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/lp/springer-journals/a-feminist-companion-to-the-posthumanities-sonic-performance-and-TbSZo7anDH
- Publisher
- Springer International Publishing
- Copyright
- © Springer International Publishing AG, part of Springer Nature 2018
- ISBN
- 978-3-319-62138-8
- Pages
- 103 –115
- DOI
- 10.1007/978-3-319-62140-1_9
- Publisher site
- See Chapter on Publisher Site
Abstract
Chapter 9 Sonic Performance and Feminist Posthumanities: Democracy of Resonance and Machinic Sounds Milla Tiainen As a multi-faceted problem and set of practices, performance has inspired many feminist approaches to music and sound. It has attracted interest across feminist music and sound studies nearly since the formative stages of these trans- disciplinary research strands in the 1980s and 1990s. Questions of musical and other sonic performance have indeed interested feminist scholars in various albeit often converging domains of the arts and humanities: gender studies, musicology and ethnomusicology, opera and popular music studies, recent investigations into digital culture, and philosophical and political theories concerned with sound and voice. Expanding on this previous work, my prime aim in the present chapter is to begin to explore how, why and to what effect feminist studies of sound and music as performance might move towards posthuman/ist perspectives. My reflections will proceed along two lines: I will first introduce some of the characteristic con- cerns and aims of existing feminist analyses of musical and sonic performance. I will then examine how developments in posthuman/ist feminisms by such research pioneers as Rosi Braidotti, Cecilia Åsberg, Elizabeth Grosz, and Stacy Alaimo demand a reassessment of these
Published: May 18, 2018