Skip to content
1981
More than Meets the Ear: Sound & Short Fiction
  • ISSN: 2043-0701
  • E-ISSN: 2043-071X
Preview this article:

There is no abstract available.

Loading

Article metrics loading...

/content/journals/10.1386/fict_00032_2
2021-06-01
2024-11-03
Loading full text...

Full text loading...

/deliver/fulltext/fict/11/1-2/fict.11.1-2.3.html?itemId=/content/journals/10.1386/fict_00032_2&mimeType=html&fmt=ahah

References

  1. Altman, Rick. ( 1992), Sound Theory, Sound Practices, New York and London:: Routledge;.
    [Google Scholar]
  2. Altman, Rick, and Abel, Richard. ( 2001), The Sounds of Early Cinema, Bloomington and Indianapolis, IN:: Indiana University Press;.
    [Google Scholar]
  3. Anzieu, Didier. ( 1991;), ‘ Die Laut-Hülle. ’, in Das Haut-Ich, Frankfurt:: Suhrkamp;, pp. 20726.
    [Google Scholar]
  4. Attali, Jacques. ( [1977] 2003), Noise: The Political Economy of Music, Minneapolis, MN and London:: University of Minnesota Press;.
    [Google Scholar]
  5. Augoyard, Jean-François, and Torgue, Henry. ( 2005), Sonic Experience: A Guide to Everyday Sounds, Montreal and Kingston:: McGill-Queen’s University Press;.
    [Google Scholar]
  6. Besnault Levita, Anne. ( 2018;), ‘ Gender and genre in British modern contemporary short fiction. ’, in J. Sacido-Romero, and L. Lojo-Rodríguez. (eds), Gender and Short Fiction: Women’s Tales in Contemporary Britain, London and New York:: Routledge;, pp. 1738.
    [Google Scholar]
  7. Bijsterveld, Karen. ( 2008), Mechanical Sound: Technology, Culture, and Public Problems of Noise in the Twentieth Century, Cambridge, MA:: The MIT Press;.
    [Google Scholar]
  8. Bijsterveld, Karen. (ed.) ( 2013), Soundscapes of the Urban Past: Staged Sound as Mediated Cultural Heritage, Bielefeld:: transcript;.
    [Google Scholar]
  9. Bijsterveld, Karen,, Cleophas, Eefje,, Krebs, Stefan, and Mom, Gijs. ( 2014), Sound and Safe: A History of Listening Behind the Wheel, Oxford:: Oxford University Press;.
    [Google Scholar]
  10. Birdsall, Carolyn. ( 2012), Nazi Soundscapes: Sound, Technology and Urban Space in Germany, 1933–1945, Amsterdam:: Amsterdam University Press;.
    [Google Scholar]
  11. Blaschke, Bernd. ( 2005;), ‘ Orpheus elektrisch: Gewalt, Medien und Musik bei Salman Rushdie. ’, in N. Gess,, F. Schreiner, and M. Schulz. (eds), Hörstürze: Akustik und Gewalt im 20. Jahrhundert, Würzburg:: Königshausen & Neumann;, pp. 20117.
    [Google Scholar]
  12. Bull, Michael. ( 2004;), ‘ Thinking about sound, proximity, and distance in western experience: The case of Odysseus’s Walkman. ’, in V. Erlmann. (ed.), Hearing Cultures: Essays on Sound, Listening and Modernity, Oxford and New York:: Berg Publishing;, pp. 17390.
    [Google Scholar]
  13. Bull, Michael. ( 2007), Sound Moves: iPod Culture and Urban Experience, London and New York:: Routledge;.
    [Google Scholar]
  14. Bull, Michael, and Back, Les. (eds) ( 2003), The Auditory Culture Reader, Oxford and New York:: Berg Publishing;.
    [Google Scholar]
  15. Bull, Michael. (ed.) ( 2020), The Routledge Companion to Sound Studies, London and New York:: Routledge;.
    [Google Scholar]
  16. Chion, Michel. ( 1982), La voix au cinéma, Paris:: Editions de l’Etoile and Cahiers du Cinéma;.
    [Google Scholar]
  17. Chion, Michel. ( 1985), Le son au cinéma, Paris:: Editions de l’Etoile and Cahiers du Cinéma;.
    [Google Scholar]
  18. Chion, Michel. ( 1990), L’Audio-Vision: Son et image au cinéma, Paris:: Nathan;.
    [Google Scholar]
  19. Chion, Michel. ( 2016), Sound: An Acoulogical Treatise, Durham and London:: Duke University Press;.
    [Google Scholar]
  20. Connor, Steven. ( 1994;), ‘“ Jigajiga… Yummyyum… P. fuiiiiiii! …. Bbbbblllllblblblblobschb!”: Circe’s Ventriloquy, in Reading Joyce’s. Circe. ”’, in A. Gibson. (ed.), European Joyce Studies, vol. 3, Amsterdam:: Rodopi;, pp. 93142.
    [Google Scholar]
  21. Connor, Steven. ( 2000), Dumbstruck: A Cultural History of Ventriloquism, Oxford:: Oxford University Press;.
    [Google Scholar]
  22. Connor, Steven. ( 2004;), ‘ Edison’s teeth: Touching hearing. ’, in V. Erlmann. (ed.), Hearing Cultures: Essays on Sound, Listening and Modernity, Oxford and New York:: Berg Publishing;, pp. 15372.
    [Google Scholar]
  23. Connor, Steven. ( 2016;), ‘ Auricles, oracles, otoacoustica: An overhearing. ’, talk given at Earpieces: Listening, Diagnosing, Writing, Cambridge, 17 December, http://stevenconnor.com/seeingtosound.html. Accessed 6 April 2021.
    [Google Scholar]
  24. Corbin, Alain. ( 1998), Village Bells: The Culture of the Senses in the Nineteenth-Century French Countryside, New York:: Columbia University Press;.
    [Google Scholar]
  25. Cuddy-Keane, Melba. ( 2000;), ‘ Virginia Woolf, sound technologies and the new aurality. ’, in P. L. Canghie. (ed.), Virginia Woolf in the Age of Mechanical Reproduction, New York and London:: Garland Publishing;, pp. 6996.
    [Google Scholar]
  26. Cuddy-Keane, Melba. ( 2005;), ‘ Modernist soundscapes and the intelligent ear: An approach to narrative through auditory perception. ’, in J. Phelon, and P. Rabinowitz. (eds), A Companion to Narrative Theory, Oxford:: Blackwell;, pp. 38298.
    [Google Scholar]
  27. Devorah, Rachel. ( 2017;), ‘ Ocularcentrism, androcentrism. ’, Parallax, Special Issue: ‘Sounding/Thinking’, 23:3, pp. 30515.
    [Google Scholar]
  28. Dolar, Mladen. ( 2006), A Voice and Nothing More, Cambridge, MA:: MIT Press;.
    [Google Scholar]
  29. Eagleton, Mary. ( 1989;), ‘ Gender and genre. ’, in C. Hanson. (ed.), Re-reading the Short Story, Basingstoke:: Macmillan;, pp. 5668.
    [Google Scholar]
  30. Erlmann, Veit. (ed.) ( 2004), Hearing Cultures: Essays on Sound, Listening and Modernity, Oxford and New York:: Berg Publishing;.
    [Google Scholar]
  31. Erlmann, Veit. ( 2010), Reason and Resonance: A History of Modern Aurality, New York:: Zone;.
    [Google Scholar]
  32. Feld, Steven. ( 1996;), ‘ Waterfalls of song: An acoustemology of place resounding in Bosavi, Papua New Guinea. ’, in S. Feld, and K. Basso. (eds), Senses of Place, Santa Fe:: School of American Research Press;, pp. 91135.
    [Google Scholar]
  33. Fineman, Joel. ( 1989;), ‘ Shakespeare’s ear. ’, Representations, 28:Fall, pp. 613.
    [Google Scholar]
  34. Folkerth, Wes. ( 2002), The Sound of Shakespeare, London and New York:: Routledge;.
    [Google Scholar]
  35. Gess, Nicola,, Schreiner, Florian, and Schulz, Manuela K.. (eds) ( 2005), Hörstürze: Akustik und Gewalt im 20. Jahrhundert, Würzburg:: Königshausen & Neumann;.
    [Google Scholar]
  36. Goddard, Michael,, Halligan, Benjamin, and Hegarty, Paul. (eds) ( 2012), Reverberations: The Philosophy, Aesthetics and Politics of Noise, New York and London:: Continuum;.
    [Google Scholar]
  37. Goldsmith, Mike. ( 2015), Sound: A Very Short Introduction, Oxford:: Oxford University Press;.
    [Google Scholar]
  38. Ihde, Don. ( [1976] 2007), Listening and Voice: The Phenomenology of Sound, New York:: State University of New York Press;.
    [Google Scholar]
  39. James, Robin. ( 2019), The Sonic Episteme: Acoustic Resonance, Neoliberalism and Biopolitics, Durham and London:: Duke University Press;.
    [Google Scholar]
  40. Jay, Martin. ( 1994), Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought, Berkeley, CA, Los Angeles, CA and London:: University of California Press;.
    [Google Scholar]
  41. Kahn, Douglas. ( 1999), Noise – Water – Meat: A History of Sound in the Arts, Cambridge, MA:: The MIT Press;.
    [Google Scholar]
  42. Kahn, Douglas, and Whitehead, Gregory. (eds) ( 1994), Wireless Imagination: Sound, Radio and the Avant-Garde, Cambridge, MA:: The MIT Press;.
    [Google Scholar]
  43. Keizer, Garret. ( 2010), The Unwanted Sound of Everything We Want: A Book about Noise, New York:: Public Affairs;.
    [Google Scholar]
  44. Kennedy, A. L.. ( 2008;), ‘ Small in a way that a bullet is small. ’, in A. Cox. (ed.), The Short Story, Newcastle/Tyne:: Cambridge Scholars Publishing;, pp. 110.
    [Google Scholar]
  45. Kittler, Friedrich,, Macho, Thomas, and Weigel, Sigrid. (eds) ( 2008), Zwischen Rauschen und Offenbarung: Zur Kultur- und Mediengeschichte der Stimme, Berlin:: Akademie Verlag;.
    [Google Scholar]
  46. Kolesch, Doris, and Krämer, Sybille. (eds) ( 2006), Stimme, Frankfurt:: Suhrkamp;.
    [Google Scholar]
  47. LaBelle, Brandon. ( 2010), Acoustic Territories, Sound Culture and Everyday Life, New York and London:: Continuum;.
    [Google Scholar]
  48. LaBelle, Brandon. ( 2015), Background Noise, Second Edition: Perspectives on Sound Art, New York and London:: Bloomsbury;.
    [Google Scholar]
  49. LaBelle, Brandon. ( 2021), Acoustic Justice: Listening, Performativity, and the Work of Reorientation, New York and London:: Bloomsbury;.
    [Google Scholar]
  50. Levin, David Michael. (ed.) ( 1993), Modernity and the Hegemony of Vision, Berkeley and Los Angeles, CA:: University of California Press;.
    [Google Scholar]
  51. Meyer, Petra Maria. (ed.) ( 2008), ə′ku:stik tə:n, München:: Fink;.
    [Google Scholar]
  52. Mieszkowski, Sylvia. ( 2014), Resonant Alterities: Sound, Desire and Anxiety in Non-Realist Fiction, Bielefeld:: transcript;.
    [Google Scholar]
  53. Mieszkowski, Sylvia, and Nieberle, Sigrid. (eds) ( 2017), Unlaute: Noise/Geräusch in Kultur und Medien seit 1900, Bielefeld:: transcript;.
    [Google Scholar]
  54. Nancy, Jean-Luc. ( 2007), Listening, New York:: Fordham University Press;.
    [Google Scholar]
  55. O’Callaghan, Casey. ( 2007), Sounds: A Philosophical Theory, Oxford:: Oxford University Press;.
    [Google Scholar]
  56. Picicci, Annibale. ( 2001), Noise Culture: Kultur und Ästhetik des Rauschens in der Informationsgesellschaft am Beispiel von Thomas Pynchon und Don DeLillo, Berlin:: John F. Kennedy-Institut;.
    [Google Scholar]
  57. Picker, John M.. ( 2003), Victorian Soundscapes, Oxford:: Oxford University Press;.
    [Google Scholar]
  58. Pinch, Trevor, and Bijsterveld, Karen. (eds) ( 2012), The Oxford Handbook of Sound Studies, Oxford: Oxford University Press;.
    [Google Scholar]
  59. Sacido-Romero, Jorge. ( 2011;), ‘ The boy’s voice and voices for the boy in Joyce’s “The Sisters”. ’, Papers on Joyce, 17&18, pp. 20342.
    [Google Scholar]
  60. Sacido-Romero, Jorge, and Mieszkowski, Sylvia. (eds) ( 2015), Sound Effects: The Object Voice in English Fiction, Amsterdam:: Rodopi;.
    [Google Scholar]
  61. Sacido-Romero, Jorge, and Lojo-Rodríguez, Laura. (eds) ( 2018), Gender and Short Fiction: Women’s Tales in Contemporary Britain, London and New York:: Routledge;.
    [Google Scholar]
  62. Schafer, R. Murray. ( 1977), The Tuning of the World, New York:: Knopf;. Rpt. in Schafer, R. Murray (1994), The Soundscape: Our Sonic Environment and the Tuning of the World, Rochester: Destiny .
    [Google Scholar]
  63. Schmidt, Leigh Eric. ( 2000), Hearing Things: Religion, Illusion, and the American Enlightenment, Cambridge, MA:: Harvard University Press;.
    [Google Scholar]
  64. Schmidt, Leigh Eric. ( 2003;), ‘ Hearing loss. ’, in M. Bull, and L. Back. (eds), The Auditory Culture Reader, Oxford and New York:: Berg;, pp. 4160.
    [Google Scholar]
  65. Schoon, Andi, and Volmar, Axel. (eds) ( 2012), Das Geschulte Ohr: Eine Kulturgeschichte der Sonifikation, Bielefeld:: transcript;.
    [Google Scholar]
  66. Schulze, Holger. (ed.) ( 2008), Sound Studies: Traditionen – Methoden – Desiderate, Bielefeld:: transcript;.
    [Google Scholar]
  67. Schulze, Holger. ( 2018), The Sonic Persona: An Anthropology of Sound, New York:: Bloomsbury Academic;.
    [Google Scholar]
  68. Schweighauser, Philipp. ( 2006), The Noises of American Literature 1890-1985: Toward a History of a Literary Acoustics, Gainesville, FL:: University of Florida Press;.
    [Google Scholar]
  69. Smith, Bruce R.. ( 1999), The Acoustic World of Early Modern England: Attending to the O-Factor, Chicago, IL and London:: University of Chicago Press;.
    [Google Scholar]
  70. Smith, Mark M.. (ed.) ( 2004), Hearing History: A Reader, Athens and London:: The University of Georgia Press;.
    [Google Scholar]
  71. Steiner, Uwe. ( 2012), Ohrenrausch und Götterstimmen: Eine Kulturgeschichte des Tinnitus, Paderborn:: Brill and Wilhelm Fink;.
    [Google Scholar]
  72. Sterne, Jonathan. ( 2003a), The Audible Past: Origins of Sound Reproduction, Durham and London:: Duke University Press;.
    [Google Scholar]
  73. Sterne, Jonathan. ( 2003b;), ‘ Medicine’s acoustic culture: Mediate auscultation, the stethoscope and the “Autopsy of the Living”. ’, in M. Bull, and L. Back. (eds), The Auditory Culture Reader, Oxford and New York:: Berg Publishing;, pp. 191217.
    [Google Scholar]
  74. Sterne, Jonathan. (ed.) ( 2012a), The Sound Studies Reader, London and New York:: Routledge;.
    [Google Scholar]
  75. Sterne, Jonathan. ( 2012b), MP3: The Meaning of a Format, Durham and London:: Duke University Press;.
    [Google Scholar]
  76. Stewart, Garrett. ( 1990), Reading Voices: Literature and the Phonotext, Berkeley, CA:: University of California Press;.
    [Google Scholar]
  77. Straumann, Barbara. ( 2018), Female Performers in British and American Fiction, Berlin and Boston, MA:: de Gruyter;.
    [Google Scholar]
  78. Thompson, Emily. ( 2002), The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933, Cambridge, MA:: The MIT Press;.
    [Google Scholar]
  79. Truax, Barry. ( [1984] 2000), Acoustic Communication, Westport, CT and London:: Ablex Publishing;.
    [Google Scholar]
  80. Van Elferen, Isabella. ( 2012), Gothic Music: The Sounds of the Uncanny, Cardiff:: University of Wales Press;.
    [Google Scholar]
  81. Vogel, Thomas. (ed.) ( [1996] 1998), Über das Hören: Einem Phänomen auf der Spur, Tübingen:: Attempto;.
    [Google Scholar]
/content/journals/10.1386/fict_00032_2
Loading
  • Article Type: Editorial
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error