Sound, Image, Silence
Art and the Aural Imagination in the Atlantic World
Bibliographic Data
| ID | 5767650 |
|---|---|
| Authors | Michael Gaudio (corresponding author) |
| Year | 2019 |
| Publication date | 2019-12-01 |
| Open Access | Yes |
| Type | BOOK |
| Venue | Sound, Image, Silence (SOURCE_BOOK) |
| Publisher | University of Minnesota Press (PUBLISHER • US) |
| DOI | 10.5749/9781452962634 |
| OpenAlex | W4251979076 |
| ISBN | 9781452962634 |
| Language | EN |
| Citations received | 2 |
| References cited | 8 |
SoundingsP age through a textbook on Atlantic history, or search that phrase online, and you are bound to come across a map of the ocean crisscrossed by arrows of various sizes and colors indicating the movement of peoples, goods, ideas, and pathogens: slaves from Africa to the Americas, tobacco and sugar from the Americas to Europe and Africa, Christianity and smallpox from Europe to the Americas.If there is a defining feature of the notoriously amorphous historical entity known as the "Atlantic world," it is this movement through space rather than the relatively static existence of the geopolitical entities outlined along the peripheries of the map.This is a book about the crossing of Atlantic distances.Comprising five case studies that range over four centuries, it considers how the spatial, cultural, and socioeconomic distances of the Atlantic world were managed through the creation and dissemination of visual images: a late-sixteenth-century engraving of a Tupinambá dance, seventeenth-century landscapes of dutch Brazil, an eighteenthcentury portrait of Benjamin Franklin, an early-nineteenth-century landscape of the Catskills, and a late-nineteenth-century kinetoscope film of a lakota dance.The very diversity of this material, however, speaks to the potential difficulties of the "Atlantic world" as a category of analysis.lacking clear geographical or temporal parameters, and with no obvious implications in regard to style, iconography, or medium, it provides a loose sort of packaging for the art historian.Indeed, I will confess at the outset that none of the following chapters were originally conceived as being destined for publication together.What could make ix x
Silence · Diverse Musicological Studies · Music Technology and Sound Studies · Poetry Analysis and Criticism
| Unique citing works | 2 |
|---|---|
| Citations per year | 1 |
| Citation span | 2024 - 2025 (2) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 2 |