Pub Date : 2023-08-07DOI: 10.1353/esc.2020.a903549
G. Ouzounian
1. Counterlistening is listening against: against unequal systems of power and uneven modes of exchange; against official and hegemonic narratives of events, histories, places, territories, groups, communities; against normative and dominant cultures of listening; against one’s own habits of listening, including those habits that have been engrained through culture and that are entrenched through disciplining.
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Pub Date : 2023-08-07DOI: 10.1353/esc.2020.a903565
Katherine McLeod
{"title":"Archival Listening","authors":"Katherine McLeod","doi":"10.1353/esc.2020.a903565","DOIUrl":"https://doi.org/10.1353/esc.2020.a903565","url":null,"abstract":"","PeriodicalId":384095,"journal":{"name":"ESC: English Studies in Canada","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130659313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-07DOI: 10.1353/esc.2020.a903553
Daniel Martín
In recent years, the interdisciplinary field that Chris Eagle has called “Dysfluency Studies” (“Introduction” 4) has questioned cultural expressions of speech disorders that rely on stuttering or stammering as a metaphor for other mental, aesthetic, political, and affective problems.1 Literary, cultural, and critical expressions of stutters and stammers (some literal, others metaphorical) are notoriously difficult to contextualize because they pop up everywhere in our writing. We desperately want to make the world and its language systems stutter for various aesthetic and political reasons. Echoing the foundational work of disability scholars David T. Mitchell and Sharon L. Snyder on the concepts of narrative prosthesis, Eagle writes that “without exception in modern literature, speech pathologies are ‘diagnosed’ metaphorically as the symptom of some character flaw such as excessive nervousness or weakness, or treated as a symbol for the general tendency of language toward communicative breakdown, ambiguity, polysemy, misunderstanding, etc.” (Dysfluencies 11–12). Eagle’s extensive study of the “neurolinguistic turn” in modern fiction by authors such as Herman Melville, Emile Zola, James Joyce, Robert Graves, James Joyce, Philip Roth, Gail Jones, Jonathan Lethem, and David Mitchell, among others, fills a gap in The Child’s Stuttering Mouth and the Ruination of Language in Jordan Scott’s blert and Shelley Jackson’s Riddance
近年来，克里斯·伊格尔(Chris Eagle)所称的跨学科领域“语言障碍研究”(“导论”4)对语言障碍的文化表达提出了质疑，这些语言障碍依赖于口吃或口吃来隐喻其他心理、审美、政治和情感问题文学、文化和对口吃的批评表达(有些是字面上的，有些是隐喻的)是出了名的难以语境化的，因为它们在我们的写作中无处不在。我们迫切地想让这个世界和它的语言系统因为各种审美和政治原因而变得结结巴巴。与残疾学者David T. Mitchell和Sharon L. Snyder关于叙事假体概念的基础工作相呼应，Eagle写道:“在现代文学中无一例外，语言病理学被隐喻地‘诊断’为某些性格缺陷的症状，如过度紧张或虚弱，或者被视为语言普遍倾向于沟通障碍、歧义、多义、误解等的标志。”(Dysfluencies 11-12)。伊格尔对赫尔曼·梅尔维尔、埃米尔·左拉、詹姆斯·乔伊斯、罗伯特·格雷夫斯、詹姆斯·乔伊斯、菲利普·罗斯、盖尔·琼斯、乔纳森·勒瑟姆和大卫·米切尔等作家的现代小说中的“神经语言学转向”进行了广泛的研究，填补了乔丹·斯科特的《结巴》和雪莱·杰克逊的《解脱》中《孩子的口吃》和《语言的毁灭》的空白
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Pub Date : 2023-08-07DOI: 10.1353/esc.2020.a903559
Kristen Smith
ion is necessary in theorizing and fundamental to language-making. Although Hayles contends that “no theory can account for the infinite multiplicity of our interactions with the real” (12), she also warns of the potential effects of abstraction: “But when we make moves that erase the world’s multiplicity, we risk losing sight of the variegated leaves, fractal branchings, and particular bark textures that make up the forest” (12). Schmaltz’s “Path Dependency” traces these fractal branchings—the body’s movement in the creation of these stimulations. As mentioned, with the click of the camera with Solt’s diagrammatic codes and the pen scraping on the page in Bergvall’s line poems, sound is a feature of Schmaltz’s works as well, whether the breath of the body and sounds of it exerting energy or the resultant sounds of the key clicks and bodily interaction with technology The unsound
{"title":"Un-Sounding: A New Method for Processing Non-linguistic Poetry","authors":"Kristen Smith","doi":"10.1353/esc.2020.a903559","DOIUrl":"https://doi.org/10.1353/esc.2020.a903559","url":null,"abstract":"ion is necessary in theorizing and fundamental to language-making. Although Hayles contends that “no theory can account for the infinite multiplicity of our interactions with the real” (12), she also warns of the potential effects of abstraction: “But when we make moves that erase the world’s multiplicity, we risk losing sight of the variegated leaves, fractal branchings, and particular bark textures that make up the forest” (12). Schmaltz’s “Path Dependency” traces these fractal branchings—the body’s movement in the creation of these stimulations. As mentioned, with the click of the camera with Solt’s diagrammatic codes and the pen scraping on the page in Bergvall’s line poems, sound is a feature of Schmaltz’s works as well, whether the breath of the body and sounds of it exerting energy or the resultant sounds of the key clicks and bodily interaction with technology The unsound","PeriodicalId":384095,"journal":{"name":"ESC: English Studies in Canada","volume":"52 12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127570156","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-07DOI: 10.1353/esc.2020.a903563
Nicole Brittingham Furlonge
{"title":"\"Apprentices of Listening\": Sound Studies in Educational Leadership","authors":"Nicole Brittingham Furlonge","doi":"10.1353/esc.2020.a903563","DOIUrl":"https://doi.org/10.1353/esc.2020.a903563","url":null,"abstract":"","PeriodicalId":384095,"journal":{"name":"ESC: English Studies in Canada","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131731156","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-07DOI: 10.1353/esc.2020.a903548
Tanya E. Clement
For speech recordings, sound is text—the words people speak, but also other sounds that indicate a speaking and listening context: tone and laughter, coughing and crying, bird song, car engines and horns, a baby crying, thunder clapping, gun shots, the needle dropping, the needle scratching, to name a few. Using computation to analyze many texts at once in big data sets has been called “distant reading” in Digital Humanities (Underwood). I have described “distant listening” to sound texts as using computing to “distill the many-layered four-dimensional space of the text in performance (i.e., embodied within the performance network of interpretations with the listener in time and space) into a two-dimensional script called ‘code’ ” (Clement, “Distant Listening”). Distant listening, like distant reading, implies a lack of granular observation based on proximity in terms of space as well as a removal in terms of emotion, experience, and individual or subjective knowledge. Sound travels differently than light; what is lacking is made up for in other ways. What is too close can be too loud. What is far can be communicated loud and clear. Resonance is both an embodied, physical experience as well as a cultural hermeneutic. Specifying sound computationally is a process of discretization. Without going too far down the mathematical rabbit hole, discretization, it is safe to say, is a means of mathematically representing a continuous signal Distant Listening and Resonance
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Pub Date : 2023-08-07DOI: 10.1353/esc.2020.a903552
Jason Camlot, Katherine McLeod
The sound of literature is now discernible as never before. This emerging discernibility inciting new sonic approaches to literature is due, in the first instance, to digitized audio assets and online environments that make previously analog collections of literary recordings more readily available and useful for research and study. Beyond this important infrastructural condition, the heightened discernibility of sonic approaches to literary culture has arisen from a quite recent interaction and convergence of methods between literary studies and sound studies as a broad, interdisciplinary field. This continuum that now grants context for literary scholarship that focuses on sound did not exist to the same degree even fifteen years ago when Louis Cabri and Peter Quartermain produced their special issue of ESC, “On Discreteness: Event and Sound in Poetry,” a collection of scholarly work that focused primarily on the “one-hundred-plus sounds, derived from forty-plus phonemes—spoken English” as “part of poetry’s sonic dimension” (Cabri 1). Most notable in that issue was its generic focus, which made it most exciting and meaningful (and innovative from the perspective of methods) to scholars of twentiethand twenty-first century poetry. This parabolic focus on sound in poetry, arguably going back to the importance of literary prosody in New Critical close-reading methods Introduction: New Sonic Approaches in Literary Studies
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Pub Date : 2023-08-07DOI: 10.1353/esc.2020.a903554
Mara Mills, Andy Slater
Blind people are often assumed by the sighted to have remarkable organic listening powers, yet blind ways of listening are learned through schooling, improvisation, and community protocols for using sound to infer and hack environments built for vision.1 Scholars in sound studies have shifted attention from instruments and soundscapes to listening techniques and rigorously-tutored sonic skills, but they have mostly not considered blind students who have been subject to formal listening curricula for decades.2 Blind people have taken some elements of these lessons, rejected others, and amalgamated them with tacit blind expertise to generate counter-sounds and blind soundscapes within and around sighted architectures. Just as deaf sound artist Christine Sun Kim describes her work as “unlearning sound etiquette” (Kim quoted in Weisblum), blind listening techniques—often linked to blind sound production—contravene sonic norms, even when the goal is access to conventional visual landscapes and texts. Andy Slater is a blind sound artist who records, transcribes, and otherwise documents these techniques, from the clicks and echoes of cane Blind Mode / Blind Listening Techniques
正常人通常认为盲人天生具有非凡的听觉能力，然而盲人的听觉方式是通过学校教育、即兴表演和社区协议来学习的，这些协议利用声音来推断和破解为视觉而建造的环境声音研究的学者们已经把注意力从乐器和音景转移到听力技巧和严格指导的声音技巧上，但他们大多没有考虑到几十年来一直接受正规听力课程的盲人学生盲人已经接受了这些经验教训中的一些元素，拒绝了其他元素，并将它们与隐性盲人专业知识相结合，在视觉清晰的建筑内部和周围产生反声音和盲人音景。正如失聪声音艺术家Christine Sun Kim将她的工作描述为“忘却声音礼仪”(Kim在Weisblum中引用)，盲听技术——通常与盲音产生有关——违反了声音规范，即使目标是进入传统的视觉景观和文本。Andy Slater是一位盲人声音艺术家，他记录，转录，并以其他方式记录这些技术，从cane blind Mode / blind Listening techniques的点击和回声
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Pub Date : 2023-08-07DOI: 10.1353/esc.2020.a903551
K. Fürholzer
When suffering from the language impairment of aphasia (Greek: ἀφἀσίἀ = speechlessness), everyday sounds can turn into an almost intolerable noise, a stressful nuisance, a physical as well as psychological ailment creating a communicative border between aphasic patients and their environment. At the same time, aphasic language comes with its very own sounds: for instance, one may think of the stutter provoked by the anomic search for words or the use of phonetically distorted terms (so-called phonemic paraphasias), all of which can cause severe confusion and misunderstandings. In her poetry, UK-based writer Chris Ireland, who has been living with aphasia since 1988 (Ireland and Black 356), aesthetically addresses Noisy Nuisance: Chris Ireland’s Aphasic Poetry
{"title":"Noisy Nuisance: Chris Ireland's Aphasic Poetry","authors":"K. Fürholzer","doi":"10.1353/esc.2020.a903551","DOIUrl":"https://doi.org/10.1353/esc.2020.a903551","url":null,"abstract":"When suffering from the language impairment of aphasia (Greek: ἀφἀσίἀ = speechlessness), everyday sounds can turn into an almost intolerable noise, a stressful nuisance, a physical as well as psychological ailment creating a communicative border between aphasic patients and their environment. At the same time, aphasic language comes with its very own sounds: for instance, one may think of the stutter provoked by the anomic search for words or the use of phonetically distorted terms (so-called phonemic paraphasias), all of which can cause severe confusion and misunderstandings. In her poetry, UK-based writer Chris Ireland, who has been living with aphasia since 1988 (Ireland and Black 356), aesthetically addresses Noisy Nuisance: Chris Ireland’s Aphasic Poetry","PeriodicalId":384095,"journal":{"name":"ESC: English Studies in Canada","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124948700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-07DOI: 10.1353/esc.2020.a903555
K. Moffatt, Kandice Sharren, Michelle Levy
At lunchtime on 14 February 1984, Mavis Gallant read her 1982 New Yorker short story “Grippes and Poche” at Simon Fraser University in a lecture hall of faculty and students. In May 2019, the authors of this article discovered that a recording of this event existed in the SFu Archives and requested its digitization. Two years later, in March and June 2021, we presented the archival audio as an “audio edition” in two episodes of The SpokenWeb Podcast. In the first episode, we presented the reading with some contextual and biographical material; in the second, we attempted to reconstruct the event through the evidence provided by the contents of the recording, interviews with its organizers, additional archival information we uncovered, and even the tape itself. Framing these episodes as an audio edition required that we respond to Jason Camlot’s claim that, “To think critically about sound recordings as literary works, we need to explore the historically specific convergences between audio-recording technologies, media formats, and the institutions and practices of the literary context” (4). In print, critical editions of literary works imbue them with institutional value; approaching a sound recording through the lens of scholarly editing practices both appropriated that institutional value and raised questions about the print-based assumptions embedded in those practices. Modeling the Audio Edition with Mavis Gallant’s 1984 Reading of “Grippes and Poche”
1984年2月14日的午餐时间，梅维斯·加朗在西蒙弗雷泽大学的一个演讲厅里朗读了她1982年在《纽约客》上发表的短篇小说《抓和抓》(grip and Poche)。2019年5月，本文作者发现SFu档案馆中存在这一事件的记录，并要求将其数字化。两年后，即2021年3月和6月，我们在the SpokenWeb Podcast的两集节目中以“音频版”的形式呈现了这些档案音频。在第一集，我们用一些语境和传记材料来呈现阅读材料;在第二阶段，我们试图通过录音内容、对组织者的采访、我们发现的额外档案信息，甚至录音带本身提供的证据来重建事件。将这些情节构建为音频版本要求我们回应杰森·卡姆洛特(Jason Camlot)的主张，即“要批判性地思考作为文学作品的录音，我们需要探索录音技术、媒体格式以及文学语境的制度和实践之间的历史特定融合”(4)。在印刷中，文学作品的批评版本赋予它们制度价值;通过学术编辑实践的镜头来处理录音，既占用了制度价值，又提出了关于这些实践中嵌入的基于印刷的假设的问题。以Mavis Gallant 1984年朗读的《Grippes and Poche》为音频版建模
{"title":"Modeling the Audio Edition with Mavis Gallant's 1984 Reading of \"Grippes and Poche\"","authors":"K. Moffatt, Kandice Sharren, Michelle Levy","doi":"10.1353/esc.2020.a903555","DOIUrl":"https://doi.org/10.1353/esc.2020.a903555","url":null,"abstract":"At lunchtime on 14 February 1984, Mavis Gallant read her 1982 New Yorker short story “Grippes and Poche” at Simon Fraser University in a lecture hall of faculty and students. In May 2019, the authors of this article discovered that a recording of this event existed in the SFu Archives and requested its digitization. Two years later, in March and June 2021, we presented the archival audio as an “audio edition” in two episodes of The SpokenWeb Podcast. In the first episode, we presented the reading with some contextual and biographical material; in the second, we attempted to reconstruct the event through the evidence provided by the contents of the recording, interviews with its organizers, additional archival information we uncovered, and even the tape itself. Framing these episodes as an audio edition required that we respond to Jason Camlot’s claim that, “To think critically about sound recordings as literary works, we need to explore the historically specific convergences between audio-recording technologies, media formats, and the institutions and practices of the literary context” (4). In print, critical editions of literary works imbue them with institutional value; approaching a sound recording through the lens of scholarly editing practices both appropriated that institutional value and raised questions about the print-based assumptions embedded in those practices. Modeling the Audio Edition with Mavis Gallant’s 1984 Reading of “Grippes and Poche”","PeriodicalId":384095,"journal":{"name":"ESC: English Studies in Canada","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125184219","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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