LEADER 03809nam  22009015  450 
001 9910149580003321
005 20210111113334.0
010   $a0-8232-7398-9
024 7 $a10.1515/9780823273980
035   $a(CKB)3710000000934844
035   $a(DE-B1597)555128
035   $a(DE-B1597)9780823273980
035   $a(MiAaPQ)EBC4745337
035   $a(OCoLC)974579745
035   $a(EXLCZ)993710000000934844
100   $a20200723h20162018  fg              
101 0 $aeng
135   $aur|||||||||||
181   $ctxt$2rdacontent
182   $cc$2rdamedia
183   $acr$2rdacarrier
200 10$aAll Ears $eThe Aesthetics of Espionage /$fPeter Szendy
210  1$aNew York, NY : $cFordham University Press, $d[2016]
210  4$d©2018
215   $a1 online resource (176 p.)
327   $tFrontmatter -- $tCONTENTS -- $t(No) More Ears: A Preface to the English- Language Edition -- $tTranslator?s Note -- $tEntrance: The Spies of Jericho -- $tDiscipline and Listen -- $tUnderground Passage: The Mole in Its Burrow -- $tIn the Footsteps of Orpheus -- $tExit: J.D.?s Dream -- $tNOTES -- $tBIBLIOGRAPHY 
330   $aThe world of international politics has recently been rocked by a seemingly endless series of scandals involving auditory surveillance: the NSA?s warrantless wiretapping is merely the most sensational example of what appears to be a universal practice today. What is the source of this generalized principle of eavesdropping?All Ears: The Aesthetics of Espionage traces the long history of moles from the Bible, through Jeremy Bentham?s ?panacoustic? project, all the way to the intelligence-gathering network called ?Echelon.? Together with this archeology of auditory surveillance, Szendy offers an engaging account of spycraft?s representations in literature (Sophocles, Shakespeare, Joyce, Kafka, Borges), opera (Monteverdi, Mozart, Berg), and film (Lang, Hitchcock, Coppola, De Palma). Following in the footsteps of Orpheus, the book proposes a new concept of ?overhearing? that connects the act of spying to an excessive intensification of listening. At the heart of listening Szendy locates the ear of the Other that manifests itself as the originary division of a ?split-hearing? that turns the drive for mastery and surveillance into the death drive.
606   $aAesthetics
606   $aEspionage
606   $aMotion pictures$xAesthetics
606   $aMusic$xPhilosophy and aesthetics
606   $aOpera
606   $aBentham
606   $aCoppola
606   $aDeleuze
606   $aDerrida
606   $aFoucault
606   $aKafka
606   $aMozart
606   $aOrpheus
606   $aespionage
606   $asurveillance
606   $aMUSIC / History & Criticism$2bisacsh
610   $aBentham.
610   $aCoppola.
610   $aDeleuze.
610   $aDerrida.
610   $aFoucault.
610   $aKafka.
610   $aMozart.
610   $aOrpheus.
610   $aespionage.
610   $asurveillance.
615  0$aAesthetics.
615  0$aEspionage.
615  0$aMotion pictures$xAesthetics.
615  0$aMusic$xPhilosophy and aesthetics.
615  0$aOpera.
615  4$aBentham.
615  4$aCoppola.
615  4$aDeleuze.
615  4$aDerrida.
615  4$aFoucault.
615  4$aKafka.
615  4$aMozart.
615  4$aOrpheus.
615  4$aespionage.
615  4$asurveillance.
615  7$aMUSIC / History & Criticism.
676   $a327.12
700   $aSzendy$b Peter, $4aut$4http://id.loc.gov/vocabulary/relators/aut$0625456
701   $aVégs?$b Roland$01049864
801  0$bDE-B1597
801  1$bDE-B1597
906   $aBOOK
912   $a9910149580003321
996   $aAll Ears$92585727
997   $aUNINA