The Acoustic Self in English Modernism and Beyond : Writing Musically.

AcknowledgmentsList of IllustrationsIntroduction: We Hear Only OurselvesChapter One: Let⁰́₉s Get LostThe Musical TextMusical IntertextualityMusic and the SubjectThe Sonic SelfThe Acoustic SelfWriting the Acoustic Self in English ModernismChapter Two: Of Fugue and Other DemonsThe Listening SubjectThe Way of All FleshPoint Counter PointThe WavesIn Light of "Sirens" Chapter Three: Does Beethoven Kill? ⁰́₃ Absolute Music and the SelfAesthetic Reconsiderations of the ArtsWagner⁰́₉s "Beethoven"A Room with a ViewMythForster⁰́₉s Pictorial Turn?Music as TruthHowards EndChapter Four: Wagner, Je T⁰́₉aime ⁰́Œ Moi Non PlusWagner: Let⁰́₉s talk about sexNot Defining GenderGender and MusicWagner⁰́₉s Gesamtkunstwerk: From Feuerbach to Parsifal The Longest JourneyParsifalBrothersChapter Five: The Dispersion of the Acoustic SelfThe Bear Comes HomeSample, Loop, and the MixTrip CityEpilogue

Drawing on the analogy between musical meaning-making and human subjectivity,℗ this book℗ develops the concept of the℗ acoustic self, exploring℗ the ways in which musical characterization and structure are related to issues of subject-representation in the modernist English novel.℗ The volume is framed around three musical topics⁰́₄the fugue, absolute music, and℗ Gesamtkunstwerk⁰́₄arguing that these three modes of musicalization address modernist dilemmas around selfhood and identity. Varga reflects on the manifestations of the℗ acoustic self℗ in examples from the works of E.M. Forster, Aldous Huxley, and Virginia Woolf and such musicians as Bach, Beethoven, Handel, and Wagner. An additional chapter on jazz and electronic music supplements these inquiries, pursuing the℗ acoustic self℗ beyond modernism and thereby inciting further discussion and theorization of musical intermediality, as well as recent sonic practices.℗ Probing the analogies in the complex interrelationship between music, representation, and language in fictional texts and the nature of human subjectivity, this book will appeal to scholars interested in the interface of language and music, in such areas as intermediality, multimodality, literary studies, critical theory, and modernist studies.℗

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