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The Souls of Mixed Folk: Race, Politics, and Aesthetics in the New Millennium
by Michele ElamThe Souls of Mixed Folk examines representations of mixed race in literature and the arts that redefine new millennial aesthetics and politics. Focusing on black-white mixes, Elam analyzes expressive works—novels, drama, graphic narrative, late-night television, art installations—as artistic rejoinders to the perception that post-Civil Rights politics are bereft and post-Black art is apolitical. Reorienting attention to the cultural invention of mixed race from the social sciences to the humanities, Elam considers the creative work of Lezley Saar, Aaron McGruder, Nate Creekmore, Danzy Senna, Colson Whitehead, Emily Raboteau, Carl Hancock Rux, and Dave Chappelle. All these writers and artists address mixed race as both an aesthetic challenge and a social concern, and together, they gesture toward a poetics of social justice for the "mulatto millennium." The Souls of Mixed Folk seeks a middle way between competing hagiographic and apocalyptic impulses in mixed race scholarship, between those who proselytize mixed race as the great hallelujah to the "race problem" and those who can only hear the alarmist bells of civil rights destruction. Both approaches can obscure some of the more critically astute engagements with new millennial iterations of mixed race by the multi-generic cohort of contemporary writers, artists, and performers discussed in this book. The Souls of Mixed Folk offers case studies of their creative work in an effort to expand the contemporary idiom about mixed race in the so-called post-race moment, asking how might new millennial expressive forms suggest an aesthetics of mixed race? And how might such an aesthetics productively reimagine the relations between race, art, and social equity in the twenty-first century?
Sound and Meaning in East Cushitic Languages: Dhaasanac, Burji, Rendille, Somali, and Afar (SpringerBriefs in Linguistics)
by Sumiyo NishiguchiThis book, one of the few English language publications on indigenous languages spoken in East Africa, highlights theoretical contributions on understudied East Cushitic languages, based on extensive data. It introduces readers to important fields such as the OT phonology and morphology of Dhaasanac and discusses the syntax of negation, semantics of focus, negation and context shift. It then examines negative polarity items and context sensitivity in the Rendille, Burji, Somali and Afar languages to offer broader insights into these phenomena. Given its focus, the book will appeal to researchers and students who are interested in formal semantics, pragmatics and indigenous studies around the globe, especially those wanting to learn about East Cushitic linguistics.
Sound and Modernity in the Literature of London, 1880-1918
by Patricia PyeThis book explores the literary representation of late Victorian and early Edwardian London from an auditory perspective, arguing that readers should ‘listen’ to impressions of the city, as described by writers such as Conrad, Doyle, Ford and Gissing. It was in this period that London began to ‘sound modern’ and, through a closer hearing of its literature, writers’ wider responses to modernity are revealed.The book is structured into familiar modernist themes, revisiting time and space, social progress and popular culture through an exploration of the sound impressions of some key works. Each chapter is contextualized by these themes, revealing how the sound of the news, social protest, music hall and suburbanization impacted on writers’ literary imaginations.Suitable for students of modernist literature and specialists in sound studies, this book will also appeal to readers with a wider interest in London’s history and popular culture between 1880-1918.
Sound and Sight: Poetry and Courtier Culture in the Yongming Era (483-493)
by Meow GohThis is the first book to examine Chinese poetry and courtier culture using the concept of shengse—sound and sight—which connotes "sensual pleasure." Under the moral and political imperative to avoid or even eliminate representations of sense perception, premodern Chinese commentators treated overt displays of artistry with great suspicion, and their influence is still alive in modern and contemporary constructions of literary and cultural history. The Yongming poets, who openly extolled "sound and rhymes," have been deemed the main instigators of a poetic trend toward the sensual. Situating them within the court milieu of their day, Meow Hui Goh asks a simple question: What did shengse mean to the Yongming poets? By unraveling the aural and visual experiences encapsulated in their poems, she argues that their pursuit of "sound and sight" reveals a complex confluence of Buddhist influence, Confucian value, and new sociopolitical conditions. Her study challenges the old perception of the Yongming poets and the common practice of reading classical Chinese poems for semantic meaning only.
Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema (PDF)
by David SonnenscheinWith sound becoming more important in cinema exhibition and DVD release, Sound Design offers user-friendly knowledge and stimulating exercises to help compose a story, develop characters and create emotion through skillful creation of the sound track. Psychoacoustics, music theory, voice study and analysis of well-known films expand perception, imagination and the musical skills of the reader. Psychoacoustics, music theory, and voice study are covered through the detailed analysis of well-known films, to expand perception, imagination and the musical skills of the reader. The book helps you understand the importance and significance of the soundtrack, learn how to place a musical piece within a film, and includes exercises to improve story composition, and character development when creating/choosing a soundtrack.
Sound effects: Hearing the early modern stage (Revels Plays Companion Library)
by Laura Jayne WrightThis book shows that the sounds of the early modern stage do not only signify but are also significant. Sounds are weighted with meaning, offering a complex system of allusions. Playwrights such as Jonson and Shakespeare developed increasingly experimental soundscapes, from the storms of King Lear (1605) and Pericles (1607) to the explosive laboratory of The Alchemist (1610). Yet, sound is dependent on the subjectivity of listeners; this book is conscious of the complex relationship between sound as made and sound as heard. Sound effects should not resound from scene to scene without examination, any more than a pun can be reshaped in dialogue without acknowledgement of its shifting connotations. This book listens to sound as a rhetorical device, able to penetrate the ears and persuade the mind, to influence and to affect.
Sound effects: Hearing the early modern stage (Revels Plays Companion Library)
by Laura Jayne WrightThis book shows that the sounds of the early modern stage do not only signify but are also significant. Sounds are weighted with meaning, offering a complex system of allusions. Playwrights such as Jonson and Shakespeare developed increasingly experimental soundscapes, from the storms of King Lear (1605) and Pericles (1607) to the explosive laboratory of The Alchemist (1610). Yet, sound is dependent on the subjectivity of listeners; this book is conscious of the complex relationship between sound as made and sound as heard. Sound effects should not resound from scene to scene without examination, any more than a pun can be reshaped in dialogue without acknowledgement of its shifting connotations. This book listens to sound as a rhetorical device, able to penetrate the ears and persuade the mind, to influence and to affect.
The Sound Handbook (1st Edition) (PDF)
by Tim Crook'Tim Crook has written an important and much-needed book, and its arrival on our shelves has come at a highly appropriate time.' Professor Sen Street, Bournemouth University The Sound Handbook maps theoretical and practical connections between the creation and study of sound across the multi-media spectrum of film, radio, music, sound art, websites, animation and computer games entertainment, and stage theatre. Using an interdisciplinary approach Tim Crook explores the technologies, philosophies and cultural issues involved in making and experiencing sound, investigating soundscape debates and providing both intellectual and creative production information. The book covers the history, theory and practice of sound and includes practical production projects and a glossary of key terms. The Sound Handbook is supported by a companion website, signposted throughout the book, with further practical and theoretical resources dedicated to bridging the creation and study of sound across professional platforms and academic disciplines.
The Sound Handbook (Media Practice) (PDF)
by Tim CrookThe Sound Handbook maps theoretical and practical connections between the creation and study of sound across the multi-media spectrum of film, radio, music, sound art, websites, animation and computer games entertainment, and stage theatre. Using an interdisciplinary approach, Tim Crook explores the technologies, philosophies and cultural issues involved in making and experiencing sound, investigating soundscape debates and providing both intellectual and creative production information. The book covers the history, theory and practice of sound and includes practical production projects and a glossary of key terms. The Sound Handbook is supported by a companion website, signposted throughout the book, with further practical and theoretical resources dedicated to bridging the creation and study of sound across professional platforms and academic disciplines.nbsp;
Sound & Hearing: A Conceptual Introduction
by R. Duncan LuceThe major aim of this book is to introduce the ways in which scientists approach and think about a phenomenon -- hearing -- that intersects three quite different disciplines: the physics of sound sources and the propagation of sound through air and other materials, the anatomy and physiology of the transformation of the physical sound into neural activity in the brain, and the psychology of the perception we call hearing. Physics, biology, and psychology each play a role in understanding how and what we hear. The text evolved over the past decade in an attempt to convey something about scientific thinking, as evidenced in the domain of sounds and their perception, to students whose primary focus is not science. It does so using a minimum of mathematics (high school functions such as linear, logarithmic, sine, and power) without compromising scientific integrity. A significant enrichment is the availability of a compact disc (CD) containing over 20 examples of acoustic demonstrations referred to in the book. These demonstrations, which range from echo effects and filtered noise to categorical speech perception and total more than 45 minutes, are invaluable resources for making the text come alive.
Sound & Hearing: A Conceptual Introduction
by R. Duncan LuceThe major aim of this book is to introduce the ways in which scientists approach and think about a phenomenon -- hearing -- that intersects three quite different disciplines: the physics of sound sources and the propagation of sound through air and other materials, the anatomy and physiology of the transformation of the physical sound into neural activity in the brain, and the psychology of the perception we call hearing. Physics, biology, and psychology each play a role in understanding how and what we hear. The text evolved over the past decade in an attempt to convey something about scientific thinking, as evidenced in the domain of sounds and their perception, to students whose primary focus is not science. It does so using a minimum of mathematics (high school functions such as linear, logarithmic, sine, and power) without compromising scientific integrity. A significant enrichment is the availability of a compact disc (CD) containing over 20 examples of acoustic demonstrations referred to in the book. These demonstrations, which range from echo effects and filtered noise to categorical speech perception and total more than 45 minutes, are invaluable resources for making the text come alive.
Sound Linkage: An Integrated Programme for Overcoming Reading Difficulties
by Peter J. Hatcher Fiona J. Duff Charles HulmeThe updated edition of this successful resource has been developed to support children with reading delays and dyslexia. It contains a phonological training programme, an explanation of how this programme can be embedded within a broader reading intervention, a standardized test of phonological awareness and a methodology to grade children’s reading books. This third edition has been revised throughout to include the latest developments in the field These resources have been used with a wide range of children and found to be suitable for use with any reading-delayed children, irrespective of cognitive ability and age All activities are accompanied by a set of photocopiable record sheets, a set of pictures, and an appendix of additional activities useful in helping children master a particular skill or to reinforce existing learning The ten sections of activities within the guide include: identification of words and syllables; identification and supply of rhyming words; identification and discrimination of phonemes; and blending, segmentation, deletion, substitution and transposition of phonemes within words.
Sound Linkage: An Integrated Programme for Overcoming Reading Difficulties
by Peter J. Hatcher Fiona J. Duff Charles HulmeThe updated edition of this successful resource has been developed to support children with reading delays and dyslexia. It contains a phonological training programme, an explanation of how this programme can be embedded within a broader reading intervention, a standardized test of phonological awareness and a methodology to grade children’s reading books. This third edition has been revised throughout to include the latest developments in the field These resources have been used with a wide range of children and found to be suitable for use with any reading-delayed children, irrespective of cognitive ability and age All activities are accompanied by a set of photocopiable record sheets, a set of pictures, and an appendix of additional activities useful in helping children master a particular skill or to reinforce existing learning The ten sections of activities within the guide include: identification of words and syllables; identification and supply of rhyming words; identification and discrimination of phonemes; and blending, segmentation, deletion, substitution and transposition of phonemes within words.
The Sound of Heavy Rain
by Penelope SkinnerLaughing. Talking. Hours in cafes drinking coffee. Chatting about boys. Girls. Romance. Sharing a plate of chips. It was one of those friendships...I don't know how to explain...like...Love.Cabaret singer Foxie O'Hara vanished two weeks ago from Mrs Whistle's Lodge. That very same night, Foxie's friend Maggie Brown announced her engagement to local businessman Dougal Cheese. Desperate to find her missing friend, Maggie seeks the help of private eye Dabrowski. To unravel the mystery of Foxie's disappearance, Dabrowski must try to uncover both women's darkest secrets and, in so doing, confront some demons of his own. Penelope Skinner's The Sound of Heavy Rain premiered at the Crucible Studio, Sheffield, in November 2011 in a co-production between Paines Plough and Sheffield Theatres as part of the first Roundabout Season.
The Sound of Leadership: Presidential Communication in the Modern Age
by Roderick P. HartWhy did Gerald Ford speak in public once every six hours during 1976? Why did no president spreak in Massachusetts during one ten-year period? Why did Jimmy Carter conduct public ceremonies four times more often than Harry Truman? Why are television viewers two-and-a-half times more likely to see a president speak on the nightly news than to hear him speak? The Sound of Leadership answers these questions and many more. Based on analysis of nearly 10,000 presidential speeches delivered between 1945 and 1985, this book is the first comprehensive examination of the ways in which presidents Truman through Reagan have used the powers of communication to advance their political goals. This communication revolution has produced, Roderick P. Hart argues, a new form of governance, one in which public speech has come to be taken as political action. Using a rhetorical appraoch, Hart details the features of this new American presidency by carefully examining when and where presidents spoke in public during the last four decades and what they said. Even though presidents have been speaking more and more, Hart reveals, they have been saying less and less. Rather than leading the nation, the modern president usually offers only the hollow "sound" of leadership. Written with great flair and acuteness, The Sound of Leadership will become a standard guide to the voices of modern presidential politics.
The Sound of Listening: Poetry as Refuge and Resistance (Poets On Poetry)
by Philip MetresPhilip Metres stakes a claim for the cultural work that poems can perform—from providing refuge to embodying resistance, from recovering silenced voices to building a more just world, in communities of solitude and solidarity. Gathering a decade of his writing on poetry, he widens our sense of poetry as a way of being in the world, proposing that poems can offer a permeability to marginalized voices and a shelter from the imperial noise and despair that can silence us. The Sound of Listening ranges between expansive surveys of the poetry of 9/11, Arab American poetry, documentary poetry, landscape poetry, installation poetry, and peace poetry; personal explorations of poets such as Adrienne Rich, Khalil Gibran, Lev Rubinstein, and Arseny Tarkovsky; and intimate dialogues with Randa Jarrar, Fady Joudah, and Micah Cavaleri, that illuminate Metres’s practice of listening in his 2015 work, Sand Opera.
The Sound of Modern Polish Poetry: Performance and Recording after World War II
by Aleksandra KremerAn illuminating new study of modern Polish verse in performance, offering a major reassessment of the roles of poets and poetry in twentieth-century Polish culture. What’s in a voice? Why record oneself reading a poem that also exists on paper? In recent decades, scholars have sought to answer these questions, giving due credit to the art of poetry performance in the anglophone world. Now Aleksandra Kremer trains a sharp ear on modern Polish poetry, assessing the rising importance of authorial sound recordings during the tumultuous twentieth century in Eastern Europe. Kremer traces the adoption by key Polish poets of performance practices intimately tied to new media. In Polish hands, tape recording became something different from what it had been in the West, shaped by its distinctive origins behind the Iron Curtain. The Sound of Modern Polish Poetry reconstructs the historical conditions, audio technologies, and personal motivations that informed poetic performances by such luminaries as Czesław Miłosz, Wisława Szymborska, Aleksander Wat, Zbigniew Herbert, Miron Białoszewski, Anna Swir, and Tadeusz Różewicz. Through performances both public and private, prepared and improvised, professional and amateur, these poets tested the possibilities of the physical voice and introduced new poetic practices, reading styles, and genres to the Polish literary scene. Recording became, for these artists, a means of announcing their ambiguous place between worlds. Kremer’s is a work of criticism as well as recovery, deploying speech-analysis software to shed light on forgotten audio experiments—from poetic “sound postcards,” to unusual home performances, to the final testaments of writer-performers. Collectively, their voices reveal new aesthetics of poetry reading and novel concepts of the poetic self.
The Sound of Nonsense (The Study of Sound)
by Richard ElliottIn The Sound of Nonsense, Richard Elliott highlights the importance of sound in understanding the 'nonsense' of writers such as Lewis Carroll, Edward Lear, James Joyce and Mervyn Peake, before connecting this noisy writing to works which engage more directly with sound, including sound poetry, experimental music and pop. By emphasising sonic factors, Elliott makes new and fascinating connections between a wide range of artistic examples to ultimately build a case for the importance of sound in creating, maintaining and disrupting meaning.
The Sound of Nonsense (The Study of Sound)
by Richard ElliottIn The Sound of Nonsense, Richard Elliott highlights the importance of sound in understanding the 'nonsense' of writers such as Lewis Carroll, Edward Lear, James Joyce and Mervyn Peake, before connecting this noisy writing to works which engage more directly with sound, including sound poetry, experimental music and pop. By emphasising sonic factors, Elliott makes new and fascinating connections between a wide range of artistic examples to ultimately build a case for the importance of sound in creating, maintaining and disrupting meaning.
The Sound of Paper: Inspiration and Practical Guidance for Starting the Creative Process (Artist's Way Ser.)
by Julia Cameron'Lately, I am trying to provoke myself into art - into writing... I wasn't exactly in despair - I was in cynicism, which is despair's more torpid sister... Let me tell you how writing snuck back on me.'Whether you are starting from scratch or need a gentle nudge back in the right direction, The Sound of Paper is a wonderful creative companion. Through inspiring essays and practical tasks, it stimulates creativity so that the reader becomes more and more familiar with their own strengths. Including her own fascinating journey from writer's block back to productive work, which takes the reader across America from New York to New Mexico, this is a story of inspiration infused with brilliantly practical suggestions, the perfect combination for anyone on the path to creativity.
The Sound of Poetry / The Poetry of Sound: The Poetry Of Sound
by Marjorie Perloff Craig DworkinSound—one of the central elements of poetry—finds itself all but ignored in the current discourse on lyric forms. The essays collected here by Marjorie Perloff and Craig Dworkinbreak that critical silence to readdress some of thefundamental connections between poetry and sound—connections that go far beyond traditional metrical studies. Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the contemporary avant-garde, the contributors to The Sound of Poetry/The Poetry of Sound explore such subjects as the translatability of lyric sound, the historical and cultural roles of rhyme,the role of sound repetition in novelistic prose, theconnections between “sound poetry” and music, between the visual and the auditory, the role of the body in performance, and the impact of recording technologies on the lyric voice. Along the way, the essaystake on the “ensemble discords” of Maurice Scève’s Délie, Ezra Pound’s use of “Chinese whispers,” the alchemical theology of Hugo Ball’s Dada performances, Jean Cocteau’s modernist radiophonics, and an intercultural account of the poetry reading as a kind of dubbing. A genuinely comparatist study, The Sound of Poetry/The Poetry of Sound is designed to challenge current preconceptions about what Susan Howe has called “articulations of sound forms in time” as they have transformed the expanded poetic field of the twenty-first century.
The Sound of Poetry / The Poetry of Sound: The Poetry Of Sound
by Marjorie Perloff Craig DworkinSound—one of the central elements of poetry—finds itself all but ignored in the current discourse on lyric forms. The essays collected here by Marjorie Perloff and Craig Dworkinbreak that critical silence to readdress some of thefundamental connections between poetry and sound—connections that go far beyond traditional metrical studies. Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the contemporary avant-garde, the contributors to The Sound of Poetry/The Poetry of Sound explore such subjects as the translatability of lyric sound, the historical and cultural roles of rhyme,the role of sound repetition in novelistic prose, theconnections between “sound poetry” and music, between the visual and the auditory, the role of the body in performance, and the impact of recording technologies on the lyric voice. Along the way, the essaystake on the “ensemble discords” of Maurice Scève’s Délie, Ezra Pound’s use of “Chinese whispers,” the alchemical theology of Hugo Ball’s Dada performances, Jean Cocteau’s modernist radiophonics, and an intercultural account of the poetry reading as a kind of dubbing. A genuinely comparatist study, The Sound of Poetry/The Poetry of Sound is designed to challenge current preconceptions about what Susan Howe has called “articulations of sound forms in time” as they have transformed the expanded poetic field of the twenty-first century.
The Sound of Poetry / The Poetry of Sound
by Marjorie Perloff Craig DworkinSound—one of the central elements of poetry—finds itself all but ignored in the current discourse on lyric forms. The essays collected here by Marjorie Perloff and Craig Dworkinbreak that critical silence to readdress some of thefundamental connections between poetry and sound—connections that go far beyond traditional metrical studies. Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the contemporary avant-garde, the contributors to The Sound of Poetry/The Poetry of Sound explore such subjects as the translatability of lyric sound, the historical and cultural roles of rhyme,the role of sound repetition in novelistic prose, theconnections between “sound poetry” and music, between the visual and the auditory, the role of the body in performance, and the impact of recording technologies on the lyric voice. Along the way, the essaystake on the “ensemble discords” of Maurice Scève’s Délie, Ezra Pound’s use of “Chinese whispers,” the alchemical theology of Hugo Ball’s Dada performances, Jean Cocteau’s modernist radiophonics, and an intercultural account of the poetry reading as a kind of dubbing. A genuinely comparatist study, The Sound of Poetry/The Poetry of Sound is designed to challenge current preconceptions about what Susan Howe has called “articulations of sound forms in time” as they have transformed the expanded poetic field of the twenty-first century.
The Sound of Shakespeare (Accents on Shakespeare)
by Wes FolkerthThe 'Sound of Shakespeare' reveals the surprising extent to which Shakespeare's art is informed by the various attitudes, beliefs, practices and discourses that pertained to sound and hearing in his culture. In this engaging study, Wes Folkerth develops listening as a critical practice, attending to the ways in which Shakespeare's plays express their author's awareness of early modern associations between sound and particular forms of ethical and aesthetic experience. Through readings of the acoustic representation of deep subjectivity in Richard III, of the 'public ear' in Antony and Cleopatra, the receptive ear in Coriolanus, the grotesque ear in A Midsummer Night's Dream, the 'greedy ear' in Othello, and the 'willing ear' in Measure for Measure, Folkerth demonstrates that by listening to Shakespeare himself listening, we derive a fuller understanding of why his works continue to resonate so strongly with is today.
The Sound of Shakespeare (Accents on Shakespeare)
by Wes FolkerthThe 'Sound of Shakespeare' reveals the surprising extent to which Shakespeare's art is informed by the various attitudes, beliefs, practices and discourses that pertained to sound and hearing in his culture. In this engaging study, Wes Folkerth develops listening as a critical practice, attending to the ways in which Shakespeare's plays express their author's awareness of early modern associations between sound and particular forms of ethical and aesthetic experience. Through readings of the acoustic representation of deep subjectivity in Richard III, of the 'public ear' in Antony and Cleopatra, the receptive ear in Coriolanus, the grotesque ear in A Midsummer Night's Dream, the 'greedy ear' in Othello, and the 'willing ear' in Measure for Measure, Folkerth demonstrates that by listening to Shakespeare himself listening, we derive a fuller understanding of why his works continue to resonate so strongly with is today.