Description
What does sound, whether preserved or lost, tell us about nineteenth-century wartime? Hearing the Crimean War: Wartime Sound and the Unmaking of Sense pursues this question through the many territories affected by the Crimean War, including Britain, France, Turkey, Russia, Italy, Poland, Latvia, Dagestan, Chechnya, and Crimea. Examining the experience of listeners and the politics of archiving sound, it reveals the close interplay between nineteenth-century geographies of empire and the media through which wartime sounds became audible--or failed to do so. The volume explores the dynamics of sound both in violent encounters on the battlefield and in the experience of listeners far-removed from theaters of war, each essay interrogating the Crimean War's sonic archive in order to address a broad set of issues in musicology, ethnomusicology, literary studies, the history of the senses and sound studies.
Table of Contents
List of ContributorsList of IllustrationsAcknowledgementsIntroduction: Sound UnmadeGavin WilliamsSound, Technology, Sense1. Sympathy and Synaesthesia: Tolstoy's Place in the Intellectual History of Cosmopolitan SpectatorshipDina Gusejnova2. The Revolution Will Not Be Telegraphed: Shari'a Law as MediascapePeter McMurray3. Gunfire and London's Media Reality: Listening to Distance between Piano, Newspaper and TheaterGavin Williams4. Overhearing Indigenous Silence: Crimean Tatars during the Crimean WarMaria SonevytskyVoice at the Border5. Orienting the Martial: Polish Legion Songs on the MapAndrea Bohlman6. Who Sings the Song of the Russian Soldier? Listening for the Sounds and Silence of War in Baltic RussiaKevin C. Karnes7. A voice that carriesDelia CasadeiWartime as Heard8. Operatic Battlefields, Theater of WarFlora Willson9. Earwitness: Sound and Sense-Making in Tolstoy's Sevastopol StoriesAlyson Tapp10. InConsequence: 1853-6Hillel SchwarzBibliographyIndex
