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Displaying results 1 to 6 of 6.

  1. <<La>> littérature au laboratoire
    Author: Moretti, Franco; Algee-Hewitt, Mark; Allison, Sarah; Gemma, Marissa; Heuser, Ryan; Jockers, Matthew Lee; Katsma, Holst; Pestre, Dominique; Tevel, Amir; Walser, Hanna; Witmore, Michael; Yamboliev, Irena
    Published: [2016]
    Publisher:  Ithaque, Paris

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    Source: Union catalogues
    Language: French
    Media type: Book
    Format: Print
    ISBN: 9782916120591
    Series: Theoria incognita
    Subjects: Literaturtheorie; Formalismus <Literatur>;
    Scope: 278 Seiten, Illustrationen, Diagramme
    Notes:

    Die einzelnen Kapitel erschienen zuerst auf Englisch als "Pamphlets" des Stanford Literary Lab
  2. Loudness in the novel
    Author: Katsma, Holst

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    Source: Leibniz-Zentrum für Literatur- und Kulturforschung
    Media type: Part of a book
    Parent title: In: Canon/Archive : studies in quantitative formalism from the Stanford Literary Lab.(2017); 2017; S. 115 - 146
  3. Loudness in the novel
    Author: Katsma, Holst
    Published: 2014
    Publisher:  Universitätsbibliothek Johann Christian Senckenberg, Frankfurt am Main

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    Source: Union catalogues
    Language: English
    Media type: Book
    Format: Online
    Other identifier:
    Series: Stanford Literary Lab: Pamphlets ; 7
    Subjects: Roman; Stimme; Romangestalt; Lautstärke; Digital Humanities; Dialoganalyse
    Scope: Online-Ressource
  4. Loudness in the novel
    Author: Katsma, Holst
    Published: 2014

    The novel is composed entirely of voices: the most prominent among them is typically that of the narrator, which is regularly intermixed with those of the various characters. In reading through a novel, the reader "hears" these heterogeneous voices... more

     

    The novel is composed entirely of voices: the most prominent among them is typically that of the narrator, which is regularly intermixed with those of the various characters. In reading through a novel, the reader "hears" these heterogeneous voices as they occur in the text. When the novel is read out loud, the voices are audibly heard. They are also heard, however, when the novel is read silently: in this la!er case, the voices are not verbalized for others to hear, but acoustically created and perceived in the mind of the reader. Simply put: sound, in the context of the novel, is fundamentally a product of the novel’s voices. This conception of sound mechanics may at first seem unintuitive—sound seems to be the product of oral reading—but it is only by starting with the voice that one can fully appreciate sound’s function in the novel. Moreover, such a conception of sound mechanics finds affirmation in the works of both Mikhail Bakhtin and Elaine Scarry: "In the novel," writes Bakhtin, "we can always hear voices (even while reading silently to ourselves)."

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Report
    Format: Online
    DDC Categories: 800
    Subjects: Roman; Stimme; Romangestalt; Lautstärke; Digital Humanities; Dialoganalyse
    Rights:

    publikationen.ub.uni-frankfurt.de/home/index/help ; info:eu-repo/semantics/openAccess
  5. Loudness in the novel
    Author: Katsma, Holst
    Publisher:  Universitätsbibliothek Johann Christian Senckenberg, Frankfurt am Main

    The novel is composed entirely of voices: the most prominent among them is typically that of the narrator, which is regularly intermixed with those of the various characters. In reading through a novel, the reader "hears" these heterogeneous voices... more

    Access:
    Verlag (kostenfrei)

    Location:
    Universitätsbibliothek J. C. Senckenberg, Zentralbibliothek (ZB)
    Inter-library loan:
    No inter-library loan
    Title in the local catalogue:
    https://hds.hebis.de/ubffm/Record/HEB434673617

     

    The novel is composed entirely of voices: the most prominent among them is typically that of the narrator, which is regularly intermixed with those of the various characters. In reading through a novel, the reader "hears" these heterogeneous voices as they occur in the text. When the novel is read out loud, the voices are audibly heard. They are also heard, however, when the novel is read silently: in this la!er case, the voices are not verbalized for others to hear, but acoustically created and perceived in the mind of the reader. Simply put: sound, in the context of the novel, is fundamentally a product of the novel’s voices. This conception of sound mechanics may at first seem unintuitive—sound seems to be the product of oral reading—but it is only by starting with the voice that one can fully appreciate sound’s function in the novel. Moreover, such a conception of sound mechanics finds affirmation in the works of both Mikhail Bakhtin and Elaine Scarry: "In the novel," writes Bakhtin, "we can always hear voices (even while reading silently to ourselves)."

     
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    Source: Specialised Catalogue of Comparative Literature
    Language: English
    Media type: Book
    Format: Online
    Other identifier:
    DDC Categories: 420
    Series: Pamphlets of the Standford literary lab ; pamphlet 7
    Scope: 1 Online-Ressource (25 Seiten), Diagramme
  6. Loudness in the novel
    Author: Katsma, Holst
    Published: 01.09.2014

    The novel is composed entirely of voices: the most prominent among them is typically that of the narrator, which is regularly intermixed with those of the various characters. In reading through a novel, the reader "hears" these heterogeneous voices... more

     

    The novel is composed entirely of voices: the most prominent among them is typically that of the narrator, which is regularly intermixed with those of the various characters. In reading through a novel, the reader "hears" these heterogeneous voices as they occur in the text. When the novel is read out loud, the voices are audibly heard. They are also heard, however, when the novel is read silently: in this la!er case, the voices are not verbalized for others to hear, but acoustically created and perceived in the mind of the reader. Simply put: sound, in the context of the novel, is fundamentally a product of the novel’s voices. This conception of sound mechanics may at first seem unintuitive—sound seems to be the product of oral reading—but it is only by starting with the voice that one can fully appreciate sound’s function in the novel. Moreover, such a conception of sound mechanics finds affirmation in the works of both Mikhail Bakhtin and Elaine Scarry: "In the novel," writes Bakhtin, "we can always hear voices (even while reading silently to ourselves)."

     
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    Content information: free
    Source: CompaRe
    Language: English
    Media type: Working paper; Working paper
    Format: Online
    DDC Categories: 800
    Collection: Stanford Literary Lab
    Subjects: Roman; Stimme; Romangestalt; Lautstärke; Digital Humanities; Dialoganalyse
    Rights:

    publikationen.ub.uni-frankfurt.de/home/index/help

    ;

    info:eu-repo/semantics/openAccess