The Fact of Resonance: Modernist Acoustics and Narrative Form by Julie Beth Napolin
Requirements: .PDF reader, 6 MB
Overview: Shortlisted, 2021 Memory Studies Association First Book Award
The Fact of Resonance returns to the colonial and technological contexts in which theories of the novel developed, seeking in sound an alternative premise for theorizing modernist narrative form. Arguing that narrative theory has been founded on an exclusion of sound, the book poses a missing counterpart to modernism’s question “who speaks?” in the hidden acoustical questions “who hears?” and “who listens?”
For Napolin, the experience of reading is undergirded by the sonic. The book captures and enhances literature’s ambient sounds, sounds that are clues to heterogeneous experiences secreted within the acoustical unconscious of texts. The book invents an oblique ear, a subtle and lyrical prose style attuned to picking up sounds no longer hearable. “Resonance” opens upon a new genealogy of modernism, tracking from Joseph Conrad to his interlocutors―Sigmund Freud, Frantz Fanon, W. E. B. Du Bois, William Faulkner, and Chantal Akerman―the racialized, gendered, and colonial implications of acoustical figures that “drift” through and are transformed by narrative worlds in writing, film, and music.
Genre: Non-Fiction > Educational
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https://dropgalaxy.vip/7ns6qhl542ed
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Requirements: .PDF reader, 6 MB
Overview: Shortlisted, 2021 Memory Studies Association First Book Award
The Fact of Resonance returns to the colonial and technological contexts in which theories of the novel developed, seeking in sound an alternative premise for theorizing modernist narrative form. Arguing that narrative theory has been founded on an exclusion of sound, the book poses a missing counterpart to modernism’s question “who speaks?” in the hidden acoustical questions “who hears?” and “who listens?”
For Napolin, the experience of reading is undergirded by the sonic. The book captures and enhances literature’s ambient sounds, sounds that are clues to heterogeneous experiences secreted within the acoustical unconscious of texts. The book invents an oblique ear, a subtle and lyrical prose style attuned to picking up sounds no longer hearable. “Resonance” opens upon a new genealogy of modernism, tracking from Joseph Conrad to his interlocutors―Sigmund Freud, Frantz Fanon, W. E. B. Du Bois, William Faulkner, and Chantal Akerman―the racialized, gendered, and colonial implications of acoustical figures that “drift” through and are transformed by narrative worlds in writing, film, and music.
Genre: Non-Fiction > Educational
Download Instructions:
https://userupload.net/xt9r1lfod04e
https://dropgalaxy.vip/7ns6qhl542ed
Trouble downloading? Read This.