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Author: Jason Camlot
Publisher: Stanford University Press
ISBN: 1503609715
Category : Literary Criticism
Languages : en
Pages : 307
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Book Description
Phonopoetics tells the neglected story of early "talking records" and their significance for literature, from the 1877 invention of the phonograph to some of the first recorded performances of modernist works. The book challenges assumptions of much contemporary criticism by taking the recorded, oral performance as its primary object of analysis and by exploring the historically specific convergences between audio recording technologies, media formats, generic forms, and the institutions and practices surrounding the literary. Opening with an argument that the earliest spoken recordings were a mediated extension of Victorian reading and elocutionary culture, Jason Camlot explains the literary significance of these pre-tape era voice artifacts by analyzing early promotional fantasies about the phonograph as a new kind of speaker and detailing initiatives to deploy it as a pedagogical tool to heighten literary experience. Through historically-grounded interpretations of Dickens impersonators to recitations of Tennyson to T.S. Eliot's experimental readings of "The Waste Land" and of a great variety of voices and media in between, this first critical history of the earliest literary sound recordings offers an unusual perspective on the transition from the Victorian to modern periods and sheds new light on our own digitally mediated relationship to the past.
Author: Jason Camlot
Publisher: Stanford University Press
ISBN: 1503609715
Category : Literary Criticism
Languages : en
Pages : 307
Get Book Here
Book Description
Phonopoetics tells the neglected story of early "talking records" and their significance for literature, from the 1877 invention of the phonograph to some of the first recorded performances of modernist works. The book challenges assumptions of much contemporary criticism by taking the recorded, oral performance as its primary object of analysis and by exploring the historically specific convergences between audio recording technologies, media formats, generic forms, and the institutions and practices surrounding the literary. Opening with an argument that the earliest spoken recordings were a mediated extension of Victorian reading and elocutionary culture, Jason Camlot explains the literary significance of these pre-tape era voice artifacts by analyzing early promotional fantasies about the phonograph as a new kind of speaker and detailing initiatives to deploy it as a pedagogical tool to heighten literary experience. Through historically-grounded interpretations of Dickens impersonators to recitations of Tennyson to T.S. Eliot's experimental readings of "The Waste Land" and of a great variety of voices and media in between, this first critical history of the earliest literary sound recordings offers an unusual perspective on the transition from the Victorian to modern periods and sheds new light on our own digitally mediated relationship to the past.
Author: Jason Camlot
Publisher:
ISBN: 9781503605213
Category : English literature
Languages : en
Pages : 248
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Book Description
From the invention of the phonograph in 1877 to some of the first recorded performances of modernist works in the 1930s, this book tells the neglected story of early spoken recordings and their significance for the experience and understanding of literature
Author: John D. Morgenstern
Publisher: Liverpool University Press
ISBN: 1802074325
Category : Literary Criticism
Languages : en
Pages : 320
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Book Description
The T. S. Eliot Studies Annual is the leading venue for the critical reassessment of Eliot’s life and work in light of the ongoing publication of his letters, critical volumes of his complete prose, the new edition of his complete poems, and the forthcoming critical edition of his plays. All critical approaches are welcome, as are essays pertaining to any aspect of Eliot’s work as a poet, critic, playwright, or editor. John D. Morgenstern, General Editor Editorial Advisory Board: Ronald Bush, University of Oxford David E. Chinitz, Loyola University Chicago Anthony Cuda, University of North Carolina–Greensboro Robert Crawford, University of St Andrews Frances Dickey, University of Missouri John Haffenden, University of Sheffield Benjamin G. Lockerd, Grand Valley State University Gail McDonald, Goldsmiths, University of London Gabrielle McIntire, Queen’s University Jahan Ramazani, University of Virginia Christopher Ricks, Boston University Ronald Schuchard, Emory University Vincent Sherry, Washington University at St. Louis
Author: Cristina Cacciari
Publisher: Psychology Press
ISBN: 1317782631
Category : Language Arts & Disciplines
Languages : en
Pages : 356
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Book Description
"The book draws on a lot of research, is friendly to the reader, and will be of good value to teachers." Paul Nation, Victoria University of Wellington, Australia This comprehensive, up-to-date, and accessible text on idiom use, learning, and teaching approaches the topic with a balance of sound theory and extensive research in cognitive linguistics, psycholinguistics, corpus linguistics, and sociolinguistics combined with informed teaching practices. Idioms is organized in three parts: Part I includes discussion of idiom definition, classification, usage patterns, and functions. Part II investigates the process involved in the comprehension of idioms and the factors that influence individuals’ understanding and use of idioms in both L1 and L2. Part III explores idiom acquisition and the teaching and learning of idioms, focusing especially on the strategies and techniques used to help students learn idioms. To assist the reader in grasping the key issues, study questions are provided at the end of each chapter. The text also includes a glossary of special terms and an annotated list of selective idiom reference books and student textbooks. Idioms is designed to serve either as a textbook for ESL/applied linguistics teacher education courses or as a reference book. No matter how the book is used, it will equip an ESL/applied linguistics students and professionals with a solid understanding of various issues related to idioms and the learning of them.
Author: Peter B. Howarth
Publisher: Oxford University Press
ISBN: 0192650939
Category : Literary Criticism
Languages : en
Pages : 385
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Book Description
Live performance has changed poetry more than anything else in the last hundred years: it has given poets new audiences and a new economy, and it has generated new styles, from Imagism, to confessional, to contemporary Spoken Word. But the creative impact that public reading had right through the twentieth century has not been well understood. Mixing close listening to archive performances with intimate histories of modernist venues and promotors, The Poetry Circuit tells the story of how poets met their audience again, and how the feedback loops between their voices, the venues, and the occasions turned poems into running dramas between poet and listener. A nervous T. S. Eliot reveals himself to be anything but impersonal, while Marianne Moore's accident-prone readings become subtle ways of keeping her poems in constant re-draft. Robert Frost used his poems to spar with his fans and rivals, while Langston Hughes wrote Ask Your Mama to expose the prejudice circulating in the room as he spoke it. The Poetry Circuit also shows how the post-war reading boom made new kinds of poetry involving their audience and setting in the performance, such as John Ashbery's anti-charismatic Poets' Theatre, Amiri Baraka's documentary soundtracks of the streets, or the confessional readings of Allen Ginsberg, which shame the listeners more than the poet. Covering the first seventy years of the poetry reading, The Poetry Circuit demonstrates that there never were 'page' and 'stage' poets: the reading simply changed what every modern poet could do.
Author: Anthony Reed
Publisher: Duke University Press
ISBN: 147801279X
Category : Music
Languages : en
Pages : 172
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Book Description
In Soundworks Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially. Soundwork is Reed’s term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes’s collaboration with Charles Mingus, Amiri Baraka’s work with the New York Art Quartet, Jayne Cortez’s albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes.
Author: Angela Frattarola
Publisher: University Press of Florida
ISBN: 0813052432
Category : Literary Criticism
Languages : en
Pages : 205
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Book Description
At the turn of the twentieth century, new technologies such as the phonograph, telephone, and radio changed how sound was transmitted and perceived. In Modernist Soundscapes, Angela Frattarola analyzes the influence of “the age of noise” on writers of the time, showing how modernist novelists used sound to bridge the distance between characters and to connect with the reader on a more intimate level. Frattarola tunes in to representations of voices, noise, and music in works by Dorothy Richardson, Virginia Woolf, James Joyce, Jean Rhys, and Samuel Beckett. She argues that the common use of headphones, which piped sounds from afar into a listener’s headspace, inspired modernists to record the interior monologues of their characters in a stream-of-consciousness style. Woolf’s onomatopoeia stemmed from a desire to render the sounds of the world without mediation, similar to how some contemporaries hoped that recording technology would eliminate the need for musicians. Frattarola also explains how Beckett’s linguistic repetition mirrors the mechanical reproduction of the tape recorder. These writers challenged ocularcentrism, the traditional emphasis on vision in art and philosophy, and instead characterized the eye as distancing and analytical and the act of listening as immediate and unifying. Contending that the experimentation typically associated with modernist writing is partly due to this new attentiveness to sound, this book introduces a fresh perspective on texts that set the course of contemporary literature.
Author: Jason Camlot
Publisher: Taylor & Francis
ISBN: 1000625710
Category : Art
Languages : en
Pages : 402
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Book Description
Collection Thinking is a volume of essays that thinks across and beyond critical frameworks from library, archival, and museum studies to understand the meaning of "collection" as an entity and as an act. It offers new models for understanding how collections have been imagined and defined, assembled, created, and used as cultural phenomena. Featuring over 70 illustrations and 21 original chapters that explore cases from a wide range of fields, including library and archival studies, literary studies, art history, media studies, sound studies, folklore studies, game studies, and education, Collection Thinking builds on the important scholarly works produced on the topic of the archive over the past two decades and contributes to ongoing debates on the historical status of memory institutions. The volume illustrates how the concept of "collection" bridges these institutional and structural categories, and generates discussions of cultural activities involving artifactual arrangement, preservation, curation, and circulation in both the private and the public spheres. Edited and introduced collaboratively by three senior scholars with expertise in the fields of literature, art history, archives, and museums, Collection Thinking is designed to stimulate interdisciplinary reflection and conversation. This book will be of interest to scholars and practitioners interested in how we organize materials for research across disciplines of the humanities and social sciences. With case studies that range from collecting Barbie dolls to medieval embroideries, and with contributions from practitioners on record collecting, the creation of sub-culture archives, and collection as artistic practice, this volume will appeal to anyone who has ever wondered about why and how collections are made.
Author: Ezra Greenspan
Publisher: Penn State Press
ISBN: 9780271023304
Category : Language Arts & Disciplines
Languages : en
Pages : 320
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Book Description
Book History is the annual journal of the Society for the History of Authorship, Reading and Publishing, Inc. (SHARP). Book History is devoted to every aspect of the history of the book, broadly defined as the history of the creation, dissemination, and the reception of script and print. Book History publishes research on the social, economic, and cultural history of authorship, editing, printing, the book arts, publishing, the book trade, periodicals, newspapers, ephemera, copyright, censorship, literary agents, libraries, literary criticism, canon formation, literacy, literacy education, reading habits, and reader response.
Author: Lawrence Kramer
Publisher: Univ of California Press
ISBN: 0520389115
Category : Literary Criticism
Languages : en
Pages : 203
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Book Description
Inventors in the age of the Enlightenment created lifelike androids capable of playing music on real instruments. Music and the Forms of Life examines the link between such simulated life and music, which began in the era's scientific literature and extended into a series of famous musical works by Haydn, Mozart, and Beethoven. Music invented auditory metaphors for the scientific elements of life (drive, pulse, sensibility, irritability, even metabolism), investigated the affinities and antagonisms between life and mechanism, and explored questions of whether and how mechanisms can come to life. The resulting changes in the conceptions of both life and music had wide cultural resonance at the time, and those concepts continued to evolve long after. A critical part of that evolution was a nineteenth-century shift in focus from moving androids to the projection of life in motion, culminating in the invention of cinema. Weaving together cultural and musical practices, Lawrence Kramer traces these developments through a collection of case studies ranging from classical symphonies to modernist projections of waltzing specters by Mahler and Ravel to a novel linking Bach's Goldberg Variations to the genetic code.
