4.1 The Physics of Voice and Time4.2 Voice and Possible Worlds in „The Time of Our Singing"; 5 Listening for Voice; 5.1 Listening, Resonance, and Voice; 5.2 Listening Features; 5.3 Intention and Attention; 6 Polyphonic Soundscapes: Vocal Resonance...
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Universitätsbibliothek der Eberhard Karls Universität
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4.1 The Physics of Voice and Time4.2 Voice and Possible Worlds in „The Time of Our Singing"; 5 Listening for Voice; 5.1 Listening, Resonance, and Voice; 5.2 Listening Features; 5.3 Intention and Attention; 6 Polyphonic Soundscapes: Vocal Resonance and Place in Karen Tei Yamashita's „I Hotel"; 6.1 The Textualization of Polyphonic Soundscapes; 6.2 'Live' Bodies, Vocal Resonance, and Place in „I Hotel"; 6.3 Politics of Voice and Listening; 7 A Listening Self: Vocal Sound Event and Intersubjectivity in Jonathan Safran Foer's „Extremely Loud & Incredibly Close" 7.1 Auditory Experience and the Listening Self7.2 War, Terrorism, and Sound Event; 7.3 Intersubjective Networks and Urban Soundscapes; 8 By Way of Conclusion: Silence in Jennifer Egan's „A Visit from the Goon Squad"; 8.1 Silences of Anticipation; 8.2 Vocal Absence and Intermedial Pause; 8.3 From Sound to Silence; Works Cited; Backcover Cover; Titel; Imprint; Contents; Acknowledgments; 1 Introduction: Listening as Literary Practice; 2 Sounding Voices; 2.1 Voice, Language, and Text; 2.2 Toward a Theory of the Sounding Voice: Body, Medium, Performance; 2.3 Auditory Imagination, Soundscape, and Voice; 3 The Scream and the Word: (Non)Human Voices in Richard Powers's „The Echo Maker"; 3.1 Human Voice, Primal Echoes, and Language; 3.2 Natural Soundscape, Animal Voices, and Ecofiction; 3.3 Media Ecology and Voice in „The Echo Maker"; 4 Singing Time: Vocal Performance and Temporality in Richard Powers's „The Time of Our Singing"
