Radio Territories

Radio Territories ISBN 0-9772594-1-2 / 978-0-9772594-1-0 Paperback, 7 x 9 in. / 280 pgs / 30 b&w. / U.S. $25.00 CDN $30.00 November / Nonfiction and Criticism

Includes "Literature".

Over the past half century, western democracies have lead efforts to entrench the economic and political values of liberal democracy into the foundations of European and international public order. As this book details, the relationship between the media and the state has been at the heart of those efforts. In that relationship, often framed in constitutional principles, the liberal democratic state has celebrated the liberty to publish information and entertainment content, while also forcefully setting the limits for harmful or offensive expression. It is thus a relationship rooted in the state's need for security, authority, and legitimacy as much as liberalism's powerful arguments for economic and political freedom. In Europe, this long running endeavour has yielded a market based, liberal democratic regional order that has profound consequences for media law and policy in the member states. This book examines the economic and human rights aspects of European media law, which is not only comparatively coherent but also increasingly restrictive, rejecting alternatives that are well within the traditions of liberalism. Parallel efforts in the international sphere have been markedly less successful. In international media law, the division between trade and human rights remains largely unabridged and, in the latter field, liberal democratic concepts of free speech are influential but rarely decisive. In the international sphere states are moreover quick to assert their rights to autonomy. Nonetheless, the current communications revolution has overturned fundamental assumptions about the media and the state around the world, eroding the boundaries between domestic and foreign media as well as mass and personal communication. European and International Media Law sets legal and policy developments in the context of this fast changing, globalized media and communications sector.

This study of the subtlety, complexity, and variety of modes of hearing maps out a “sonorous archipelago”—a heterogeneous set of shifting sonic territories shaped by the vicissitudes of desire and discourse. Profoundly intimate yet immediately giving onto distant spaces, both an “organ of fear” and an echo chamber of anticipated pleasures, an uncontrollable flow subject to unconscious selection and augmentation, the subtlety, complexity, and variety of modes of hearing has meant that sound has rarely received the same philosophical attention as the visual. In The Order of Sounds, François J. Bonnet makes a compelling case for the irreducible heterogeneity of “sound,” navigating between the physical models constructed by psychophysics and refined through recording technologies, and the synthetic production of what is heard. From primitive vigilance and sonic mythologies to digital sampling and sound installations, he examines the ways in which we make sound speak to us, in an analysis of listening as a plurivocal phenomenon drawing on Foucault, Deleuze and Guattari, Barthes, Nancy, Adorno, and de Certeau, and experimental pioneers such as Tesla, Bell, and Raudive. Stringent critiques of the “soundscape” and “reduced listening” demonstrate that univocal ontologies of sound are always partial and politicized; for listening is always a selective fetishism, a hallucination of sound filtered by desire and convention, territorialized by discourse and its authorities. Bonnet proposes neither a disciplined listening that targets sound “itself,” nor an “ocean of sound” in which we might lose ourselves, but instead maps out a sonorous archipelago—a heterogeneous set of shifting sonic territories shaped and aggregated by the vicissitudes of desire and discourse.

As the Second World War raged throughout Europe, modernist writers often became crucial voices in the propaganda efforts of both sides. Modernism at the Microphone: Radio, Propaganda, and Literary Aesthetics During World War II is a comprehensive study of the role modernist writers' radio works played in the propaganda war and the relationship between modernist literary aesthetics and propaganda. Drawing on new archival research, the book covers the broadcast work of such key figures as George Orwell, Orson Welles, Dorothy L. Sayers, Louis MacNeice, Mulk Raj Anand, T.S. Eliot, and P.G. Wodehouse. In addition to the work of Anglo-American modernists, Melissa Dinsman also explores the radio work of exiled German writers, such as Thomas Mann, as well as Ezra Pound's notorious pro-fascist broadcasts. In this way, the book reveals modernism's engagement with new technologies that opened up transnational boundaries under the pressures of war.