Sounding Bodies : : Acoustical Science and Musical Erotics in Victorian Literature.
Shows how nineteenth-century discoveries in acoustical science shaped Victorian literary representations of gender, sexuality, and intimacy.
Saved in:
Superior document: | SUNY Series, Studies in the Long Nineteenth Century Series |
---|---|
: | |
Place / Publishing House: | Albany : : State University of New York Press,, 2024. ©2024. |
Year of Publication: | 2024 |
Edition: | 1st ed. |
Language: | English |
Series: | SUNY Series, Studies in the Long Nineteenth Century Series
|
Physical Description: | 1 online resource (296 pages) |
Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
Table of Contents:
- Intro
- Contents
- List of Illustrations
- Acknowledgments
- Introduction: The Erotic Symphony
- Acoustical Readings
- Listening In: Sound, Sensation, and Science in Victorian Studies
- Reembodying Victorian Sound Studies
- The Feminist and Queer Uses of Acoustical Science
- Hearing New Things: New Directions for Music-Literature Studies
- Music Beyond Metaphor
- Queering the Concert Hall
- Good Vibrations: Expanding the Erotic in Victorian Studies
- Program Notes: Plan of the Book
- Part One: Sounds and Bodies
- Chapter One: Hearing, Touching, Feeling Sound: Acoustical Science in Nineteenth-Century Britain
- Physical Acoustics
- Physiological Acoustics
- "Not Mere Vibrations": Aesthetic Debates
- Acoustical Science in Victorian Culture
- Part Two: Genders
- Chapter Two: Bare Arms and Quivering Nerves: The "Lady Violinist" Novels of Mary Augusta Ward and M. E. Francis
- The "Lady Violinist" in Victorian Literature
- "Beyond Her Muscular Power": Female Violinists in Victorian England
- Brahms in the Blood: Robert Elsmere
- "Itching" to Be Heard: The Duenna of a Genius
- Physiological Acoustics and Feminist Politics
- Chapter Three: Cross-Dressing Violinists and Music/Gender Performance in The Heavenly Twins and The Violin-Player
- "The Difference That Dress Makes": Contingent Virtuosity in The Heavenly Twins
- "A Real Genius": Triumphant Musicality in The Violin-Player
- "Without Regard to Sex"
- Part Three: Sexualities
- Chapter Four: Dangerous Vibrations: Musical Rape in George Eliot and Thomas Hardy
- "In Spite of Her Resistance": The Mill on the Floss
- "Excruciating Spasms": Desperate Remedies and "The Fiddler of the Reels"
- Chapter Five: Orgasm in the Orchestra Box: Teleny's Musical Pornography
- "Natural Tastes": Teleny's Defense of Same-Sex Desire
- Aural Sex: Teleny's Queer Erotics.
- Part Four: Intimacies
- Chapter Six: Fiddle Feelings: Human-Instrument Intimacies in Dickens, Eliot, Trollope, and Hardy
- "Corporeal Co-Dependence": Human-Instrument Relations in Victorian Acoustical Science
- Sympathetic Kinship: George Eliot's The Mill on the Floss
- Cello Friendship: Anthony Trollope's The Warden
- Passioned Pulsings: Thomas Hardy's "Haunting Fingers"
- Self-Playing Instruments
- Chapter Seven: Musical Hauntings and Otherworldly Erotics in The Lost Stradivarius and "A Wicked Voice"
- "Acoustical Affinities": The Lost Stradivarius
- The Murmur of the Castrato: "A Wicked Voice"
- Is the Concert Hall Haunted?
- Coda: Re-vitalizing Contemporary Classical Music
- Notes
- Bibliography
- Index.