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Virginia Woolf
Music, Sound, Language
Elicia Clements (Author)
9781487504267
Hardback, published 26 April 2019
304 pages
23.5 x 15.9 x 2.5 cm, 0.56 kg
"Clements’s book explores Woolf’s sustained attention to the production and reception of sound, gathering together arguments about sonic events, art music, and language in Woolf’s work. Through her bold scope, astute close readings, and careful theoretical expositions, she provides a sophisticated account of the vital importance of sound production and reception to Woolf’s ethics and experimentation." "Elicia Clements in Virginia Woolf, Music, Sound and Language (2019) takes a deep dive into these relationships and argues that the concepts of sound and music enabled Woolf to develop a new understanding of her own writing and literature. This is new and exciting."
Arguing that sound is integral to Virginia Woolf's understanding of literature, Elicia Clements highlights how the sonorous enables Woolf to examine issues of meaning in language and art, elaborate a politics of listening, illuminate rhythmic and performative elements in her fiction, and explore how music itself provides a potential structural model that facilitates the innovation of her method in The Waves. Woolf's investigation of the exchange between literature and music is thoroughly intermedial: her novels disclose the crevices, convergences, and conflicts that arise when one traverses the intersectionality of these two art forms, revealing, in the process, Woolf's robust materialist feminism. This book focuses, therefore, on the conceptual, aesthetic, and political implications of the musico-literary pairing. Correspondingly, Clements uses a methodology that employs theoretical tools from the disciplines of both literary criticism and musicology, as well as several burgeoning and newly established fields including sound, listening, and performance studies. Ultimately, Clements argues that a wide-ranging combination of these two disciplines produces new ways to study not only literary and musical artifacts but also the methods we employ to analyze them.
Acknowledgments Introduction I. Woolf's Musical Ear Part 1 An Emerging Earcon: Woolf's Singers 1. Finding a Voice I. Resonant Beginnings: The Voyage Out 2. The Earcon Reproduces I. "And what is a cry?": The Waves Part 2 Profound Listening and Acousmatics 3. Initial Apperceptions I. Materialized Sonics and Listening Subjects in The Voyage Out 4. Bodies and Voices I. To the Lighthouse and Family Acousmatics Part 3 Music as Performance in Woolf's Fiction 5. Performing Women I. Women at the Piano in the First Three Novels 6. The Performativity of Language: The Waves Musicalized I. Word Music: "(The rhythm is the main thing in writing)" Coda: A Meditation on Rhythm Notes
Abbreviations
II. Interdisciplinary Methods
III. "Hoity te, hoity te, hoity te …": Tripartite Woolf
II. Sonic Networks in Jacob's Room
III. Urban and Rural Interrelations in Mrs. Dalloway and To the Lighthouse
II. Integrating the Earcon in The Years
III. Aural Multiplicity in Between the Acts
II. Involuntary, Yet Profound, Listening in Night and Day
III. International Acousmatics: War and Its Veterans in Jacob's Room and Mrs. Dalloway
II. The Gender of Listening in The Waves
III. "Hush!... Somebody's listening": The Years
IV. Heterogeneous Reattachments in Between the Acts
II. Performing Personal History in The Years
III. Historical Reenactments: Between the Acts
II. The Case of Ludwig van Beethoven
III. Transforming Beethoven's Opus 130 and 133 into Words
Works Cited
Index