Sound in Daniel Deronda
The aim of this paper is to explore the significance of sounds negative and sounds positive in Daniel Deronda, tracing a sequence of significant sounds from the near-silence of the opening scene in a gaming room to the jubilant licence of sound in the concluding wedding scene. It is particularly int...
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Presses Universitaires de la Méditerranée
2021
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| Acceso en línea: | https://doaj.org/article/e091f667d9a84eb1b1facb1863556038 |
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oai:doaj.org-article:e091f667d9a84eb1b1facb18635560382021-12-02T10:09:01ZSound in Daniel Deronda0220-56102271-614910.4000/cve.9659https://doaj.org/article/e091f667d9a84eb1b1facb18635560382021-11-01T00:00:00Zhttp://journals.openedition.org/cve/9659https://doaj.org/toc/0220-5610https://doaj.org/toc/2271-6149The aim of this paper is to explore the significance of sounds negative and sounds positive in Daniel Deronda, tracing a sequence of significant sounds from the near-silence of the opening scene in a gaming room to the jubilant licence of sound in the concluding wedding scene. It is particularly interested in a series of shrieks from the heroine, Gwendolen—three in number, at the charade, at the time of her wedding, and at the death of her husband—which mark points at which she recognises the terrible course in life on which she has launched herself. After the third of these, an alternative rhetoric of sound takes over, in which she is launched on a gradual purgatorial process of redemption.Michael HollingtonPresses Universitaires de la MéditerranéearticlesoundsilencemusicterrorpurgatoryHegel (Georg W.F.)History of Great BritainDA1-995ENFRCahiers Victoriens et Edouardiens, Vol 94 (2021) |
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DOAJ |
| language |
EN FR |
| topic |
sound silence music terror purgatory Hegel (Georg W.F.) History of Great Britain DA1-995 |
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sound silence music terror purgatory Hegel (Georg W.F.) History of Great Britain DA1-995 Michael Hollington Sound in Daniel Deronda |
| description |
The aim of this paper is to explore the significance of sounds negative and sounds positive in Daniel Deronda, tracing a sequence of significant sounds from the near-silence of the opening scene in a gaming room to the jubilant licence of sound in the concluding wedding scene. It is particularly interested in a series of shrieks from the heroine, Gwendolen—three in number, at the charade, at the time of her wedding, and at the death of her husband—which mark points at which she recognises the terrible course in life on which she has launched herself. After the third of these, an alternative rhetoric of sound takes over, in which she is launched on a gradual purgatorial process of redemption. |
| format |
article |
| author |
Michael Hollington |
| author_facet |
Michael Hollington |
| author_sort |
Michael Hollington |
| title |
Sound in Daniel Deronda |
| title_short |
Sound in Daniel Deronda |
| title_full |
Sound in Daniel Deronda |
| title_fullStr |
Sound in Daniel Deronda |
| title_full_unstemmed |
Sound in Daniel Deronda |
| title_sort |
sound in daniel deronda |
| publisher |
Presses Universitaires de la Méditerranée |
| publishDate |
2021 |
| url |
https://doaj.org/article/e091f667d9a84eb1b1facb1863556038 |
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AT michaelhollington soundindanielderonda |
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