Sound in Daniel Deronda
The aim of this paper is to explore the significance of sounds negative and sounds positive in Daniel Deronda, tracing a sequence of significant sounds from the near-silence of the opening scene in a gaming room to the jubilant licence of sound in the concluding wedding scene. It is particularly int...
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| Format: | Article |
| Language: | English |
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Presses Universitaires de la Méditerranée
2021-11-01
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| Series: | Cahiers Victoriens et Edouardiens |
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| Online Access: | https://journals.openedition.org/cve/9659 |
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| _version_ | 1832581345221541888 |
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| author | Michael Hollington |
| author_facet | Michael Hollington |
| author_sort | Michael Hollington |
| collection | DOAJ |
| description | The aim of this paper is to explore the significance of sounds negative and sounds positive in Daniel Deronda, tracing a sequence of significant sounds from the near-silence of the opening scene in a gaming room to the jubilant licence of sound in the concluding wedding scene. It is particularly interested in a series of shrieks from the heroine, Gwendolen—three in number, at the charade, at the time of her wedding, and at the death of her husband—which mark points at which she recognises the terrible course in life on which she has launched herself. After the third of these, an alternative rhetoric of sound takes over, in which she is launched on a gradual purgatorial process of redemption. |
| format | Article |
| id | doaj-art-fe483fd86b2a4c6e9b1afa1d7de726fe |
| institution | Kabale University |
| issn | 0220-5610 2271-6149 |
| language | English |
| publishDate | 2021-11-01 |
| publisher | Presses Universitaires de la Méditerranée |
| record_format | Article |
| series | Cahiers Victoriens et Edouardiens |
| spelling | doaj-art-fe483fd86b2a4c6e9b1afa1d7de726fe2025-01-30T10:21:11ZengPresses Universitaires de la MéditerranéeCahiers Victoriens et Edouardiens0220-56102271-61492021-11-019410.4000/cve.9659Sound in Daniel DerondaMichael HollingtonThe aim of this paper is to explore the significance of sounds negative and sounds positive in Daniel Deronda, tracing a sequence of significant sounds from the near-silence of the opening scene in a gaming room to the jubilant licence of sound in the concluding wedding scene. It is particularly interested in a series of shrieks from the heroine, Gwendolen—three in number, at the charade, at the time of her wedding, and at the death of her husband—which mark points at which she recognises the terrible course in life on which she has launched herself. After the third of these, an alternative rhetoric of sound takes over, in which she is launched on a gradual purgatorial process of redemption.https://journals.openedition.org/cve/9659musicsilencesoundterrorpurgatoryHegel (Georg W.F.) |
| spellingShingle | Michael Hollington Sound in Daniel Deronda Cahiers Victoriens et Edouardiens music silence sound terror purgatory Hegel (Georg W.F.) |
| title | Sound in Daniel Deronda |
| title_full | Sound in Daniel Deronda |
| title_fullStr | Sound in Daniel Deronda |
| title_full_unstemmed | Sound in Daniel Deronda |
| title_short | Sound in Daniel Deronda |
| title_sort | sound in daniel deronda |
| topic | music silence sound terror purgatory Hegel (Georg W.F.) |
| url | https://journals.openedition.org/cve/9659 |
| work_keys_str_mv | AT michaelhollington soundindanielderonda |