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The Sound Studies Reader

This open access book is a methodical treatise on narration in different types of media. A theoretical rather than a historical study, Transmedial Narration is relevant for an understanding of narr ...

https://link.springer.com/content/pdf/10.1007/978-3-030-01294-6.pdf

Transmedial Narration: Narratives and Stories in Different Media

2016 was imbued with a sense of shifting sands in global politics, characterised by very little security in the old or – perhaps more accurately – a sense that tradition can take surprising new forms. In a way, browsing through the titles published in stylistics in 2016 gives the same sense, albeit with altogether more positive developments. I will try to explain what I mean, first looking at the solid foundations on which these changes are wrought. With the recent publication of two discipline-defining handbooks (Burke, 2014; Stockwell and Whiteley, 2014) and a comprehensive compendium (Sotirova, 2015) the contemporary field of stylistics has been very clearly set out. There is general agreement in the remit of research in stylistics, as well as in the eclecticism that it embodies. Sorlin’s cross-referencing review of these three volumes, published in Language and Literature last year (Issue 3), makes this harmonious agreement clear, leading her to conclude that stylistics has matured and is indeed in ‘good shape’. Reflecting on an outdated suggestion that stylistics lacks an ‘autonomous domain of its own’ (Widdowson, 1975: 3) and that it is a method of analysis rather than a discipline, Sorlin asserts that in the intervening decades stylisticians have succeeded in creating a domain of their own, as evidenced by the publication of these comprehensive volumes. It is against that background of disciplinary health and energy that I undertake to review subsequent publications in the field, which both contribute to and develop the lay of the land. However, I would venture to surmise that as a result of the sense of confidence in ‘our domain’, stylisticians are engaging more fully in the interdisciplinary work that has always been at the core of this eclectic field. In the opening lines of her

/pdf/the-year-s-work-in-stylistics-2016-3rum0o4wqy.pdf

The year’s work in stylistics 2016:

Audionarratology is enmeshed in the current trend toward media-consciousness in narratological debates. This article connect audionarratological concerns with the (trans- or inter)medial extensions of narratology offered by scholars such as Marie-Laure Ryan and Werner Wolf. It focuses on Richard Powers’s earliest musical novel, The Gold Bug Variations (1991), and his to-date latest novel Orfeo (2014), zooming in on their musical macrostructures, the musical forms and techniques that inform the narrative arrangement of the texts. Having positioned the narrative analysis of macrostructural musical elements within the research scope of a media-conscious audionarratology and having explored The Gold Bug Variations and Orfeo for such musical macrostructures, I reflect on the functions of imitating music in this way.

Musical Macrostructures in The Gold Bug Variations and Orfeo by Richard Powers; or, Toward a Media-Conscious Audionarratology

In line with the strong emphasis on visuality in the wake of the “visual turn” in literary and cultural studies, graphic novel adaptations of literary texts have recently been the objects of scholarly study and narratological theory building. Much less attention, if any, has been accorded to radio play adaptations of novels like Paul Auster’s New York Trilogy . An analysis of radio play adaptations acquires a special significance in the case of this highly enigmatic work, which makes a seriously playful use of postmodern narrative strategies. It is perhaps above all this feature which made the adaptation of the novel’s first instalment, City of Glass , into a graphic novel by Paul Karasik and David Mazucchelli so successful. While the graphic novel visualizes characteristic features of its mother text, this paper explores the different modes of narrative sound in three German radio play adaptations of Auster’s novel. Alfred Behrens’ Stadt aus Glas , Katharina Bihler’s Schlagschatten , and Norbert Schaeffer’s Hinter verschlossenen Turen employ narrative devices like voices in both German and English, the evocation of city soundscapes, the narrative uses of music as well as issues of the simultaneity and/or difference of story and discourse time. The narrative auralization of Auster’s novels in the radio plays under discussion can be shown to foreground non-visual aspects of the pre-texts and to add further dimensions for interpretation that underline the usefulness of audionarratological analysis for adaptation studies.

Narrativity and Sound in German Radio Play Adaptations of Paul Auster's The New York Trilogy

Audionarratology: Interfaces of Sound and Narrative

Audionarratology: Prolegomena to a Research Paradigm Exploring Sound and Narrative

This introduction reflects on the links between sound, voices, music, and literature. It also delineates the main tenets of audionarratology, a branch of postclassical narratology which focuses on the interfaces between sound and narrative. The forum explores presentations of sounds, silence, and music in fiction and explores voices and soundscapes in audio drama.

Narrating Sounds: Introduction to the Forum

This article analyses the German radio play adaptation of Philip Roth's novel Indignation (Emporung, 2010) from an audionarratological perspective and shows how both the book and the radio play offer potential for multisensory experiences on the part of readers and radio audiences. The article furthermore explores how the two media differ in their semiotic and sensory affordances and possibilities. It is argued that aural signs and signals predetermine certain aspects of the storyworld in the radio play: for example, characters' and the narrator's voices, soundscapes, but also ambient sound and music. Due to its focus on the aural channel, radio drama calls on audiences' imagination in distinct ways, while also complicating narratological concepts. The ‘transcriptivity’ from written to spoken text that is inherent in the transposition of novel into radio play accounts for the fact that the radio play also adds new multisensory and interpretive dimensions to its pre-text. It therefore has to be considered ...

Till Kinzel

Papers

Audionarratology: Interfaces of Sound and Narrative

Narrativity and Sound in German Radio Play Adaptations of Paul Auster's The New York Trilogy

Audionarratology: Prolegomena to a Research Paradigm Exploring Sound and Narrative

Narrating Sounds: Introduction to the Forum

Multisensory Imaginings: An Audionarratological Analysis of Philip Roth's Novel Indignation and its German Radio Play Adaptation Empörung