Introduction

Snaith, Anna

doi:10.1017/9781108855532.001

Cited by 4 publications

(2 citation statements)

References 207 publications

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“…Yet "Sound can be both a weapon of warfare and a means of bonding individuals and communities to each other, to a place or to a past encounter." (Snaith 2020: 2) This kind of bonding does not only connect the reader and the narrator, but operates diachronically connecting the literary experiment of the beatniks to their much younger acolyte seeking to tread in their shoes. The insistence on the auditory dimension of the experience is as much a matter of author's individual preference as it is certain literary homage to Jack Kerouac; as are the chosen topoi (San Francisco Bay Area, Big Sur) and the music (jazz) in the narrative.…”

Section: Literary Soundscapes Of Literary Soundscapes Of Ca Blues Ca ...mentioning

confidence: 99%

CA Blues — The Noise of Americana

Radin-Sabadoš¹

2022

Међународна Конференција Катедре За Српску Књижевност Са Јужнословенским Књижевностима И Катедре За Англистику Филолошког Факул

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The novel CA Blues in Serbian literature remains a unique testimonial and a particular projection of a fictional America, seen through the eyes of a "neo-beatnik" protagonist that is often described as "decadent, post-hippie and pre-punk California". It remained a "cult novel" telling a story about many faces of freedom; however, the interpretations often remained at the surface level. This research focuses on the structural patterns of the novel's fictional universe, which reflect literary traditions not only beatnik but also modernist, particularly in the idea of creating soundscapes which becomes manifest in the design of the two sections of the novel based on the conceptualization and physical description of radio waves (AM/ FM). Oklopdžić's literary devices create the unique experience of the fictional Americana by inviting the readers to immerse into sensory experiences of the protagonist, within the events, in the noise in the background and in the deliberate interruptions and shifts of focus. The paper investigates the aspects of the aural experience and its significance in the shaping of the text, as a specific cultural signature which places this novel in a dialogue with some of the major American novelists.

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Section: Literary Soundscapes Of Literary Soundscapes Of Ca Blues Ca ...mentioning

confidence: 99%

CA Blues — The Noise of Americana

Radin-Sabadoš¹

2022

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“…Woolf was, as Anna Snaith notes, involved with a number of anti-fascist organisations in the 1930s, including For Intellectual Liberty and the International Association of Writers in Defence of Culture, and she was also involved with Storm Jameson at the International PEN club supporting refugees. 87 In 1935, the Woolfs drove through Germany as part of a holiday to Europe, and found themselves caught up in a reception for Hermann Göring near Bonn-surrounded by fascists, the Woolfs' pet marmoset Mitzi was cheered by "ranks of children with red flags," while the crowds waved signs claiming "The Jew is our enemy" and "There is no place for Jews." 88 Leonard was held at German customs, while Woolf sat in the sun "nibbling" at D. H. Lawrence's Aaron's Rod, and watched "A car with the swastika on the back window" pass "through the barrier into Germany."…”

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confidence: 99%

“Forebodings about fascism”: Marion Milner and Virginia Woolf

Tyson

2020

Feminist Modernist Studies

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In A Life of One 's Own (1934) Marion Milner asked the apparently simple question: "What do I like?" By 1937, however, when Milner published An Experiment in Leisure, the question "What do I like?", and the urgency of answering it, had shifted. Writing against the backdrop of a rising current of fascism across Europe, there was a new urgency for Milner, in 1937, in understanding the apparent ease with which, not only Hollywood movie-makers, but now also European dictators might manipulate individual desires. Focusing on portraits of reading from Virginia Woolf's 1937 novel, The Years, alongside Milner's 1937 An Experiment in Leisure, this article explores Woolf's and Milner's shared-and deeply anxious-fascination with what Milner described, in her 1950 book On Not Being Able to Paint, as the "Monsters within and without." This article tracks Woolf's and Milner's encounters with the internal and external "monsters" haunting 1930s Europe, showing how, for both writers, the historical vicissitudes of fascism traversed the terrains of psychic, cultural, and political life. Both Woolf and Milner, I argue, were engaged in an endeavor to understand the entanglement of the psychic, social and political forces at work in our everyday acts of leisure and reading.

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Sounds of the Contemporary: Listening to the Present in Richard McGuire’s Here

Manis

2022

Critique: Studies in Contemporary Fiction

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Introduction

Cited by 4 publications

References 207 publications

CA Blues — The Noise of Americana

CA Blues — The Noise of Americana

“Forebodings about fascism”: Marion Milner and Virginia Woolf

Sounds of the Contemporary: Listening to the Present in Richard McGuire’s Here

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