This article investigates how middle-aged to elderly Kurdish women in Turkey engage with large collections of Kurdish music recordings in their possession. Framing them as archives, women mobilize these collections as central elements in a larger, ongoing Kurdish project of historical critique, which seeks to resist hegemonic state narratives that have long denied and marginalized Kurdish voices. While recognizing the critical intervention such archives make, the article contends that, to be heard as "history" with a legitimate claim to authority, subaltern voices often have to rely on the very hegemonic forms, genres, and discourses they set out to challenge. This means that subaltern projects of historical critique walk a fine line between critique and complicity, an insight that nuances narratives that would approach subaltern voices predominantly from a perspective of resistance. At the same time, this article argues that a more complete picture of subaltern archives requires us to attend to the voices they contain not just as metaphors for resistance or political representation but also as acoustic objects that have social effects because of the way they sound. By outlining the affective qualities that voice recordings held for the Kurdish women who archived them, the article shows how their collections participated in carving out specific, gendered subject positions as well as forging a broader Kurdish sociality. Paying attention to history's "acoustic register" (Hunt 2008), this suggests, promises to open up perspectives on subaltern historiography that go beyond binary frameworks of resistance and domination, critique and complicity.

中文翻译：

---

现代土耳其库尔德历史的存档声音、声迹和回响

本文调查了土耳其中年到老年库尔德妇女如何与他们拥有的大量库尔德音乐录音互动。将它们作为档案，女性将这些收藏作为一个更大的、正在进行的库尔德历史批判项目的核心元素，该项目旨在抵制长期以来否认和边缘化库尔德声音的霸权国家叙事。文章承认此类档案所做的批判性干预，但认为，要被视为具有合法权威的“历史”，底层声音往往不得不依赖于他们开始挑战的霸权形式、流派和话语。这意味着历史批判的底层项目在批判和共谋之间徘徊，一种洞察细微差别的叙事，主要从抵抗的角度接近底层声音。同时，本文认为，更完整的底层档案图需要我们关注它们所包含的声音，不仅是作为抵抗或政治代表的隐喻，而且是因为它们的声音方式而具有社会影响的声音对象。通过概述录音为存档的库尔德女性所拥有的情感品质，文章展示了她们的收藏如何参与塑造特定的、性别化的主题立场以及塑造更广泛的库尔德社会。关注历史的“声域”（Hunt 2008），这表明，