Eerie Sounds, Then and Now: Listening in to Mid-Century Non-Indigenous Central Australian Soundscapes.
Mid-century non-Indigenous visitors to Central Australia such as the naturalist Hedley Finlayson (author of The Red Centre, 1935) and the journalist-cum-conservationist Arthur Groom (author of I Saw a Strange Land, 1950) wrote popular works that overturned prejudices about a "dead heart" and encoura...
| Publicado en: | Journal of Australian Studies Vol. 46; no. 2; pp. 211 - 227 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Jun2022
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=157277129&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 157277129 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 14443058 3J2 jtl: Journal of Australian Studies issn: 14443058 maglogo: N pubinfo: dt: Jun2022 vid: 46 iid: 2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 157277129 10.1080/14443058.2022.2034914 ppf: 211 ppct: 16 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.2MB tig: atl: Eerie Sounds, Then and Now: Listening in to Mid-Century Non-Indigenous Central Australian Soundscapes. aug: au: Hurley, Andrew Wright affil: Faculty of Arts and Social Sciences, School of International Studies and Education, University of Technology, Sydney, Australia su: Environmental degradation Prejudices Listening Sounds Climate change Australians Australia sug: subj: Australia Environmental degradation Prejudices Listening Sounds Climate change Australians keyword: acoustic history settler colonialism sound studies The uncanny travel literature ab: Mid-century non-Indigenous visitors to Central Australia such as the naturalist Hedley Finlayson (author of The Red Centre, 1935) and the journalist-cum-conservationist Arthur Groom (author of I Saw a Strange Land, 1950) wrote popular works that overturned prejudices about a "dead heart" and encouraged subsequent visitors and tourists. Yet they were often unsettled by eerie sounds. This article uses Mark Fisher's notion of eeriness, as well as literature on the uncanny, to theorise the ambiguous sonic eerie. In particular, I show how, in the Australian settler-colonial context, the sonic eerie can prompt an unhomeliness that presences Indigenous dispossession or environmental degradation. In this way, it can undermine feelings of wonder and emplacement that other senses, including eyesight, might impart. But sonic eeriness need not always develop in that way, and it is often transient in its effects, even though it can result in echoes. While Finlayson and Groom overcame their unsettlement, part of the power that eeriness possesses is in the way in which those who read about it can also be affected by it. In these after-effects, we can still hear Indigenous claims to land being made, and the ghostly echoes of climate change. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal of Australian Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal of Australian Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2022 holdings: @attributes: islocal: N |
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