Resonance and Resistance: The Politics of Aurality and Orality in Interwar Women's Writing

本研究将把罗萨蒙德·莱曼、伊丽莎白·鲍恩和让·里斯这三位独特的女性现代主义者的铿锵作品联系起来，分析她们“声音现代性”的文学、文化和政治含义（Halliday，2013）。它的论点有两个方面：第一，这种声音为文学文本中的性别和主体性思维提供了一种重要的模式，第二，这些作者不仅在他们的作品中体现了性别声音的历史和文化发展，而且在这样做的过程中，他们发展了一种新的铿锵意义的形成形式。这种意义是建立在共鸣的基础上的，共鸣是物体与声音一起振动时产生的关系，当在文学中使用时，会将人物，物体，地点和时间联系起来。通过观察两次世界大战之间的女性作家，这项研究将考虑战争如何改变对声音和噪音的理解，以及性别，以及技术进步，这将是理解现代主义文学声音的社会政治影响的关键。近年来，声音研究的工作激增，最值得注意的是整理在乔纳森斯特恩的声音研究读者（2012），建立了新的批评方法和跨学科的方法，但该领域仍然相对沉默的两个重要的调查线：女权主义和声音之间的联系，并考虑在文学中的声音。本研究将通过安妮卡森和玛丽·汤普森对女性声音的历史描述的工作来解决这个问题，探索其从“混乱和死亡”（卡森，1992年）到轻浮和“难以理解”（汤普森，2013年）的意识形态关联，为女性的文学干预这些意识形态辩护。它将突出那些尚未通过这个透镜接近的作家，他们经常因其平庸的形式，流行运动的边缘以及文化或文本的不一致而被抛弃。本研究将分为三章，探索文学声音在技术，社会和政治领域的共鸣。第一章将分析每个作者的文学作品中声音技术的重要性，以凯特·莱西的作品为基础，论证性别，中产阶级和广播之间的联系，因为“私人女性话语的感知特征-闲聊，八卦，和心对心-在收音机上公开表现出来”，（莱西，1996），反过来，在文学形式的这些作者。它将分析这种新媒体对他们的工作的学科影响，通过寻找鲍文的广播工作收集在听（2010年），以及莱曼的天气在街上（1936年）和里斯的早上好午夜（1939年），都戏剧化的广播。第二章将建立在山姆Halliday的“声音空间”（2013）的概念，认为这些作者之间的字符绘制响亮的线程提出了关于两次世界大战之间的妇女的发展关系的问题，家庭，自我和社会。以莱曼的《回声的格罗夫》（1953）为例，该书保存在她的档案馆中，位于剑桥的国王学院。在研究这本书的早期草稿时，我们将考虑她是如何通过声乐练习在人物之间画出“回声”的，以及在他们中间画出社会和心理的联系。不和谐，“与共鸣不可分割”（迪莫克，1997），将是最后一章的重点，这将论证一个声音的反社会性的颠覆潜力。例如，通过研究里斯在《黑暗中的航行》（1934年）中发出的后殖民声音，并参考桑德拉·普切特·帕奎特（Sandra Pouchet Paquet）关于加勒比音乐和抵抗的作品（2007年），它将分析是什么使声音音乐，文化上被接受，或“噪音”，文化上被疏远，因为它对社会秩序构成了“威胁”（斯特恩，2012年）。

This study will draw a connection between the sonorous work of three unique female modernists: Rosamond Lehmann, Elizabeth Bowen and Jean Rhys, to analyse the literary, cultural and political implications of their 'sonic modernity' (Halliday, 2013). Its argument is twofold: first, that sound offers a vital modality for thinking through gender and subjectivity in literary texts, and second, that not only do these authors manifest historical and cultural developments of gendered sound in their work, but that in so doing, they develop a new form of sonorous meaning-making. This meaning is built upon resonance, the relationship developed between objects as they vibrate with sound, which when employed in literature, draws connections between characters, objects, places and times. By looking to female writers of the interwar period, this study will consider how war brought about altered understandings of sound and noise, as well as gender, alongside technological advancements that will be key to understanding the socio-political implications of a modernist literary sound.In recent years, there has been an explosion of work in sound studies, most notably collated in Jonathan Sterne's Sound Studies Reader (2012), that has established new critical approaches and interdisciplinary methods, but the field remains relatively silent on two vital lines of enquiry: the connection between feminism and sound, and the consideration of sound in literature. This study will address this by building on work by Anne Carson and Marie Thompson on the historical depiction of female sound, exploring its ideological associations from 'disorder and death' (Carson, 1992), to the frivolous and 'unintelligible' (Thompson, 2013), arguing for women's literary intervention in these ideologies. It will foreground authors yet to be approached through this lens, who are often forsaken for their middlebrow form, periphery to popular movements and cultural or textual nonconformity.This study will be divided into three chapters, exploring the resonance of literary sound in the technological, social and political realms. The first chapter will analyse the significance of sound technologies in each author's literary work, building on work by Kate Lacey to argue for the connection between gender, the middle brow and the radio, as 'the perceived characteristics of private female discourse - chitchat, gossip, and the heart-to-heart - were publicly manifested on the radio', (Lacey, 1996) and in turn, in literary form by these authors. It will analyse the disciplinary implications this new medium had for their work, by looking to Bowen's radio work collected in Listening In (2010), alongside Lehmann's The Weather in the Streets (1936) and Rhys' Good Morning Midnight (1939), both dramatized for radio. The second chapter will build on Sam Halliday's concept of 'sound space' (2013) to argue that the sonorous threads these authors draw between characters raise questions about interwar women's developing relationship to the family, the self and to society. In looking to an early draft of Lehmann's The Echoing Grove (1953) for instance, which is preserved in her archives at King's College, Cambridge, it will consider how she draws 'echoes' between characters, and in them social and psychological bonds, through vocal practice. Dissonance, 'inseparable from resonance' (Dimock, 1997), will be the focus of the final chapter which will argue for the subversive potential of a sonic anti-sociality. For instance, by studying Rhys' sounding of a postcolonial voice in Voyage in the Dark (1934) and referring to work by Sandra Pouchet Paquet on Carribean music and resistance (2007), it will analyse what makes sound music, culturally accepted, or 'noise', culturally alienated as it poses a 'threat to the social order' (Sterne, 2012).