ESC: English Studies in Canada最新文献_第2页

"Collage With Jackhammer": James Reaney, the Art of Noises, and the Paraphonic Sound Collage “用手提钻拼贴”:詹姆斯·雷尼，噪音的艺术，和辅音拼贴

ESC: English Studies in Canada Pub Date : 2023-08-07 DOI: 10.1353/esc.2020.a903556

Michael O'Driscoll

引用次数: 0

Reflections on Evaluating Soundscapes and Gathering Sounds in Cairo: The Case of the #AUCdiaries Project 开罗评价声景与收集声音的思考:以AUCdiaries项目为例

ESC: English Studies in Canada Pub Date : 2023-08-07 DOI: 10.1353/esc.2020.a903567

Kim Fox, Reem Elmaghraby

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The Afterlife of Performance 表演的来世

ESC: English Studies in Canada Pub Date : 2023-08-07 DOI: 10.1353/esc.2020.a903545

Jason Camlot, Annie Murray, Darren Wershler

{"title":"The Afterlife of Performance","authors":"Jason Camlot, Annie Murray, Darren Wershler","doi":"10.1353/esc.2020.a903545","DOIUrl":"https://doi.org/10.1353/esc.2020.a903545","url":null,"abstract":"The afterlife of performance is riddled with assumptions about life, death, and time. One major assumption is the possibility of distinction between liveness and something else—not so much death as the “afterlifeness” of various theorizations of media in the age of the zombie (Žižek, Parikka and Hertz, Sconce). Philip Auslander is particularly helpful on the subject of liveness when he identifies it as a historically contingent and relational concept “used to distinguish among cultural forms and experiences,” and then, on the matter of method, remarks that “the values attributed to live performance must be discussed from the perspective of particular cultural contexts” (63). While we agree with Auslander that any attempt to generalize assertions about a live performance are bound to be flawed, in this article we are not really interested in how particular instantiations of liveness or presence are produced (Gumbrecht, Production of Presence xiii–xvi). Rather, we are concerned with the particulars of how the afterlife of performance is produced, managed, and maintained by the application of various cultural techniques, in Bernhard Siegert’s sense. Cultural techniques incite “a more or less complex actor network that comprises technological objects as well as the operative chains they are part of and that configure and constitute them” (Siegert 11). In our case, The Afterlife of Performance","PeriodicalId":384095,"journal":{"name":"ESC: English Studies in Canada","volume":"110 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":"129064674","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}

引用次数: 1

Poetics of Listening 听的诗学

ESC: English Studies in Canada Pub Date : 2023-08-07 DOI: 10.1353/esc.2020.a903562

Brandon Labelle

{"title":"Poetics of Listening","authors":"Brandon Labelle","doi":"10.1353/esc.2020.a903562","DOIUrl":"https://doi.org/10.1353/esc.2020.a903562","url":null,"abstract":"It has already ... begun ... the time ... the time-space ... of ... speaking .... a speaking that ... moves itself toward ... knowing nothing ... something ... you, the yous that arrive from ... the particularities ... as the basis for a giving ... enacting ... a rhythming of ... breath ... breathing toward ... away ... As a field of artistic research and practices, sound art brings focus to listening as a particular sensory, perceptual experience and capacity. Through a range of methods and approaches, including spatial and installational to performative and relational work, sound art positions the public as listeners. In doing so, listening is never only figured or conceived as a passive, receptive position; rather, sound art intensifies listening as an experience, inviting or demanding a shift toward more active forms and understandings. By way of sound art, listening is constituted as an experimental practice, one that involves itself in the world in such ways as to foster multiple or polyphonic conceptualizations of life and manners of existence. I focus on sound art in order to highlight its place within a broader framework of artistic practice and to underscore how it dynamically introduces listening as a particular sensory, perceptual capacity and practice Poetics of Listening","PeriodicalId":384095,"journal":{"name":"ESC: English Studies in Canada","volume":"47 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":"125627225","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}

引用次数: 1

"What They Say is What They Mean": Listening to Someone's Story “言出必行”:倾听别人的故事

ESC: English Studies in Canada Pub Date : 2023-08-07 DOI: 10.1353/esc.2020.a903561

N. Eidsheim, Juliette Bellocq

引用次数: 0

Reorienting Audition Through Bodily Listening in Place 通过原位的身体倾听来重新定位试听

ESC: English Studies in Canada Pub Date : 2023-08-07 DOI: 10.1353/esc.2020.a903550

Ellen Waterman

{"title":"Reorienting Audition Through Bodily Listening in Place","authors":"Ellen Waterman","doi":"10.1353/esc.2020.a903550","DOIUrl":"https://doi.org/10.1353/esc.2020.a903550","url":null,"abstract":"Sunlight streams through the window of my music room, spilling out across a low chest and onto the variegated maple floor. Sunlight plays across the dark shiny grain of the old wooden chest, reflecting and shifting as I move. I slide the sunbeam across the surface of the chest by moving laterally. A blue and yellow Ghanaian batik runner threads the middle of the chest, interrupting the reflection, the colours intensified in my sustained gaze. I stand sock-footed in the patch of sunlight on the floor. Warmth of light, chill of floor on my feet. I am holding my flute. I resist the urge to close my eyes and bathe in the familiar intimacy of sound. Instead, I keep my eyes open and play long, low tones while focusing on the play of sunlight, the warmth, and the feeling of toes and heels as I curl, lift, and lower them while never losing contact with the floor. I am acutely aware of my flute. Of how it feels in my hands, under the pads of my fingers, stale, sour, metallic smell of old breath lingering in the head joint. I focus on my finger pressure on the keys. Inadvertently lifting my right middle finger causes a slight leak, a small squeak. I try to let sounds emerge as a by-product of my interactions with flute, feet, light, and space. Reorienting Audition Through Bodily Listening in Place","PeriodicalId":384095,"journal":{"name":"ESC: English Studies in Canada","volume":"322 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":"115670861","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}

引用次数: 0

"Do you read me?": Kaie Kellough, the Words and Music Show, and a Self-Curated Series Within a Series “你听到了吗?”:凯·凯洛，文字和音乐表演，以及系列中的自我策划系列

ESC: English Studies in Canada Pub Date : 2023-08-07 DOI: 10.1353/esc.2020.a903546

Klara du Plessis

{"title":"\"Do you read me?\": Kaie Kellough, the Words and Music Show, and a Self-Curated Series Within a Series","authors":"Klara du Plessis","doi":"10.1353/esc.2020.a903546","DOIUrl":"https://doi.org/10.1353/esc.2020.a903546","url":null,"abstract":"The literary event (poetry reading and reading series) as form—and the sociocultural context that allows the idea of the literary event to function—initiates relevant dialogue with discourses from the visual arts when curatorial theory and vocabulary from museum, gallery, and exhibition spaces are applied to it. By listening to the literary event as a curatorial construct, my research makes explicit collaborative structures, and hierarchies of agency, inherent to the public sharing of literature in performance and the necessarily “relational aesthetics”—to apply Nicolas Bourriaud’s term—that ensues. Relational art is typically defined as that which takes “as its theoretical horizon the realm of human interactions and its social content, rather than the assertion of an independent and private symbolic space” (14). The sociability inherent to the relational points to human exchanges during the duration of a work of art or the performance of a literary event. To extend this mode of thinking, my research places the public presentation of oral poetry, its interpersonal dynamics, and its investment in curatorial labour in further relation to the structures and non-human influences—what Beatrice von Bismarck calls the “close, inseparable entanglement of human and non-human actors” (81)—that “do you read me?”: Kaie Kellough, the Words and Music Show, and a Self-Curated Series Within a Series","PeriodicalId":384095,"journal":{"name":"ESC: English Studies in Canada","volume":"6 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":"127642257","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}

引用次数: 0

Toward a History of Literary Listening “文学听力史

ESC: English Studies in Canada Pub Date : 2023-08-07 DOI: 10.1353/esc.2020.a903547

Jason Camlot

{"title":"Toward a History of Literary Listening","authors":"Jason Camlot","doi":"10.1353/esc.2020.a903547","DOIUrl":"https://doi.org/10.1353/esc.2020.a903547","url":null,"abstract":"I am outlining a new project, a history of literary listening. It will be a different kind of disciplinary history of literary studies than others I have read and enjoyed, like Gerald Graff’s Professing Literature (1987/2007), John Guillory’s Cultural Capital (1993) and Professing Criticism (2022), Paul Eggert’s The Work and the Reader in Literary Studies (2021), for example. One of my opening questions is: Does literary studies as a discipline have discernible audile techniques? The answer is a resounding yes. It must be, right? And then, on second thought, we are inclined to ask, What do you mean by literary studies “as a discipline”? Because, if we are to consider the application of audile techniques within a discipline, we must first understand the defining qualities of the discipline itself, even if there are, as in the case of literary studies, various sub-fields, many of them explicitly interdisciplinary in their orientations, within it. What qualifies an audile technique, a method of listening, as constitutive of a literary method of analysis or interpretation? Insofar as such methods of listening “work to operationalize distinctions” (Siegert 14)1 and function as “concrete set[s] of Toward a History of Literary Listening","PeriodicalId":384095,"journal":{"name":"ESC: English Studies in Canada","volume":"5 3-4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114134079","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}

引用次数: 0

Forum on Disciplinary Listening: An Introduction 学科聆听论坛简介

ESC: English Studies in Canada Pub Date : 2023-08-07 DOI: 10.1353/esc.2020.a903564

Jason Camlot, Katherine McLeod

{"title":"Forum on Disciplinary Listening: An Introduction","authors":"Jason Camlot, Katherine McLeod","doi":"10.1353/esc.2020.a903564","DOIUrl":"https://doi.org/10.1353/esc.2020.a903564","url":null,"abstract":"As we prepared our call-for-papers for this special issue, “New Sonic Approaches in Literary Studies,” we went back and forth about if it should be in or to in our title. We started out with to but then caught ourselves switching to in whenever we wrote or spoke about it. We decided that in was the word we wanted because this special issue has been designed to consider how new sonic approaches find their ways into literary studies. The sonic approaches described in the essays in this collection may not originate in literary studies, but here they are—in literary studies. That word in also conveys that the aim of this special issue is not necessarily to determine what sonic approaches tell us about literary studies (although we have welcomed this, too) but to learn about new sonic approaches as popping up, existing, thriving, meddling, intervening in literary studies through situated methods of listening within particular case studies. As such, in shaping this special issue, we have been profoundly aware of disciplinarity and how it informs the authors’ listening practices as they have approached their subjects. All of the articles enact literary studies through their listenings, but we would argue that what listening means for each author is deeply conditioned by the disciplines through which they were trained and within which they now work. The question of how we listen called for closer consideration and we, as ediForum on Disciplinary Listening: An Introduction","PeriodicalId":384095,"journal":{"name":"ESC: English Studies in Canada","volume":"78 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":"130769206","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}

引用次数: 0

Aural Memory in Madeleine Thien's Do Not Say We Have Nothing 马德琳·田恩《不要说我们一无所有》中的听觉记忆

ESC: English Studies in Canada Pub Date : 2023-08-07 DOI: 10.1353/esc.2020.a903544

Kelly Baron

引用次数: 0