By Matthew Rubery
This is often the 1st scholarly paintings to check the cultural importance of the "talking booklet" because the invention of the phonograph in 1877, the earliest laptop to allow the copy of the human voice. contemporary advances in sound expertise make this an opportune second to mirror at the evolution of our studying practices on the grounds that this impressive invention. a few questions addressed by means of the gathering contain: How does auditory literature adapt published texts? What abilities in shut listening are worthy for its reception? What are the social outcomes of latest listening applied sciences? In sum, the essays collected jointly by means of this assortment discover the level to which the audiobook allows us not only to listen to literature yet to listen to it in new methods. Bringing jointly a collection of reflections at the enrichments and impoverishments of the analyzing event caused through advancements in sound know-how, this assortment spans the earliest variations of published texts into sound through Charles Dickens, Thomas Hardy, and different novelists from the overdue 19th century to recordings by way of modern figures similar to Toni Morrison and Barack Obama on the flip of the twenty-first century. because the voices amassed right here recommend, it's time to provide a listening to to 1 of the main spoke of new media of the previous century.
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Extra info for Audiobooks, Literature, and Sound Studies (Routledge Research in Cultural and Media Studies)
2. The only previous studies of the audiobook format are Sarah Kozloff, “Audio Books in a Visual Culture,” Journal of American Culture 18, no. ” Journal of Popular Culture 34, no. 4 (2001): 171–181; Jason Camlot, “Early Talking Books: Spoken Recordings and Recitation Anthologies, 1880–1920,” Book History 6 (2003): 147–173; Deborah Philips, “Talking Books: The Encounter of Literature and Technology in the Audio Book,” Convergence: The International Journal of Research into New Media Technologies 13, no.
Knox makes a compelling case that each of these listening encounters is distinctive and indelibly bound up in her memory with the narrator’s voice. The next two chapters reflect the stature of audiobooks in African American literature, where the trope of the talking book fi rst appeared in early transatlantic slave narratives. Drawing on reception studies and informal surveys collected from audiobook readers, K. C. Harrison considers the interpretive frameworks best suited to audiobooks read by Toni Morrison, an author whose emphasis on oral storytelling challenges the divide between printed and spoken narratives.
Part II presents a series of “close listenings” of individual recordings of verse, fiction, and nonfiction. Chapter 6 carries us forward from the experiments with sound-recording technology through its brief history of analogue tape technology deployed by the military. In support of this counterhistory of the audiobook, Garrett Stewart establishes links between the thematics of tape-recorded surveillance and the carefully calibrated vocal inflection heard throughout John le Carré’s fiction. As Stewart puts it (in Introduction 17 a shrewd reversal of the familiar sequence), le Carré doesn’t just record audiobooks but also writes them.
Audiobooks, Literature, and Sound Studies (Routledge Research in Cultural and Media Studies) by Matthew Rubery