Bodies of Sound maps the intricate, underexplored territory where feminist thought and sonic culture converge, drawing together more than thirty poets, artists, writers, and musicians to ask what listening itself has meant for women's lives.
About This Book
What does it mean to listen as a feminist act? Edited by Irene Revell and Sarah Shin, this anthology pursues that question across essays, scores, and artworks that collectively chart the sonic heritage of twentieth-century women's movements. Contributors including Anne Carson, Svetlana Alexievich, Sara Ahmed, Jenny Hval, and Nisha Ramayya approach feminist sound studies from positions as varied as poetry, music, and critical theory. The result is not a survey but a genuinely multifaceted inquiry — into vulnerability and openness, the politics of speaker versus listener, translation, verbal speech, and the conditions of witnessing. A landmark work for anyone thinking seriously about gender, voice, and acoustic culture.
Key Features
- 256 pages of essays, scores, and artworks exploring feminist sonic expression
- Edited by Irene Revell and Sarah Shin; contributors include Anne Carson, Svetlana Alexievich, Sara Ahmed, Jenny Hval, and Nisha Ramayya
- Published by Silver Press, ISBN 9781739371715
What You'll Discover
- How the sonic heritage of twentieth-century women's movements shapes contemporary feminist thought and practice
- The politics of the speaker-listener relationship as a site of gendered power and resistance
- How themes of vulnerability, openness, place, and witnessing operate within feminist sound cultures
- The role of translation and verbal speech in constructing — and contesting — women's voices across cultures
About the Author
Irene Revell is the editor of this anthology, working alongside co-editor Sarah Shin. Further biographical details are not provided in the source material.
Specifications
- Format: Softcover
- Pages: 256
- Dimensions: 12.7 x 19.5 cm
- Language: English
- ISBN: 9781739371715
- Publisher: Silver Press
- Publication Date: [Details available upon request]
Perfect For: Readers working across feminist theory, sound studies, music, poetry, and cultural criticism — and anyone interested in the politics of listening and voice.