ABSTRACT Translated into English in 2004, Vladimir Jankelevitch’s book Music and the Ineffable has made a significant impact in anglophone musicology. I argue that the figure of the feminine is central to his understanding of music and musical ineffability, and use feminist philosophers’ interpretations and critiques of the figure of the feminine in his close friend and colleague Emmanuel Levinas’s work to unpack the gender politics of Jankelevitch’s book and the secondary literature on it. I focus on the figure of the feminine in Time and the Other and Totality and Infinity, which are works we have evidence Jankelevitch read. There, Levinas describes the feminine as a “form of being” that is “inexhaustible, infinite” and thus “refuses thematization positively” (Totality and Infinity, 296). This is nearly identical to Jankelevitch’s definition of musical ineffability as “fertile inexplicability” (Music and the Ineffable, 71). Not only is Jankelevitch’s concept of musical ineffability identical to Levinas’s concept of the feminine, it is also couched in gendered terms throughout Music and the Ineffable. “Musical ineffability” in Jankelevitch’s sense is thus a parallel to Levinas’s concept of the feminine. I then read Jankelevitch and his interpreters in musicology through feminist scholarship on Levinas to show how the former two succumb to the same ultimately patriarchal flaws as the latter. For example, just as Levinas prioritizes paternity and the reproduction of patriarchy, muiscologist Carolyn Abbate uses Jankelevitch as the white masculine other in which musicology recognizes itself as both different and the same.

中文翻译：

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音乐的性别政治与无法言喻：论扬克列维奇和列维纳斯的女性

摘要2004年，弗拉基米尔·扬凯列维奇（Vladimir Jankelevitch）的书《音乐与不可言喻》（英语：Music and the Ineffable）译成英文，对英语音乐学产生了重大影响。我认为女性形象是他对音乐和音乐不可理解的理解的核心，并在其亲密的朋友和同事伊曼纽尔·列维纳斯（Emmanuel Levinas）的工作中运用女性主义哲学家对女性形象的解释和批判来揭开扬克列维奇书中的性别政治以及有关它的辅助文献。我关注《时间与他人》中的女性形象，以及《完全性与无限性》，这些都是我们扬基列维奇读过的证据。在那儿，列维纳斯将女性描述为“取之不尽，用之不竭”的“存在形式”，因此“积极地拒绝主题化”（Totality and Infinity，296）。这几乎与扬克列维奇（Jankelevitch）将音乐不可言喻的定义定义为“肥沃的不可解释性”（Music and the Ineffable，71）。Jankelevitch的音乐不可言喻概念不仅与Levinas的女性主义概念相同，而且在《音乐与无用之词》中也以性别表达。因此，扬克列维奇认为“音乐不可言喻”与列维纳斯的女性观念相似。然后，我通过关于列维纳斯的女权主义研究，阅读了扬克列维奇及其音乐学的解释者，以展示前者如何最终屈服于与后者相同的父权制缺陷。例如，正如列维纳斯优先考虑父权制和父权制的复制一样，音乐学家卡罗琳·阿贝特（Carolyn Abbate）则将扬克勒维奇（Jankelevitch）当作白人男性，而音乐学界则认为自己既不同又相同。