Christin Hoene – författare

This book examines the meanings, uses, and agency of voice, noise, sound, and sound technologies across Asia.Including a series of wide-ranging and interdisciplinary case studies, the book reveals sound as central to the experience of modernity in Asia and as essential to the understanding of the historical processes of cultural, social, political, and economic transformation throughout the long twentieth century. Presenting a broad range of topics – from the changing sounds of the Kyoto kimono making industry to radio in late colonial India – the book explores how the study of Asian sound cultures offers greater insight into historical accounts of local and global transformation. Challenging us to rethink and reassemble important categories in sound studies, this book will be a vital resource for students and scholars of sound studies, Asian studies, history, postcolonial studies, and media studies.

This book examines the meanings, uses, and agency of voice, noise, sound, and sound technologies across Asia.Including a series of wide-ranging and interdisciplinary case studies, the book reveals sound as central to the experience of modernity in Asia and as essential to the understanding of the historical processes of cultural, social, political, and economic transformation throughout the long twentieth century. Presenting a broad range of topics – from the changing sounds of the Kyoto kimono making industry to radio in late colonial India – the book explores how the study of Asian sound cultures offers greater insight into historical accounts of local and global transformation. Challenging us to rethink and reassemble important categories in sound studies, this book will be a vital resource for students and scholars of sound studies, Asian studies, history, postcolonial studies, and media studies.

The entanglement of music and literature of the early modern period is rich with exchanges, dialogues, and disputes. These entanglements present a fascinating counterpoint to early modernity, and in many ways serve as complicit witnesses to their times and places. The Routledge Companion to Early Modern Music and Literature considers musico-literary production from the period 1500–1800, as well as its contemporary resonances, and seeks to unpick these often knotty intersections.Following in the footsteps of The Routledge Companion to Music and Modern Literature (edited by Rachael Durkin, Peter Dayan, Axel Englund, and Katharina Clausius), the 28 chapters within consider this transformative time through four thematic groupings—music and early modern writings, political voices, staging the early modern, and afterlives—and invite readers to marvel at the miscellany of interactions between early modern musics and literatures from the sixteenth to the twenty-first centuries. This Companion is therefore a valuable addition to the bookshelves of those looking to grapple with the early modern musico-literary relationship.

This book examines the role of music in British-South Asian postcolonial literature, asking how music relates to the construction of postcolonial identity. It focuses on novels that explore the postcolonial condition in India, Pakistan, and the United Kingdom: Vikram Seth's A Suitable Boy, Amit Chaudhuri's Afternoon Raag, Suhayl Saadi's Psychoraag, Hanif Kureishi's The Buddha of Suburbia and The Black Album, and Salman Rushdie's The Ground Beneath Her Feet, with reference to other texts, such as E.M. Forster's A Passage to India and Vikram Seth's An Equal Music. The analyzed novels feature different kinds of music, from Indian classical to non-classical traditions, and from Western classical music to pop music and rock 'n' roll. Music is depicted as a cultural artifact and as a purely aestheticized art form at the same time. As a cultural artifact, music derives meaning from its socio-cultural context of production and serves as a frame of reference to explore postcolonial identities on their own terms. As purely aesthetic art, music escapes its contextual meaning. The transgressive qualities of music render it capable of expressing identities irrespective of origin and politics of location. Thereby, music in the novels marks a very productive space to imagine the postcolonial nation and to rewrite imperial history, to express the cultural hybridity of characters in-between nations, to analyze the state of the nation and life in the multicultural diaspora of contemporary Great Britain, and to explore the ramifications of cultural globalization versus cultural imperialism. It will be a useful research and teaching tool for those interested in postcolonial literature, music studies, cultural studies, contemporary literature and South-Asian literature.