Listening to the Alice Books
Listening to the Alice Books
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听爱丽丝书
DOI：
10.1093/jvcult/vcaa022
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发表时间：
2021
影响因子：
0.3
通讯作者：
Vaclavik K
中科院分区：
文献类型：
--
作者：
Vaclavik K
尽管“声学转向”提供了“对现代和后现代文化的许多学术研究的视觉偏见的纠正”，但到目前为止，评论家几乎只看到而不是听到爱丽丝的书及其作者。2015年，我与作曲家保罗·里斯曼（Paul Rissmann）合作，由伦敦交响乐团演奏了一部音乐会组曲，在这篇文章中，我首次详细探索了这些文本的声音维度。这一点值得关注，不仅因为它在《仙境》的框架叙事中具有非常突出的前景，而且还因为作者的兴趣和关注，以及这些书迅速建立并仍然持久的音乐来世。虽然《仙境》是由田园诗和自然世界的声音引发的，但一个翻译或转换的过程在叙事中呈现了一个非常不同的声音景观。田园诗的框架往往是喧闹的现代核心，卡罗尔嵌入不仅朗朗上口的止痛药旋律，但也是日常和当代工业，交通和物质文化的声音。关注卡罗尔最著名作品的丰富多样的音景，为他们广泛研究的图像提供了新的视角，但也恢复了文本的一个关键维度，这对他们在维多利亚时代的接受至关重要。对作品中各种声音现象的详细探索，从音乐到噪音，跨越声音和沉默，开辟了卡罗尔和他的维多利亚时代同时代人之间的新关系，并进一步加强了他作为原始现代主义者的地位。
Despite the ‘acoustic turn’ providing ‘a corrective to the visualist bias of much scholarship on modern and postmodern culture’, theAlicebooks and their author have been almost exclusively seen rather than heard by critics to date. Prompted by a collaboration with composer Paul Rissmann which resulted in a concert suite performed by the London Symphony Orchestra in 2015, in this article I undertake the first detailed exploration of the sonic dimension of these texts. This merits attention not only because of its very emphatic foregrounding within the frame narrative ofWonderland, but also because of authorial interests and preoccupations, and the quickly established and still enduring musical afterlife of the books. Although triggered inWonderlandby the pastoral and by the sounds of the natural world, a process of translation or transformation renders a very different sonic landscape within the narrative proper. The bucolic frames an often raucous modern core, with Carroll embedding not only catchy anodyne melodies but also the sounds of the everyday and of contemporary industry, transport, and material culture. Attending to the rich and varied soundscape of Carroll’s best-known works sheds new light on their widely examined images but also restores a key dimension of the texts, essential to their Victorian reception. The detailed exploration of the full range of sonic phenomena within the works, from music to noise, and spanning both sound and silence, opens up new relationships between Carroll and his Victorian contemporaries, as well as further reinforcing his status as a proto-modernist.