%0 Generic %1 katsma2014loudness %A Katsma, Holst %B Pamphlets of the Stanford Literary Lab %C Stanford %D 2014 %I Literary Lab %K crescendo literature loudness novel speaking-verbs %T Loudness in the Novel %U http://litlab.stanford.edu/LiteraryLabPamphlet7.pdf %X The novel is composed entirely of voices: the most prominent among them is typically that of the narrator, which is regularly intermixed with those of the various characters. In reading through a novel, the reader “hears” these heterogeneous voices as they occur in the text. When the novel is read out loud, the voices are audibly heard. They are also heard, however, when the novel is read silently: in this latter case, the voices are not verbalized for others to hear, but acoustically created and perceived in the mind of the reader. Simply put: sound, in the context of the novel, is fundamentally a product of the novel’s voices. This conception of sound mechanics may at first seem unintuitive—sound seems to be the product of oral reading—but it is only by starting with the voice that one can fully appreciate sound’s function in the novel. Moreover, such a conception of sound mechanics finds affirmation in the works of both Mikhail Bakhtin and Elaine Scarry: “In the novel,” writes Bakhtin, “we can always hear voices (even while reading silently to ourselves).” %& Pamphlet 7

@electronic{katsma2014loudness, abstract = {The novel is composed entirely of voices: the most prominent among them is typically that of the narrator, which is regularly intermixed with those of the various characters. In reading through a novel, the reader “hears” these heterogeneous voices as they occur in the text. When the novel is read out loud, the voices are audibly heard. They are also heard, however, when the novel is read silently: in this latter case, the voices are not verbalized for others to hear, but acoustically created and perceived in the mind of the reader. Simply put: sound, in the context of the novel, is fundamentally a product of the novel’s voices. This conception of sound mechanics may at first seem unintuitive—sound seems to be the product of oral reading—but it is only by starting with the voice that one can fully appreciate sound’s function in the novel. Moreover, such a conception of sound mechanics finds affirmation in the works of both Mikhail Bakhtin and Elaine Scarry: “In the novel,” writes Bakhtin, “we can always hear voices (even while reading silently to ourselves).”}, added-at = {2015-01-17T18:00:47.000+0100}, address = {Stanford}, author = {Katsma, Holst}, biburl = {https://www.bibsonomy.org/bibtex/23c39eb1e93ebb3d3aeb3c81b64392a88/yakamoz}, chapter = {Pamphlet 7}, interhash = {e6d039a044f7c2de305128e00f228757}, intrahash = {3c39eb1e93ebb3d3aeb3c81b64392a88}, keywords = {crescendo literature loudness novel speaking-verbs}, month = sep, publisher = {Literary Lab}, series = {Pamphlets of the Stanford Literary Lab}, timestamp = {2015-01-17T22:28:51.000+0100}, title = {Loudness in the Novel}, url = {http://litlab.stanford.edu/LiteraryLabPamphlet7.pdf}, year = 2014 }