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Author: Sam Halliday
Publisher: Edinburgh University Press
ISBN: 0748632565
Category : Literary Criticism
Languages : en
Pages : 224
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Book Description
Reveals the many roles and forms of sound in modernism. Drawing on a wealth of texts and thinkers, the book shows the distinctive nature of sonic cultures in modernity. Arguing that these cultures are not reducible to sound alone, the book further shows that these encompass representations of sound in 'other' media: especially literature; but also, cinema and painting. Figures discussed include canonical writers such as Joyce, Richardson, and Woolf; relatively neglected writers such as Henry Roth and Bryher; and a whole host of musicians, artists, and other commentators, including Wagner, Schoenberg, Kandinsky, Adorno, and Benjamin. Conceptually as well as topically diverse, the book engages issues such as city noise and 'foreign' accents, representations of sound in 'silent' cinema, the relationship of music to language, and the effects of technology on sonic production and reception.
Author: Sam Halliday
Publisher: Edinburgh University Press
ISBN: 0748632565
Category : Literary Criticism
Languages : en
Pages : 224
Get Book
Book Description
Reveals the many roles and forms of sound in modernism. Drawing on a wealth of texts and thinkers, the book shows the distinctive nature of sonic cultures in modernity. Arguing that these cultures are not reducible to sound alone, the book further shows that these encompass representations of sound in 'other' media: especially literature; but also, cinema and painting. Figures discussed include canonical writers such as Joyce, Richardson, and Woolf; relatively neglected writers such as Henry Roth and Bryher; and a whole host of musicians, artists, and other commentators, including Wagner, Schoenberg, Kandinsky, Adorno, and Benjamin. Conceptually as well as topically diverse, the book engages issues such as city noise and 'foreign' accents, representations of sound in 'silent' cinema, the relationship of music to language, and the effects of technology on sonic production and reception.
Author: Alexander Ghedi Weheliye
Publisher: Duke University Press
ISBN: 0822386933
Category : Music
Languages : en
Pages : 300
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Book Description
Phonographies explores the numerous links and relays between twentieth-century black cultural production and sound technologies from the phonograph to the Walkman. Highlighting how black authors, filmmakers, and musicians have actively engaged with recorded sound in their work, Alexander G. Weheliye contends that the interplay between sound technologies and black music and speech enabled the emergence of modern black culture, of what he terms “sonic Afro-modernity.” He shows that by separating music and speech from their human sources, sound-recording technologies beginning with the phonograph generated new modes of thinking, being, and becoming. Black artists used these new possibilities to revamp key notions of modernity—among these, ideas of subjectivity, temporality, and community. Phonographies is a powerful argument that sound technologies are integral to black culture, which is, in turn, fundamental to Western modernity. Weheliye surveys literature, film, and music to focus on engagements with recorded sound. He offers substantial new readings of canonical texts by W. E. B. Du Bois and Ralph Ellison, establishing dialogues between these writers and popular music and film ranging from Louis Armstrong’s voice to DJ mixing techniques to Darnell Martin’s 1994 movie I Like It Like That. Looking at how questions of diasporic belonging are articulated in contemporary black musical practices, Weheliye analyzes three contemporary Afro-diasporic musical acts: the Haitian and African American rap group the Fugees, the Afro- and Italian-German rap collective Advanced Chemistry, and black British artist Tricky and his partner Martina. Phonographies imagines the African diaspora as a virtual sounding space, one that is marked, in the twentieth century and twenty-first, by the circulation of culture via technological reproductions—records and tapes, dubbing and mixing, and more.
Author: Steve Goodman
Publisher: MIT Press
ISBN: 0262266334
Category : Music
Languages : en
Pages : 291
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Book Description
An exploration of the production, transmission, and mutation of affective tonality—when sound helps produce a bad vibe. Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the “psychoacoustic correction” aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or “sound bombs”) over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations. Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture. Goodman concludes with speculations on the not yet heard—the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths.
Author: A. Curtin
Publisher: Springer
ISBN: 1137324791
Category : Performing Arts
Languages : en
Pages : 260
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Book Description
Sound experimentation by avant-garde theatre artists of the late-nineteenth and early-twentieth centuries is an important but ignored aspect of theatre history. Curtin explores how artists engaged with the sonic conditions of modernity through dramatic form, characterization, staging, technology, performance style, and other forms of interaction.
Author: Roshanak Kheshti
Publisher: NYU Press
ISBN: 147981993X
Category : Social Science
Languages : en
Pages : 208
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Book Description
Inside the global music industry and the racialized and gendered assumptions we make about what we hear Fearing the rapid disappearance of indigenous cultures, twentieth-century American ethnographers turned to the phonograph to salvage native languages and musical practices. Prominent among these early “songcatchers” were white women of comfortable class standing, similar to the female consumers targeted by the music industry as the gramophone became increasingly present in bourgeois homes. Through these simultaneous movements, listening became constructed as a feminized practice, one that craved exotic sounds and mythologized the ‘other’ that made them. In Modernity’s Ear, Roshanak Kheshti examines the ways in which racialized and gendered sounds became fetishized and, in turn, capitalized on by an emergent American world music industry through the promotion of an economy of desire. Taking a mixed-methods approach that draws on anthropology and sound studies, Kheshti locates sound as both representative and constitutive of culture and power. Through analyses of film, photography, recordings, and radio, as well as ethnographic fieldwork at a San Francisco-based world music company, Kheshti politicizes the feminine in the contemporary world music industry. Deploying critical theory to read the fantasy of the feminized listener and feminized organ of the ear, Modernity’s Ear ultimately explores the importance of pleasure in constituting the listening self.
Author: Roshanak Kheshti
Publisher: NYU Press
ISBN: 1479817864
Category : Music
Languages : en
Pages : 199
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Book Description
Inside the global music industry and the racialized and gendered assumptions we make about what we hear Fearing the rapid disappearance of indigenous cultures, twentieth-century American ethnographers turned to the phonograph to salvage native languages and musical practices. Prominent among these early “songcatchers” were white women of comfortable class standing, similar to the female consumers targeted by the music industry as the gramophone became increasingly present in bourgeois homes. Through these simultaneous movements, listening became constructed as a feminized practice, one that craved exotic sounds and mythologized the ‘other’ that made them. In Modernity’s Ear, Roshanak Kheshti examines the ways in which racialized and gendered sounds became fetishized and, in turn, capitalized on by an emergent American world music industry through the promotion of an economy of desire. Taking a mixed-methods approach that draws on anthropology and sound studies, Kheshti locates sound as both representative and constitutive of culture and power. Through analyses of film, photography, recordings, and radio, as well as ethnographic fieldwork at a San Francisco-based world music company, Kheshti politicizes the feminine in the contemporary world music industry. Deploying critical theory to read the fantasy of the feminized listener and feminized organ of the ear, Modernity’s Ear ultimately explores the importance of pleasure in constituting the listening self.
Author: Julian Murphet
Publisher: Edinburgh University Press
ISBN: 1474416373
Category : Performing Arts
Languages : en
Pages : 264
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Book Description
This volume brings together a range of essays by eminent and emergent scholars working at the intersection of modern literary, cinema and sound studies. The individual studies ask what specific sonorous qualities are capable of being registered by different modern media, and how sonic transpositions and transferences across media affect the ways in which human subjects attend to modern soundscapes. Script, groove, electrical current, magnetic imprint, phonographic vibration: as the contributors show, sound traverses these and other material platforms to become an insistent ground-note of modern aesthetics, one not yet adequately integrated into critical accounts of the period. This collection also provides a commanding and wide-ranging investigation of the conditions under which modernists tapped technically into the rhythms, echoes and sonic architectures of their worlds.
Author: Brett Brehm
Publisher: Fordham Univ Press
ISBN: 1531501508
Category : Literary Criticism
Languages : en
Pages : 207
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Book Description
What stories remain hidden behind one of the most significant inventions of the nineteenth century? Kaleidophonic Modernity reexamines the development of mechanical sound recording technology by charting the orbits of writers, scientists, and artists in France and the United States. Working between comparative literature, the history of science, and urban studies, Brehm builds a bridge between visual culture and sound studies. Kaleidophonic Modernity places the poet and inventor Charles Cros and his lover, the celebrated concert pianist and salonnière Nina de Villard at the heart of modern aesthetic and scientific vanguards. Cros's scientific endeavors ranged from color photography, to telecommunications, to mechanical sound reproducibility. In his poetry the Surrealists found an ancestor and inspiration. His literary and scientific works prove startling and relevant to predicaments of technological media in his own time and ours. For nearly twenty years Nina de Villard presided over a supremely daring intellectual salon. There, she welcomed manifold literary, artistic, and musical luminaries into a veritable crucible of the artistic avant-garde and precursor to the famous Chat Noir cabaret. Together, these two forgotten but pivotal figures, Cros and Villard, help reframe our thinking on Edgar Allan Poe, Charles Baudelaire, and Walt Whitman, icons of urban modernity who can now be seen and heard in a kaleidophonic light, one that offers a compelling new perspective on modern mediascapes. In elaborating this transatlantic phenomenon, Kaleidophonic Modernity illuminates the prehistory of the phonograph as it intersects with the aesthetics of sound reproducibility, Franco-American literary exchange, Poe’s aesthetic and intellectual legacy, the sounds of modern cities and technologies, and the genealogy of audiovisual experimentation found in such movements as Dada, Futurism, and the sound art of today.
Author: Amrita Das
Publisher: Springer
ISBN: 3030025985
Category : Literary Criticism
Languages : en
Pages : 135
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Book Description
U.S. Latinx Literature in Spanish remains an understudied field despite its large and vibrant corpus. This is partly due to the erroneous impression that this literature is only written in English, and partly due to traditional educational programs focusing on English texts to include non-Spanish speakers and non-Latinx students. This has created a vacuum in research about Latinx literary production in Spanish, leaving the contemporary field wide open for exploration. This volume fills this space by bringing contemporary U.S. Latinx literature in Spanish to the forefront of the field. The essays focus on literary production post-1960 and examine texts by authors from different backgrounds writing from the U.S., providing readers with an opportunity to explore new texts in Spanish within U.S. Latinx literature, and a departure point for starting a meaningful critical discourse about what it means to write and publish in Spanish in the U.S. Through exploring literary production in a language that is both emotionally and politically charged for authors, the academia, and the U.S., this book challenges and enhances our understanding of the term ‘Americas’.
Author: Jennifer Lynn Stoever
Publisher: NYU Press
ISBN: 1479835625
Category : Literary Criticism
Languages : en
Pages : 352
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Book Description
The unheard history of how race and racism are constructed from sound and maintained through the listening ear. Race is a visual phenomenon, the ability to see “difference.” At least that is what conventional wisdom has lead us to believe. Yet, The Sonic Color Line argues that American ideologies of white supremacy are just as dependent on what we hear—voices, musical taste, volume—as they are on skin color or hair texture. Reinforcing compelling new ideas about the relationship between race and sound with meticulous historical research, Jennifer Lynn Stoever helps us to better understand how sound and listening not only register the racial politics of our world, but actively produce them. Through analysis of the historical traces of sounds of African American performers, Stoever reveals a host of racialized aural representations operating at the level of the unseen—the sonic color line—and exposes the racialized listening practices she figures as “the listening ear.” Using an innovative multimedia archive spanning 100 years of American history (1845-1945) and several artistic genres—the slave narrative, opera, the novel, so-called “dialect stories,” folk and blues, early sound cinema, and radio drama—The Sonic Color Line explores how black thinkers conceived the cultural politics of listening at work during slavery, Reconstruction, and Jim Crow. By amplifying Harriet Jacobs, Frederick Douglass, Elizabeth Taylor Greenfield, Charles Chesnutt, The Fisk Jubilee Singers, Ann Petry, W.E.B. Du Bois, and Lena Horne as agents and theorists of sound, Stoever provides a new perspective on key canonical works in African American literary history. In the process, she radically revises the established historiography of sound studies. The Sonic Color Line sounds out how Americans have created, heard, and resisted “race,” so that we may hear our contemporary world differently.
