| Abstrakt: |
Presented as a response to the call made by the editors of I Sounding Modernism i for, in sound studies, 'more explicit engagements with the symbolic registrations of sonic modernity on textual forms', I Sound and Literature i presents a broad view of the field of literary sound studies.[1] This book's contribution to the methodological developments of literary sound studies is proposed as "in contrast to musico-literary studies" - although this area is covered in Chapter 4 by Gemma Moss - primarily due to its wider, and more flexible, remit on its conceptualisation of "sound" and its refusal of a "singular methodology" (9). The whole second half of I Sound and Literature i is taken up with the chapters in "Applications", which are, for the most part, wide-ranging examples of current literary sound studies approaches and classifications of a "text". The first two chapters are particularly effective: in "Literary Soundscapes", Helen Groth centralises the importance of soundscapes as networks (building on Schafer), the "literary soundscape" being "a distinct form of connecting with other sound worlds and media" (147). [Extracted from the article] |
