(Studies in German Literature Linguistics and Culture) Rolf J

SONIC DREAMWORLDS
291
10
Susan Buck-Morss, “Aesthetics and Anaesthetics: Walter Benjamin’s Artwork-
Essay Reconsidered,” October, 64 (1992): 24.
11
Lutz Koepnick, “Benjamin’s Silence,” in Sound Matters: Essays on the Acoustics
of Modern German Culture, ed. Lutz Koepnick and Nora Alter (New York:
Berghahn Books, 2004), 118.
12
Eli Friedlander, “On the Musical Gathering of Echoes in the Voice — Walter
Benjamin and the Trauerspiel,” Opera Quarterly, 21, no. 4 (2006): 631–46.
13
Theodor W. Adorno, Versuch über Wagner, in Die musikalischen Monographien,
vol. 13 of Gesammelte Werke (Frankfurt am Main: Suhrkamp, 1973), 7–148.
14
Jonathan Crary, Suspensions of Perception (Cambridge, MA: MIT Press, 1999),
249–51.
15
Susan Buck-Morss, The Dialectics of Seeing: Walter Benjamin and the Arcades
Project (Cambridge, MA: MIT Press, 1989), 255.
16
This is even a point made by Wagner himself: Richard Wagner, “Das Bühnenweihfestspiel
in Bayreuth, 1882,” in Schriften und Dichtungen, vol. 10 (Leipzig:
Breitkopf & Härtel, 1911), 307.
17
Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the
Nineteenth Century (Cambridge, MA: MIT Press, 1992), 5.
18
Arthur Schopenhauer, “Ueber die Weiber,” in Parerga und Paralipomena II
(Leipzig: Brockhaus, 1874), 655.
19
Richard Wagner, “Zukunftsmusik,” in Schriften und Dichtungen, vol. 7
(Leipzig: Breitkopf & Härtel, 1911), 124–25.
20
Richard Wagner, “Zukunftsmusik,” in Judaism in Music and Other Essays (Lincoln:
U of Nebraska P, 1995), 332.
21
Crary, Suspensions of Perception, 251.
22
See Tom Gunning, “The Cinema of Attractions: Early Film, Its Spectator, and
the Avant-Garde,” in Theater and Film: A Comparative Anthology, ed. Robert
Knopf (New Haven, CT: Yale UP, 2005), 37–45.
23
Adorno was born Theodor Wiesengrund, but changed his name to Theodor
W[iesengrund]. Adorno (Adorno being his mother’s maiden name) upon becoming
a naturalized US citizen. Benjamin addresses Adorno throughout his writings
as “Wiesengrund.”
24
See Rajeev Patke, “Benjamin on Art and Reproducibility: The Case of Music,”
in Walter Benjamin and Art, ed. Andrew Benjamin (London and New York:
Continuum, 2005), 185–208, here 188–89.
25
Adorno, Versuch über Wagner, 82–91.
26
For the conception of “natural history” that allows Adorno to theorize how
history at its most historical can end up producing nature, see Theodor W. Adorno,
“Die Idee der Naturgeschichte,” in Philosophische Frühschriften, vol. 1 of his Gesammelte
Schriften (Frankfurt am Main: Suhrkamp, 1973), 345–65.
27
See Alastair Williams, “Technology of the Archaic: Wish Images and Phantasmagoria
in Wagner,” Cambridge Opera Journal 9/1 (1997): 78.
28
“Adorno, Versuch über Wagner, 96.