Sound and literature
edited by Anna Snaith
Bok · Engelsk · 2020
| Medvirkende | |
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| Omfang | XVI, 424 sider : illustrasjoner
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| Opplysninger | Introduction: Anna Snaith -- Part I. Origins: Chapter 1. Hearing and the Senses / Sam Halliday -- Chapter 2. Fragments on/of Voice / David Nowell Smith -- Chapter 3. Sonic Forms: Ezra Pound's Anti-Metronome Modernism in Context / Jason David Hall -- Chapter 4. Classical Music and Literature / Gemma Moss -- Chapter 5. Aesthetics, Music, Noise / Brad Bucknell -- Part II. Development: Chapter 6. Literary Soundscapes / Helen Groth -- Chapter 7. Noise / James G. Mansell -- Chapter 8. 'Lost In Music': Wild Notes and Organized Sound / Paul Gilroy -- Chapter 9. Media History and Sound Technology / Julie Beth Napolin -- Part III: Applications. Chapter 10. What We Talk About When We Talk About Talking Books / Edward Allen -- Chapter -- 11. Prose Sense and Its Soundings / Garrett Stewart -- Chapter 12. Dissonant Prosody / A. J. Carruthers -- Chapter 13. Deafness and Sound / Rebecca Sanchez -- Chapter 14. Vibrations / Shelley Trower -- Chapter 15. Feminism and Sound / Ella Finer -- Chapter 16. Wireless Imaginations / Debra Rae Cohen -- Chapter 17. Attending to Theatre Sound Studies and Complicite's The Encounter / Adrian Curtin -- Chapter 18. Bob Dylan and Sound: A Tale of the Recording Era / Barry J. Faulk. - "A week after the end of WW2 a nightingale begins to sing in the darkness of a northwest London park. 'Figures of listeners' appear in the nearby lighted windows.1 Part of the 'emanations of peacetime', the mellifluous whistles and trills transfix but also unsettle those within earshot emerging as they are from an auditory wartime regime of hyper-alert listening.2 The bird sings 'into incredulity [...] note after note from its throat stripped everything else to silence'.3 This is Elizabeth Bowen's 'I Hear You Say So' (1945), but in all her fiction, and her work as a broadcaster and writer for the BBC, Bowen had a keen ear for the acoustics of modernity, particularly the uncanny and troubling properties of found sound. In this story, too, given that the nightingale's song is acousmatic - the tiny bird unseen - Bowen plays with the confusion between 'absolute' and reproduced sound. 'Listen, they got a nightingale on the wireless!', one character exclaims.4 The BBC had first broadcast a nightingale's song (in duet with the cellist Beatrice Harrison) in 1924 and it became a popular feature, especially during WW2 when its harmonics were thought to soothe the populace's beleaguered ears. But the story also sets up complex reverberations with a chorus of nightingales, from the wartime staple, 'A Nightingale Sang in Berkeley Square' to centuries of poetic warblers: Ovid, Keats, Anne Finch, T. S. Eliot (many of these alluded to directly in story). Literary culture shapes how and what we hear, particularly in the case of a sonic fetish object as resonant as the nightingale. As one character notes: 'It's ourselves we hear'"--
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| Emner | |
| Dewey | |
| ISBN | 9781108479608
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