Sound and Literature
Published on 18. June 2020
Book
Hardback
438 pages
978-1-108-47960-8 (ISBN)
Description
What does it mean to write in and about sound? How can literature, seemingly a silent, visual medium, be sound-bearing? This volume considers these questions by attending to the energy generated by the sonic in literary studies from the late nineteenth century to the present. Sound, whether understood as noise, music, rhythm, voice or vibration, has long shaped literary cultures and their scholarship. In original chapters written by leading scholars in the field, this book tunes in to the literary text as a site of vocalisation, rhythmics and dissonance, as well as an archive of soundscapes, modes of listening, and sound technologies. Sound and Literature is unique for the breadth and plurality of its approach, and for its interrogation and methodological mapping of the field of literary sound studies.
More details
Series
Language
English
Place of publication
Cambridge
United Kingdom
Target group
Professional and scholarly
Illustrations
Worked examples or Exercises; 7 Halftones, black and white
Dimensions
Height: 235 mm
Width: 157 mm
Thickness: 30 mm
Weight
864 gr
ISBN-13
978-1-108-47960-8 (9781108479608)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Anna Snaith
Sound and Literature
E-Book
06/2020
Cambridge University Press
€93.99
Available for download
Anna Snaith
Sound and Literature
E-Book
06/2020
Cambridge University Press
€100.99
Available for download
Person
Anna Snaith is Professor of Twentieth-Century Literature at King's College London. Her publications include Virginia Woolf: Public and Private Negotiations (2000), and Modernist Voyages: Colonial Women Writers in London, 1890-1945 (2014). She has edited Virginia Woolf's The Years (2012) and A Room of One's Own and Three Guineas (2015). She is currently working on a monograph on interwar literary modernism and noise.
Content
Part I. Origins: 1. Hearing and the senses Sam Halliday; 2. Fragments on/of voice David Nowell Smith; 3. Sonic forms: Ezra Pound's anti-metronome modernism in context Jason David Hall; 4. Classical music and literature Gemma Moss; 5. Aesthetics, music, noise Brad Bucknell; Part II. Development: 6. Literary soundscapes Helen Groth; 7. Noise James G. Mansell; 8. 'Lost in music': wild notes and organized sound Paul Gilroy; 9. Media history and sound technology Julie Beth Napolin; Part III. Applications: 10. What we talk about when we talk about talking books Edward Allen; 11. Prose sense and its soundings Garrett Stewart; 12. Dissonant prosody A. J. Carruthers; 13. Deafness and sound Rebecca Sanchez; 14. Vibrations Shelley Trower; 15. Feminism and sound Ella Finer; 16. Wireless imaginations Debra Rae Cohen; 17. Attending to theatre sound studies and Complicite's The Encounter Adrian Curtin; 18: Bob Dylan and sound: a tale of the recording era Barry J. Faulk.