8: “The whole language was a scream”: The German Language during the Seizures of the Jews

Chapters in this book

1. Frontmatter i
2. Contents v
3. Illustrations vii
4. Preface ix
5. Introduction 1
6. Part I Sonic Practices from the Middle Ages to the Nineteenth Century
7. 1: Soundscapes in Medieval German Literature 19
8. 2: A German Dance: Music, Mesmerism, and the Glass Armonica 36
9. 3: Healthy Throats, German Sounds: Women’s Vocal Development and Expertise in German Soundscapes of the Long Nineteenth Century 53
10. Part II Rediscovering the Sounds of Modernism
11. 4: Heidegger: A Little Hint on How to Listen 69
12. 5: New Hearing: Soundscapes of Literary Modernism 82
13. 6: Tragic Silence and Heroic Clamor: Sound Worlds and Constructed Ethnographies in Fritz Lang’s Die Nibelungen (1924) 98
14. Part III Listening to the Unbearable: The Sounds of National Socialism and the Holocaust
15. 7: Hitler’s Voice: Media and Politics of Embodiment 119
16. 8: “The whole language was a scream”: The German Language during the Seizures of the Jews 133
17. Part IV After the Catastrophe: Sounds in Postwar Germany and Beyond
18. 9: Revisiting the Soundscapes of Postwar West German Radio Drama 151
19. 10: Jazz and Its Effect on Politics and Modernity as Presented in German Newsreels and Documentaries of the 1960s 165
20. 11: On the Air: Clandestine Radiophonic Protest Groups in Italy, Switzerland, and Germany, 1976–77 180
21. 12: Kittler’s Sound 195
22. 13: Clearing the Throat, Stumbling, and Coughing: An Anthropology of the Sonic Corpus according to Carlfriedrich Claus 210
23. Part V Sounds of the Present
24. 14: Carsten Nicolai’s Art of Disturbance: Sound, Science, and Interference 227
25. 15: Echoes of the Past: Sound in the History Museum 243
26. 16: (Post)Digital Sounds: Acoustic Experiments in the Age of Algorithmic Processes 256
27. Part VI Epilogue
28. 17: The Sound of Pine Needles Falling: The Art of Max Neuhaus 271
29. Select Bibliography and Further Reading 285
30. Contributors 289
31. Index 295