Final Sound-Initial Sound: A Note on Playing Antyaksari

Debaprasad Bandyopadhyay 


Indian Statistical Institute

STUDIES IN PHONETICS AND PHONOLOGY, pp. 110-113, K. Nagamma Reddy, A. R. Fatihi, eds., Ess Ess Publications, 2002 

Abstract:      
Hindi /antaksOri /, Bangla / Ontakkhori / ‘final letter‘ is the name of a popular game based on songs. One person initiates any song and another one takes the cue from the final sound of the song’s final word to start a new song in a given language. Thus, the final sound has become and must become the initial sound and if one fails to do so within a stipulated time, s/he fails to score.
Once we, in Bengal, played /Ontakshori /, nowadays we are playing /antaksOri /, thanks to the popularization of Hindi /OntaksOri / – programmes in TV. The hegemony of Hindi as a superstratum wins at last.

This code-mixing is not the concern of this paper, rather it concentrates on the perception of sounds by the Bangla speakers, when they are playing the game. As all the final sounds do not occur in the initial position, e.g., /R/ and four semi vowels: / Y / (front mid), / W / (back mid), / y / (front high), / w / (back high) they are interpreted differently. The rule of the game and management of sounds are important here as they reveal the nature of perception by the native speakers of Bangla.

However, what is revealing in this game is that, as Derrida asserts in his proposed Grammatology, writing has its own rule as well as speaking and behind every act of speaking there is writing and vise versa. This paper reasserts this position by showing that ‘writing’ (in the crude sense of the term) may also intervene in the domain of speaking. One may then, look into the domain of ‘spelling pronunciation’ for further elaboration of the fact.

Note that the word “differance” as spelt by Derrida, at a time handles “to differ” and “to defer” shows the so-called autonomy of (arche-)writing or its own play with itself without being a supplement of speaking. Literate Bangla-speakers, at the time of playing this pleasurable game, defer the difference of r-R. This paper follows many technical terms as developed by Derrida in his proposed Grammatology, viz. trace, supplement, erasure…….

 

Number of Pages in PDF File: 3

Keywords: perceptual phonetics, grammatology, differAnce, supplement, trace

About Debaprasad Bandyopadhyay

Debaprasad Bandyopdhyay (b. 1965), through his 25 years journey in the realm of institutionalized academics did 27 different types of works, which are someway different from the earlier paradigms or, one might say that those works are not only mere reproductions of his inherited institutionalized cultural capital or a mimicry of a colonially imposed model that leads to intellectual anorexia or rather a type falsification of earlier paradigms. However, that might be not only a lofty claim but it also hid the fact that all our information and knowledge are socially accumulated knowledge that was, it is matter of regret, posed as private property through the sign © and the wisdom is rarely available. Bandyopadhyay’s works and projects are the products of his social milieu. Bandyopadhyay is a local sub-altern public sphere academician, who avoids the technical intelligentsia (followers of Sahib’s models and they are not committed to the persons who are accommodating surplus work-time to them by performing surplus labour) or inorganic intellectuals and thus fails to be a part of academic tribe and its subsequent socialization process. Of course, that socialization process does not lead to legendary Socratic dialogue. He is also a political activist though he has not affiliated to any political parties as he was always talking about the corporatization of political parties within the money-sign-based democratic system. He is a regular participant in TV and radio talk-shows and documentary films, street-corners’ talks and International seminars on socio-political, psychological, linguistic, environmental and economic issues. He also writes editorial columns in newspapers. He is also a part of parallel academics as it is found in West Bengal’s Little Magazine Movement, though that was not counted as the part his academic pursuit by his parent institute. His parent institute justifiably does not believe in the domain of parallel academics as this unorganized sector does not directly contribute in the transactions of formal/organized print capitalist eco-enemy paper-publication. Though the dissemination of knowledge is also observed in this space of these parallel academics as all these writings in public sphere simultaneously influence the classroom-discourse and some of them are translated into English, French and Italian. Not only that, Bandyopadhyay also sought engagement with the people, who, by supplying their surplus labour, are sustaining his livelihood. Bandyopadhyay, a linguist by training and a Ph.D.-holder (1996), a junior lecturer (1999-2011) in an autonomous central government institute in India, tries his best for those from he has received and is receiving the manifestation of surplus labour by executing some self-funded projects on economic issues in West Bengal, India. Recently he has got a consolation promotion to the post of Assistant Professor. He has done following 27 research works: 1. Crippled Creativity: An inquiry into language, psyche, society: 2. VALENCY OF BANGLA VERB AND PROBLEM OF COMPOUND VERBS: 3. Archaeology of Bangla Grammar : 4. CAN COMPUTER SPEAK? 5. FUZZY LOGICAL EXPRESSION IN BANGLA : 6. FOLKLORE AND FOLK-LANGUAGE: MYTH OR REALITY? 7. HISTORICISM IN THE DISCOURSE OF BANGLA LANGUAGE AND LITERATURE 8. ABHABA, ECP, DELETION AND TRACE 9. SVATVA OR MY-NESS AND ECONOMIC ENTITLEMEMT 10. TRANSLATION STUDIES 11. MASCULINITY STUDIES 12. YAYATI & BABAR COMPLEX 13. SOCIO-ECONOMIC SURVEYS IN AGRICULTURE AND INDUSTRY IN WEST BENGAL 14. CONCEPT OF BODY IN INDIAN PHILOSOPHY AND ARCHITECTURE 15. THE CONCEPT OF ERROR (KHYATI) IN MAD-(WO)MEN’S LANGUAGE 16. THE CONCEPT OF PERCEPTUAL TIME AND GRAMMATICAL TIME IN BANGLA 17. BANGLA CALLIGRAPHY, LANGUAGE ART AND LINGUISTIC PEDAGOGY 18. WO(L)D SPACES: NON-EXISTENCE OF WORDS 19. ANEKANTA METHODS 20. SILENCEME: SILENT OTHER IN LINGUISTICS 21. IMAGINED BOUDARIES AND PRE-COLONIAL INDIAN IMAGI-NATION 22. MAKING OF THE INDIAN PHILOSOPHY OF SCIENCE 23. SEGMENTING THE SUPRASEGMENTALS : MUSICKING IN SPEAKING 24. INTERPRETING GENETIC STRUCTURE BY DEPLOYING LINGUISTIC STRUCTURE 25. GLOTTOPOLITICS OF LINGUISTIC SUBALTERNITY OR AN AGENDA FOR PLANNING FROM BELOW 26. SEMIOTICS OF PHOTOGRAPHY 27. SOCIOLOGY OF CONTEMPORARY ACADEMICS
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One Response to Final Sound-Initial Sound: A Note on Playing Antyaksari

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