A search for traces of the voice before the phonograph, reconstructing a series of ancient soundscapes from Aristotle to Augustine. Long before the invention of musical notation, and long before that of the phonograph, the written word was unrivaled as a medium of the human voice. In The Ancient Phonograph, Shane Butler searches for traces of voices before Edison, reconstructing a series of ancient soundscapes from Aristotle to Augustine. Here the real voices of tragic actors, ambitious orators, and singing emperors blend with the imagined voices of lovesick nymphs, tormented heroes, and angry gods. The resonant world we encounter in ancient sources is at first unfamiliar, populated by texts that speak and sing, often with no clear difference between the two. But Butler discovers a commonality that invites a deeper understanding of why voices mattered then and why they have mattered since. With later examples that range from Mozart to Jimi Hendrix, Butler offers an ambitious attempt to rethink the voice—as an anatomical presence, a conceptual category, and a source of pleasure and wonder. He carefully and critically assesses the strengths and limits of recent theoretical approaches to the voice by Adriana Cavarero and Mladen Dolar and makes a rich and provocative range of ancient material available for the first time. The Ancient Phonograph will appeal not only to classicists and to voice theorists but to anyone with an interest in the verbal arts—literature, oratory, song—and the nature of aesthetic experience.

A search for traces of the voice before the phonograph, reconstructing a series of ancient soundscapes from Aristotle to Augustine. Long before the invention of musical notation, and long before that of the phonograph, the written word was unrivaled as a medium of the human voice. In The Ancient Phonograph, Shane Butler searches for traces of voices before Edison, reconstructing a series of ancient soundscapes from Aristotle to Augustine. Here the real voices of tragic actors, ambitious orators, and singing emperors blend with the imagined voices of lovesick nymphs, tormented heroes, and angry gods. The resonant world we encounter in ancient sources is at first unfamiliar, populated by texts that speak and sing, often with no clear difference between the two. But Butler discovers a commonality that invites a deeper understanding of why voices mattered then and why they have mattered since. With later examples that range from Mozart to Jimi Hendrix, Butler offers an ambitious attempt to rethink the voice—as an anatomical presence, a conceptual category, and a source of pleasure and wonder. He carefully and critically assesses the strengths and limits of recent theoretical approaches to the voice by Adriana Cavarero and Mladen Dolar and makes a rich and provocative range of ancient material available for the first time. The Ancient Phonograph will appeal not only to classicists and to voice theorists but to anyone with an interest in the verbal arts—literature, oratory, song—and the nature of aesthetic experience.

An interdisciplinary exploration of how writers have conveyed sound through text. Edited by Christopher Cannon and Steven Justice, The Sound of Writing explores the devices and techniques that writers have used to represent sound and how they have changed over time. Contributors consider how writing has channeled sounds as varied as the human voice and the buzzing of bees using not only alphabets but also the resources of the visual and musical arts. Cannon and Justice have assembled a constellation of classicists, medievalists, modernists, literary historians, and musicologists to trace the sound of writing from the beginning of the Western record to poetry written in the last century. This rich series of essays considers the writings of Sappho, Simonides, Aldhem, Marcabru, Dante Alighieri, William Langland, Charles Butler, Tennyson, Gertrude Stein, and T. S. Eliot as well as poems and songs in Ancient Greek, Old and Middle English, Italian, Old French, Occitan, and modern English. The book will interest anyone curious about the way sound has been preserved in the past and the kinds of ingenuity that can recover the process of that preservation. Essays focus on questions of language and expression, and each contributor sets out a distinct method for understanding the relationship between sound and writing. Cannon and Justice open the volume with a survey of the various ways sound has been understood as the object of our senses. Each ensuing chapter presents a case study for a sonic phenomenology at a specific time in history. With approaches from a wide variety of disciplines, The Sound of Writing analyzes writing systems and the aural dimensions of literary cultures to reconstruct historical soundscapes in vivid ways.

What stories remain hidden behind one of the most significant inventions of the nineteenth century? Kaleidophonic Modernity reexamines the development of mechanical sound recording technology by charting the orbits of writers, scientists, and artists in France and the United States. Working between comparative literature, the history of science, and urban studies, Brehm builds a bridge between visual culture and sound studies. Kaleidophonic Modernity places the poet and inventor Charles Cros and his lover, the celebrated concert pianist and salonnière Nina de Villard at the heart of modern aesthetic and scientific vanguards. Cros's scientific endeavors ranged from color photography, to telecommunications, to mechanical sound reproducibility. In his poetry the Surrealists found an ancestor and inspiration. His literary and scientific works prove startling and relevant to predicaments of technological media in his own time and ours. For nearly twenty years Nina de Villard presided over a supremely daring intellectual salon. There, she welcomed manifold literary, artistic, and musical luminaries into a veritable crucible of the artistic avant-garde and precursor to the famous Chat Noir cabaret. Together, these two forgotten but pivotal figures, Cros and Villard, help reframe our thinking on Edgar Allan Poe, Charles Baudelaire, and Walt Whitman, icons of urban modernity who can now be seen and heard in a kaleidophonic light, one that offers a compelling new perspective on modern mediascapes. In elaborating this transatlantic phenomenon, Kaleidophonic Modernity illuminates the prehistory of the phonograph as it intersects with the aesthetics of sound reproducibility, Franco-American literary exchange, Poe’s aesthetic and intellectual legacy, the sounds of modern cities and technologies, and the genealogy of audiovisual experimentation found in such movements as Dada, Futurism, and the sound art of today.

Sound leaves no ruins and no residues, even though it is experienced constantly. It is ubiquitous but fleeting. Even silence has sound, even absence resonates. Sound and the Ancient Senses aims to hear the lost sounds of antiquity, from the sounds of the human body to those of the gods, from the bathhouse to the Forum, from the chirp of a cicada to the music of the spheres. Sound plays so great a role in shaping our environments as to make it a crucial sounding board for thinking about space and ecology, emotions and experience, mortality and the divine, orality and textuality, and the self and its connection to others. From antiquity to the present day, poets and philosophers have strained to hear the ways that sounds structure our world and identities. This volume looks at theories and practices of hearing and producing sounds in ritual contexts, medicine, mourning, music, poetry, drama, erotics, philosophy, rhetoric, linguistics, vocality, and on the page, and shows how ancient ideas of sound still shape how and what we hear today. As the first comprehensive introduction to the soundscapes of antiquity, this volume makes a significant contribution to the burgeoning fields of sound and voice studies and is the final volume of the series, The Senses in Antiquity.

“A perceptive, engaging, and clever set of meditations on . . . how sound produces human, technical, and nonhuman intimacies.” —Richard Grusin,University of Wisconsin, Milwaukee Sonic Intimacy asks us who—or what—deserves to have a voice, beyond the human. Arguing that our ears are far too narrowly attuned to our own species, the book explores four different types of voices: the cybernetic, the gendered, the creaturely, and the ecological. Through both a conceptual framework and a series of case studies, Dominic Pettman tracks some of the ways in which these voices intersect and interact. He demonstrates how intimacy is forged through the ear, perhaps even more than through any other sense, mode, or medium. The voice, then, is what creates intimacy, both fleeting and lasting, not only between people, but also between animals, machines, and even natural elements: those presumed not to have a voice in the first place. Taken together, the manifold, material, actual voices of the world, whether primarily natural or technological, are a complex cacophony that is desperately trying to tell us something about the rapidly failing health of the planet and its inhabitants. As Pettman cautions, we would do well to listen. “Pettman is a very engaging writer, and the way he traverses contexts and theoretical horizons is thrilling.” —Naomi Waltham-Smith, Boundary 2 “With Sonic Intimacy, we are manifestly in the hands of a skilled and not a little playful writer who connects new media to long developed philosophical conversations.” —David Cecchetto, York University