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| ISBN-13: | 9780253037237 |
|---|---|
| Publisher: | Indiana University Press |
| Publication date: | 09/28/2018 |
| Series: | The Collected Writings of John Sallis , #4 |
| Pages: | 186 |
| Product dimensions: | 6.00(w) x 9.00(h) x (d) |
| Age Range: | 18 Years |
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CHAPTER 1
VOICES
There are perhaps no powers that appear more manifestly and directly reflexive than the voice. The possibility of duplicity — of doubling and even of concealing the doubling — is by no means excluded: one can mimetically assume the voice of another or even lend one's voice to another as in ventriloquy. However, when one speaks in one's own voice, perhaps also attesting even that it is in one's own voice that one is speaking, then the seemingly direct reflexivity of the voice becomes operative. Then speech displays, precisely in this reflexivity, the character of ownness, and it is no longer openly marked by duplicity in either sense.
The reflexivity is perhaps most readily manifest in the word itself.
To say the word is to invoke immediately that which the word names. In the very voicing of the word voice, one instantiates what it means or at least attests to the power that it names. In being voiced, in sounding forth from the voice, the word performs what it names. In being uttered, it reflects back upon the utterance in such a way as to affirm their coincidence across the difference between word and deed, [TEXT NOT REPRODUCIBLE IN ASCII.] and [TEXT NOT REPRODUCIBLE IN ASCII.].
Yet, reflexivity is also manifest in the very operation of the voice, quite aside from its engagement with the word. In this regard it can be compared to phantasy or even, more obliquely, to imagination. In the respective operations of the voice and of phantasy, production and reception are bound together in the most intimate connection. With regard to this structure, both the voice and phantasy can, in turn, be compared to original or intellectual intuition as this concept was posited by Kant. Intuition of this kind is — or would be, if it were — such that "the existence [Dasein] of the object of intuition is given through it itself" — that is, through the intuition itself. In contrast to the derivative intuition belonging to all finite creatures, original intuition could be ascribed only to the primordial being (Urwesen). For such a being, the very intuition of something would coincide with its production — that is, as with phantasy and the voice, production — of images, of sounds, of objects — and intuitive reception of what is produced are bound together, either in intimate connection or, in the case of the primordial being, in absolute identity. Just as for the primordial being, intuition is bound to production, so in giving voice to an utterance I hear directly the utterance voiced; in speaking I hear myself speaking — indeed with such immediacy that the difference between the production and the reception of vocal sound appears to be completely dissolved.
The structural affinity between the voice thus regarded in its reflexivity and original intuition as the absolute identity of intuition and production point to the situatedness of this construal of the voice within the history of metaphysics. In effect, the construal of the voice as directly reflexive, as given back in its very sounding forth, envisions it as imaging the absolute reflexivity of the primordial being, for whom being an object is absolutely identical with being present to intuition. In other words, the voice is conceived within the compass of the identity of being and being present — that is, within the orbit of being as presence. In regarding this as the orbit in which metaphysics turns in the course of its history, it is imperative to observe that the word metaphysics floats undecidably between singular and plural. While the single determination of being as presence can — though not without discontinuities — be traced in the history of metaphysics, there are also multiple instances where a turn is initiated against precisely this determination, often even within the very affirmation of it. If this history can be regarded as the history of being — and this itself remains open to question — it is also, perhaps preeminently, the history of a thinking that can turn freely against the alleged destiny of being and interrupt its uniformity.
The philosophical concept of the voice belongs to this history, even though it assumes various guises. Yet, already in the Greek understanding of [TEXT NOT REPRODUCIBLE IN ASCII.] a certain breach of unity, a dispersion into different senses, can be observed. The most fully articulated sense is found in Aristotle. In Book 2 of De Anima he offers a series of four interconnected determinations; they are set amid various discussions of how certain sounds such as coughing and sounds made by certain animals such as fish must be distinguished from voice. The first determination is of such generality that it does not quite exclude all these cases. It reads: "Voice is sound produced by an ensouled being" — though, as he adds, not with just any bodily part. The second determination describes the production: "Voice consists in the impact of the inspired air on the so-called windpipe under the agency of the soul in those parts." The third determination states once again that the producer of the vocal sound must be ensouled, but it adds another, quite remarkable requirement: "It is necessary that that which causes the impact be ensouled and do so with some phantasy [[TEXT NOT REPRODUCIBLE IN ASCII.]]." So, not only, as we have noted already, does phantasy exhibit a structural parallel with voice, but also, at least according to Aristotle's analysis, a certain exercise of phantasy belongs to voice, to the production of vocal sound. Without phantasy there would be only sound, no voice, not even if produced by an ensouled being. The final determination leaps entirely beyond all description of producer and production of voice, beyond to the operation of signification. It reads simply: "Voice is a sound that means something [[TEXT NOT REPRODUCIBLE IN ASCII.] — so: a signifying sound]." Aristotle does not draw a connection between the third and fourth determinations, specifically between the dependence of voice on phantasy and its capacity to mean something. However, one could readily suppose that phantasy serves to bring something into view — even though only, as we say, in the mind's eye — to bring it into view, to make it present, in such a way that in the sounding of the voice it can, in some register, be meant.
To the first of these determinations, which identifies voice as sound produced by an ensouled being, Aristotle adds another observation. He says that while inanimate things never make a vocal sound, there are certain things that can by virtue of similarity be said to do so; his examples are a flute and a lyre and indeed anything that has the characteristic features of a musical instrument. The similarity lies in the fact that voice also has these features, namely, musical range, tune, and modulation. Music is thus accorded a privileged relation to the voice. The affirmation of this relation, the reference of music as such to the voice, will remain decisive, even if covertly, until finally it is expressed explicitly in Hegel's Aesthetics — in these words: "The human voice contains the ideal totality of soundings, which is merely spread out among the other instruments in their particular differences." In this legacy running from Aristotle to Hegel, there is thus operative in the philosophical conception of music what Derrida will call phonocentrism.
For Aristotle voice is a certain kind of sound; it is sound produced by a certain kind of being in a certain way so as to have a signifying capacity. And yet, the word [TEXT NOT REPRODUCIBLE IN ASCII.] is not univocal — is not spoken as only one voice — but has also other senses. Near the end of Plato's Symposium, at the point where Socrates has just finished the speech in which he lent his voice to Diotima, there is a disruption of the conversation. Along with a hammering at the door, the symposiasts also "heard the [TEXT NOT REPRODUCIBLE IN ASCII.] of the flute-girl" — not her voice of course but the sound of her flute. Then, it is reported, "they heard the [TEXT NOT REPRODUCIBLE IN ASCII.] of Alcibiades." The sense is twofold: they heard the sound produced by Alcibiades, by his voice, his capacity to produce sound recognizable as his. The sense of voice as the power to produce a certain kind of sound — the sense that sounds most prominently in the English word voice — is still more explicit in a passage in Sophocles' Electra. In this passage Clytemnestra is upbraiding Electra for having spread the rumor that her deed — the murder of Agamemnon — was brutal and unjust. She defends her action by appealing to Agamemnon's sacrifice of Iphigenia, their daughter; and then having given her defense, she says that "if the dead girl had [TEXT NOT REPRODUCIBLE IN ASCII.], she would agree." In this instance, [TEXT NOT REPRODUCIBLE IN ASCII.] clearly names, not a certain kind of sound, but the capacity, the power to produce such sound. Furthermore, between these two senses of [TEXT NOT REPRODUCIBLE IN ASCII.] there is a reflexivity: to utter a vocal sound is to attest thereby to one's power to vocalize.
There is still a third sense of [TEXT NOT REPRODUCIBLE IN ASCII.], evident, for instance, in Plato's Critias. In a passage in which Critias is about to relate an ancient story about the foes of Athens, he tells how Solon traveled to Egypt to recover the story. There he found that the Egyptians had written it down after translating it into their own [TEXT NOT REPRODUCIBLE IN ASCII.]. In turn, Solon, recovering the sense of the words, translated the story back into Greek, into his own [TEXT NOT REPRODUCIBLE IN ASCII.], and then wrote it down. In this account, seemingly the original philosophical account of translation, [TEXT NOT REPRODUCIBLE IN ASCII.] clearly means language in the sense of the Greek or the Egyptian language. Translating into a language is, in turn, linked to a subsequent writing. What gets translated into a certain language then gets written down in that language.
The word [TEXT NOT REPRODUCIBLE IN ASCII.] thus extends across a broad spectrum of what has to do with words, from the vocal sound to the writing in which it can be set down. The word thus encompasses various items that subsequently come to be regarded as opposites: speech and language, spoken word and written word, the inner power of speech and the vocalized word sounding forth into the space without. It would be difficult to say whether in the Greek understanding of [TEXT NOT REPRODUCIBLE IN ASCII.] the terms of these oppositions are thought together in an intrinsic unity or whether the oppositions that will emerge are already implicit as such in this understanding. In any case, the word [TEXT NOT REPRODUCIBLE IN ASCII.] serves to assemble virtually all the moments that will be taken up in what we call, in general terms, speech or language — or, more pointedly, voice. Already in the Greek word [TEXT NOT REPRODUCIBLE IN ASCII.] there are multiple voices. Already one can offer a certain interpretation — certainly not the only one — of the imperative that Derrida expresses in these words: "It is always necessary to be more than one in order to speak; several voices are necessary for that."
It is in the text Voice and Phenomenon that Derrida addresses the question of the voice, specifically, of the conditions and limits of the reflexivity of the voice. Among the three texts published in 1967, Derrida accords a certain priority to Voice and Phenomenon. In an interview he later described it as the essay to which he was most attached. He grants even — referring to the three works of 1967 — that "in a classical philosophical architecture Voice and Phenomenon would come first." On the other hand, he countered this classical gesture by referring to what he calls a "strange geometry" by which the other two texts from 1967, Of Grammatology and Writing and Difference, could be stapled in the middle of one another. Though Voice and Phenomenon is not directly implicated in this strange geometry, Derrida's remark that he "could have bound it as a note to one or the other of the two works" entails that it too can be considered as engaged in this strange geometry.
In Voice and Phenomenon the reflexivity of the voice is addressed from the outset. Initially and still in general terms, its operation is considered in relation to the problem, the Husserlian problem, of how to reconcile consciousness and language, that is, the self-presence of consciousness and the nonpresence, the difference, that language involves by virtue of substituting a sign for an intuited object and, even more decisively, by virtue of its foray as sound into the world. In other words, the problem is to find a means by which to admit the relation to language without introducing externality, nonpresence, difference into consciousness and thus violating its determination as self-presence. Husserl's solution to the problem is provided by his appeal to the voice. It is the voice, regarded phenomenologically, that has the capacity to preserve presence. It is because of the innermost character of the voice that one can speak without interrupting the self-presence of consciousness. While language involves much that is exterior, at its core, in the phenomenological voice, self-presence is preserved. Derrida writes: "Husserl will radicalize the necessary privilege of the phone, which is implied by the whole history of metaphysics, and will exploit all its resources with the greatest critical refinement." What counts for Husserl, Derrida explains, lies "not in the sonorous or in the physical voice, in the body of the voice in the world ... but in the phenomenological voice, in the voice in its transcendental flesh, in the breath, the intentional animation that transforms the body of the word into flesh." Derrida adds finally and most decisively: "The phenomenological voice would be this spiritual flesh that continues to speak and to be present to itself — to hear itself [s'entendre] — in the absence of the world."
Thus, the phenomenological voice would be a speaking consciousness withdrawn from the nonpresence and exteriority that would otherwise be introduced by the involvement of speech in the world. It would be a consciousness that, in its very speaking, would be present to itself, would, without any exit outside, hear itself speaking. Husserl's procedure would consist, then, in internalizing speech to the point where, as the circuit of speaking-hearing-one-self-speaking, it becomes simply a moment of the self-presence of consciousness; all externality is reduced, and speech is assimilated to consciousness. In other words, speech is reduced to the pure reflexivity of the voice that, freed of all interference from without, hears itself speaking.
Now, it would seem, there are even more voices, at least one in addition to those heard already by the Greeks. For the phenomenological voice is neither the sonorous voice, that is, the sounding word, nor the physical voice, the vocalizing, sound-producing capacity, the power (as Aristotle describes it) to make the inspired air impact the windpipe. Both of these — the sounding word and the power of speech — require (as again Aristotle explains) the agency of the soul. Husserl would reduce the voice to this soulful agency, reconceived in modern philosophical terms. It is thus that he describes the phenomenological voice as intentional animation. Derrida's description is more provocative: he describes this voice as the transcendental or spiritual flesh that speaks and hears itself speaking in the absence of the world. The phenomenological voice is one of pure reflexivity.
In describing this voice also as breath, Derrida anticipates that it will necessarily prove to be a silent voice. For mere breathing is a condition for vocalization, inspiring, as it does, the air that is made to impact the windpipe; yet it is a condition that itself stops short of producing vocal sound and that must in fact be suppressed as such in order for such sounds to be produced.
In its broader import, Husserl's reduction of speech to the phenomenological voice, to the intention that animates speech, constitutes in the most radical form what Derrida calls phonocentrism. Since it is in the phenomenological voice that presence — that is, being as presence, as self-presence — is preserved, Derrida's description in Of Grammatology comes directly to the point: phonocentrism maintains "absolute proximity of voice and being, of voice and the meaning of being, of voice and the ideality of meaning." If Voice and Phenomenon is regarded as what comes first in a classical philosophical architecture and even if in a certain way it is submitted to the strange geometry of stapling works in the middle of each other, then in the identification of the phenomenological voice, that is, of phonocentrism, the starting point would have been reached from which to pursue the question of writing. For the more thoroughly speech is internalized as the phenomenological voice, the more writing is forced out into an exteriority where it is no more than an image of speech. Yet, it is of utmost importance to observe that Derrida's intent is not simply to invert this order so that the outside would be posited inside and conversely. It is not as though speech and hence the voice would be expelled to mere exteriority and thereby rendered secondary, merely and completely subordinated to writing. The voice — or rather, voices — will not be silenced by deconstruction but rather will be released from silence and allowed again — if ever they have — to sound.
(Continues…)
Excerpted from "Elemental Discourses"
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Copyright © 2018 John Sallis.
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