Works Cited
- Beckett, Samuel (1959), Krapp's Last Tape, London: Faber.
- Best, Stephen and Sharon Marcus (2009), ‘Surface Reading: An Introduction’, Representations 108:1, pp. 1–21.
- Birdsall, Carolyn (2012), Nazi Soundscapes: Sound, Technology and Urban Space in Germany, 1933–1945, Amsterdam: Amsterdam University Press.
- Clark, Mark and Henry Nielsen (1995), ‘Crossed Wires and Missing Connections: Valdemar Poulson, The American Telegraphone Company, and the Failure to Commercialize Magnetic Recording’, Business History Review 69:1, pp. 1–41.
- Connor, Steven (2014), Beckett, Modernism and the Material Imagination, Cambridge: Cambridge University Press.
- Derrida, Jacques (1992), ‘Ulysses Gramophone: Hear Say Yes in Joyce’, trans. Tina Kendall, Shari Benstock, and Derek Attridge in Derrida, Acts of Literature, ed. Attridge, London: Routledge, pp. 253–309.
- Duras, Marguerite (1968), L’Amante anglaise, trans. Barbara Bray, London: Hamish Hamilton.
- Engel, Friedrich K. (1999), ‘The Introduction of the Magnetophon’ in Eric D. Daniel, C. Denis Mee, and Mark H. Clark (eds), Magnetic Recording: The First 100 Years, Piscataway: IEEE Press, pp. 47–71.
- Felski, Rita (2015), The Limits of Critique, Chicago and London: University of Chicago Press.
- Freud, Sigmund (1976), The Interpretation of Dreams, trans. James Strachey, Harmondsworth: Penguin.
- Gitelman, Lisa (2006), Always Already New: Media, History, and the Data of Culture, Cambridge, MA and London: The MIT Press.
- Goodell, Larry (2018), ‘Ann Quin Reading – First Part of Three, Published in 1966’, at https://duende.bandcamp.com/track/ann-quin-reading-first-part-of-three-published-in-1966 (accessed 28 August 2020).
- Guy, Adam (2020), ‘The Noise of Mediation: Dorothy Richardson’s Sonic Modernity’, Modernism/Modernity 27:1, pp. 81–101.
- Jordan, Julia (2020), Late Modernism and the Avant-Garde British Novel: Oblique Strategies, Oxford: Oxford University Press.
- Kittler, Friedrich (1999), Gramophone, Film, Typewriter, trans. Geoffrey Winthrop-Young and Michael Wutz, Stanford: Stanford University Press.
- McMurray, Peter (2017), ‘Once Upon Time: A Superficial History of Early Tape’, Twentieth-Century Music 14:1, pp. 25–48.
- Mills, Mara (2010), ‘Deaf Jam: From Inscription to Reproduction to Information’, Social Text 28:1, pp. 35–58.
- Morin, Emilie (2014), ‘Beckett’s Speaking Machines: Sound, Radiophonics and Acousmatics’, Modernism/Modernity 21:1, pp. 1–24.
- Nancy, Jean-Luc (2007), Listening, trans. Charlotte Mandell, New York: Fordham University Press.
- Newville, Leslie J (1959), ‘Development of the Phonograph at Alexander Graham Bell’s Volta Laboratory’, United States National Museum Bulletin 218, pp. 69–79.
- Oliveros, Pauline (1984), Software for People: Collected Writings 1963–80, Baltimore: Smith.
- Ono, Yoko (2000), Grapefruit: A Book of Instructions and Drawings, revised edition, New York: Simon & Schuster.
- Ono, Yoko (2013), Half-a-Wind Show: A Retrospective, Munich: Prestel.
- Quin, Ann (1970), Trio, trans. Lola Tranec, Paris: Gallimard.
- Quin, Ann (2001), Three, Champaign, IL: Dalkey Archive Press.
- Quin, Ann (2018), The Unmapped Country: Stories and Fragments, ed. Jennifer Hodgson, Sheffield: And Other Stories.
- Sterne, Jonathan (2003), The Audible Past: Cultural Origins of Sound Reproduction, Durham, NC and London: Duke University Press.
- Saint-Amour, Paul K. (2015), ‘Ulysses Pianola’, PMLA 130:1, pp. 15–36.
- Warhol, Andy (1968), a, A Novel, New York: Grove Press.
- Williams, Nonia (2020), ‘About/of Madness: Ann Quin’s The Unmapped Country’, Textual Practice 34:6, pp. 903–20.
![Supercharge Your Next Research Paper: Research and write your next paper with Jenni AI.]({"type":"image" , "src" : "/sda/112444/Skyscraper-humanities.png"})