Kooperativer Bibliotheksverbund

UID:

Format: 1 online resource

ISBN: 9781487514730

Series Statement: University of Toronto Romance Series

Content: Considering Brazilian novelist Clarice Lispector’s literature as a case study and a source of theory, Writing by Ear presents an aural theory of the novel based on readings of Near to the Wild Heart (1943), The Besieged City (1949), The Passion According to G.H. (1964), Agua Viva (1973), The Hour of the Star (1977), and A Breath of Life (1978). What is the specific aesthetic for which listening-in-writing calls? What is the relation that listening-in-writing establishes with silence, echo, and the sounds of the world? How are we to understand authorship when writers present themselves as objects of reception rather than subjects of production? In which ways does the robust oral and aural culture of Brazil shape literary genres and forms? In addressing these questions, Writing by Ear works in dialogue with philosophy, psychoanalysis, and sound studies to contemplate the relationship between orality and writing. Citing writers such as Machado de Assis, Oswald de Andrade and João Guimarães Rosa, as well as Mia Couto and Toni Morrison, Writing By Ear opens up a broader dialogue on listening and literature, considering the aesthetic, ethical, and ecological reverberations of the imaginary. Writing by Ear is concerned at once with shedding light on the narrative representation of listening and with a broader reconceptualization of fiction through listening, considering it an auditory practice that transcends the dichotomy of speech and writing.

Note: Frontmatter -- , Contents -- , List of Illustrations -- , Preface -- , Acknowledgments -- , Note on Copyright and Translations -- , 1. Introduction: A Certain Intimate Sense -- , 2. Writing by Ear -- , 3. The Aural Novel -- , 4. Hearing the Wild Heart -- , 5. Loud Object -- , 6. The Echopoetics of G.H. -- , Coda: Hearing Horses -- , Notes -- , Works Cited -- , Index , In English.

Language: English

DOI: 10.3138/9781487514730

URL: https://doi.org/10.3138/9781487514730

URL: https://doi.org/10.3138/9781487514730

UID:

Format: 1 online resource (239 pages).

ISBN: 9781487514730

Series Statement: University of Toronto romance series

Content: Writing by Ear examines the explicit articulation of listening-in-writing found in the work of Brazilian novelist Clarice Lispector. The terms "writing by ear," the "aural novel," and "echopoetics" rethink fiction as a poetics of listening to the world

Content: Cover -- Contents -- List of Illustrations -- Preface -- Acknowledgments -- Note on Copyright and Translations -- 1 Introduction: A Certain Intimate Sense -- 2 Writing by Ear -- 3 The Aural Novel -- 4 Hearing the Wild Heart -- 5 Loud Object -- 6 The Echopoetics of G.H. -- Coda: Hearing Horses -- Notes -- Works Cited -- Index

Note: Includes bibliographical references and index. Description based on print version record

Additional Edition: ISBN 9781487502140

Additional Edition: Erscheint auch als Druck-Ausgabe Rocha, Marília Librandi Writing by ear Toronto : University of Toronto Press, 2018 ISBN 9781487502140

Additional Edition: ISBN 1487502141

Additional Edition: Print version Librandi, Marilia Writing by Ear : Clarice Lispector and the Aural Novel Toronto : University of Toronto Press,c2018 ISBN 9781487502140

Language: English

Keywords: Lispector, Clarice 1920-1977 ; Mündliche Erzählung

URL: Volltext

UID:

Format: 1 Online-Ressource (xxi, 214 Seiten)

ISBN: 9781487514730

Series Statement: University of Toronto romance series

Content: Considering Brazilian novelist Clarice Lispector’s literature as a case study and a source of theory, Writing by Ear presents an aural theory of the novel based on readings of Near to the Wild Heart (1943), The Besieged City (1949), The Passion According to G.H. (1964), Agua Viva (1973), The Hour of the Star (1977), and A Breath of Life (1978). What is the specific aesthetic for which listening-in-writing calls? What is the relation that listening-in-writing establishes with silence, echo, and the sounds of the world? How are we to understand authorship when writers present themselves as objects of reception rather than subjects of production? In which ways does the robust oral and aural culture of Brazil shape literary genres and forms? In addressing these questions, Writing by Ear works in dialogue with philosophy, psychoanalysis, and sound studies to contemplate the relationship between orality and writing. Citing writers such as Machado de Assis, Oswald de Andrade and João Guimarães Rosa, as well as Mia Couto and Toni Morrison, Writing By Ear opens up a broader dialogue on listening and literature, considering the aesthetic, ethical, and ecological reverberations of the imaginary. Writing by Ear is concerned at once with shedding light on the narrative representation of listening and with a broader reconceptualization of fiction through listening, considering it an auditory practice that transcends the dichotomy of speech and writing.

Note: Includes bibliographical references and index , Mode of access: Internet via World Wide Web.

Additional Edition: ISBN 9781487502140

Additional Edition: Erscheint auch als Druck-Ausgabe Rocha, Marília Librandi Writing by ear Toronto : University of Toronto Press, 2018 ISBN 9781487502140

Additional Edition: ISBN 1487502141

Language: English

Keywords: Lispector, Clarice 1920-1977 ; Mündliche Erzählung

DOI: 10.3138/9781487514730

URL: Volltext  (lizenzpflichtig)

URL: lizenzpflichtig

URL: Cover

URL: Cover

UID:

Format: 1 online resource (239 pages).

ISBN: 1-4875-1474-3 , 1-4875-1473-5

Series Statement: University of Toronto Romance Series

Content: "Considering Brazilian novelist Clarice Lispector's literature as a case study and a source of theory, Writing by Ear presents an aural theory of the novel based on readings of Near to the Wild Heart (1943), The Besieged City (1949), The Passion According to G.H. (1964), Agua Viva (1973), The Hour of the Star (1977), and A Breath of Life (1978). What is the specific aesthetic for which listening-in-writing calls? What is the relation that listening-in-writing establishes with silence, echo, and the sounds of the world? How are we to understand authorship when writers present themselves as objects of reception rather than subjects of production? In which ways does the robust oral and aural culture of Brazil shape literary genres and forms? In addressing these questions, Writing by Ear works in dialogue with philosophy, psychoanalysis, and sound studies to contemplate the relationship between orality and writing. Citing writers such as Machado de Assis, Oswald de Andrade and Jo[gamma]o Guimar[gamma]es Rosa, as well as Mia Couto and Toni Morrison, Writing By Ear opens up a broader dialogue on listening and literature, considering the aesthetic, ethical, and ecological reverberations of the imaginary. Writing by Ear is concerned at once with shedding light on the narrative representation of listening and with a broader reconceptualization of fiction through listening, considering it an auditory practice that transcends the dichotomy of speech and writing."--

Note: Cover; Contents; List of Illustrations; Preface; Acknowledgments; Note on Copyright and Translations; 1 Introduction: A Certain Intimate Sense; 2 Writing by Ear; 3 The Aural Novel; 4 Hearing the Wild Heart; 5 Loud Object; 6 The Echopoetics of G.H.; Coda: Hearing Horses; Notes; Works Cited; Index. , Issued also in print. , In English.

Additional Edition: ISBN 1-4875-0214-1

Language: English

DOI: 10.3138/9781487514730