Acoustics of the Social on Page and Screen

Nathalie Aghoro is a postdoctoral researcher at the Catholic University of Eichstaett-Ingolstadt, Germany with an interest in auditory culture, postmodern and contemporary literature, media theory, and social justice. Her book Sounding the Novel: Voice in Twenty-First Century American Fiction (2018) examines the sonic mediality of voice in the works of Richard Powers, Karen Tei Yamashita, Jennifer Egan, and Jonathan Safran Foer.

• Notes on the ContributorsAcknowledgmentsIntroduction to The Acoustics of the Social on Page and ScreenNathalie Aghoro, University of Eichstaett-Ingolstadt, GermanyPart I: Sound Practice Across Media1. Listening in PrintNicole Brittingham Furlonge, Columbia University, USA2. When a Poem "Sounds" Through the BodyIrene Polimante, University of Macerata, Italy3. Practices of Unmixing: Film Aesthetics, Sound, and the New Hollywood CinemaChristof Decker, Ludwig-Maximilians-Universitaet Munich, GermanyPart II: Soundtracks of Collective Memory 4. Voice and Wake: Susan Howe, M. NourbeSe Philip, and the Ecology of EchologyJulius Greve, University of Oldenburg, Germany5. Reframing Indigenous Sonic Archives: Jeremy Dutcher and the Cultural Politics of Refusal Sabine Kim, Mainz University, Germany6. Unsettled Scores: Listening to Black Oklahoma on the American “Frontier”Tsitsi Jaji, Duke University, USAPart III: Social Acoustics and Politics of Sound7. The Operator and the Final Girl: Gender, Genre, and Black Sonic Labor in The Call Allison Whitney, Texas Tech University, USA8. Bohemian Like You: The Construction of Cool Sound Collectives in Serial TelevisionFlorian Groß, Leibniz University, Germany9. Sonic Sites of Subversion: Listening and the Politics of Place in Karen Tei Yamashita’s Tropic of OrangeNathalie Aghoro, University of Eichstaett-Ingolstadt, Germany10. From "Dead Spots" to "Hot Spots": Ann Petry’s “On Saturday the Siren Sounds at Noon”Jennifer Lynn Stoever, Binghamton University, USAIndex

The Acoustics of the Social on Page and Screen brings together a dazzling array of thinkers and ideas to highlight the deep enmeshment of the sonic and the social as they appear across media such as cinema, television, and literature. This is a much needed volume that pushes the central insights of sound studies in new and fruitful directions. In doing so, Nathalie Aghoro’s wonderful and much needed collection makes indispensable contributions to sound studies, film and television studies, literary studies, and critical theory.