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001			193946
003			IT-RoAPU
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008			210824t20182018mau fo d z eng d
020			_a9780674985360 _qPDF
024	7		_a10.4159/9780674985360 _2doi
035			_a(DE-B1597)9780674985360
035			_a(DE-B1597)501481
035			_a(OCoLC)1030578588
040			_aDE-B1597 _beng _cDE-B1597 _erda
050		4	_aPN56.S47 _bL45 2018eb
072		7	_aLIT014000 _2bisacsh
082	0	4	_a801/.9 _223
084			_aonline - DeGruyter
100	1		_aLeighton, Angela _eautore
245	1	0	_aHearing Things : _bThe Work of Sound in Literature / _cAngela Leighton.
264		1	_aCambridge, MA : _bHarvard University Press, _c[2018]
264		4	_c©2018
300			_a1 online resource (278 p.)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tContents -- _tSound’s Work: An Introduction -- _tListening Thresholds -- _tTennyson’s Hum -- _tHumming Tennyson: Christina Rossetti and Virginia Woolf -- _tPennies and Horseplay: W. B. Yeats’s Recalls -- _t“Coo-ee”: Calling Walter de La Mare, Edward Thomas, Robert Frost -- _tA Book, a Face, a Phantom: Walter de la Mare’s “The Green Room” -- _tHearing Something: Robert Frost, Elizabeth Bishop, Jorie Graham -- _t“Wherever You Listen From”: W. S. Graham’s Art of the Letter -- _tIncarnations in the Ear: Hearing Presence in Les Murray -- _tJustifying Time in Ticks and Tocks -- _tPoetry’s Knowing: So What Do We Know? -- _tBibliography -- _tAcknowledgments -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aHearing 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.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 24. Aug 2021)
650		0	_aHearing.
650		0	_aSenses and sensation in literature.
650		0	_aSpoken word poetry.
650		7	_aLITERARY CRITICISM / Poetry. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.4159/9780674985360
856	4	0	_uhttps://www.degruyter.com/isbn/9780674985360
856	4	2	_3Cover _uhttps://www.degruyter.com/cover/covers/9780674985360.jpg
942			_cEB
999			_c193946 _d193946