The unheard history of how race and racism are constructed from
sound and maintained through the listening ear. Race is a visual
phenomenon, the ability to see "difference." At least that is what
conventional wisdom has lead us to believe. Yet, The Sonic Color
Line argues that American ideologies of white supremacy are just as
dependent on what we hear-voices, musical taste, volume-as they are
on skin color or hair texture. Reinforcing compelling new ideas
about the relationship between race and sound with meticulous
historical research, Jennifer Lynn Stoever helps us to better
understand how sound and listening not only register the racial
politics of our world, but actively produce them. Through analysis
of the historical traces of sounds of African American performers,
Stoever reveals a host of racialized aural representations
operating at the level of the unseen-the sonic color line-and
exposes the racialized listening practices she figures as "the
listening ear." Using an innovative multimedia archive spanning 100
years of American history (1845-1945) and several artistic
genres-the slave narrative, opera, the novel, so-called "dialect
stories," folk and blues, early sound cinema, and radio drama-The
Sonic Color Line explores how black thinkers conceived the cultural
politics of listening at work during slavery, Reconstruction, and
Jim Crow. By amplifying Harriet Jacobs, Frederick Douglass,
Elizabeth Taylor Greenfield, Charles Chesnutt, The Fisk Jubilee
Singers, Ann Petry, W.E.B. Du Bois, and Lena Horne as agents and
theorists of sound, Stoever provides a new perspective on key
canonical works in African American literary history. In the
process, she radically revises the established historiography of
sound studies. The Sonic Color Line sounds out how Americans have
created, heard, and resisted "race," so that we may hear our
contemporary world differently.
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