(Re)sounding Jerusalem: Power, Piety and Performance in Late-Ottoman Jerusalem (1850-1920)

（重新）探测耶路撒冷：奥斯曼帝国晚期耶路撒冷的权力、虔诚和表演（1850-1920）

• 批准号: 2890030
• 金额: --
• 依托单位: University of Cambridge
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2890030
• 关键词: Re; sounding; Jerusalem; Power; Piety

[T]he cannon [of Ramadan] was placed on the rooftop of David Castle in Jaffa Gate. When it was fired,particularly at night, it shook the entire city, and the sound could be heard anywhere because of the cannon'selevated location. (Tamari and Nassar, 2014:139)[W]e were all in the greatest dread of Wednesday, February 6th, which was the day appointed for the deed[Beiram] [...] Every knock at the door, or the firing of a cannon, made me think our time had come. (Barclay,1883:286)These two small excerpts offer readers contrasting reactions to the 'Ramadan cannon' of late-19thcentury Jerusalem.1 The first entry is from the diaries of Wasif Jawhariyyeh (Tamari and Nassar,2014), often called the 'the storyteller of Jerusalem' thanks to his prolific writings of life in lateOttoman Jerusalem. His accounts reveal the intimate sonic familiarity that he and many othersshared with the urban fabric of the city. Jawhariyyeh's diaries more generally provide anacoustemological constellation of late-Ottoman Jerusalem (Feld, 2016); a detailed insight intosonic events that constituted a form of cultural knowing for the city's residents. The second extractoffers another history - that of the colonial British presence in 19th century Jerusalem. Thisaccount is taken from the letters of Lucy Barclay, wife of Joseph Barclay, the missionary Bishopin Jerusalem for much of the late-19th century. Like Ronald Radano and Tejumola Olaniyan(2016:4), I see this extract as a way in which we might comprehend 'the narratives of modernwestern empires [...] in which audibility conspicuously involved [listening] interventions carryingreal consequence in social and cultural activity'. In the extracts quoted above the Barclayhousehold, unfamiliar with the practices of using gunfire at major religious feasts, hear the cannonas being indicative of an attack, when, in actuality, it was quite the opposite. I open with thisvignette to illustrate the audible histories and discrepant experiences (Said, 1994) that are madeapparent in combining colonial and native accounts. In other words, these two extracts, when readthrough a Saidian lens, contrapuntally (Said, 1994:66), illuminate an acoustically rich understandingof Late-Ottoman Ramadan practices: in one sense, a sonic marking of territorial power, in another,an acoustic instrument for regulating iftar

[斋月]大炮被放置在雅法门大卫城堡的屋顶上。当它发射时，尤其是在夜间，震动了整个城市，由于大炮位置较高，所以任何地方都可以听到声音。 （塔马里和纳萨尔，2014：139）[我们]都对 2 月 6 日星期三感到最恐惧，这一天是指定的行动日期[贝拉姆][...]每次敲门声，或一声炮响，都让我觉得我们的时刻到了。 （Barclay，1883：286）这两段小摘录为读者提供了对 19 世纪末耶路撒冷“斋月大炮”的对比反应。1 第一篇来自 Wasif Jawhariyyeh 的日记（Tamari 和 Nassar，2014），由于他关于奥斯曼帝国晚期耶路撒冷生活的多产著作，他经常被称为“耶路撒冷的故事讲述者”。他的叙述揭示了他和许多其他人对这座城市的城市结构所拥有的亲密的声音熟悉感。 Jawhariyyeh 的日记更广泛地提供了奥斯曼帝国晚期耶路撒冷的声学星座（Feld，2016）；对声音事件的详细洞察构成了城市居民的一种文化认知形式。第二节摘录提供了另一段历史——19 世纪英国殖民统治耶路撒冷的历史。本文摘自露西·巴克利 (Lucy Barclay) 的信件，她是 19 世纪末大部分时间担任耶路撒冷主教的传教士约瑟夫·巴克利 (Joseph Barclay) 的妻子。与罗纳德·拉达诺（Ronald Radano）和特朱莫拉·奥拉尼扬（Tejumola Olaniyan，2016：4）一样，我认为这段摘录是我们理解“现代西方帝国的叙事[...]的一种方式，其中可听度明显涉及[聆听]对社会和文化活动产生真正影响的干预措施”。在上面引用的摘录中，巴克莱家族不熟悉在重大宗教节日中使用枪支的做法，听到大炮暗示着袭击，而实际上，情况恰恰相反。我用这个小插曲来说明可听的历史和差异的经历（赛义德，1994），这些历史和差异的经历在结合殖民地和本土叙述时变得显而易见。换句话说，这两段摘录，当通过萨伊德镜头阅读时，以对位方式（萨伊德，1994：66）阐明了对奥斯曼帝国晚期斋月实践的丰富的声学理解：在某种意义上，是领土权力的声音标记，在另一种意义上，是调节开斋饭的声学乐器