{"title":"Counterlistening","authors":"G. Ouzounian","doi":"10.1353/esc.2020.a903549","DOIUrl":"https://doi.org/10.1353/esc.2020.a903549","url":null,"abstract":"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.","PeriodicalId":384095,"journal":{"name":"ESC: English Studies in Canada","volume":"16 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":"114659417","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}
{"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}
{"title":"The Child's Stuttering Mouth and the Ruination of Language in Jordan Scott's blert and Shelley Jackson's Riddance","authors":"Daniel Martín","doi":"10.1353/esc.2020.a903553","DOIUrl":"https://doi.org/10.1353/esc.2020.a903553","url":null,"abstract":"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","PeriodicalId":384095,"journal":{"name":"ESC: English Studies in Canada","volume":"48 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":"121958563","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}
{"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}
{"title":"Introduction: New Sonic Approaches in Literary Studies","authors":"Jason Camlot, Katherine McLeod","doi":"10.1353/esc.2020.a903552","DOIUrl":"https://doi.org/10.1353/esc.2020.a903552","url":null,"abstract":"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","PeriodicalId":384095,"journal":{"name":"ESC: English Studies in Canada","volume":"9 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":"126339719","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}
{"title":"Distant Listening and Resonance","authors":"Tanya E. Clement","doi":"10.1353/esc.2020.a903548","DOIUrl":"https://doi.org/10.1353/esc.2020.a903548","url":null,"abstract":"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","PeriodicalId":384095,"journal":{"name":"ESC: English Studies in Canada","volume":"16 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":"130378985","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}
{"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}
{"title":"Blind Mode/Blind Listening Techniques","authors":"Mara Mills, Andy Slater","doi":"10.1353/esc.2020.a903554","DOIUrl":"https://doi.org/10.1353/esc.2020.a903554","url":null,"abstract":"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","PeriodicalId":384095,"journal":{"name":"ESC: English Studies in Canada","volume":"54 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":"128305129","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}
{"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}
{"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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