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Zusatztext "This volume is a most welcome contribution to an area of inquiry the editors concede as been slow to flourish in German Cultures Studies...the polished and thought-provoking essays in this anthology will lead readers to begin hearing things differently in their own research and teaching." ?????German Studies Review Informationen zum Autor Lutz Koepnick is Associate Professor of German, Film and Media Studies at Washington University in St. Louis. He is the author of Walter Benjamin and the Aesthetics of Power (The University of Nebraska Press, 1999), for which he received the MLA's Aldo and Jeanne Scaglione Prize for Studies in Germanic Languages and Literatures in 2000; and of Nothungs Modernität: Wagners Ring und die Poesie der Politik im neunzehnten Jahrhundert (Munich: Wilhelm Fink Verlag, 1994). His next book, The Dark Mirror: German Cinema Between Hitler and Hollywood , will be published this fall by the University of California Press. He is currently working on a project, "Framing Attention: Windows on Modern German Culture." Klappentext The sounds of music and the German language have played a significant role in the developing symbolism of the German nation. In light of the historical division of Germany into many disparate political entities and regional groups, German artists and intellectuals of the 19th and early 20th centuries conceived of musical and linguistic dispositions as the nation's most palpable common ground. According to this view, the peculiar sounds of German music and of the German language provided a direct conduit to national identity, to the deepest recesses of the German soul. So strong is this legacy of sound is still prevalent in modern German culture that philosopher Peter Sloterdijk, in a recent essay, did not even hesitate to describe post-wall Germany as an "acoustical body." This volume gathers the work of scholars from the US, Germany, and the United Kingdom to explore the role of sound in modern and postmodern German cultural production. Working across established disciplines and methodological divides, the essays of Sound Matters investigate the ways in which texts, artists, and performers in all kinds of media have utilized sonic materials in order to enforce or complicate dominant notions of German cultural and national identity. Zusammenfassung Explores the role of sound in modern and postmodern German cultural production. Working across established disciplines and methodological divides, this volume investigates the ways in which texts, artists, and performers have utilized sonic materials, in order to enforce or complicate dominant notions of German cultural and national identity. Inhaltsverzeichnis Acknowledgments Introduction: Sound Matters Nora M. Alter and Lutz Koepnick PART I: SOUND NATION? Chapter 1. Hegemony through Harmony: German Identity, Music, and Enlightenment around 1800 Nicholas Vazsonyi Chapter 2. Mahler contra Wagner: The Third Symphony and the Political Legacy of Romanticism Carl Niekerk Chapter 3. Conducting Music, Conducting War: Nazi Germany as an Acoustic Experience Frank Trommler PART II: DISSONANT VISIONS Chapter 4. The Politics and Sounds of Everyday Life in Kuhle Wampe Nora M. Alter Chapter 5. Sound Money: Aural Strategies in Rolf Thiele’s The Girl Rosemarie Hester Baer Chapter 6. The Castrato’s Voices: Word and Flesh in Fassbinder’s In a Year of Thirteen Moons Brigitte Peucker PART III: SOUNDS OF SILENCE Chapter 7. Benjamin’s Silence Lutz Koepnick Chapter 8. Deafening Sound and Troubling Silence...
