Medarbejdervisning: Sound Bites: Music as Violence

Sound Bites: Music as Violence

In this essay, I interrogate the ideas that concern music and violence which are presented by scholars in this Transposition special issue. Although each article is very different, common themes emerge. I interpolate these with reference to my own research into the sounds of music in the Gallipoli C...

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Udgivet i:	URI:https://journals.openedition.org/transposition,
Hovedforfatter:	O’Connell, John Morgan
Format:	Article ou chapitre numérique
Sprog:	Anglais
Udgivet:	Transposition 2020
Fag:	contrafactum affordance extimité métaphore perforation simultanéité Bataille de Gallipoli extimacy metaphor simultaneity Gallipoli Campaign
Online adgang:	Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM

id	openedition-oai:revues.org:transposition_4524
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spelling	openedition-oai:revues.org:transposition_4524 https://doi.org/10.4000/transposition.4524 urn:doi:10.4000/transposition.4524 en https://journals.openedition.org/transposition/4524 2020-03-19T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/lmct https://creativecommons.org/licenses/by-sa/4.0/ Sound Bites: Music as Violence Transposition Éditions de l’EHESS info:eu-repo/semantics/reference/issn/2110-6134 URI:https://journals.openedition.org/transposition O’Connell, John Morgan contrafactum affordance extimité métaphore perforation simultanéité Bataille de Gallipoli contrafactum affordance extimacy metaphor perforation simultaneity Gallipoli Campaign In this essay, I interrogate the ideas that concern music and violence which are presented by scholars in this Transposition special issue. Although each article is very different, common themes emerge. I interpolate these with reference to my own research into the sounds of music in the Gallipoli Campaign (1915-1916). Following Nikita Hock, I examine the notion of metaphor as it relates to underground hideouts in a war zone. Following Victor A. Stoichita, I look at how music affords distinctive pathways in the fulfilment of or disengagement from acts of violence. Following Sarah Kay, I examine the ways in which contrafactum helps clarify the ambivalent positionality of Allied recruits in a foreign campaign. I also refer to Kay’s notion of “extimacy” when interpreting expressionist representations of warfare in the Dardanelles. Dans cet essai, je discute les idées concernant la musique et la violence présentées par les contribut·eurs·rices de ce numéro hors-série de Transposition. Bien que les articles soient très différents les uns des autres, des thèmes communs émergent. Je les croise avec ma propre recherche sur les sons musicaux de la campagne de Gallipoli (1915-1916). En suivant Nikita Hock, j’examine la notion de métaphore en ce qui concerne les cachettes souterraines en zone de guerre. En suivant Victor A. Stoichita, je regarde comment la musique offre différents chemins dans l’accomplissement ou le désengagement d’actes de violence. En suivant Sarah Kay, j’examine les façons dont le contrafactum aide à clarifier la positionnalité ambivalente des recrues alliées dans le cadre d’une campagne étrangère. Je me réfère également à la notion d’« extimité » proposée par Sarah Kay au moment d’interpréter les représentations expressionnistes de la guerre dans les Dardanelles.
collection	OpenEdition Journal
language	Anglais
format	Article ou chapitre numérique
building	0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/
topic	contrafactum affordance extimité métaphore perforation simultanéité Bataille de Gallipoli contrafactum affordance extimacy metaphor perforation simultaneity Gallipoli Campaign
spellingShingle	contrafactum affordance extimité métaphore perforation simultanéité Bataille de Gallipoli contrafactum affordance extimacy metaphor perforation simultaneity Gallipoli Campaign O’Connell, John Morgan Sound Bites: Music as Violence
description	In this essay, I interrogate the ideas that concern music and violence which are presented by scholars in this Transposition special issue. Although each article is very different, common themes emerge. I interpolate these with reference to my own research into the sounds of music in the Gallipoli Campaign (1915-1916). Following Nikita Hock, I examine the notion of metaphor as it relates to underground hideouts in a war zone. Following Victor A. Stoichita, I look at how music affords distinctive pathways in the fulfilment of or disengagement from acts of violence. Following Sarah Kay, I examine the ways in which contrafactum helps clarify the ambivalent positionality of Allied recruits in a foreign campaign. I also refer to Kay’s notion of “extimacy” when interpreting expressionist representations of warfare in the Dardanelles.
author	O’Connell, John Morgan
author_facet	O’Connell, John Morgan
author_sort	O’Connell, John Morgan
title	Sound Bites: Music as Violence
title_short	Sound Bites: Music as Violence
title_full	Sound Bites: Music as Violence
title_fullStr	Sound Bites: Music as Violence
title_full_unstemmed	Sound Bites: Music as Violence
title_sort	sound bites: music as violence
publisher	Transposition
publishDate	2020
container_title	URI:https://journals.openedition.org/transposition
url	https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/transposition.4524 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/transposition/4524
_version_	1877294068689534976

Sound Bites: Music as Violence

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