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Listening Up, Writing Down, and Looking Beyond

Interfaces of the Oral, Written, and Visual

Edited by Susan Gingell & Wendy Roy
Subjects Cultural Studies, Literary Criticism
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Hardcover : 9781554583645, 388 pages, April 2012
Paperback : 9781554584741, 388 pages, September 2018
Ebook (EPUB) : 9781554583935, 388 pages, August 2012

Table of contents

Table of Contents for
Listening Up, Writing Down, and Looking Beyond, edited by Susan Gingell and Wendy Roy



Opening the Door to Transdisciplinary, Multimodal Communication | Susan Gingell with Wendy Roy

Listening Up: Performance Poetics

Bring Da Noise: The Poetics of Performance, chez d’bi young and Oni Joseph | George Elliott Clarke

the storyteller’s integrity (only at http://drc. usask. ca/projects/oral only) | d’bi. young. anitafrika

Poetry Performances on the Page and Stage: Insights from Slam | Helen Gregory

Poetry and Overturned Cars: Why Performance Poetry Can’t Be Studied (and Why We Should Study It Anyway) | Hugh Hodges

Echohomonymy: A Poetics of Ethos, Eros, and Erasure | Adeena Karasick

Dialect Poetry and the Need for Performance: The Case of William Barnes | T. L. Burton

The Speech-Music Continuum | Paul Dutton

Writing Down: Textualized Orature and Orality

Writing and Rapping for a New South Africa: The Poetry of Lesego Rampolokeng | Gugu Hlongwane

The Ballad as Site of Rebellion: Orality, Gender, and the Granuaile Aislingi | Naomi Foyle

“pleasure for our sense, health for our hearts”: Inferring Pronuntiatio and Actio from the Text of John Donne’s Second Prebend Sermon | Brent Nelson

“The Power and the Paradox” of the Spoken Story: Challenges to the Tyranny of the Written in Contemporary Canadian Fiction | Wendy Roy

What’s In a Frame?: The Significance of Relational Word Bundles in Louise Bernice Halfe’s Blue Marrow | Mareike Neuhaus

Towards an “Open Field”: The Ethics of the Encounter in Life Lived Like a Story | Emily Blacker

Looking Beyond: Reintegrating the Visual

Becoming the Storyteller: Meaning Making in Our Age of Resistance | Waziyatawin

Re-si(gh)ting the Storyteller in Textualized Orature: Photographs in The Days of Augusta | Cara DeHaan

Traditionalizing Modernity and Sound Identity in Neal McLeod’s Writing of the Oral⁺ | Susan Gingell

A Nexus of Connections: Acts of Recovery, Acts of Resistance in Native Palimpsest | Kimberly Blaeser




Listening Up, Writing Down, and Looking Beyond is an interdisciplinary collection that gathers the work of scholars and performance practitioners who together explore questions about the oral, written, and visual. The book includes the voices of oral performance practitioners, while the scholarship of many of the academic contributors is informed by their participation in oral storytelling, whether as poets, singers, or visual artists. Its contributions address the politics and ethics of the utterance and text: textualizing orature and orality, simulations of the oral, the poetics of performance, and reconstructions of the oral.


``The essays in Susan Gingell's and Wendy Roy's Listening Up, Writing Down, and Looking Beyond shake [the] simplistic binary [of the oral/written divide] to its very core, theorizing the inevitable interdependency of sound, sign, sight, and site. ... Often employing language alive with poetic energy, what I will term the essays within Listening Up trouble the sensory depletion expected of standard academic prose while exploring ‘three thematic arcs: performance poetics, print textualizations of the oral, and the place of visual culture at the oral-written interface’. ... Multimodal movement . .. occurs with disarming and delightful frequency in the essays that coalesce to make Listening Up an extraordinarily valuable addition to the study of orality, performance poetry, textualization, and multisensory embodied experience. ''

- Sam McKegney, Chimo, #64, Fall 2012

``The essays in this collection cut boldly across disciplinary boundaries as they explore, from a myriad of perspectives—some familiar, some startlingly unfamiliar—the deep, fundamental connections that exist among the oral, verbal, and visual arts. As innovative as they are provocative, and as illuminating as they are engaging, the wide-ranging essays gathered here individually and collectively invite the reader to join in a polyphonous, multi-media conversation/sensory experience. Gingell and Roy deserve our thanks for putting together a volume that not only reflects the vibrancy, and diversity of oral studies in Canada, but opens numerous windows onto the richness of the many traditions considered in the collection. This volume is certain to change the way we look at and think about the dynamic interconnectivity of the oral, the written, and other verbal and visual media. ''

- Mark C. Amodio, Vassar College, New York, author of Writing the Oral Tradition: Oral Poetics and Literate Culture in Medieval England

``Energy and optimisim. ..characterize Susan Gingell and Wendy Roy's Listening Up, Writing Down, and Looking Beyond, a collection of epic proportions. ... The editors do precisely what they intend. ..break down barriers between the written, the oral and the visual, and destabilize the hierarchies between genres. ... Gingell and Roy display a staggering breadth of knowledge of their field—something that could only be achieved by established and experienced scholars. ... Continually playing with language, the editors invite readers to move ‘toward a more fully embodied knowing, a knowing that issues from attending to the complete sensorium and thus pleasures the knower with a knowing that doesn't forget to have fun. ”. .. The editors, by including both analytical and creative works in the collection, and by placing analyses of such diverse things as dub poetry, medieval English, Serbian guslars, and Cree ‘story bundles’ side by side, succeed in opening doors and shifting perceptions. ... The participatory, democratic nature of the text comes through in the conversational elements, and in spite of their expertise, the editors approach their material with a humility that conforms to their goals. ... How might a text of this scope be of use to teachers and scholars of literature? It really does shift the parameters of artistic production and reception, which opens up possibilities for teaching in particular. The collection ‘unsettles’ generic limitations, and promotes a return to the sensual that is too often absent from the analysis of literary production and reception. ''

- Heather Macfarlane, Canadian Literature, 217, Summer 2013

``This collection breaks important new ground in the use of ‘orality and literacy’ approaches to discourse and poetics. Particularly valuable is its constant integration of scholarly criticism and theory with creative practice, theoretical reflection with lived experiences of performance and artifact. The Introduction offers a memorable set of clarifications, highly sympathetic to the demands of creative practice, around the theory of orality and literacy, while the chapters bring Gingell and Roy's exposition of the themes to an extremely rich and varied range of applications. ''

- Tom Clark, Victoria University (Melbourne), author of Stay onMessage: Poetry and Truthfulness in Political Speech (2012)