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タイトル: 東アジアの文書権力と音声メディアの植民地近代的編制 : 漢文脈の政治文化と帝国日本の朝鮮レコード検閲
その他のタイトル: Colonial Modernity, Documentary Power, and Sound Control in East Asia : Sinographic Hegemony and the Censorship of Korean Recordings under Japanese Rule
著者: 山内, 文登
著者(別言語): Yamauchi, Fumitaka
発行日: 2014年3月26日
出版者: 東京大学東洋文化研究所
掲載誌情報: 東洋文化研究所紀要. 第165冊, 2014.3, pp. 1-122
抄録: This paper discusses the shifting relationship between political power and sonic media and its essential reconfiguration under the conditions of colonial modernity in East Asia. Addressing as broad thematic concerns the ‘hearing’ of a political regime and its specific articulations in regional history on the one hand, and the mediated performativity of sound recording and its paradoxical dialectics of immediacy and mediacy in the age of mechanical reproduction on the other, this study examines the censorship of Korean recordings under Japanese rule. Its methodological aim lies in exemplifying the significance of sound and hearing as methods for interrogating dominant narratives of East Asian history. Set against conventional historiographies regarding Japanese colonialism as a non-Western anomaly, the colonial modernity theses examine it instead as a variation of modern regimes compatible with Western counterparts such as Foucauldian disciplinary power. Generally preoccupied with the interaction of the global with the national, and less often with the local, however, they often fail to recognize the residual workings of region-wide traditional political culture in Japanese imperial governance. This paper thus argues for the necessity of reframing the concept in regional terms by paying sufficient attention to shared historical experiences in the so-called Sinosphere from which colonial modern East Asia was born. The first half of this two-part paper is devoted to conceptualizing documentary power, taking into account the millennium-old tradition of the indispensable relationship between political domination and bureaucratic documentation region-wide. Special attention is paid to the specific relationship between sound and script characteristic of the region in which logographic Chinese characters̶more simply, sinograms̶had long been considered authoritative in the political and literate spheres. The sinographic regime legitimizes political domination as sound regulation through its idealization of music (Ch: yue, Kr: ak, Jp: gaku) as the key agent of harmonizing different voices and thereby realizing cosmic and social order. The latter half proceeds to examine how Japanese colonial power manifested itself as a modern incarnation of documentary power and authorized sound control. It demonstrates the multilayered ways in which two different modes of phonocentrism, as articulated in Western evolutionist linguistics and Japanese nativist learning (kokugaku), emerged as dominant ideologies in Japanese nationalist and colonialist thought but were significantly set back by what the author calls sinographic hegemony, which was retained through the efficiency and authority of sinograms as indispensable tools for translating modernity. This new conception of hegemony provides insight into how the colonial regime could work with certain Korean intellectuals who likewise called for record censorship in the sinographic terms of sound control shared across the East Asian lexicon. Further examination of the actual processes through which the censoring police coped with per formative dimensions of Korean recordings addresses the mutually related issues of documentary formalism, circumstantial judgment, and censorial incoherence, all indicative of the major characteristics of the censoring subject. This paper concludes with discussion of how the inspecting gaze implanted ‘native ears’ to increase the efficiency of sound control in the context of the colonial encounter.
URI: http://hdl.handle.net/2261/55833
ISSN: 05638089


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