pay little attention to what is so acutely central to the voice, “Kraahraark!”: its sound. As any user of a telephone knows, the sound of a voice can be highly individual: it makes the speaker seem present not only because their words travel from one
Methods for Historians Attending to the Voices of the Past
On the Temporalities of the Media Event
journalists’ questions. As the reporting of the event proceeded, the footage of his confession was broken into sound bites and eventually replayed with the sound off, overlaid with journalists’ voice-overs providing updates on the situation. In Greek
Sound, Citizenship, and Disruptive Representations of Migration
( 2016: 23) . Athens. Late 1930s. I begin here, as this article takes up some of the themes that resonate from Miller's writing: sound and listening, migration and memory, technology and territory. This article attempts two things. First, it argues
Sonic Experiences of Police Operations and Occupations in Rio de Janeiro's Favelas
A Morning in a Favela I wake to the sound of dogs barking. As I shake off my sleep, I realize the sound that woke me and made the dogs bark had been of shots being fired. I hear the faint thuds of the neighbors walking around in their
Popular Music in Postwar Germany at the Crossroads of the National and Transnational
Kirkland A. Fulk
Germany both beyond and in concert with (pun intended) the prevalence of the textual and visual. Edited volumes such as Celia Applegate and Pamela Potter’s Music and German National Identity (2002), Nora M. Alter and Lutz Koepnick’s Sound Matters (2004
This article discusses the ways sound design in film guides the emotional affect of both sound and pictures on the viewer. Following the theory of conceptual metaphors, the article proposes an approach to "audiovisual metaphors," analyzing emotional and embodied aspects of film sound. It states that pictures and sound have to share emotional and physical characteristics that can be merged by sound designers conceptually and metaphorically in order to improve the emotional and physical affects of a fictional character or object in a film. Thus it argues that the synchresis (audiovisual fusing) of pictures and sound is most effective when embodied image schemata are used by sound design that guide, on an unconscious level, our perception of film. In audiovisual metaphors, image schemata as "force" or "balance" are projected on sound and pictures that create an audiovisual and emotional gestalt of the objects. Using examples from Stanley Kubrick's The Shining and Francis Ford Coppola's Rumble Fish, the article shows how the emotional attributes of fictional character, spaces, and objects can be conceptualized metaphorically, via their very materiality, by sound design—attributes that are perceived prominently on a presymbolic and preconscious level by the viewers but that communicate complex cultural and narrative meanings.
Gerrit K. Roessler
This article examines Ulrich Horstmann's science fiction radio play Die Bunkermann-Kassette (The Bunker Man Cassette, 1979), in which the author frames fears and anxieties surrounding a potential nuclear conflict during the Cold War as apocalyptic self-annihilation of the human race. Radio, especially radio drama, had a unique role in capturing the historical imaginaries and traumatic experiences surrounding this non-event. Horstmann's radio drama and the titular cassette tape become sound artifacts that speak to the technological contexts of their time, while their acoustic content carries the past sounds into the present. In the world of the play, these artifacts are presented in a museum of the future, which uses the possibilities of science fictional imagination and speculation to create prosthetic memories of the Cold War. The article suggests that these memories are cyborg memories, because the listener is a fully integrated component of radio technology that makes these memories and recollections of imagined events possible in the first place.
Music, Victorian Masculinity and Dante Gabriel Rossetti
The masculinity of the Victorian painter-poet Dante Gabriel Rossetti (1828-1882) has always been a subject of intense interest for scholars of nineteenth-century British literature and art history. The question ‘how manly was Rossetti?’ resurfaces every so often, and answers have always been varied. Jay D. Sloan’s ‘Attempting “Spheral Change”: D.G. Rossetti, Victorian Masculinity and the Failure of Passion’ (2004) positions Rossetti as a nonconformist, a man who rejected gender norms and sought to express his manhood through a rhetoric of passion. Sloan’s argument provides a neat contrast to one provided by Herbert Sussman in Victorian Masculinities: Manhood and Masculine Poetics in Early Victorian Literature and Art (1995), in which Sussman argues that Rossetti crafted a ‘Bohemian’ model of manhood that, despite its veneer of otherness, allowed room for ‘masculine’ expressions of a normative nature.
Unscheduled Stops in Tokyo’s Spaces of Flow
Robert J. Simpkins
This article explores how urban space produced by the Japanese railway system is appropriated by people for common use in Tokyo. Drawing from ethnographic research among musicians at a central train station, I explore how individuals enmeshed within the schedules of the commuter network negotiate mobilities that fall outside the purview of railway urbanism. Station tsuro are passageways monitored by rail staff and local authorities, protected by traffic and railway commerce laws, and influenced by competing pressures from the overburdened network and local neighborhoods. Musicians sensitive to these shifting relationships identify leeway within, performing in ways that open tsuro up, producing temporary, finely balanced spaces of encounter and connection. Through these processes, the commuter system creates railspecific forms of human relationships.
Interview with Mr Li Zhengxiong, 19 August 2003 at Sanyi North Village, Heqing County, Yunnan
Sanyi consists of two villages, a northern and a southern one. In the Republican period (1912–1949) there was a “cauldron boss”1 in charge of the “northern caravan” by the name of Tenth Sister, who hailed from Sanyi North. Th e author came to the village to meet Mr Li Zhengxiong (Bai nationality, 78 years old), a grandnephew of Tenth Sister. Th e following is Mr Li’s account: