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Towards a literary theory of acoustic ecology: Soundscapes in contemporary environmental literature.

机译:迈向声生态文学理论:当代环境文学中的声景。

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摘要

Since the late 1970s, acoustic ecology has increasingly attracted attention from musicologists and others, who have found in it the possibility that it can be an antidote to the vision-dominant worldview of modern societies. In the arena of literary studies, however, acoustic ecology has scarcely been surveyed. Themes concerning sound and aural perception in literature have historically been discussed; however, they have never been investigated from a broader theoretical perspective. As contemporary American writers including Barry Lopez, Terry Tempest Williams, and W. S. Merwin, and Japanese writers such as Michiko Ishimure have demonstrated a special interest in the idea of listening in their speculations on alternative attitudes towards the natural environment, it is important to delineate a concrete framework for what I would like to call a "literary theory of acoustic ecology."; In order to achieve this goal, this dissertation investigates the cultural and literary significance of acoustic imagination in intimate relationships between humans and a natural world. Chapter One offers introductory explanations of the general notion of acoustic ecology and of my application of it to literary studies. Chapter Two discusses basic elements of a theory of acoustic ecology by examining Lopez's conceptualized presentation of soundscape. Chapter Three focuses on the physical dimensions of acoustic imagination by discussing Williams's ecofeminist approach to acoustic ecology. Chapter Four examines the political implications of soundscape which is most powerfully illustrated by Ishimure's representation of vernacular soundscape of a local dialect. Chapter Five investigates how silence functions to provoke the acoustic imagination of sustainable interaction between humans and nonhuman nature by examining Merwin's demonstration of silent soundscapes. And Chapter Six is a piece of experimental writing, which is part scholarly and part personal, that explores the possibility of finding a common place between academic studies and everyday experiences.
机译:自1970年代后期以来,声学生态学日益引起音乐学家和其他学者的关注,他们发现声学生态学有可能成为现代社会以视觉为主导的世界观的解毒剂。但是,在文学研究领域,很少研究声学生态学。历史上已经讨论了有关声音和听觉感知的主题。但是,它们从未从更广泛的理论角度进行研究。由于当代美国作家,包括巴里·洛佩兹,特里·坦佩·威廉姆斯和WS默温,以及日本作家,例如美智子·伊希穆尔,都对听取他们对自然环境的其他态度的猜测表示了特别的兴趣,因此划定一个我想称之为“声学生态学的文学理论”的具体框架。为了实现这一目标,本文研究了声学想象在人类与自然世界之间亲密关系中的文化和文学意义。第一章介绍了声学生态学的一般概念及其在文学研究中的应用。第二章通过考察洛佩兹对声景的概念性介绍,讨论了声生态学理论的基本要素。第三章通过讨论威廉姆斯的生态女性主义方法研究声学生态学,着重于声学想象力的物理维度。第四章探讨了声景的政治含义,其中最重要的是伊希姆(Ishimure)对当地方言白话声景的表述。第五章通过研究默文对无声音景的演示,研究了无声如何激发人与非人类自然界之间可持续互动的声学想象。第六章是一部实验性著作,一部分是学术性的,一部分是个人性的,探讨了在学术研究和日常经验之间找到共同点的可能性。

著录项

  • 作者

    Yuki, Masami Raker.;

  • 作者单位

    University of Nevada, Reno.;

  • 授予单位 University of Nevada, Reno.;
  • 学科 Literature Modern.; Literature Asian.; Music.; Literature American.; Environmental Sciences.
  • 学位 Ph.D.
  • 年度 2000
  • 页码 173 p.
  • 总页数 173
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 世界文学;音乐;环境科学基础理论;
  • 关键词

  • 入库时间 2022-08-17 11:47:45

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