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Sonic ModernityRepresenting Sound in Literature, Culture and the Arts$
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Sam Halliday

Print publication date: 2013

Print ISBN-13: 9780748627615

Published to Edinburgh Scholarship Online: September 2013

DOI: 10.3366/edinburgh/9780748627615.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 02 August 2021

Theorising Sound and Hearing

Theorising Sound and Hearing

(p.20) Chapter 1 Theorising Sound and Hearing
Sonic Modernity

Sam Halliday

Edinburgh University Press

This chapter surveys philosophical and aesthetic accounts of sound and hearing from antiquity to the first half of the twentieth century, focusing on theories of particular relevance for literary and other artistic modernism. To do this, the chapter takes a very quick look at the ancient and early Christian periods, moves swiftly to the late-eighteenth-century, and then offers a more detailed account of nineteenth- and early-twentieth century thinkers, before concentrating more closely still on literary modernism itself. Nineteenth-century sources get heavy coverage, because, I argue, ideas originating in the nineteenth-century play a pivotal role in twentieth-century thinking. This is especially the case where music is concerned, music being the topic onto which questions about sound and hearing often devolved. Authors and other thinkers discussed include Proust, Wagner, Aristotle, Lessing, Bergson, Rilke, Conrad, T. S. Eliot, Adorno, Benjamin and Schopenhauer.

Keywords:   Literary modernism, Lessing, Conrad, Wagner, Music

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