Julian Murphet

Helen Groth

Collections on sound studies have seldom explored the vexed relationship between literature - a medium largely defined by its silence - and the dynamics and technologies of sound. This Companion is designed to help sound studies scholars grapple with the auditory capacities of text and encourage literary scholars to take full cognisance of the rich soundscapes mapped, or created, by texts read quietly. The essays assembled here consider a broad range of sound studies topics, including music in writing; the inscription of listening; worlding through sound; military and industrial noise; the gender of sound; racialised soundscapes; theatrical sounds; literature and sound media; and sonic epistemology. Helen Groth and Julian Murphet present a comprehensive set of new research on the relationship between sound and writing over time from a range of eminent, established and emerging sound studies scholars.

Edinburgh Companion to Literature and Sound Studies

Natalya Lusty

Dreams and Modernity: A Cultural History explores the dream as a distinctively modern object of inquiry and as a fundamental aspect of identity and culture in the nineteenth and early twentieth century. While dreams have been a sustained object of fascination from the ancient world to the present, what sets this period apart is the unprecedented interest in dream writing and interpretation in the psychological sciences, and the migration of these ideas into a wide range of cultural disciplines and practices. Authors Helen Groth and Natalya Lusty examine how the intensification and cross-fertilization of ideas about dreams in this period became a catalyst for new kinds of networks of knowledge across aesthetic, psychological, philosophical and vernacular domains. In uncovering a complex and diverse archive, Dreams and Modernity reveals how the explosion of interest in dreams informed the psychic, imaginative and intimate life of the modern subject. Individual chapters in the book explore popular traditions of dream interpretation in the 19th century; the archival impetus of dream research in this period, including the Society for Psychical Research and the Mass Observation movement; and the reception and extension of Freud’s dream book in Britain in the early decades of the twentieth century. This engaging interdisciplinary book will appeal to both scholars and upper level students of cultural studies, cultural history, Victorian studies, literary studies, gender studies and modernist studies.

A Cultural History

Dreams and Modernity

Paul Sheehan

“History is always written wrong, and so always needs to be rewritten.” (George Santayana) Enquiries into the relationship between literature and history continue to stir up intense critical and scholarly debate. Alongside the new hybrid categories that have emerged out of this ferment―life-writing, ficto-criticism, “history from below”, and so on―there has been a welter of new literary histories, new ways of tracking the connections between the written word and the historically bound world. This has resulted in renewed discussion about distinguishing the literary from the non-literary, about dialogues taking place between different national literatures, and about ascertaining the relative status of the literary text in relation to other cultural forms. Remaking Literary History seeks to clarify the diversity of issues and positions that have arisen from these debates. Central to the book’s approach is a rigorous and constructive questioning of the past, across disciplinary boundaries. This is carried out through four detailed and engrossing sections that explore the relationship between memory and forgetting; what it means to be ‘subject’ to history; the upsurge of interest in trauma and redemption; and the question of historical reinvention, which demonstrates how the overwriting of history continues to reinvigorate the literary imagination. As well as readers of literature and history, Remaking Literary History will be of interest to students of literary theory, legal studies and cultural and media studies.

Remaking Literary History

Chris Danta

In the last few decades, literary critics have increasingly drawn insights from cognitive neuroscience to deepen and clarify our understanding of literary representations of mind. This cognitive turn has been equally generative and contentious. While cognitive literary studies has reinforced how central the concept of mind is to aesthetic practice from the classical period to the present, critics have questioned its literalism and selective borrowing of scientific authority. Mindful Aesthetics presents both these perspectives as part of a broader consideration of the ongoing and vital importance of shifting concepts of mind to both literary and critical practice. This collection contributes to the forging of a new interdisciplinarity,' to paraphrase Alan Richardson's recent preface to the Neural Sublime, that is more concerned with addressing how, rather than why, we should navigate the increasingly narrow gap between the humanities and the sciences.

Literature and the Science of Mind

Mindful Aesthetics

Lecturer Department of English Helen Groth

This book traces the various ways in which Victorian writers, photographers, publishers, and consumers translated the idea of photography into an ideal of arrested time. The possibility of arresting time was the symbolic currency of all those in the business of selling poetry to a wideraudience through popular forms such as the gift books, travel guides, magic lantern shows, working men's editions of verse, celebrity portraits, memorabilia, and mementos. Beginning with an analysis of early photographic reviewing cultures and the first photographically illustrated verse anthologiesto be published in England, Helen Groth then traces the cultural permutations of literary and cultural nostalgia that the work of poets such as Wordsworth, Scott, Barrett Browning, Tennyson, and lesser-known poets such as Augusta Webster and Agnes Mary Frances Robinson inspired in Victorianphotographers, publishers, and critics alike.

Helen Groth

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