11/11/2022 0 Comments The others: 7 sinsGothic atmospheres-gloomy and mysterious-have repeatedly signalled the disturbing return of pasts upon presents and evoked emotions of terror and laughter. It shadows the despairing ecstasies of Romantic idealism and individualism and the uncanny dualities of Victorian realism and decadence. It appears in the awful obscurity that haunted eighteenth-century rationality and morality. Fred Botting, in his introduction to Gothic, writes the following: Among the fictional examples of this evolution, gothic literature provides an interesting mirror, of both real and ideal soundscapes. This change, however, occurred over a long span of time, starting in the mid-eighteenth century, in real life and in fiction alike. Indeed, this age of ‘auscultation’, a ‘period of unprecedented amplification, unheard-of loudness’ (Picker 5–6), witnessed a number of sonorous events and scientific innovations as well as an evolution in the conception of such notions as ‘noise’, ‘sound’, and ‘music’. Haut de pageġ In Victorian Soundscapes, John Picker states that ‘rom the tramp of a fly’s footstep to the roar of a volcanic blast, the Victorian soundscape was so varied and vast as to be too much for one pair of ears to apprehend’ (Picker 4). Par la définition de l’univers sonore gothique générique et de signatures sonores spécifiques, cette étude commente l’impact réel et fictionnel des théories sonores sur le gothique dans son ensemble. Cet article propose d’étudier dans quelle mesure les univers sonores de la littérature gothique prévictorienne illustrent l’évolution de la perception, de la compréhension et du traitement du son lors du tournant du dix-neuvième siècle, préfigurant ainsi les considérations acoustiques de la période victorienne. Bien qu’étant postérieure à la période gothique, l’ère victorienne est souvent associée à son atmosphère lugubre, montrant ainsi que l’intérêt pour le sublime gothique a perduré tout au long du dix-neuvième siècle. En manipulant les émotions et interprétations des lecteurs grâce à l’évocation de l’horreur et de la terreur, les romanciers faisaient du son l’une des principales facettes du sublime gothique. La publication en 1820 de Melmoth the Wanderer marque traditionnellement la fin de la période gothique, qui précède l’ère victorienne tout en anticipant certaines de ses considérations, démontrant notamment l’impact des sons sur les mouvements et pensées des êtres humains. L’époque prévictorienne en Grande-Bretagne, transition de l’âge des Lumières vers l’ère industrielle, témoigne de changements profonds dans la compréhension de notions telles que le ‘bruit’, le ‘son’ et la ‘musique’, ainsi que d’un intérêt grandissant pour les domaines de l’acoustique et de la théorie sonore. Through the definition of both generic and specific gothic soundscapes, it analyses the impact of sound theories on reality and fiction. This article studies the extent to which pre-Victorian gothic fiction’s soundscapes mirror the evolution in sound perception, understanding and treatment over the turn of the nineteenth century, and foreshadow subsequent acoustic concerns. Gothic’s gloomy atmosphere tends to be associated with the Victorian period despite its being embedded in another time span, showing the impact of gothic sublimity as a key concern of the nineteenth century. Manipulating the readers’ emotions and interpretation through the evocation of horror and terror, novelists used sound as one of the key features in the creation of the gothic sublime. Traditionally ending in 1820 with the publication of Melmoth the Wanderer, the main period of gothic fiction precedes the Victorian Era while foreshadowing its concerns, notably through the questioning of sounds’ impact on people’s movements and mental health. Pre-Victorian Britain, as a transitory period from the Enlightenment to the Age of Industrialisation, witnessed shifts in understandings of ‘noise’, ‘sound’ and ‘music’ and growing interest in acoustics and other sound studies.
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