Description
Book SynopsisSound Effects combines literary criticism and psychoanalytic theory in eleven original articles which explore the potential of the object voice as an analytic tool to approach fiction. Alongside the gaze, the voice is Jacques Lacan’s original addition to the set of partial objects of classical psychoanalysis, and has only recently been theorised by Mladen Dolar in A Voice and Nothing More (2006). With notable exceptions like Garrett Stewart’s Reading Voices (1990), the sonorous element in fiction has received little scholarly attention in comparison with poetry and drama. Sound Effects is a contribution to the burgeoning field of sound studies, and sets out to fill this gap through selective readings of English and American fiction of the last two hundred years. Contributors: Fred Botting, Natalja Chestopalova, Mladen Dolar, Matt Foley, Alex Hope, Phillip Mahoney, Sylvia Mieszkowski, Jorge Sacido-Romero, Marcin Stawiarski, Garrett Stewart, Peter Weise, and Bruce Wyse.
Trade Review“The editors succeeded in selecting and organizing a number of high quality contributions by some of the most prominent names in the field in a book which definitely fulfils its aims. Sound Effects can at times make a demanding reading but it is also a much needed one for academics interested on the ways literary criticism intersects with psychoanalytic theory and sound studies. By triangulating these fields, the volume does not only contribute to fill a critical vacuum, but it also paves the way to further research on the vocal effects of texts and the intriguing notion of the “object voice” in fiction.”- María Casado Villanueva, University College of Southeast Norway, in Nexus, Vol. 2 2017 pp. 54-59
Table of ContentsAcknowledgements Preface: Is There a Voice in the Text? Mladen Dolar Revoicing Writing: An Introduction to Theorizing Vocality Jorge Sacido-Romero and Sylvia Mieszkowski ‘Secondary Vocality’ and the Sound Defect Garrett Stewart Section I: The Nineteenth Century The Object Voice in Romantic Irish Novels Peter Weise Poe, Voice and the Origin of Horror Fiction Fred Botting Double Voice and Extimate Singing in Trilby Bruce Wyse Section II: The Twentieth Century Bloom’s Neume: The Object Voice in the “Sirens” Episode in Joyce’s Ulysses Phillip Mahoney Fantasizing Agency and Otherness through Voice and Voicelessness in Ellison’s Invisible Man Natalja Chestopalova The Voice in Twentieth-Century English Short Fiction: E.M. Forster, V.S. Pritchett and Muriel Spark Jorge Sacido-Romero Section III: The Twenty-First Century Voices of Terror and Horror: Towards an Acoustics of Modern Gothic Matt Foley “That which cannot be said”: Voice, Desire and the Uncanny in Armistead Maupin’s The Night Listener Sylvia Mieszkowski “It’s only combinations of letters, after all, isn’t it”: The “Voice” and Spirit Mediums in Thomas Pynchon’s Against the Day (2006) Alexander Hope ‘Voice-Trace’ in James Chapman’s How Is This Going to Continue? (2007) Marcin Stawiarski Notes on Contributors
