Reading Time in Music
Temporally Vexed
Abstract
In this book, Sarah Cash examines the intersection of music and temporality in British literature of the long nineteenth century. The sound spaces created at these intersections function as antimimetic resistance to hegemonic structures. Through its temporal multiplicity, music resonates in excess of linear time, revealing a metaphoric soundedness in the text that subverts reader expectation and reveals how seemingly realist nineteenth-century novels transgress the limitations of their classic narratological structures. In even the most apparently "realist" texts, the most extravagant, excessive, and hyperbolic elements exceed the bounds of what we often consider real, disrupting mimetic bias. Cash argues that music offers the most dynamic way to expose this vexed temporality in the text. Through scholarly intervention a disruption of historic classifications show that Victorians are heirs of Romanticism’s musical ideals, including the power of music to penetrate and transform space and time and the permanence of sound as it reverberates beyond human perception. Scholars of nineteenth-century literature, temporality, and gender studies will find this book of particular interest.
Schlagworte
antimimetic sound spaces soundscapes temporality transgressive music women's music music nineteenth-century British literature- i–x Preface i–x
- 1–24 Introduction 1–24
- 69–96 Chapter 3: Broken Boundaries: Disruptive Sound Spaces in William Thackeray’s Vanity Fair 69–96
- 159–164 Conclusion 159–164
- 165–174 References 165–174
- 175–180 Index 175–180
- 181–182 About the Author 181–182