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Hearing Things : The Work of Sound in Literature / Angela Leighton.

By: Material type: TextTextPublisher: Cambridge, MA : Harvard University Press, [2018]Copyright date: ©2018Description: 1 online resource (278 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780674985360
Subject(s): DDC classification:
  • 801/.9 23
LOC classification:
  • PN56.S47 L45 2018eb
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Sound’s Work: An Introduction -- Listening Thresholds -- Tennyson’s Hum -- Humming Tennyson: Christina Rossetti and Virginia Woolf -- Pennies and Horseplay: W. B. Yeats’s Recalls -- “Coo-ee”: Calling Walter de La Mare, Edward Thomas, Robert Frost -- A Book, a Face, a Phantom: Walter de la Mare’s “The Green Room” -- Hearing Something: Robert Frost, Elizabeth Bishop, Jorie Graham -- “Wherever You Listen From”: W. S. Graham’s Art of the Letter -- Incarnations in the Ear: Hearing Presence in Les Murray -- Justifying Time in Ticks and Tocks -- Poetry’s Knowing: So What Do We Know? -- Bibliography -- Acknowledgments -- Index
Summary: Hearing Things is a meditation on sound’s work in literature. Drawing on critical works and the commentaries of many poets and novelists who have paid close attention to the role of the ear in writing and reading, Angela Leighton offers a reconsideration of literature itself as an exercise in hearing. An established critic and poet, Leighton explains how we listen to the printed word, while showing how writers use the expressivity of sound on the silent page. Although her focus is largely on poets—Alfred Tennyson, W. B. Yeats, Robert Frost, Walter de la Mare, Wallace Stevens, Elizabeth Bishop, Jorie Graham, and Alice Oswald—Leighton’s scope includes novels, letters, and philosophical writings as well. Her argument is grounded in the specificity of the text under discussion, but one important message emerges from the whole: literature by its very nature commands listening, and listening is a form of understanding that has often been overlooked. Hearing Things offers a renewed call for the kind of criticism that, avoiding the programmatic or purely ideological, remains alert to the work of sound in every literary text.
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Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780674985360

Frontmatter -- Contents -- Sound’s Work: An Introduction -- Listening Thresholds -- Tennyson’s Hum -- Humming Tennyson: Christina Rossetti and Virginia Woolf -- Pennies and Horseplay: W. B. Yeats’s Recalls -- “Coo-ee”: Calling Walter de La Mare, Edward Thomas, Robert Frost -- A Book, a Face, a Phantom: Walter de la Mare’s “The Green Room” -- Hearing Something: Robert Frost, Elizabeth Bishop, Jorie Graham -- “Wherever You Listen From”: W. S. Graham’s Art of the Letter -- Incarnations in the Ear: Hearing Presence in Les Murray -- Justifying Time in Ticks and Tocks -- Poetry’s Knowing: So What Do We Know? -- Bibliography -- Acknowledgments -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Hearing Things is a meditation on sound’s work in literature. Drawing on critical works and the commentaries of many poets and novelists who have paid close attention to the role of the ear in writing and reading, Angela Leighton offers a reconsideration of literature itself as an exercise in hearing. An established critic and poet, Leighton explains how we listen to the printed word, while showing how writers use the expressivity of sound on the silent page. Although her focus is largely on poets—Alfred Tennyson, W. B. Yeats, Robert Frost, Walter de la Mare, Wallace Stevens, Elizabeth Bishop, Jorie Graham, and Alice Oswald—Leighton’s scope includes novels, letters, and philosophical writings as well. Her argument is grounded in the specificity of the text under discussion, but one important message emerges from the whole: literature by its very nature commands listening, and listening is a form of understanding that has often been overlooked. Hearing Things offers a renewed call for the kind of criticism that, avoiding the programmatic or purely ideological, remains alert to the work of sound in every literary text.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 24. Aug 2021)