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“With ears alive to every sound”: Thomas Hardy’s Desperate Remedies and the (Im)materiality of Listening

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“With ears alive to every sound”: Thomas Hardy’s Desperate Remedies and the (Im)materiality of Listening. / Spence, Rebecca.
Anticipatory Materialisms in Literature and Philosophy, 1790-1930. ed. / Jo Carruthers; Nour Dakkak; Rebecca Spence. Cham: Palgrave Macmillan, 2019. p. 153-168.

Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSNChapter

Harvard

Spence, R 2019, “With ears alive to every sound”: Thomas Hardy’s Desperate Remedies and the (Im)materiality of Listening. in J Carruthers, N Dakkak & R Spence (eds), Anticipatory Materialisms in Literature and Philosophy, 1790-1930. Palgrave Macmillan, Cham, pp. 153-168. https://doi.org/10.1007/978-3-030-29817-3_9

APA

Spence, R. (2019). “With ears alive to every sound”: Thomas Hardy’s Desperate Remedies and the (Im)materiality of Listening. In J. Carruthers, N. Dakkak, & R. Spence (Eds.), Anticipatory Materialisms in Literature and Philosophy, 1790-1930 (pp. 153-168). Palgrave Macmillan. https://doi.org/10.1007/978-3-030-29817-3_9

Vancouver

Spence R. “With ears alive to every sound”: Thomas Hardy’s Desperate Remedies and the (Im)materiality of Listening. In Carruthers J, Dakkak N, Spence R, editors, Anticipatory Materialisms in Literature and Philosophy, 1790-1930. Cham: Palgrave Macmillan. 2019. p. 153-168 doi: 10.1007/978-3-030-29817-3_9

Author

Spence, Rebecca. / “With ears alive to every sound” : Thomas Hardy’s Desperate Remedies and the (Im)materiality of Listening. Anticipatory Materialisms in Literature and Philosophy, 1790-1930. editor / Jo Carruthers ; Nour Dakkak ; Rebecca Spence. Cham : Palgrave Macmillan, 2019. pp. 153-168

Bibtex

@inbook{0806ff28e662421c805ce239f569d12d,
title = "“With ears alive to every sound”: Thomas Hardy{\textquoteright}s Desperate Remedies and the (Im)materiality of Listening",
abstract = "This chapter considers listening as an organising principle in Desperate Remedies (1871), Thomas Hardy{\textquoteright}s first published novel. It considers how Hardy{\textquoteright}s attention to sound oscillates conceptually and aesthetically between opposing schools of thought that governed nineteenth-century thinking about aurality. I situate Hardy{\textquoteright}s articulation of listening within the wider cultural debates that were taking place during the mid-nineteenth century, wherein a scientific-materialist conception of aural perception—spearheaded by Hermann von Helmholtz and championed by John Tyndall amongst others—was formed alongside a dominant culture of Romantic idealism. In turn, the chapter argues that pivotal sound “events” that take place throughout the novel pre-empt recent new materialist thinking about the affective qualities of sound and listening.",
author = "Rebecca Spence",
year = "2019",
month = dec,
day = "11",
doi = "10.1007/978-3-030-29817-3_9",
language = "English",
isbn = "9783030298166",
pages = "153--168",
editor = "Jo Carruthers and Nour Dakkak and Rebecca Spence",
booktitle = "Anticipatory Materialisms in Literature and Philosophy, 1790-1930",
publisher = "Palgrave Macmillan",

}

RIS

TY - CHAP

T1 - “With ears alive to every sound”

T2 - Thomas Hardy’s Desperate Remedies and the (Im)materiality of Listening

AU - Spence, Rebecca

PY - 2019/12/11

Y1 - 2019/12/11

N2 - This chapter considers listening as an organising principle in Desperate Remedies (1871), Thomas Hardy’s first published novel. It considers how Hardy’s attention to sound oscillates conceptually and aesthetically between opposing schools of thought that governed nineteenth-century thinking about aurality. I situate Hardy’s articulation of listening within the wider cultural debates that were taking place during the mid-nineteenth century, wherein a scientific-materialist conception of aural perception—spearheaded by Hermann von Helmholtz and championed by John Tyndall amongst others—was formed alongside a dominant culture of Romantic idealism. In turn, the chapter argues that pivotal sound “events” that take place throughout the novel pre-empt recent new materialist thinking about the affective qualities of sound and listening.

AB - This chapter considers listening as an organising principle in Desperate Remedies (1871), Thomas Hardy’s first published novel. It considers how Hardy’s attention to sound oscillates conceptually and aesthetically between opposing schools of thought that governed nineteenth-century thinking about aurality. I situate Hardy’s articulation of listening within the wider cultural debates that were taking place during the mid-nineteenth century, wherein a scientific-materialist conception of aural perception—spearheaded by Hermann von Helmholtz and championed by John Tyndall amongst others—was formed alongside a dominant culture of Romantic idealism. In turn, the chapter argues that pivotal sound “events” that take place throughout the novel pre-empt recent new materialist thinking about the affective qualities of sound and listening.

U2 - 10.1007/978-3-030-29817-3_9

DO - 10.1007/978-3-030-29817-3_9

M3 - Chapter

SN - 9783030298166

SP - 153

EP - 168

BT - Anticipatory Materialisms in Literature and Philosophy, 1790-1930

A2 - Carruthers, Jo

A2 - Dakkak, Nour

A2 - Spence, Rebecca

PB - Palgrave Macmillan

CY - Cham

ER -