Germany in the Loud Twentieth Century: An Introduction

ISBN : 9780199759385

Florence Feiereisen; Alexandra Merley Hill
200 ページ
156 x 234 mm

Germany in the Loud Twentieth Century seeks to understand recent German history and contemporary German culture through its sounds and musics, noises and silences, using the means and modes of the emerging field of Sound Studies. German soundscapes present a particularly fertile field for investigation and understanding, Feiereisen and Hill argue, due to such unique factors in Germany's history as its early and especially cacophonous industrialization, the sheer loudness of its wars, and the possibilities of shared noises in its division and reunification. Organized largely but not strictly chronologically, chapters use the unique contours of the German aural experience to examine how these soundscapes - the sonic environments, the ever-present arrays of noises with which everyone lives - ultimately reveal the possibility of "national" sounds. Together the chapters consider the acoustic national identity of Germany, or the cultural significance of sounds and silence, since the development and rise of sound-recording and sound-disseminating technologies in the early 1900s Chapters draw examples from a remarkably broad range of contexts and historical periods, from the noisy urban spaces at the turn of the twentieth century to battlefields and concert halls to radio and television broadcasting to the hip hop soundscapes of today. As a whole, the book makes a compelling case for the scholarly utility of listening to them. An online "Bonus Track" of teaching materials offers instructors practical tips for classroom use.


Introduction to the Study of German Sounds: Tuning in to the Aural Ether, Florence Feiereisen and Alexandra Merley Hill
Section I: New Sounds in the 20th Century: Sounds, Noise, Silence
Chapter 1: Escaping the Urban Din: A Comparative Study of Theodor Lessing's Antilarmverein (1908) and Maximilian Negwer's Ohropax (1907/8), John Goodyear
Chapter 2: When Only the Ears are Awake: Gunter Eich and the Acoustical Unconscious, Robert Ryder
Section II: Defining Space Through Sound: Battlefields and Concert Halls
Chapter 3: The Sonic Mindedness of the Great War: Viewing History through Auditory Lenses, Yaron Jean
Chapter 4: From Seat Cushions to Formulae: Understanding Spatial Acoustics in Physics and Architecture, Sabine von Fischer
Section III: East and West: Sounds in the Shadow of the Wall
Chapter 5: From the Boiler Room to the Hotel Room: Sound and Space in Wolfgang Hilbig's Das Provisorium (2000), Curtis Swope
Chapter 6: Berlin Sounds: Audible Cartography of a Formerly Divided City, Nicole Dietrich
Section IV: The Politics of Sound: Walls with Ears
Chapter 7: Sound and Socialist Identity: Negotiating the Musical Soundscape in the Stalinist GDR, David Tompkins
Chapter 8: Audibility is a Trap: Aural Panopticon in The Lives of Others (2006), Christiana Lenk
Section V: Soundscapers of the Millennium: Sound Art and Music Sounds
Chapter 9: Sound Art - New Only In Name: A Selected History of German Sound Works from the Last Century, Brett M. Van Hoesen and Jean-Paul Perrotte
Chapter 10: Ghettos, Hoods, Blocks: The Sounds of German Space in Rap and Hip-Hop, Maria Stehle


Florence Feiereisen is Assistant Professor of German at Middlebury College, where she teaches classes on German literature, pop culture, national identity, gender, and sound. Her areas of research include investigating the relationship of selected German contemporary literary texts with other media such as photography and sound. Alexandra Merley Hill is Assistant Professor of German at the University of Portland, where she teaches all levels of German language, literature, and culture. Her research areas include twentieth-century German art, feminism, motherhood, and contemporary German literature, with a focus on author Julia Franck.