Acoustics in Nineteenth-Century Literature and Science

Préface
A cross-disciplinary study into how new sound technologies transformed Victorian ideas of the relationship between body and environment.

Auteur
Melissa Dickson is Senior Lecturer in Literature at the University of Queensland, Australia. She is the author of Cultural Encounters with the Arabian Nights in Nineteenth-Century Britain (2019) and a co-author of Anxious Times: Medicine and Modernity in Nineteenth-Century Britain (2019).

Texte du rabat

"Focusing on moments of exchange between acoustic theories and evolving practices in fiction, medicine, psychiatry, psychology, philosophy, animal studies, and religion, this study ranges from Eliot's Middlemarch to Du Maurier's Trilby to demonstrate how the boundaries of the human were challenged by new sound technologies in the Victorian period"--

Résumé
What did it mean to hear, for the first time, what George Eliot described as 'that roar which lies on the other side of silence'? Rapid developments in nineteenth-century acoustic science and communications technologies opened up new worlds beyond the limits of normal audibility for the Victorian public. Weaving together explorations of scientific developments with imaginative cultural, spiritual, and literary responses, this book sets out to explore the burgeoning field of acoustics in the nineteenth century and the new language, structure, and conceptual models it offered to broker the boundaries of the individual self. Ranging from Eliot's Middlemarch to Du Maurier's Trilby, and from Laënnec's work on the stethoscope to experiments on animal audition, inquiries into the unconscious, and spiritualist investigations of the hidden world of vibrations, it demonstrates the profound challenge to the boundaries of the human that was issued by new sound technologies in the Victorian period.

Contenu
Introduction: whispers in the roar; Part I: 1. Accessing the sounds of the body; 2. Stethoscopic fantasies; 3. Middlemarch and the art of stethoscopic listening; Part II: 4. At the limits of audibility; 5. Animal music; Part III: 6. Sounds of the séance; 7. Played upon or player? Musical mediums and creative inspiration; 8. Dickens among the spiritualists; Part IV: 9. Mesmeric soundscapes; 10. 'The Individual Operated Upon': powers of mind and music in George Du Maurier's Trilby.