His Master’s Voice: Sound Devices in Bram Stoker’s Dracula

One year after the publication of Dracula (1897), the English photographer Francis Barraud was commissioned a painting from his picture of a dog looking at and listening to a cylinder phonograph. His work, entitled His Master’s Voice, became one of the most famous logos in the world. Barraud’s paint...

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Autor principal:	Maria Parrino
Formato:	article
Lenguaje:	EN FR
Publicado:	Presses Universitaires de la Méditerranée 2021
Materias:	voice phonograph phonetics language skills speech and writing History of Great Britain DA1-995
Acceso en línea:	https://doaj.org/article/464c5831aea94078a883a8dd8b812c0b
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id	oai:doaj.org-article:464c5831aea94078a883a8dd8b812c0b
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spelling	oai:doaj.org-article:464c5831aea94078a883a8dd8b812c0b2021-12-02T10:09:01ZHis Master’s Voice: Sound Devices in Bram Stoker’s Dracula0220-56102271-614910.4000/cve.9789https://doaj.org/article/464c5831aea94078a883a8dd8b812c0b2021-11-01T00:00:00Zhttp://journals.openedition.org/cve/9789https://doaj.org/toc/0220-5610https://doaj.org/toc/2271-6149One year after the publication of Dracula (1897), the English photographer Francis Barraud was commissioned a painting from his picture of a dog looking at and listening to a cylinder phonograph. His work, entitled His Master’s Voice, became one of the most famous logos in the world. Barraud’s painting was particularly meaningful for not only did it raise the issue of the amplified voice, but it also visualized the impact and effect that technological instruments had on the amplified voice. The phonograph shows how voices can become disconnected from the material body and raises the issue of what actually constitutes a voice. Among the modern technological devices mentioned in Bram Stoker’s Dracula, the phonograph plays an important role, a presence which is both disconcerting and reassuring. The power and the uncanny effect of the disembodied voice is evident in Mina’s reaction to Dr Seward’s phonographic recording, a ‘wonderful’ and ‘cruel’ device as it records not only the speaker’s voice but also its tone, thus revealing bodily sounds which writing, instead, hides. In Dracula, the distinction between speech and writing is constantly under pressure: on the one hand, the characters’ urge to write (journals, letters, etc.), on the other there is an agency of oral interaction. From Renfield’s calling in of the vampire (a master who needs a servant to be welcomed in), to Dracula’s attempt at mastering oral English in order to conceal his foreignness, the novel proves to be an important example of how literature deals with sound devices.Maria ParrinoPresses Universitaires de la Méditerranéearticlevoicephonographphoneticslanguage skillsspeech and writingHistory of Great BritainDA1-995ENFRCahiers Victoriens et Edouardiens, Vol 94 (2021)
institution	DOAJ
collection	DOAJ
language	EN FR
topic	voice phonograph phonetics language skills speech and writing History of Great Britain DA1-995
spellingShingle	voice phonograph phonetics language skills speech and writing History of Great Britain DA1-995 Maria Parrino His Master’s Voice: Sound Devices in Bram Stoker’s Dracula
description	One year after the publication of Dracula (1897), the English photographer Francis Barraud was commissioned a painting from his picture of a dog looking at and listening to a cylinder phonograph. His work, entitled His Master’s Voice, became one of the most famous logos in the world. Barraud’s painting was particularly meaningful for not only did it raise the issue of the amplified voice, but it also visualized the impact and effect that technological instruments had on the amplified voice. The phonograph shows how voices can become disconnected from the material body and raises the issue of what actually constitutes a voice. Among the modern technological devices mentioned in Bram Stoker’s Dracula, the phonograph plays an important role, a presence which is both disconcerting and reassuring. The power and the uncanny effect of the disembodied voice is evident in Mina’s reaction to Dr Seward’s phonographic recording, a ‘wonderful’ and ‘cruel’ device as it records not only the speaker’s voice but also its tone, thus revealing bodily sounds which writing, instead, hides. In Dracula, the distinction between speech and writing is constantly under pressure: on the one hand, the characters’ urge to write (journals, letters, etc.), on the other there is an agency of oral interaction. From Renfield’s calling in of the vampire (a master who needs a servant to be welcomed in), to Dracula’s attempt at mastering oral English in order to conceal his foreignness, the novel proves to be an important example of how literature deals with sound devices.
format	article
author	Maria Parrino
author_facet	Maria Parrino
author_sort	Maria Parrino
title	His Master’s Voice: Sound Devices in Bram Stoker’s Dracula
title_short	His Master’s Voice: Sound Devices in Bram Stoker’s Dracula
title_full	His Master’s Voice: Sound Devices in Bram Stoker’s Dracula
title_fullStr	His Master’s Voice: Sound Devices in Bram Stoker’s Dracula
title_full_unstemmed	His Master’s Voice: Sound Devices in Bram Stoker’s Dracula
title_sort	his master’s voice: sound devices in bram stoker’s dracula
publisher	Presses Universitaires de la Méditerranée
publishDate	2021
url	https://doaj.org/article/464c5831aea94078a883a8dd8b812c0b
work_keys_str_mv	AT mariaparrino hismastersvoicesounddevicesinbramstokersdracula
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His Master’s Voice: Sound Devices in Bram Stoker’s Dracula

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