000			03770cam a22004575i 4500
001			ocn907774589
003			OCoLC
005			20240726104953.0
008			141112s2015 ilua ob 001 0 eng
010			_a2019717082
040			_aDLC _beng _erda _cDLC _dIDEBK _dP@U _dJSTOR _dE7B _dYDXCP _dCDX _dEBLCP _dIDB _dUAB _dMERUC _dEZ9 _dUEJ _dIOG _dBUF _dYDX _dTJC _dSTF _dTXC _dINT _dAU@ _dUWO _dLVT _dDKC _dSFB _dNT
020			_a9780252097263 _q((electronic)l(electronic)ctronic)-book
042			_apcc
043			_ae-fr---
050	0	0	_aDC733 _b.C589 2015
049			_aMAIN
100	1		_aBoutin, Aimée, _d1970- _e1
245	1	0	_aCity of noise : _bsound and nineteenth-century Paris / _cAimée Boutin.
260			_aUrbana : _bUniversity of Illinois Press, _c(c)2015.
300			_a1 online resource : _billustrations.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
490	1		_aStudies in Sensory History
504			_a2
520	0		_a"Nineteenth-century Paris was grand, busy, and overwhelmingly noisy, so noisy that the racket became a matter for public concern in Paris before any other city. There were not only more people in the growing metropolis, but more sources of sound, much of it sung, barked, or bellowed to sell merchandise. The competition for attention raised the volume and increased the variety of sounds as street peddlers strove to be heard amid the din. Aimée Boutin draws on the first-hand accounts of Parisian noise to recreate, as much as possible, what the city sounded like, especially in its commercial core, and how people responded to the different sounds. Boutin focuses on the peddlers whose status altered in the 19th century. Dating back to the Middle Ages, the Cris de Paris were a musical, textual, and graphic genre that classified tradesmen as fixed, often idealized types, identified by the cries of their trade. In the 19th century, Parisian peddlers were perceived by bourgeois listeners as troublemakers (noisiers), lowlife who disturbed the peace, and by poets like Baudelaire as challenges to the bourgeois he despised. Itinerant, often from provinces that spoke a different accent, they were just a step above begging, or peddled as a pretense for begging, and they demanded to be heard. Peddlers became identified with sedition and rebellion. Boutin examines how peddlers were affected by Baron Haussmann's rebuilding of Paris, and by legislation and urban policy regarding vagrancy and noise abatement. As the peddlers' cries diminished, they were taken into poetry, but they never really went away"-- _cProvided by publisher.
505	0	0	_aIntroduction -- _tAural flânerie : the flâneur in the city as concert -- _tBlason sonore : street cries in the city -- _tSonic classifications in Haussmann's Paris -- _tListening to the glazier's cry -- _t"Cry louder, street crier" : peddling poetry and the avant-garde -- _tConclusion.
530			_a2 _ub
650		0	_aCity noise _zFrance _zParis _xHistory _y19th century.
650		0	_aNoise pollution _zFrance _zParis.
650		0	_aStreet vendors _zFrance _zParis _xHistory _y19th century.
650		0	_aUrban renewal _zFrance _zParis _xHistory _y19th century.
650		0	_aUrban policy _zFrance _zParis _xHistory _y19th century.
650		0	_aCity and town life _zFrance _zParis _xHistory _y19th century.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=980795&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hDC _m2015 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c84535 _d84535
902			_a1 _bCynthia Snell _c1 _dCynthia Snell