At the end of his weekly news-in-review program, Moore on Sunday beloved WCCO-TV newsanchor Dave Moore often signed off by reciting a poem. These poems, composed by Moore's son Peter and collected here for the first time, offer a fresh and funny take on the common and not-so-common stuff of our everyday lives. Reminiscent of Ogden Nash and Tom Lehrer, with a dash of Dr. Seuss, Peter Moore's verse captures the essence of his father's wit, common sense, honesty, and warmth.
In its first half century the United States was visited by scores of curious European travellers who came to investigate the strange new world that was being created in the Western Hemisphere. In their accounts of the experience they praised, or condemned, the institutions and national characteristics spread out before them, seized avidly upon all differences from the European norm, and worried each peculiarity beyond recognition and beyond any just limit of its importance. Americans themselves, with the keen sensitiveness of the young and the boasting enthusiasm natural to vigorous creators of new ideas and institutions, examined the work of their hands and, believing it good, reassured themselves and answered their calumniators in a flood of aggressive replies. Every American interested in a reform movement, a new cult, or a Utopian scheme burst into print, adding another to the rapidly growing list of polemic books and pamphlets. From this variety of sources, it is possible to recapture something of the inward spirit that gave rise to the more familiar and more tangible events of America’s youth.
In this innovative study, Tyler Whitney demonstrates how a transformation and militarization of the civilian soundscape in the late nineteenth and early twentieth centuries left indelible traces on the literature that defined the period. Both formally and thematically, the modernist aesthetics of Franz Kafka, Robert Musil, Detlev von Liliencron, and Peter Altenberg drew on this blurring of martial and civilian soundscapes in traumatic and performative repetitions of war. At the same time, Richard Huelsenbeck assaulted audiences in Zurich with his “sound poems,” which combined references to World War I, colonialism, and violent encounters in urban spaces with nonsensical utterances and linguistic detritus—all accompanied by the relentless beating of a drum on the stage of the Cabaret Voltaire. Eardrums is the first book-length study to explore the relationship between acoustical modernity and German modernism, charting a literary and cultural history written in and around the eardrum. The result is not only a new way of understanding the sonic impulses behind key literary texts from the period. It also outlines an entirely new approach to the study of literature as as the interaction of text and sonic practice, voice and noise, which will be of interest to scholars across literary studies, media theory, sound studies, and the history of science.
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