Sound and the Ancient Senses

Sound and the Ancient Senses makes a significant contribution to the burgeoning field of Sense Studies and, in particular, its application to the ancient world.

Sound leaves no ruins and no residues, even though it is experienced constantly. It is ubiquitous but fleeting. Even silence has sound, even absence resonates. Sound and the Ancient Senses aims to hear the lost sounds of antiquity, from the sounds of the human body to those of the gods, from the bathhouse to the Forum, from the chirp of a cicada to the music of the spheres.

Sound plays so great a role in shaping our environments as to make it a crucial sounding board for thinking about space and ecology, emotions and experience, mortality and the divine, orality and textuality, and the self and its connection to others. From antiquity to the present day, poets and philosophers have strained to hear the ways that sounds structure our world and identities.

This volume looks at theories and practices of hearing and producing sounds in ritual contexts, medicine, mourning, music, poetry, drama, erotics, philosophy, rhetoric, linguistics, vocality, and on the page, and shows how ancient ideas of sound still shape how and what we hear today. As the first comprehensive introduction to the soundscapes of antiquity, this volume makes a significant contribution to the burgeoning fields of sound and voice studies and is the final volume of the series, The Senses in Antiquity.

"A superb guide to the burgeoning field of sound studies and a fitting capstone to the hugely successful series, The Senses in Antiquity. The range covered is as wide as classical antiquity itself: from embodied, urban, and literary soundscapes to noises emitted by objects to animal cries and intelligible voices to numinous and cosmic echoes, all of this at various pitches and decibel levels, likewise running from the sound of silence to silencing sounds. Antiquity will never sound the same again." - James Porter, University of California, Berkeley, USA "The volume will be important to scholars and students of the ancient senses, especially those that have been following this series and those with special interests in the acoustical past... the cumulative effect of the volume is quite dazzling as it amplifies the sonorous registers of our textual remains and recovers the acoustical residues of ancient experiences of sound." - Bryn Mawr Classical Review

Autorentext

Shane Butler is Nancy H. and Robert E. Hall Professor in the Humanities and Professor and Chair of Classics at Johns Hopkins University, USA. He is the author, most recently, of The Ancient Phonograph (2015), and editor of Deep Classics: Rethinking Classical Reception (2016). He is also co-editor, with Mark Bradley, of this series, as well as being co-editor, with Alex Purves, of its first volume, Synaesthesia and the Ancient Senses (2013).

Sarah Nooter is Associate Professor of Classics, and of Theater and Performance Studies, at the University of Chicago, USA. She is the author of When Heroes Sing: Sophocles and the Shifting Soundscape of Tragedy (2012) and The Mortal Voice in the Tragedies of Aeschylus (2017).

Klappentext

Sound and the Ancient Senses makes a significant contribution to the burgeoning field of Sense Studies and, in particular, its application to the ancient world.

Zusammenfassung
Sound and the Ancient Senses makes a significant contribution to the burgeoning field of Sense Studies and, in particular, its application to the ancient world.

Inhalt

Introduction: Sounding hearing

Part I. Ancient Soundscapes

1. The sound of the sacred

2. Hearing ancient sounds through modern ears

3. Sounding out public space in Late Republican Rome

4. Vocal expression in Roman mourning

Part II. Theories of Sound

5. Sound: an Aristotelian perspective

6. Greek acoustic theory: Simple and complex sounds

7. The soundscape of ancient Greek healing

8. Lucretius on sound

Part III. Philology and Sound

9. Gods and vowels

10. The song of the Sirens between sound and sense

11. Auditory philology

12. Sounds of the stage

13. The erogenous ear

14. Principles of sound reading