Writing By Ear

Considering Brazilian novelist Clarice Lispector’s literature as a case study and a source of theory, Writing by Ear presents an aural theory of the novel based on readings of Near to the Wild Heart (1943), The Besieged City (1949), The Passion According to G.H. (1964), Agua Viva (1973), The Hour of the Star (1977), and A Breath of Life (1978). What is the specific aesthetic for which listening-in-writing calls? What is the relation that listening-in-writing establishes with silence, echo, and the sounds of the world? How are we to understand authorship when writers present themselves as objects of reception rather than subjects of production? In which ways does the robust oral and aural culture of Brazil shape literary genres and forms? In addressing these questions, Writing by Ear works in dialogue with philosophy, psychoanalysis, and sound studies to contemplate the relationship between orality and writing. Citing writers such as Machado de Assis, Oswald de Andrade and João Guimarães Rosa, as well as Mia Couto and Toni Morrison, Writing By Ear opens up a broader dialogue on listening and literature, considering the aesthetic, ethical, and ecological reverberations of the imaginary. Writing by Ear is concerned at once with shedding light on the narrative representation of listening and with a broader reconceptualization of fiction through listening, considering it an auditory practice that transcends the dichotomy of speech and writing.

"Considering Brazilian novelist Clarice Lispector's literature as a case study and a source of theory, Writing by Ear presents an aural theory of the novel based on readings of Near to the Wild Heart (1943), The Besieged City (1949), The Passion According to G.H. (1964), Agua Viva (1973), The Hour of the Star (1977), and A Breath of Life (1978). What is the specific aesthetic for which listening-in-writing calls? What is the relation that listening-in-writing establishes with silence, echo, and the sounds of the world? How are we to understand authorship when writers present themselves as objects of reception rather than subjects of production? In which ways does the robust oral and aural culture of Brazil shape literary genres and forms? In addressing these questions, Writing by Ear works in dialogue with philosophy, psychoanalysis, and sound studies to contemplate the relationship between orality and writing. Citing writers such as Machado de Assis, Oswald de Andrade and Jo[gamma]o Guimar[gamma]es Rosa, as well as Mia Couto and Toni Morrison, Writing By Ear opens up a broader dialogue on listening and literature, considering the aesthetic, ethical, and ecological reverberations of the imaginary. Writing by Ear is concerned at once with shedding light on the narrative representation of listening and with a broader reconceptualization of fiction through listening, considering it an auditory practice that transcends the dichotomy of speech and writing."--

Radio Production is for professionals and students interested in understanding the radio industry in today’s ever-changing world. This book features up-to-date coverage of the purpose and use of radio with detailed coverage of current production techniques in the studio and on location. In addition there is exploration of technological advances, including handheld digital recording devices, the use of digital, analogue and virtual mixing desks and current methods of music storage and playback. Within a global context, the sixth edition also explores American radio by providing an overview of the rules, regulations, and purpose of the Federal Communications Commission. The sixth edition includes: Updated material on new digital recording methods, and the development of outside broadcast techniques, including Smartphone use. The use of social media as news sources, and an expansion of the station’s presence. Global government regulation and journalistic codes of practice. Comprehensive advice on interviewing, phone-ins, news, radio drama, music, and scheduling. This edition is further enhanced by a companion website, featuring examples, exercises, and resources: www.focalpress.com/cw/mcleish.

"Over the years, I've heard some wonderful sermons," writes G. Robert Jacks. "I've also heard some duds. Some have been so extemporaneous they sounded as if the preacher hadn't prepared anything. Some have been such wondrously crafted literary pieces they sounded as if the preacher wanted to sound wondrously crafted and literary. Some have sounded as though the preacher were giving a lecture or reading a term paper. That's because the preacher had written a lecture or term paper. And some have captured the attention and the imagination and set the spark to ignite faith in the hearer. That's because they were written to be listened to, and to appeal to the sense-world of the hearers." Drawing on nearly thirty years of experience in critiquing sermon delivery, Jacks here offers a practical, hands-on approach to writing sermons that consider listeners first. Jacks gives samples and examples of writing that effectively captures and holds an audience's attention, and he offers practical tips and suggestions intended to help each of us find a preaching style and voice of our own. He also shows how to translate the jargon of theological textbooks into everyday language, suggests methods for rewriting sermons to avoid some of the pomposity of sermonic proclamation, and demonstrates ways to retell biblical narratives in fresh and imaginative ways. Just Say the Word! Writing for the Ear is a valuable resource that will help pastors and lay leaders communicate as effectively as possible the faith that is ours to share.

Writing by Ear examines the explicit articulation of listening-in-writing found in the work of Brazilian novelist Clarice Lispector. The terms "writing by ear," the "aural novel," and "echopoetics" rethink fiction as a poetics of listening to the world.

The second symposium on processing visible language constituted a different "mix" of participants from the first. Greater emphasis was given to the design of language, both in its historical development and in its current display; and to practical questions associated with machine-implementation oflanguage, in the interactions of person and computer, and in the characteristics of the physical and environmental objects that affect the interaction. Another change was that a special session on theory capped the proceedings. Psychologists remained heavily involved, however, both as contributors to and as discussants of the work pre sented. The motivation of the conferences remains one of bringing together graphic designers, engineers, and psychologists concerned with the display and acquisition of visible language. The papers separately tended to emphasize the one of the three disciplines that mark their authors' field of endeavor, but are constructed to be general rather than parochial. Moreover, within the three disciplines, papers emphasized either the textual or the more pictorial aspects. For example, a session on writing systems ranged from principles that seem to characterize all such systems to specific papers on ancient Egyptian writing, modern Korean, and English shorthand. The complementary session on the nontextual media opened with a discussion of general principles of pictorial communication and included papers on communicating instructions, general information, or religious belief through designs and other pictorial forms, as well as a discussion. of misrepresentation.

The debut short story collection from Joshua Chaplinsky, author of Kanye West-Reanimator. Thirteen weird pieces of literary genre fiction. Singularities, ciphers, and reappearing limbs. Alien messiahs and murderous medieval hydrocephalics. A dark collection that twists dreams into nightmares in an attempt to find a whisper of truth."This is dark stuff, but fun, without any hipster wink of irony or cynicism. Writing stories that are simultaneously grim and good-hearted is a fucking tough line to straddle, and writing them well... let's just say I don't see that often. Chaplinsky walks a barbed-wire tightrope here. In short, good shit."Craig Clevenger, Author of The Contortionist's Handbook"If you're sick of tepid short stories that taste like watered-down milk, "Whispers in the Ear of a Dreaming Ape," is the collection of multi-colored, bite-sized brain pan bullets that might just be the cure. Joshua Chaplinsky has an imagination both of depth and breadth, and no two stories are alike. You can practically hear the lively, fascinating, hallucinatory click of his brain throughout the book. An enjoyable read for all of us dreaming apes."Autumn Christian, Author of Girl Like a Bomb

Illus. in full color. A boy and his dog listen to the world around them. "Illustrations are big and simple; the text is in verse form."--School Library Journal.