Modernity's Ear

Kheshti, Roshanak

doi:10.18574/nyu/9781479867011.001.0001

Cited by 3 publications

(3 citation statements)

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“…55 Within this particular framework of resistance, "cross-dressing" is negotiated as a means to portray "unveiled" (female) agency. 56 Certainly, in renowned dissident Panahi's 2006 film Offside, 57 "cross-dressing" is utilised as a form of political action and resistance, providing female characters with a means to trespass into spaces designated as "male-only" by the authorities. The film's portrayal of a number of girls who masquerade as men in order to enter Azadi stadium to watch a World Cup qualifying match questions not only the illegality of women entering football stadiums, but also takes to task the strict enforcement of Islamic dress in wider society.…”

Section: Notions Of "Cross-dressing" In Popular Culturementioning

confidence: 99%

Divergent Identities in Iran and the Appropriation of Trans Bodies

Hashemi¹

2018

Kohl J.

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While gender-based scholarship on the Islamic Republic of Iran (IRI) is largely centred on a woman’s right to unveil, those adopting an LGBT+ framework tend to focus on human rights violations against homosexual males. This paper provides a more inclusive study in its assessment of the state’s oxymoronic approach to trans persons in Iran and the use of gender affirming surgery to reposition its subjects in line with hegemonic notions of “healthy” sexualities. In this context, the Iranian woman, bound by a particular conception of Islamic femininity, and the Iranian man, embodied by the hyper-masculine martyr figure, are promoted as the only genderisms acceptable to the state. This binary of hetero-Muslim male/female excludes all other expressions of gender. Ignoring the country’s historic array of masculinities and sexualities, the IRI criminalises gender “passing” in its limited notion of gender performativity. Furthermore, it utilises gender affirming surgery as a tool for repositioning divergent identities and sexualities within the state-sanctioned paradigm. While the state appropriates trans bodies to promote the ideal gendered subject, the framework of gender performativity is also adopted by regime critics to promote cis-gendered female agency: popular culture employs “cross-dressing” to contest the policing of heteronormative bodies and sexualities. Undoubtedly such methods are complicit in the continuation of discriminatory practices against trans persons in Iran.

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Section: Notions Of "Cross-dressing" In Popular Culturementioning

confidence: 99%

Divergent Identities in Iran and the Appropriation of Trans Bodies

Hashemi¹

2018

Kohl J.

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“…5 As the "coloring ear" makes sense of the unfamiliar, it positions the listener in relation to, and against, the source of linguistic and sonic alterity. 6 All the bodies in the encounter are remapped and placed in particular ways.…”

Section: Introductionmentioning

confidence: 99%

Listening with an Accent—or How to Loeribari

Sundar¹

2023

Thinking With an Accent: Toward a New Object, Method, and Practice

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Each foreigner's spoken English, determined by a mother tongue, each person's noise, fell on a coloring ear, which bent the listener's eye and, consequently, the speaker's countenance; it was a kind of narrowing, and unconscious on the part of the listener, who listens in judgment, judging the speaker even before the meaning or its soundness were attended to.-Li-Young Lee, The Winged Seed: A Remembrance [Speaking nearby is] a speaking that does not objectify, does not point to an object as if it is distant from the speaking subject or absent from the speaking place. . . . To say therefore that one prefers not to speak about but rather to speak nearby, is a great challenge. Because actually, this is not just a technique or a statement to be made verbally. It is an attitude in life, a way of positioning oneself in relation to the world.-Trinh T. Minh-ha, in an interview with Nancy Chen

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“…It's the same fear of miscegenation in another form -"musical miscegenation," the threat might be called. 226 The aversion to interracial mixing, however, did not apply to the rape of black women, especially enslaved black women, because that remained consistent with the established racialized power structure. In the same way, the plunder, to use Ta-Nehisi Coates's term, 227 of black musical creativity by the white music industry is encouraged and rewarded, because it maintains the place of black culture as low-Other and white culture as center.…”

Section: Crossing Overmentioning

confidence: 99%

A Conscious Citizen: Sam Cooke, Racial Performativity, and the Crisis of Crossover Music

Rosenberg¹

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supper-club soul in the best sense of the word," writes scholar and biographer Peter Guralnick, "achieving a level of savoir-faire and uptown class that other soul singers like Joe Tex, Solomon Burke, and Otis Redding could only aspire to." 7 Sam Cooke at the Copa showed that black artists, and soul musicians in particular, could reach the summit of sophistication.Only until a record executive discovered the Harlem Square Club tracks in a storage bin would the concert finally be released to the public, over two decades after Sam Cooke's death. One Night Stand!, the resulting album, is now recognized over the Copa as his greatest performance and one of the most important live records of all time. 8 "Here is the harsher, grittier Sam Cooke of the SAR sound," Guralnick writes, referencing the SAR record label that Sam opened with his manager J.W. Alexander. "In the words of a number of people I know who saw him playing the clubs or R&B revues, this is 'the real Sam Cooke.'" 9 To some listeners, that's the reason behind its concealment. The record company didn't want people to hear the real Sam Cooke.Perhaps this is W.E.B. DuBois's "double consciousness" in practice: one soul that is the "perfect American boy," and one soul that is black, never to be accepted or even acknowledged by white America. In Souls of Black Folk, DuBois has this to say: "The double-aimed struggle of the black artisan-on the one hand to escape white contempt for a nation of mere hewers of wood and drawers of water, and on the other 7

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Modernity's Ear

Cited by 3 publications

References 0 publications

Divergent Identities in Iran and the Appropriation of Trans Bodies

Divergent Identities in Iran and the Appropriation of Trans Bodies

Listening with an Accent—or How to Loeribari

A Conscious Citizen: Sam Cooke, Racial Performativity, and the Crisis of Crossover Music

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