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Sound Patterns of Spoken English
by Linda ShockeySound Patterns of Spoken English is a concise, to-the-point compendium of information about the casual pronunciation of everyday English as compared to formal citation forms. Concise, to-the-point compendium of information about casual pronunciation of English as compared to citation forms. Covers varieties of English language including General American and Standard Southern British. Overlaps the boundaries of several areas of study including sociolinguistics, lexicography, rhetoric, and speech sciences. Examines English pronunciation as found in everyday speech. Accompanied by website at http://www.blackwellpublishing.com/shockey featuring examples from different accents.
Sound Poetics: Interaction and Personal Identity
by Seán StreetThis book examines sonic signals as something both heard internally and externally, through imagination, memory and direct response. In doing so it explores how the mind 'makes' sound through experience, as it interprets codes on the written page, and creates an internal leitmotif that then interacts with new sounds made through an aural partnership with the external world, chosen and involuntary exposure to music and sound messages, both friendly and antagonistic to the identity of the self. It creates an argument for sound as an underlying force that links us to the world we inhabit, an essential part of being in the same primal sense as the calls of birds and other inhabitants of a shared earth. Street argues that sound as a poetic force is part of who we are, linked to our visualisation and sense of the world, as idea and presence within us. This incredibly interdisciplinary book will be of great interest to scholars of radio, sound, media and literature as well as philosophy and psychology.
Sound Poetics: Interaction and Personal Identity
by Seán StreetThis book examines sonic signals as something both heard internally and externally, through imagination, memory and direct response. In doing so it explores how the mind 'makes' sound through experience, as it interprets codes on the written page, and creates an internal leitmotif that then interacts with new sounds made through an aural partnership with the external world, chosen and involuntary exposure to music and sound messages, both friendly and antagonistic to the identity of the self. It creates an argument for sound as an underlying force that links us to the world we inhabit, an essential part of being in the same primal sense as the calls of birds and other inhabitants of a shared earth. Street argues that sound as a poetic force is part of who we are, linked to our visualisation and sense of the world, as idea and presence within us. This incredibly interdisciplinary book will be of great interest to scholars of radio, sound, media and literature as well as philosophy and psychology.
Sound Reporting: The NPR Guide to Audio Journalism and Production
by Jonathan KernPerhaps you’ve always wondered how public radio gets that smooth, well-crafted sound. Maybe you’re thinking about starting a podcast, and want some tips from the pros. Or maybe storytelling has always been a passion of yours, and you want to learn to do it more effectively. Whatever the case—whether you’re an avid NPR listener or you aspire to create your own audio, or both—Sound Reporting: The NPR Guide to Audio Journalism and Production will give you a rare tour of the world of a professional broadcaster. Jonathan Kern, who has trained NPR’s on-air staff for years, is a gifted guide, able to narrate a day in the life of a host and lay out the nuts and bolts of production with equal wit and warmth. Along the way, he explains the importance of writing the way you speak, reveals how NPR books guests ranging from world leaders to neighborhood newsmakers, and gives sage advice on everything from proposing stories to editors to maintaining balance and objectivity. Best of all—because NPR wouldn’t be NPR without its array of distinctive voices—lively examples from popular shows and colorful anecdotes from favorite personalities animate each chapter. As public radio’s audience of millions can attest, NPR’s unique guiding principles and technical expertise combine to connect with listeners like no other medium can. With today’s technologies allowing more people to turn their home computers into broadcast studios, Sound Reporting couldn’t have arrived at a better moment to reveal the secrets behind the story of NPR’s success.
Sound Reporting: The NPR Guide to Audio Journalism and Production
by Jonathan KernPerhaps you’ve always wondered how public radio gets that smooth, well-crafted sound. Maybe you’re thinking about starting a podcast, and want some tips from the pros. Or maybe storytelling has always been a passion of yours, and you want to learn to do it more effectively. Whatever the case—whether you’re an avid NPR listener or you aspire to create your own audio, or both—Sound Reporting: The NPR Guide to Audio Journalism and Production will give you a rare tour of the world of a professional broadcaster. Jonathan Kern, who has trained NPR’s on-air staff for years, is a gifted guide, able to narrate a day in the life of a host and lay out the nuts and bolts of production with equal wit and warmth. Along the way, he explains the importance of writing the way you speak, reveals how NPR books guests ranging from world leaders to neighborhood newsmakers, and gives sage advice on everything from proposing stories to editors to maintaining balance and objectivity. Best of all—because NPR wouldn’t be NPR without its array of distinctive voices—lively examples from popular shows and colorful anecdotes from favorite personalities animate each chapter. As public radio’s audience of millions can attest, NPR’s unique guiding principles and technical expertise combine to connect with listeners like no other medium can. With today’s technologies allowing more people to turn their home computers into broadcast studios, Sound Reporting couldn’t have arrived at a better moment to reveal the secrets behind the story of NPR’s success.
Sound Reporting: The NPR Guide to Audio Journalism and Production
by Jonathan KernPerhaps you’ve always wondered how public radio gets that smooth, well-crafted sound. Maybe you’re thinking about starting a podcast, and want some tips from the pros. Or maybe storytelling has always been a passion of yours, and you want to learn to do it more effectively. Whatever the case—whether you’re an avid NPR listener or you aspire to create your own audio, or both—Sound Reporting: The NPR Guide to Audio Journalism and Production will give you a rare tour of the world of a professional broadcaster. Jonathan Kern, who has trained NPR’s on-air staff for years, is a gifted guide, able to narrate a day in the life of a host and lay out the nuts and bolts of production with equal wit and warmth. Along the way, he explains the importance of writing the way you speak, reveals how NPR books guests ranging from world leaders to neighborhood newsmakers, and gives sage advice on everything from proposing stories to editors to maintaining balance and objectivity. Best of all—because NPR wouldn’t be NPR without its array of distinctive voices—lively examples from popular shows and colorful anecdotes from favorite personalities animate each chapter. As public radio’s audience of millions can attest, NPR’s unique guiding principles and technical expertise combine to connect with listeners like no other medium can. With today’s technologies allowing more people to turn their home computers into broadcast studios, Sound Reporting couldn’t have arrived at a better moment to reveal the secrets behind the story of NPR’s success.
Sound Reporting: The NPR Guide to Audio Journalism and Production
by Jonathan KernPerhaps you’ve always wondered how public radio gets that smooth, well-crafted sound. Maybe you’re thinking about starting a podcast, and want some tips from the pros. Or maybe storytelling has always been a passion of yours, and you want to learn to do it more effectively. Whatever the case—whether you’re an avid NPR listener or you aspire to create your own audio, or both—Sound Reporting: The NPR Guide to Audio Journalism and Production will give you a rare tour of the world of a professional broadcaster. Jonathan Kern, who has trained NPR’s on-air staff for years, is a gifted guide, able to narrate a day in the life of a host and lay out the nuts and bolts of production with equal wit and warmth. Along the way, he explains the importance of writing the way you speak, reveals how NPR books guests ranging from world leaders to neighborhood newsmakers, and gives sage advice on everything from proposing stories to editors to maintaining balance and objectivity. Best of all—because NPR wouldn’t be NPR without its array of distinctive voices—lively examples from popular shows and colorful anecdotes from favorite personalities animate each chapter. As public radio’s audience of millions can attest, NPR’s unique guiding principles and technical expertise combine to connect with listeners like no other medium can. With today’s technologies allowing more people to turn their home computers into broadcast studios, Sound Reporting couldn’t have arrived at a better moment to reveal the secrets behind the story of NPR’s success.
Sound Reporting: The NPR Guide to Audio Journalism and Production
by Jonathan KernPerhaps you’ve always wondered how public radio gets that smooth, well-crafted sound. Maybe you’re thinking about starting a podcast, and want some tips from the pros. Or maybe storytelling has always been a passion of yours, and you want to learn to do it more effectively. Whatever the case—whether you’re an avid NPR listener or you aspire to create your own audio, or both—Sound Reporting: The NPR Guide to Audio Journalism and Production will give you a rare tour of the world of a professional broadcaster. Jonathan Kern, who has trained NPR’s on-air staff for years, is a gifted guide, able to narrate a day in the life of a host and lay out the nuts and bolts of production with equal wit and warmth. Along the way, he explains the importance of writing the way you speak, reveals how NPR books guests ranging from world leaders to neighborhood newsmakers, and gives sage advice on everything from proposing stories to editors to maintaining balance and objectivity. Best of all—because NPR wouldn’t be NPR without its array of distinctive voices—lively examples from popular shows and colorful anecdotes from favorite personalities animate each chapter. As public radio’s audience of millions can attest, NPR’s unique guiding principles and technical expertise combine to connect with listeners like no other medium can. With today’s technologies allowing more people to turn their home computers into broadcast studios, Sound Reporting couldn’t have arrived at a better moment to reveal the secrets behind the story of NPR’s success.
Sound Reporting: The NPR Guide to Audio Journalism and Production
by Jonathan KernPerhaps you’ve always wondered how public radio gets that smooth, well-crafted sound. Maybe you’re thinking about starting a podcast, and want some tips from the pros. Or maybe storytelling has always been a passion of yours, and you want to learn to do it more effectively. Whatever the case—whether you’re an avid NPR listener or you aspire to create your own audio, or both—Sound Reporting: The NPR Guide to Audio Journalism and Production will give you a rare tour of the world of a professional broadcaster. Jonathan Kern, who has trained NPR’s on-air staff for years, is a gifted guide, able to narrate a day in the life of a host and lay out the nuts and bolts of production with equal wit and warmth. Along the way, he explains the importance of writing the way you speak, reveals how NPR books guests ranging from world leaders to neighborhood newsmakers, and gives sage advice on everything from proposing stories to editors to maintaining balance and objectivity. Best of all—because NPR wouldn’t be NPR without its array of distinctive voices—lively examples from popular shows and colorful anecdotes from favorite personalities animate each chapter. As public radio’s audience of millions can attest, NPR’s unique guiding principles and technical expertise combine to connect with listeners like no other medium can. With today’s technologies allowing more people to turn their home computers into broadcast studios, Sound Reporting couldn’t have arrived at a better moment to reveal the secrets behind the story of NPR’s success.
Sound, Sense, and Rhythm: Listening to Greek and Latin Poetry
by Mark W. EdwardsThis book concerns the way we read--or rather, imagine we are listening to--ancient Greek and Latin poetry. Through clear and penetrating analysis Mark Edwards shows how an understanding of the effects of word order and meter is vital for appreciating the meaning of classical poetry, composed for listening audiences. The first of four chapters examines Homer's emphasis of certain words by their positioning; a passage from the Iliad is analyzed, and a poem of Tennyson illustrates English parallels. The second considers Homer's techniques of disguising the break in the narrative when changing a scene's location or characters, to maintain his audience's attention. In the third we learn, partly through an English translation matching the rhythm, how Aeschylus chose and adapted meters to arouse listeners' emotions. The final chapter examines how Latin poets, particularly Propertius, infused their language with ambiguities and multiple meanings. An appendix examines the use of classical meters by twentieth-century American and English poets. Based on the author's Martin Classical Lectures at Oberlin College in 1998, this book will enrich the appreciation of classicists and their students for the immense possibilities of the languages they read, translate, and teach. Since the Greek and Latin quotations are translated into English, it will also be welcomed by non-classicists as an aid to understanding the enormous influence of ancient Greek and Latin poetry on modern Western literature.
Sound, Sense, and Rhythm: Listening to Greek and Latin Poetry
by Mark W. EdwardsThis book concerns the way we read--or rather, imagine we are listening to--ancient Greek and Latin poetry. Through clear and penetrating analysis Mark Edwards shows how an understanding of the effects of word order and meter is vital for appreciating the meaning of classical poetry, composed for listening audiences. The first of four chapters examines Homer's emphasis of certain words by their positioning; a passage from the Iliad is analyzed, and a poem of Tennyson illustrates English parallels. The second considers Homer's techniques of disguising the break in the narrative when changing a scene's location or characters, to maintain his audience's attention. In the third we learn, partly through an English translation matching the rhythm, how Aeschylus chose and adapted meters to arouse listeners' emotions. The final chapter examines how Latin poets, particularly Propertius, infused their language with ambiguities and multiple meanings. An appendix examines the use of classical meters by twentieth-century American and English poets. Based on the author's Martin Classical Lectures at Oberlin College in 1998, this book will enrich the appreciation of classicists and their students for the immense possibilities of the languages they read, translate, and teach. Since the Greek and Latin quotations are translated into English, it will also be welcomed by non-classicists as an aid to understanding the enormous influence of ancient Greek and Latin poetry on modern Western literature.
Sound, Space and Civility in the British World, 1700-1850 (British Literature in Context in the Long Eighteenth Century)
by Bruce Buchan Peter Denney Karen CrawleyIn this collection, the essays examine the critical role that judgments about noise and sound played in framing the meaning of civility in British discourse and literature during the long eighteenth century. The volume restores the sonic dimension to conversations about civil conduct by exploring how censured behaviours and recommended practices resonated beyond the written word. As the contributors show, understanding changing perceptions and valuations of noise and sound allows us to chart how civility was understood in the context of significant political, social and cultural change, including the development of urban life, the extension of empire and the consolidation of legal procedure. Divided into three parts, Sound, Space and Civility in the British World demonstrates how both noise and sound could be recognized by eighteenth-century Britons as expressions of civility. The essays also explore the audible implications of uncivil conduct to complicate our understanding of the sonic range of politeness. The uses of sound and noise to interrogate British colonial anxieties about the distinction between civility and incivility are also investigated. Taken together, the essays identify the emergence of civility as a development that radically altered sonic attitudes and experiences, producing new notions of what counted as desirable or undesirable sound.
Sound, Space and Civility in the British World, 1700-1850 (British Literature in Context in the Long Eighteenth Century)
by Peter Denney Bruce Buchan David Ellison Karen CrawleyIn this collection, the essays examine the critical role that judgments about noise and sound played in framing the meaning of civility in British discourse and literature during the long eighteenth century. The volume restores the sonic dimension to conversations about civil conduct by exploring how censured behaviours and recommended practices resonated beyond the written word. As the contributors show, understanding changing perceptions and valuations of noise and sound allows us to chart how civility was understood in the context of significant political, social and cultural change, including the development of urban life, the extension of empire and the consolidation of legal procedure. Divided into three parts, Sound, Space and Civility in the British World demonstrates how both noise and sound could be recognized by eighteenth-century Britons as expressions of civility. The essays also explore the audible implications of uncivil conduct to complicate our understanding of the sonic range of politeness. The uses of sound and noise to interrogate British colonial anxieties about the distinction between civility and incivility are also investigated. Taken together, the essays identify the emergence of civility as a development that radically altered sonic attitudes and experiences, producing new notions of what counted as desirable or undesirable sound.
The Sound Structure Of English: An Introduction (Cambridge Introductions To The English Language Ser.)
by Chris McCullyThe Sound Structure of English provides a clear introduction to English phonetics and phonology. Tailored to suit the needs of individual, one-term course modules, it assumes no prior knowledge of the subject, and presents the basic facts in a straightforward manner, making it the ideal text for beginners. Students are guided step-by-step through the main concepts and techniques of phonetic and phonological analysis, aided by concise chapter summaries, suggestions for further reading, and a comprehensive glossary of all the terms introduced. Each chapter is accompanied by an engaging set of exercises and discussion questions, encouraging students to consolidate and develop their learning, and providing essential self-study material. The book is accompanied by a companion website, featuring solutions to the exercises and useful additional resources. Providing the essential knowledge and skills for those embarking on the study of English sounds, it is set to become the leading introduction to the field.
Sound Writing: Voices, Authors, and Readers of Oral History (Oxford Oral History Series)
by Shelley TrowerThe concept that oral history can give voice to people or allow "hidden voices" to become part of history is one of its most celebrated achievements. However, the standard practice of transcribing or summarizing interviews has meant that oral historians have had to grapple with questions of how to translate the oral into written form. What is lost or gained during this process of mediation? These re-creations can be wonderful and illuminating works of scholarship and art, and this book explores a wide range of the different forms they have taken-from John and Alan Lomax's transcriptions of African American songs for the Federal Writers Project to Svetlana Alexievich's polyphonic novels. Such works can give their subjects the necessary latitude to convey their narratives on their own terms, but there is also, always, the danger that their voices will be distorted or lost during the process of mediation. Sound Writing offers a thorough review of the varying arguments about editing for transcription and publication and reflects on how digital technologies enable much wider access to "raw" oral data. It examines how oral histories are co-created by speakers, the authors who mediate them, and readers, and it brings into sharp focus questions about how memory takes on subjective, narrative form. Finally, it examines the interplay between written literature and sound recordings, or orality, using a diverse range of examples-from the work of William Wordsworth and George Ewart Evans to Studs Terkel, Alex Haley, Luisa Passerini, Amrit Wilson, and Stacy Zembrzycki. As an interdisciplinary study, Sound Writing takes a broad approach to the written word to encompass not only transcriptions and other texts derived from oral history interviews but also literary precursors such as epic poetry and folklore, along with various related textual forms such as biography, autobiography, and blogs. It argues that the recording of oral traditions in print by poets, folklorists, anthropologists, and postcolonial writers is comparable to practices of recording, transcribing, and publishing familiar to oral historians. Literary genres have long influenced oral history narratives, and, in turn, oral history has helped shape literary forms.
Sound Writing: Voices, Authors, and Readers of Oral History (Oxford Oral History Series)
by Shelley TrowerThe concept that oral history can give voice to people or allow "hidden voices" to become part of history is one of its most celebrated achievements. However, the standard practice of transcribing or summarizing interviews has meant that oral historians have had to grapple with questions of how to translate the oral into written form. What is lost or gained during this process of mediation? These re-creations can be wonderful and illuminating works of scholarship and art, and this book explores a wide range of the different forms they have taken-from John and Alan Lomax's transcriptions of African American songs for the Federal Writers Project to Svetlana Alexievich's polyphonic novels. Such works can give their subjects the necessary latitude to convey their narratives on their own terms, but there is also, always, the danger that their voices will be distorted or lost during the process of mediation. Sound Writing offers a thorough review of the varying arguments about editing for transcription and publication and reflects on how digital technologies enable much wider access to "raw" oral data. It examines how oral histories are co-created by speakers, the authors who mediate them, and readers, and it brings into sharp focus questions about how memory takes on subjective, narrative form. Finally, it examines the interplay between written literature and sound recordings, or orality, using a diverse range of examples-from the work of William Wordsworth and George Ewart Evans to Studs Terkel, Alex Haley, Luisa Passerini, Amrit Wilson, and Stacy Zembrzycki. As an interdisciplinary study, Sound Writing takes a broad approach to the written word to encompass not only transcriptions and other texts derived from oral history interviews but also literary precursors such as epic poetry and folklore, along with various related textual forms such as biography, autobiography, and blogs. It argues that the recording of oral traditions in print by poets, folklorists, anthropologists, and postcolonial writers is comparable to practices of recording, transcribing, and publishing familiar to oral historians. Literary genres have long influenced oral history narratives, and, in turn, oral history has helped shape literary forms.
Sound Writing: Experimental Modernism and the Poetics of Articulation
by Tobias WilkeConsiders the avant-garde rethinking of poetic language in terms of physical speech production. Avant-garde writers and artists of the twentieth century radically reconceived poetic language, appropriating scientific theories and techniques as they turned their attention to the physical process of spoken language. This modernist “sound writing” focused on the bodily production of speech, which it rendered in poetic, legible, graphic form. Modernist sound writing aims to capture the acoustic phenomenon of vocal articulation by graphic means. Tobias Wilke considers sound writing from its inception in nineteenth-century disciplines like physiology and experimental phonetics, following its role in the aesthetic practices of the interwar avant-garde and through to its reemergence in the postwar period. These projects work with the possibility of crossing over from the audible to the visible, from speech to notation, from body to trace. Employing various techniques and concepts, this search for new possibilities played a central role in the transformation of poetry into a site of radical linguistic experimentation. Considering the works of writers and artists—including Raoul Hausmann, Kurt Schwitters, Viktor Shklovsky, Hugo Ball, Charles Olson, and Marshall McLuhan—Wilke offers a fresh look at the history of the twentieth-century avant-garde.
Sound Writing: Experimental Modernism and the Poetics of Articulation
by Tobias WilkeConsiders the avant-garde rethinking of poetic language in terms of physical speech production. Avant-garde writers and artists of the twentieth century radically reconceived poetic language, appropriating scientific theories and techniques as they turned their attention to the physical process of spoken language. This modernist “sound writing” focused on the bodily production of speech, which it rendered in poetic, legible, graphic form. Modernist sound writing aims to capture the acoustic phenomenon of vocal articulation by graphic means. Tobias Wilke considers sound writing from its inception in nineteenth-century disciplines like physiology and experimental phonetics, following its role in the aesthetic practices of the interwar avant-garde and through to its reemergence in the postwar period. These projects work with the possibility of crossing over from the audible to the visible, from speech to notation, from body to trace. Employing various techniques and concepts, this search for new possibilities played a central role in the transformation of poetry into a site of radical linguistic experimentation. Considering the works of writers and artists—including Raoul Hausmann, Kurt Schwitters, Viktor Shklovsky, Hugo Ball, Charles Olson, and Marshall McLuhan—Wilke offers a fresh look at the history of the twentieth-century avant-garde.
Soundaround: Developing Phonological Awareness Skills in the Foundation Stage
by Andrew Burnett Jackie WylieThis practical and clear book will allow you to introduce and teach phonological awareness skills to children in the early years and up to Key Stages 1 to 2, who are struggling with their literacy levels because of weak basic skills. It provides a developmental and curriculum linked program suitable for all children, including those with special educational needs; a straightforward format that does not require specialist training yet enables staff to choose activities and confidently use them from day one; a focus on 'sounds first' leading to secure learning based on normal child development; activities which children enjoy and want to play again; and ideal preparation for literacy work at school. All staff involved with children in the Foundation Stage (and sometimes beyond) including teachers, nursery nurses, playgroup staff, SENCOs, teaching assistants, speech and language therapists and parents will be able to improve their children's early literacy skills using this approach.
Soundaround: Developing Phonological Awareness Skills in the Foundation Stage
by Andrew Burnett Jackie WylieThis practical and clear book will allow you to introduce and teach phonological awareness skills to children in the early years and up to Key Stages 1 to 2, who are struggling with their literacy levels because of weak basic skills. It provides a developmental and curriculum linked program suitable for all children, including those with special educational needs; a straightforward format that does not require specialist training yet enables staff to choose activities and confidently use them from day one; a focus on 'sounds first' leading to secure learning based on normal child development; activities which children enjoy and want to play again; and ideal preparation for literacy work at school. All staff involved with children in the Foundation Stage (and sometimes beyond) including teachers, nursery nurses, playgroup staff, SENCOs, teaching assistants, speech and language therapists and parents will be able to improve their children's early literacy skills using this approach.
Sounding Imperial: Poetic Voice and the Politics of Empire, 1730–1820
by James MulhollandIn Sounding Imperial, James Mulholland offers a new assessment of the origins, evolution, and importance of poetic voice in the eighteenth and early nineteenth centuries. By examining a series of literary experiments in which authors imitated oral voices and impersonated foreign speakers, Mulholland uncovers an innovative global aesthetics of poetic voice that arose as authors invented new ways of crafting textual voices and appealing to readers. As poets drew on cultural forms from around Great Britain and across the globe, impersonating "primitive" speakers and reviving ancient oral performances (or fictionalizing them in verse), they invigorated English poetry.Mulholland situates these experiments with oral voices and foreign speakers within the wider context of British nationalism at home and colonial expansion overseas. Sounding Imperial traces this global aesthetic by reading texts from canonical authors like Thomas Gray, James Macpherson, and Felicia Hemans together with lesser-known writers, like Welsh antiquarians, Anglo-Indian poets of colonialism, and impersonators of Pacific islanders. The frenetic borrowing, movement, and adaptation of verse of this time offers a powerful analytic by which scholars can understand anew poetry’s role in the formation of national culture and the exercise of colonial power. Sounding Imperial offers a more nuanced sense of poetry’s unseen role in larger historical processes, emphasizing not just appropriation or collusion but the murky middle range in which most British authors operated during their colonial encounters and the voices that they used to make those cross-cultural encounters seem vivid and alive.
Sounding Imperial: Poetic Voice and the Politics of Empire, 1730–1820
by James MulhollandIn Sounding Imperial, James Mulholland offers a new assessment of the origins, evolution, and importance of poetic voice in the eighteenth and early nineteenth centuries. By examining a series of literary experiments in which authors imitated oral voices and impersonated foreign speakers, Mulholland uncovers an innovative global aesthetics of poetic voice that arose as authors invented new ways of crafting textual voices and appealing to readers. As poets drew on cultural forms from around Great Britain and across the globe, impersonating "primitive" speakers and reviving ancient oral performances (or fictionalizing them in verse), they invigorated English poetry.Mulholland situates these experiments with oral voices and foreign speakers within the wider context of British nationalism at home and colonial expansion overseas. Sounding Imperial traces this global aesthetic by reading texts from canonical authors like Thomas Gray, James Macpherson, and Felicia Hemans together with lesser-known writers, like Welsh antiquarians, Anglo-Indian poets of colonialism, and impersonators of Pacific islanders. The frenetic borrowing, movement, and adaptation of verse of this time offers a powerful analytic by which scholars can understand anew poetry’s role in the formation of national culture and the exercise of colonial power. Sounding Imperial offers a more nuanced sense of poetry’s unseen role in larger historical processes, emphasizing not just appropriation or collusion but the murky middle range in which most British authors operated during their colonial encounters and the voices that they used to make those cross-cultural encounters seem vivid and alive.
Sounding Otherness in Early Modern Drama and Travel: Uncanny Vibrations in the English Archive (New Transculturalisms, 1400–1800)
by Jennifer Linhart WoodWinner of the Medieval and Renaissance Drama Society's 2021 Bevington Award for Best New BookSounds are a vital dimension of transcultural encounters in the early modern period. Using the concept of the soundwave as a vibratory, uncanny, and transformative force, Jennifer Linhart Wood examines how sounds of foreign otherness are experienced and interpreted in cross-cultural interactions around the globe. Many of these same sounds are staged in the sonic laboratory of the English theater: rattles were shaken at Whitehall Palace and in Brazil; bells jingled in an English masque and in the New World; the Dallam organ resounded at Topkapı Palace in Istanbul and at King’s College, Cambridge; and the drum thundered across India and throughout London theaters. This book offers a new way to conceptualize intercultural contact by arguing that sounds of otherness enmesh bodies and objects in assemblages formed by sonic events, calibrating foreign otherness with the familiar self on the same frequency of vibration.
Soundings and the Politics of Sociolinguistic Listening for Transnational Space (Contemporary Studies in Linguistics)
by Kinga KozminskaIn a world dominated by the visual, this book presents how a focus on the sounded experience and acts of listening may carve a way to reformulate emerging publics, create space for critical multilingual engagement and deepen recognition of emancipatory practices. Examining the emerging logics and rhythms among a group of post-EU accession UK Polish migrants, this book focuses on the semiotic processes through which contemporary moving bodies and communities place themselves in sociolinguistic landscapes. It considers how they develop metrics to account for sociolinguistic change and authenticate their projects and practices in transnational timespace. In doing so, the book brings power differentials to the centre of language and objectivity debates and foregrounds material semiotics as an approach that enables a new collective potential and redefinition of sociolinguistic listening. By connecting research on scale in migration contexts with studies of embodied soundwork and of stance in semiotics, this book highlights how a focus on the sounded sign may bring us closer to the ways in which bodies and meanings are (re)made, and collective doing and thinking are formed in the globalised world.
Soundings and the Politics of Sociolinguistic Listening for Transnational Space (Contemporary Studies in Linguistics)
by Kinga KozminskaIn a world dominated by the visual, this book presents how a focus on the sounded experience and acts of listening may carve a way to reformulate emerging publics, create space for critical multilingual engagement and deepen recognition of emancipatory practices. Examining the emerging logics and rhythms among a group of post-EU accession UK Polish migrants, this book focuses on the semiotic processes through which contemporary moving bodies and communities place themselves in sociolinguistic landscapes. It considers how they develop metrics to account for sociolinguistic change and authenticate their projects and practices in transnational timespace. In doing so, the book brings power differentials to the centre of language and objectivity debates and foregrounds material semiotics as an approach that enables a new collective potential and redefinition of sociolinguistic listening. By connecting research on scale in migration contexts with studies of embodied soundwork and of stance in semiotics, this book highlights how a focus on the sounded sign may bring us closer to the ways in which bodies and meanings are (re)made, and collective doing and thinking are formed in the globalised world.