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Sound, Gender, Individual Will, and the Body in Nineteenth-Century British Literature.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Sound, Gender, Individual Will, and the Body in Nineteenth-Century British Literature./
作者:	Baltzer-Lovato, Jennifer.
面頁冊數:	1 online resource (222 pages)
附註:	Source: Dissertation Abstracts International, Volume: 78-12(E), Section: A.
Contained By:	Dissertation Abstracts International78-12A(E).
標題:	British & Irish literature. -
電子資源:	click for full text (PQDT)
ISBN:	9780355091519

Sound, Gender, Individual Will, and the Body in Nineteenth-Century British Literature.
Baltzer-Lovato, Jennifer.

Sound, Gender, Individual Will, and the Body in Nineteenth-Century British Literature. - 1 online resource (222 pages)

Source: Dissertation Abstracts International, Volume: 78-12(E), Section: A.

Thesis (Ph.D.)--University of Minnesota, 2017.

Includes bibliographical references

This dissertation focuses on portrayals of music in 19th century British literature and culture, and the way that it reveals expectations and assumptions regarding gender roles and behavior. Through this study of accounts of musical performance, in sources such as fictional representations, performance reviews in periodicals, as well as diaries and letters, I bring out a series of paradoxical conflicts between certain problematic aspects of gender and social expectations, centering around the figure of the diva as celebrated emblem of transportative, ethereal beauty, and simultaneously reviled as an object of uncomfortably revealing physical display, inspiring fear and paranoia. This diva focus brings to the fore questions of uncertainty regarding the balance of power in gendered relations, as well as the "naturalness" of gendered behavior. I consider the way that the dynamic, commanding presence of the diva that gained prominence late in the 18th century radically changes in the Victorian era. Drawing inspiration from Keats and the Romantic poets, who use the nightingale to symbolize the artistic ideal, Victorian prima donnas end up becoming this nightingale. Jenny Lind's reputation (and wild success) as the "Swedish Nightingale" is the most direct application of this development. Discomforts with the realities that the traditional diva's presence brings into view end up leaking out into other areas, echoing the questions raised by her ghostly absence.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355091519Subjects--Topical Terms:

1148425
British & Irish literature.
Index Terms--Genre/Form:

554714
Electronic books.

Sound, Gender, Individual Will, and the Body in Nineteenth-Century British Literature.
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502 $a Thesis (Ph.D.)--University of Minnesota, 2017.
504 $a Includes bibliographical references
520 $a This dissertation focuses on portrayals of music in 19th century British literature and culture, and the way that it reveals expectations and assumptions regarding gender roles and behavior. Through this study of accounts of musical performance, in sources such as fictional representations, performance reviews in periodicals, as well as diaries and letters, I bring out a series of paradoxical conflicts between certain problematic aspects of gender and social expectations, centering around the figure of the diva as celebrated emblem of transportative, ethereal beauty, and simultaneously reviled as an object of uncomfortably revealing physical display, inspiring fear and paranoia. This diva focus brings to the fore questions of uncertainty regarding the balance of power in gendered relations, as well as the "naturalness" of gendered behavior. I consider the way that the dynamic, commanding presence of the diva that gained prominence late in the 18th century radically changes in the Victorian era. Drawing inspiration from Keats and the Romantic poets, who use the nightingale to symbolize the artistic ideal, Victorian prima donnas end up becoming this nightingale. Jenny Lind's reputation (and wild success) as the "Swedish Nightingale" is the most direct application of this development. Discomforts with the realities that the traditional diva's presence brings into view end up leaking out into other areas, echoing the questions raised by her ghostly absence.
520 $a The chapters of this work focus on four specific areas where this rift is tangible. I consider Shelley's poetry about music from early in the century, as it attempts to erase the body from music entirely, and gender difference along with it in the first chapter. Shelley writes at roughly the same time as the Jane Austen, though Austen's works illuminate the function of music in a somewhat more practical manner. Austen repeatedly pinpoints a curious phenomenon surrounding musical drawing room performance for women, in which otherwise invisible women, often of reduced means, are able to exert a sort of power by physically claiming the space in which they move through music. This often parlays into positions of further control in society, which develops into a much more high-profile manipulation of control in novelistic depictions further into the century. The third chapter considers the development of perceived danger of women in musically inflated positions of power. I consider the situations of Clara Schumann's long career, and DuMaurier's fin-de-siecle heroine Trilby; in both of these cases outside forces are believed to control the power inherent in these women's musical performance. The final chapter moves on to the late century musical comedies of Gilbert and Sullivan, in which the low voice characters in particular question conceptions of the naturalness of gender and the way that separation of spheres functions in late Victorian society.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
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650 4 $a Gender studies. $3 1179195
650 4 $a Music. $3 649088
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