” (Stewart 1990:
28) its due, while embracing the goal of finding a language for “sonicity” (Cuddy-
Keane 2000: 70). In its concentration on the representation of sounds in literary
texts, Resonant Alterities is interested in both in the semantics of sound and in the
sonicity of language. Following Jonathan Sterne in his rejection of the “audiovisual
litany” (Sterne 2003: 14) and its inscribed dichotomy, this book aims to supplement
insights gained by visualitystudies – bearing in mind necessary renegotiations of
power relations attached to the concept of
are non-discrete as categories
and differ in kind – are comparable as ‘positions of interest’.
One of these positions of interest within Sound Studies is characterised by scep-
ticism towards or tiredness with VisualStudies and their analytic vocabularies, es-
pecially if they have incorporated post-structuralist theory. There are at least three
variations of this position: the first is hostile, as it identifies post-structuralist theory
or/and VisualStudies as its inexorable ‘other’. It seems driven by the desire to ar-
gue that the direction in which the
It’: Pat Barker’s Double Vision
and the Ethics of Visuality.” Studies in the Novel 44.1 (2012): 80-99. JSTOR. Web.
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