Tuneless soloists in Salman Rushdie: Cinema, sound and sense
Mishra, V. (2014) Tuneless soloists in Salman Rushdie: Cinema, sound and sense. Delhi University Journal of the Humanities & the Social Sciences, 1 . pp. 15-23.
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The argument of the paper is that soundscapes in Salman Rushdie invoke an auditory literalism borrowed from cinema. In naming the ambassador in Shalimar the Clown after the filmmaker Maximilian Ophuls, Rushdie implicitly acknowledges both ethical as well as aesthetic links between sound and sense. The essay moves away from the usual reading of Rushdie's use of Bollywood film songs as an instance of a post-colonial cosmopolitanism to their use as material signifiers of the corporeal. There is an ethics of sound (captured even in Rushdie's use of a well-known Faiz poem) that challenges the hierarchy of image over sound in literature.
|Publication Type:||Journal Article|
|Murdoch Affiliation:||School of Arts|
|Publisher:||The University of Delhi|
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