Since the 1960s, the sensory history of Victorian Britain has focused on visuality, and has convinced us that scopic passion had never been as acute and variegated as it was then, to the point of making vision the master-sense of the nineteenth century.In order to counterbalance the supremacy of the eye, this issue of the Cahiers Victoriens et Édouardiens proposes to focus on hearing. We will ponder on the manner in which sounds and voices were perceived, judged and evaluated by the contemporaries of Charles Dickens, and discover how the sounds were transmitted and reproduced thanks to new devices developed in the last quarter of the century: the telephone, the microphone and the gramophone.Perhaps because visual culture is easily traceable, it imposes itself as preponderant. Yet since 1977, R. Murray Schafer has defined the concept of soundscape and called for a reassessment of auditory culture. Following the voice of this writer and composer, and that of John Picker, we will examine the soundscapes evoked by Victorian authors. Which sounds, which tones of voices were considered pleasant, melodious, or strident, or aggressive? What changes did the sound amplification and recording methods cause? How did the Victorians finally perceive their sound universe? Was the surrounding noise synonymous with modernity, and opposed to the silence of pre-industrial times? By restoring the soundtrack of an epoch that is still too often reconstructed in the silent mode, this issue of the Cahiers Victoriens et Édouardiens inaugurates in France the field of acoustic archaeology in Victorian studies.< Leer menos