,而人群社会活动激励时段横向振动速度超标。从古建筑的建筑结构和功能区域划分以及人的激励形式三个方面对通常被忽视的人的因素进行了探讨,并提出了相应的减振措施。研究成果为其它类似两层砖木阁楼古建筑防护提供依据。     

从语音和句法层面对《海之声》的文体分析

亨利·沃兹沃思·朗费罗的诗歌《海之声》描写了海浪拍打在海滩上以及涨潮时大海的声音。该研究从语音和句法层面探讨了诗歌的主题：大海对人们内心的启发。该诗的韵律与意象和谐统一。研究表明以上语言技巧的巧妙运用有助于展现诗歌的音韵美,并突出了诗歌的主题。     

试论《山音》中的处女崇拜

川端康成晚年的代表作《山音》仍然表现出“处女性”崇拜这一主题。信吾精神饥渴和委顿,内心充溢着怅惘、空虚、失落、孤独和死亡的哀怨与恐惧,他希望获得解脱,希望得到精神的救赎。他在寻求一种精神上的归宿,寻找一种救赎的精神力量。信吾潜意识中所期待的能使之获得救赎的力量是通过女性来体现的,他探寻的目标也具体化为女性,尤其是女性美。以信吾为代表的男性形象在这种“处女”的爱中汲取无限的生命力量。川端康成作品中对“处女性”的崇拜也是一种对生命的憧憬。对“处女性”的崇拜源于川端康成的孤儿根性。也是作者对自己孤儿根性的一种解脱和拯救。     

Die Frau Metta Catharina von Flensburg: a Danish brigantine wrecked in 1786 in Plymouth Sound,England

The Danish brigantine Die Frau Metta Catharina von Flensburg, outward bound from St Petersburg to Genoa, was wrecked in Plymouth Sound in 1786. With the consent of the wreck's owner, HRH The Prince of Wales, sports divers carried out a 30‐year‐long project to excavate and display material from the site. Aspects of shipboard life aboard this 18th‐century Baltic trader, together with an insight into her remarkable cargo of ‘Russia’ leather, have been presented to audiences in the UK and abroad. This paper presents a summary of the project upon its completion in 2006. © 2010 The Author     

Sound maps matter: expanding cartophony

In this article I investigate online sound mapping practices, taking cartophony – the coming together of cartographic and sonic activities – as an important contribution to emerging ways of thinking and practicing mapping. I first develop a typology of approaches to cartophony, before moving on to reveal the normative tendencies of online combinations of sound and mapping through an analysis of three platforms: Freesound; audioBoom; and Radio Aporee. Showing how in different ways each of these platforms supports an approach to sound mapping that favours pinning high fidelity, indexical audio-recordings to a seemingly neutral base layer, I question what is glossed over through this approach, while also considering how visual and sound-based strategies for communicating about places illuminate and resonate with one another. Discussing some more experimental online sound maps, I highlight the value of such projects in their current form, and argue for the continued expansion of cartophonic practice.     

White noise: sound,materiality and the crowd in contemporary heritage practice

Sounds of our Shores was a joint venture between the National Trust and the British Library that employed a crowdsourcing methodology to create a permanent archive of British coastal sounds. In this paper I pursue a critical analysis of that project in order to problematise the recent emergence of practices aimed at capturing and preserving everyday sounds as ‘sonic heritage’. More broadly, I use the case study to think through two trends in contemporary heritage practice. These are, first, a turn towards crowdsourcing as a means of democratising representation, and, second, a current trend towards the accumulation and preservation of an ever-broader range and mass of materials as heritage. The framework for my analysis is provided by a dual reading of the term ‘white noise’. Thus, for my purposes, ‘white noise’ describes both an acoustic phenomenon (the product of every possible frequency sounding simultaneously; a sonic expression of perfect equality and perfect chaos), and a particular mode of racialised sound production and audition, modulated and constrained by whiteness. White noise displaces and silences its Others. The white ‘listening ear’, to borrow Jennifer Stoever-Ackerman's terminology, is either deaf to, or appalled by, the sounds those Others make.