: Sabine Kim
: Acoustic Entanglements Sound and Aesthetic Practice
: Universitätsverlag Winter
: 9783825376383
: 1
: CHF 35.50
:
: Englische Sprachwissenschaft / Literaturwissenschaft
: English
: 180
: DRM
: PC/MAC/eReader/Tablet
: PDF
Combining a cultural history of sound with media and literary studies, 'Acoustic Entanglements' presents a new perspective on the entangled affiliations of transnational mobility, diasporic cultural memory, embodied performance, and the material practices of aesthetic acts. Starting by reassessing Emily Dickinson's poetry as participating in an emergent phonographic logic, this book proposes that sound in modernity assumes the capacity to cross time and space, 'entangling' past and present, living and dead, periphery and alleged center. From this vantage point, the study examines Lillian Allen's dub poetry as an ethical demand for economic justice made via sound, Janet Cardiff's audio walks as renegotiating the cultural place of Europe for a North American imaginary, and Anishinaabe artist Rebecca Belmore's performances as voicing indigenous resilience in the present. Focusing on Canada and the US, the book brings together the fields of sound studies and transnational American studies.
Cover1
Titel4
Imprint5
Table of Contents8
Table of Figures??????????????????????????????????????????????10
Acknowledgements??????????????????????????????????????????????12
1 Introduction: Sound that Moves??????????????????????????????????????????????????????????????????????????????14
2 Spirited Media, Aural Excesses: Emily Dickinson and the Phonograph????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????22
2.1 Remembering and Recording in the Nineteenth Century????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????22
2.1.1 Dickinson’s Phonographic Logic??????????????????????????????????????????????????????????????????????????????????????24
2.1.2 Composition as Intermedial Gesture??????????????????????????????????????????????????????????????????????????????????????????????25
2.1.3 Dickinson’s Aural Excess??????????????????????????????????????????????????????????????????????????28
2.1.4 Bolts of Melody: Dickinson’s Poetry????????????????????????????????????????????????????????????????????????????????????????????????30
2.2 Speaking Machines, Media Archives????????????????????????????????????????????????????????????????????????????????????????33
2.3 Spiritualism and Techniques of Hearing??????????????????????????????????????????????????????????????????????????????????????????????????41
2.3.1 Transnationalism: Voices at a Distance??????????????????????????????????????????????????????????????????????????????????????????????????????43
2.3.2 Dictation: Discourses of Hearing in the Nineteenth Century????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????45
2.4 Poetic Transfers??????????????????????????????????????????????????????50
2.5 Detached Voices????????????????????????????????????????????????????52
3 (Re)Mixing Histories: Lillian Allen and the Routes of Dub Poetry????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????54
3.1 Performing Memory????????????????????????????????????????????????????????54
3.2 Transnational Politics??????????????????????????????????????????????????????????????????58
3.3 The Changing Same: Remix Poetics in the Diaspora??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????64
3.4 Canadian Routes and Roots in the Caribbean??????????????????????????????????????????????????????????????????????????????????????????????????????????75
3.5 Transgressive Sounds??????????????????????????????????????????????????????????????86
4 Subjects of Hearing, Subject to History: The Sound Works of Janet Cardiff and George Bures Miller90
4.1 Disciplining Hearing??????????????????????????????????????????????????????????????90
4.2 Hearing Divided among the Senses??????????????????????????????????????????????????????????????????????????????????????93
4.3 Sound and Spatiality: The Audio Walks of Cardiff and Miller??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????98
4.3.1 Imagining History without Us:98
4.3.1 Imagining History without Us:98
10098
4.3.2 Canada and the Audio Walks??????????????????????????????????????????????????????????????????????????????105
4.3.3 Canadian Subjects and the Spectacle of Modernity??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????108
4.3.4 From Oakville to Louisiana: Beyond Site-Specificity????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????113
4.4113
4.4113
117113
4.5 Practices of Looking in113
4.5 Practices of Looking in113
123113
4.6 Calling to Attention??????????????????????????????????????????????????????????????129
5 Stratified Sound: Rebecca Belmore and William Forsythe??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????134
5.1 Transnational Trajectories??????????????????????????????????????????????????????????????????????????134
5.2134
5.2134
136134
5.3 Articulating Indigenous Modernity????????????????????????????????????????????????????????????????????????????????????????142
5.4 Writing Histories, Reading Systems in William Forsythe??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????144
6 Conclusion: Confinement and Liberation??????????????????????????????????????????????????????????????????????????????????????????????152
Bibliography??????????????????????????????????????160
Index????????????????????????176
Backcover182