In the present paper a research has been done on the essay ‘Can the Subaltern Speak’ by’ Gayatri Chakravorty Spivak’. It has been explained into much simpler language about what the author conveys for better understanding and further references. Also the criticism has been done by various critiques from various sources which is helpful from examination point of view. The paper has been divided into various contexts with an introduction and the conclusions. Also the references has been written that depicts the sources of criticism.

/pdf/can-the-subaltern-speak-559i22edvt.pdf

Can the Subaltern Speak

Neoliberalism as Exception: Mutations in Citizenship and Sovereignty by Aihwa Ong

/pdf/living-a-feminist-life-14tpwoqhex.pdf

Living a feminist life

“That’s music’s strength, I think, the way everything can come together politically and spiritually, without reading books” (118). These are the words of Nii Noi Nortey, one of the cosmopolitan Ghanaian jazz musicians with whom Steven Feld collaborates in his latest book, Jazz Cosmopolitanism in Accra: Five Musical Years in Ghana. The book tells the story of several projects in which Feld engaged between 2005 and 2010 as a documentary filmmaker, jazz performer, music producer, and anthropologist. In his introduction he states that he never intended to write about his experiences (perhaps following Nii Noi’s thinking), choosing rather to tell the stories of Ghanaian jazz musicians through the media of film and recorded music. Fortunately for us, an invitation to give a series of lectures at the University of California, Berkeley inspired him to synthesize his observations in written form. The result is an artful combination of memoir, ethnography, biography, and history, with important contributions to both theoretical ideas of cosmopolitanism and methodological practices in the field and in ethnographic writing about music and musicians.

Jazz Cosmopolitanism in Accra: Five Musical Years in Ghana

In Between Worlds

Nature is a widespread theme in much new music for the shakuhachi (Japanese bamboo flute). This article explores the significance of such music within the contemporary shakuhachi scene, as the inst...

/pdf/mimesis-stories-composing-new-nature-music-for-the-2bixbgz01j.pdf

Mimesis stories: composing new nature music for the shakuhachi

Taking its theoretical orientation from Sherry Ortner's distinction between ‘power’ and ‘projects’, this article considers the relationship between local artistic projects and the cultures in which they participate. I focus on Pleasure Garden , a collaborative project that spans site-specific installations, concerts and an album. Exploring a wide range of issues at stake in the creative process, including collaboration, gender, aesthetics, colonialism, the work concept, and commodification, I trace how Pleasure Garden ’s creators variously reproduced and reworked dominant conventions, while at the same time pursuing their own distinctive commitments. Through this, I argue that Pleasure Garden ’s creators negotiated a space that was inside, yet sometimes out of alignment with what I call the ‘cultures of creativity’ associated with Western art music, the music industries, late capitalism, and neoliberalism. This highlights both the powerful forces affecting musicians today and the possibilities for making things otherwise.

/pdf/remaking-classical-music-cultures-of-creativity-in-pleasure-3xqd3tfidc.pdf

Remaking Classical Music: Cultures of Creativity in Pleasure Garden

This article follows the installation of a sound art project titled Pleasure Garden in a historic garden in Sydney, Australia. Discussing various activities, from laying cables to mixing the installation, I argue that an ethno-graphic perspective can deepen our sense of what is meant when sound art is described as a “practice.” The article discusses the distinctive microculture that emerged around the installation process and traces issues of creative agency, epistemology, and ontology at stake as diverse actors—the creative team, the technological infrastructure, the garden, and its inhabitants—were brought into relationship.

/pdf/meeting-the-garden-halfway-ethnographic-encounters-with-a-297b6qz13l.pdf

Meeting the Garden Halfway: Ethnographic Encounters with a Sound Installation Microculture

This article takes a site-specific, interactive sound installation called Pleasure Garden as a space for thinking about contemporary forms of musical experience. I develop a relational account of the ‘co-reception’ of Pleasure Garden, not centred on listening subjects, but distributed across audience members, artists, researchers and the more-than-human assemblage of the installation itself. I also discuss the effects of several overlapping cultures of ‘audiencing’ associated with Western art music, sound art and other forms of cultural experience – variously individualistic, distracted and participatory – characteristic of late capitalism. Tracing how Pleasure Garden both responded to and was interrupted by these wider forces, I take this case as suggestive of a deep ambivalence: that musical experience is at once powerfully conditioned and generatively uncertain. Throughout the article, problems of method, interpretation and representation intertwine, raising questions about how to study forms of musical experience that evade conventional ethnographic enquiry.

/pdf/involving-experiences-audiencing-and-co-reception-in-32npim6qpv.pdf

Involving experiences: audiencing and co-reception in Pleasure Garden

This article examines the folding together of music and landscape in some recent albums featuring the shakuhachi, a Japanese bamboo flute that today animates an active and international music scene. Through analysis of the texts, images, and sounds on these albums, I explore the re-imagining of the shakuhachi’s musical geography as the instrument reaches new players and places in Europe, Australia, and North America. Using recordings that incorporate environmental sounds alongside the shakuhachi, I examine ideas about the perceived authenticity of particular sounds, performance spaces, and recording aesthetics. These recordings unsettle our thinking about the relationship between music and landscape in several ways. First they document performers’ connections with particular sites, yet complicate any notion that the shakuhachi is related to a single place or nation, signalling a distinctly contemporary sense of place. Second, the centrality of mediation in these artistic projects makes technology crucial to the production of the natural and renders the naturalness of the shakuhachi audible in new ways. Third, the use of environmental sounds provokes questions about agency and the boundaries between human and non-human sound-making. By treating these albums as assemblages of material, social, technological, and natural elements, I reveal the lively and complex character of otherwise everyday musical objects.

/pdf/assembled-landscapes-the-sites-and-sounds-of-some-recent-xothuem38l.pdf

Assembled landscapes: The sites and sounds of some recent shakuhachi recordings

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