By Tyler Whitney
Areas of the Ear examines the concomitant emergence of recent varieties of acoustical embodiment around the different fields of literature and technological know-how within the historic interval starting with the Franco-Prussian battle and finishing with the creation of early details idea within the overdue Nineteen Twenties. towards renowned bills of alterations in listening practices round 1900, which generally take the disembodied voices of recent media equivalent to the phonograph and radio as real markers of acoustical modernity, the dissertation emphasizes the proliferation of recent modes of embodied listening made attainable through the explosion of city and commercial noise, modern media applied sciences, the specter of auditory surveillance, and the imposition of self-observational and self-disciplinary practices as constitutive of inventive, clinical, and daily life. In doing so, I exhibit how designated parts of contemporary soundscapes and corresponding strategies of listening knowledgeable either the foremost thematic and formal components of literary modernism. specifically, I argue that modernism's often-cited narrative self-reflexivity drew on conceptions of a uniquely embodied listener and the newfound audibility of the physique, and overlapped with contemporaneous clinical wisdom surrounding the body structure of the ear and the position of the physique within the belief of sound.
Chapter 1 makes a speciality of the function of non-literary discourse on city noise and the cacophony of the trendy battlefield in formal advancements relevant to past due nineteenth-century literary aesthetics, taking the mostly forgotten Austrian impressionist Peter Altenberg as my basic case research. In bankruptcy 2 I research the ways that Franz Kafka appropriated components of the fashionable soundscape and, particularly, ontological problems universal to the manufacturing facility employee, in conceptualizing the mechanisms of the fashionable felony process and its epistemological and perceptual results on its matters. bankruptcy three back specializes in works through Kafka, this time juxtaposing medical practices of self-observation inside of acoustical learn with Kafka's literal and metaphorical figurations of self-auscultation and its functionality as a story method in "The Burrow" (1923/24).
Chapters four and five comic strip out a competing notion of listening to inside Gestalt psychology, early stereophonic sound experiments, and literary texts by means of Robert Musil, which painting the trendy listener as strangely energetic and assured in decoding and navigating an more and more advanced auditory surroundings. within the approach, the location of acoustical embodiment is displaced from the part of the topic to that of the item, engendering notions of "auditory issues ( Hördinge )" with actual, corporeal homes, which might be traced via house as three-d entities. within the ultimate bankruptcy, I situate the effacement of the listener's physique and simultaneous foregrounding of 'auditory things' in Musil's novella, "The Blackbird (1928), opposed to the backdrop of early details conception and non-corporeal notions of Rauschen (noise, rustling, static).
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Extra info for Spaces of the Ear: Literature, Media, and the Science of Sound 1870-1930
115-90. T. Marinetti, “Zerstörung der Syntax. Drahtlose Phantasie. Befreite Worte” (1913) in Futurismus. Geschichte, Ästhetik, Dokumente, ed. Hansgeorg Schmidt-Bergmann (Reinbek bei Hamburg: Rowohlt 1993); Luigi Russolo, the chapter entitled “The Noises of Language” from The Art of Noises (1916), trans. Barclay Brown (New York: Pendragon Press, 1986), pp. 55-60. ”17 In a formulation burdened with deterministic assumptions, Brain reiterates the programmatic statements and myths propagated by the Futurists as undisputed fact.
46 See Bunzel, Das deutschsprachige Prosagedicht, pp. 125, 126. 42 language and dialect. 47 But, as we have already seen, unlike the Naturalists and more in line with later Futurists like Marinetti, Liliencron linked formal experimentation to the jarring experience of the battlefield. ” Following the fourth and final piece, which describes a symphony of infantry signals and the “hellish noise (Höllenlärm)” of battle, the reader finds an unusual addition to the words on the printed page. 1). 48 The musical appendage to the concluding lines of the text, in other words, is intended as a way to force a confrontation between the stale, unimaginative poetry of the time and a poetics grounded in the sensory experiences of modern war.
1 (2007): 27-42; Kleine Prosa: Theorie und Geschichte eines Textfeldes im Literatursystem der Moderne, ed. Thomas Althaus, Wolfgang Bunzel and Dirk Göttsche (Tübingen: Niemeyer, 2007); Kafka und die kleine Prosa der Moderne, ed. Manfred Engel and Ritchie Robertson (Würzburg: Königshausen & Neumann, 2010). ” Picking up a small drum from a stand onstage, the man begins his act. ”: Rataplán ra ra ra ra - - - from the distance countless troops come running, millions, ever more, ever more, more, more.