All Ears

Peter Szendy, Roland Vegso

Description

The world of international politics has recently been rocked by a seemingly endless series of scandals involving auditory surveillance: the NSA's warrantless wiretapping is merely the most sensational example of what appears to be a universal practice today. What is the source of this generalized principle of eavesdropping?All Ears: The Aesthetics of Espionage traces the long history of moles from the Bible, through Jeremy Bentham's "panacoustic" project, all the way to the intelligence-gathering network called "Echelon." Together with this archeology of auditory surveillance, Szendy offers an engaging account of spycraft's representations in literature (Sophocles, Shakespeare, Joyce, Kafka, Borges), opera (Monteverdi, Mozart, Berg), and film (Lang, Hitchcock, Coppola, De Palma). Following in the footsteps of Orpheus, the book proposes a new concept of "overhearing" that connects the act of spying to an excessive intensification of listening. At the heart of listening Szendy locates the ear of the Other that manifests itself as the originary division of a "split-hearing" that turns the drive for mastery and surveillance into the death drive.

Sujets

• Media studies
• Middle East

Informations

• Publié par: Fordham University Press
• Date de parution: 01 décembre 2016
• Nombre de lectures: 0
• EAN13: 9780823273980
• Langue: English
• Poids de l'ouvrage: 3 Mo

Extrait

A L L E A R S

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A L L E A R S

P E T E R S Z E N DY

T H E A E S T H E T I C S O F E S P I O N A G E

Translated by Roland Végső

) ) F O R D H A M U N I V E R S I T Y P R E S S ) YO R KN E W ) 2 0 1 7

Côpyrg © 2017 Fôrdam Uverŝy Preŝŝ

A rgŝ reŝerved. Nô par ô ŝ pûbcaô may be reprôdûced, ŝôred  a rereva ŝyŝem, ôr raŝmed  ay ôrm ôr by ay meaŝ—eecrôc, mecaca, pôôcôpy, recôrdg, ôr ay ôer—excep ôr bre qûôaôŝ  pred revewŝ, wôû e prôr permŝŝô ô e pûbŝer.

hŝ bôô waŝ irŝ pûbŝed  Frec aŝSur Écoue: Eséîque de ’espîonage by Peer Szedy © eŝ Édôŝ de Mû, 2007.

hŝ bôô’ŝ pûbcaô waŝ ŝûppôred by a ŝûbveô rôm e Uverŝy ô Nebraŝa Côege ô Arŝ ad Sceceŝ.

Fôrdam Uverŝy Preŝŝ aŝ ô reŝpôŝby ôr e perŝŝece ôr accûracy ô URŝ ôr exera ôr rd-pary ïere webŝeŝ reerred ô  ŝ pûbcaô ad dôeŝ ô gûaraee a ay côe ô ŝûc webŝeŝ ŝ, ôr w rema, accûrae ôr apprôprae.

Fôrdam Uverŝy Preŝŝ aŝô pûbŝeŝ ŝ bôôŝ  a varey ô eecrôc ôrmaŝ. Sôme côe a appearŝ  pr may ô be avaabe  eecrôc bôôŝ.

Vŝ ûŝ ôe a www.ôrdampreŝŝ.côm.

brary ô Côgreŝŝ Caaôgg--Pûbcaô Daa

Nameŝ: Szedy, Peer, aûôr. Te: A earŝ : e aeŝecŝ ô eŝpôage / Peer Szedy ; raŝaed by  Rôad Végŝő. Oer eŝ: Sûr écôûe. Egŝ Deŝcrpô: Frŝ edô | New Yôr, NY : Fôrdam Uverŝy Preŝŝ, 2017. |  ïcûdeŝ bbôgrapca reereceŝ. ïdeierŝ: CCN 2016015036 | ïSBN 9780823273959 (cô : a. paper) | ïSBN 9780823273966 (pb. : a. paper) Sûbjecŝ: CSH: Eŝpôage. | Aeŝecŝ. | Mûŝc—Pôŝôpy ad aeŝecŝ.  | Môô pcûreŝ—Aeŝecŝ. | Opera. Caŝŝicaô: CC BH301.E77 S9413 2017 | DDC 327.12—dc23 C recôrd avaabe a pŝ://cc.ôc.gôv/2016015036

Pred  e Ued Saeŝ ô Amerca

19 18 17 5 4 3 2 1

Frŝ edô

T O J A C Q U E S D E R R I D A

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C O N T E N T S

(No) More Ears: A Preface to the English-Language Edition ix

Translator’s Note xiii

Entrance: The Spies of Jericho 

Discipline and Listen  Before the Wiretap,  • Overhearing and Diaphony,  • A Small History of Big Ears (Toward the Panacousticon),  • Mastery and Metrics inFigaro• Telelistening,  • The Ages of Fear,  and Telesurveillance,  • A Secret Conversation, 

Underground Passage: The Mole in Its Burrow 

In the Footsteps of Orpheus  The Trackers, with Hidden Noise,  • The Mortal Ear, or Orpheus Turns Around,  • On the Phone: Papageno at Mabuse’s,  • The Phantom of the Operaat the Moment of,  • Wozzeck His Death,  • Adorno, the Informer, 

Exit: J.D.’s Dream 

Notes 

Bibliography 

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(No) More Ears: A Preface to the English-Language Edition

A Earswaŝ ever eded ô be ŝmpy a bôô abôû cûrre eveŝ. he qûeŝô “Are ey ŝeg ô me?”—w wc,  2007, ï ôpeed ŝ ŝecôd vôûme ô a dpyc devôed ô  ŝeg —aŝ ô dôûb awayŝ reŝôaed  e ôôw ô  ôûr earŝ aŝ e very qûeŝô a ôpeŝ ad ôreŝ em. Fôr wa ŝ a ŝae   ŝ qûe ŝmpy e ear ô e ôer a precedeŝ me. Hôwever, ô e pa a ï decded ô ôôw  ôrder ô reŝûme my ôôôgca qûreŝ  e drecô ô er môŝ mmedaey eca ad pôca ŝaeŝ, we ecôûer a ûmber ô eveŝ a mared, a e me we ï waŝ wr- g, a prôôûd ad maŝŝve raŝôrmaô ô e aûdôry adŝcape  wc we dever ôûrŝeveŝ ô ŝ ŝeemgy ŝô paŝŝve ad pacic acvy: earg. heŝe were e e rece reveaôŝ  Eûrôpe abôû e Eceô ewôr, a erace ô e Côd War. Sce e, ŝ raŝôrmaô aŝ ôy eŝied ad becôme môre evde  a ew ŝpace (a we côûd ca “pôŝ-Sôwdea”) were a geerazed ôôgrapc ŝûrveace appearŝ ô ave deivey ŝac- ôed e reg ô ôe ô Jameŝ Jôyce’ŝ ôbŝcûre caracerŝ: