BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sabre//Sabre VObject 4.5.8//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:Europe/Zurich X-LIC-LOCATION:Europe/Zurich TZURL:http://tzurl.org/zoneinfo/Europe/Zurich BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19810329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19961027T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:news336@english.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20211103T121007 DTSTART;TZID=Europe/Zurich:20211124T180000 SUMMARY:A Sinister Resonance DESCRIPTION:Searching for a way to describe Heart of Darkness\, Joseph Conr ad wrote that it was “a sinister resonance” and “continued vibration .” These sound figures are ethnocentric\, drawn from his vexed memories of music in the Congo\, but they are also generative\, demanding that lite rary theorists take seriously a sonic substratum of writing and reading. T his talk addresses “sinister resonance” as a profound challenge to the transcendental signifier that supports modernist theories of language and telecommunication: the voice. At the same time\, “sinister resonance” names the sensorial contact that makes literary history and comparative s tudy possible. To demonstrate this possibility\, the talk describes how Co nrad’s novel resonates with the writing and listening practices of W.E.B . Du Bois\, who was also confronting a transatlantic nexus of sound\, lang uage\, and racial consciousness. The sinister resonance does not denote a literary or cultural history in the traditional sense. While it transmits\ , it does not “communicate”\; it wounds and participates in ongoing co lonial linguistic extraction\, from the phonograph to the cell phone.\\r\\ nJulie Beth Napolin is a scholar\, musician\, and radio producer. She work s across sound\, modernism\, memory studies\, digital humanities\, film an d media\, race\, gender and sexuality\, narrative and novel theory\, and p sychoanalysis. Julie Beth Napolin is the co-President of the William Faulk ner Society\, a member of the editorial board of Sound Studies: An Interdi sciplinary Journal\, and a member of the MLA Sound Forum executive committ ee. Her essays on sound in the work of Joseph Conrad have been awarded the Bruce Harkness Prize (2013) and the J.H. Stape Conradiana Prize (2020). S he completed a PhD in Rhetoric at UC Berkeley and authored The Fact of Res onance: Modernist Acoustics and Narrative Form (Fordham UP\, 2020).\\r\\n2 4 November 2021\, 18:00\, English Seminar\, Grosser Hörsaal\, Nadelberg 6 \, 4051 Basel.\\r\\nFlyer as PDF [t3://file?uid=595]\\r\\nDue to Covid-19 restrictions\, the event is open exclusively to staff and students of the University of Basel. Valid Covid-19 certificate required.\\r\\nInquiries: dok-lit@unibas.ch [mailto:dok-lit@unibas.ch]  X-ALT-DESC:

Searching for a way to describe Heart of Darkness\, Joseph Conrad wrote that it was “a sinister resonance” and “continue d vibration.” These sound figures are ethnocentric\, drawn from his vexe d memories of music in the Congo\, but they are also generative\, demandin g that literary theorists take seriously a sonic substratum of writing and reading. This talk addresses “sinister resonance” as a profound chall enge to the transcendental signifier that supports modernist theories of l anguage and telecommunication: the voice. At the same time\, “sinister r esonance” names the sensorial contact that makes literary history and co mparative study possible. To demonstrate this possibility\, the talk descr ibes how Conrad’s novel resonates with the writing and listening practic es of W.E.B. Du Bois\, who was also confronting a transatlantic nexus of s ound\, language\, and racial consciousness. The sinister resonance does no t denote a literary or cultural history in the traditional sense. While it transmits\, it does not “communicate”\; it wounds and participates in ongoing colonial linguistic extraction\, from the phonograph to the cell phone.

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Julie Beth Napolin is a scholar\, musician \, and radio producer. She works across sound\, modernism\, memory studies \, digital humanities\, film and media\, race\, gender and sexuality\, nar rative and novel theory\, and psychoanalysis. Julie Beth Napolin is the co -President of the William Faulkner Society\, a member of the editorial boa rd of Sound Studies: An Interdisciplinary Journal\, and a member of the MLA Sound Forum executive committee. Her essays on sound in the wor k of Joseph Conrad have been awarded the Bruce Harkness Prize (2013) and t he J.H. Stape Conradiana Prize (2020). She completed a PhD in Rhetoric at UC Berkeley and authored The Fact of Resonance: Modernist Acoustics an d Narrative Form (Fordham UP\, 2020).

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24 November 2021\, 18:0 0\, English Seminar\, Grosser Hörsaal\, Nadelberg 6\, 4051 Basel.

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Flyer as PDF

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Due to Covid -19 restrictions\, the event is open exclusively to staff and students of the University of Basel. Valid Covid-19 certificate required.

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Inquiries: dok-lit@unibas.ch&n bsp\;

DTEND;TZID=Europe/Zurich:20211124T193000 END:VEVENT END:VCALENDAR