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Aurality and the Image: Irish Perspe...

Goff, Ivan Patrick.

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Aurality and the Image: Irish Perspectives on Listening and Non-listening in the Twentieth Century.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Aurality and the Image: Irish Perspectives on Listening and Non-listening in the Twentieth Century./
作者:	Goff, Ivan Patrick.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
面頁冊數:	330 p.
附註:	Source: Dissertation Abstracts International, Volume: 78-01(E), Section: A.
Contained By:	Dissertation Abstracts International78-01A(E).
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10139669
ISBN:	9781339951546

Aurality and the Image: Irish Perspectives on Listening and Non-listening in the Twentieth Century.
Goff, Ivan Patrick.

Aurality and the Image: Irish Perspectives on Listening and Non-listening in the Twentieth Century. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 330 p.

Source: Dissertation Abstracts International, Volume: 78-01(E), Section: A.

Thesis (Ph.D.)--New York University, 2016.

This thesis is animated by the potential of aural analysis of various media and art in Irish culture in the twentieth century. In parsing the phenomenal and discursive fields of sound that constitute aurality in the Irish context, I offer additional perspectives to purely musical and textual readings of the role of music and sound as symbol and metaphor. Indeed, aurality is formulated in textual, visual, and audiovisual registers that oscillate between the seemingly oppositional pairing of listening and non-listening practices: our aesthetic perception of the aural could be that of any event along a continuum that ranges from hearing to listening, to looking while listening, to the purely visual apprehension of a sonorous object. The Irish imagination, a cultural space that equally embraces artistic impulse and national and global formations of identity, is influenced by various modalities of the visible and audible. Aural images -- whether textual, visual, phenomenal, or in various combinations -- contribute to a circulating culture in the twentieth century that reinforces and reifies this imagination. The interrelationship and interpenetration of textual, visual, audiovisual, and aural modalities therefore forms a theoretical underpinning of this thesis.

ISBN: 9781339951546Subjects--Topical Terms:

516178
Music.

Aurality and the Image: Irish Perspectives on Listening and Non-listening in the Twentieth Century.
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500 $a Source: Dissertation Abstracts International, Volume: 78-01(E), Section: A.
500 $a Advisers: J. Martin Daughtry; Suzanne Cusick.
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520 $a This thesis is animated by the potential of aural analysis of various media and art in Irish culture in the twentieth century. In parsing the phenomenal and discursive fields of sound that constitute aurality in the Irish context, I offer additional perspectives to purely musical and textual readings of the role of music and sound as symbol and metaphor. Indeed, aurality is formulated in textual, visual, and audiovisual registers that oscillate between the seemingly oppositional pairing of listening and non-listening practices: our aesthetic perception of the aural could be that of any event along a continuum that ranges from hearing to listening, to looking while listening, to the purely visual apprehension of a sonorous object. The Irish imagination, a cultural space that equally embraces artistic impulse and national and global formations of identity, is influenced by various modalities of the visible and audible. Aural images -- whether textual, visual, phenomenal, or in various combinations -- contribute to a circulating culture in the twentieth century that reinforces and reifies this imagination. The interrelationship and interpenetration of textual, visual, audiovisual, and aural modalities therefore forms a theoretical underpinning of this thesis.
520 $a Furthermore, I address the interaction between aesthetic figurations of the aural in Irish cultural history and emergent Western listening practices as predicated on technologies of sound reproduction in the twentieth century. Such technologies enter significantly into constructions of aurality, thus shaping the rhetoric around which sound and listening become aestheticized for artist and audience alike. Interactions between the visual, audiovisual, textual, and aural are investigated across several sites of Irish art and popular culture: ethnographic representation of musicians in photography and silent film; aural representation of ethnic sounds in sound films; literary representation of Irish traditional music; radiophonic art experiments and live theatrical representations of listening; and the presentation of Irish traditional vocal style in a conceptual sound recording. In assessing the metaphorical and rhetorical structures that underpin these case studies, I show how aural discourse has been formulated in the twentieth-century around ethnographic, literary, cinematic, musical, and technological ideologies and aesthetics. Understanding the relationship between aurality and the image therefore provides a basis for deciphering sound in the Irish context, whether that sound is represented in text, in film, in radio, in audio, or in multimedia formats. Ultimately, the dissertation addresses constructions of the self around the aural in modernity and in relation to sound technology thus reframing listening as an important subject of study in the history of Irish art and music. Examining the interdependence of aurality and the image thus generates alternative analytical perspectives to the well-worn tropes of identity, nationalism, and globalization in the study of Irish culture and Irish traditional music in particular.
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