Sound Writing examines how oral histories are co-created by speakers, the authors who mediate them, and readers. It offers a thorough review of the varying arguments about editing for transcription and publication and reflects on how digital technologies enable a much wider access to oral data. As an interdisciplinary study, it considers how literary genres and oral history have long influenced each other and have informed our understandings of authorship and reading.
Sound Writing examines how oral histories are co-created by speakers, the authors who mediate them, and readers. It offers a thorough review of the varying arguments about editing for transcription and publication and reflects on how digital technologies enable a much wider access to oral data. As an interdisciplinary study, it considers how literary genres and oral history have long influenced each other and have informed our understandings of authorship and reading.
Shelley Trower is Professor Emeritus in English Literature at the University of Roehampton. Her books include Place, Writing, and Voice in Oral History; Senses of Vibration: A History of the Pleasure and Pain of Sound; and Rocks of Nation.
Inhaltsangabe
Acknowledgements Introduction Part I: Writing the voice 1. From Mayhew's street voices to oral history 2. From Columbia and the Federal Writers' Project to Terkel 3. Oral history transcribed, edited, and published Part II: Life stories, from the singular to the polyphonic 4. Auto/biographical life stories 5. Collective life stories Part III: Readers and listeners 6. Active reading, and activist reading 7. Authority, reading and listening to digital oral histories
Acknowledgements Introduction Part I: Writing the voice 1. From Mayhew's street voices to oral history 2. From Columbia and the Federal Writers' Project to Terkel 3. Oral history transcribed, edited, and published Part II: Life stories, from the singular to the polyphonic 4. Auto/biographical life stories 5. Collective life stories Part III: Readers and listeners 6. Active reading, and activist reading 7. Authority, reading and listening to digital oral histories
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