Dissonant Records

How archives obscure recorded media--and the case in favor of discovering them. Silence is not absence. It may be perceived as meaningless, or it may not be perceived at all, but it takes up space. In Whom, what, and how are we not studying in our cultural histories? Why, Clement asks, do audio recordings typically garner little interest? This book dissects the institutional and disciplinary blockades that discourage the use of spoken word audio recordings in research and teaching while interrogating how institutions and researchers can be selectively biased in favor of print and against the seemingly more ephemeral, time-based objects of our archives. History-making is a messy, sociotechnical process, the author explains, and our understanding of culture can only be made better when we listen more closely to the noise.

Auteur

Tanya E. Clement is Associate Professor in the Department of English and Director of the Initiative for Digital Humanities at the University of Texas at Austin. She also leads High Performance Sound Technologies for Access and Scholarship (HiPSTAS).

Contenu

Series Foreword
Preface
Introduction: Records and Resonance in the Archives

1. Amplify: Close Listening to Silencing and the 1921 Tulsa Race Massacre
2. Distortion: Authority, Authenticity, and Agency in Recordings of Zora Neale Hurston’s Black Folk
3. Interference: Silence and the Ideal Listener in Ralph Ellison’s American Novel
4. Compression: Self-Expression and the Entelechy of Finitude in Anne Sexton’s Poem “For the Year of the Insane”
5. Reception: Conocimiento in Gloria Anzaldúa’s Spirituality Recordings
   Coda: Distant Listening and Resonance
   Notes
   References
   Index