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Lines of Listening: A Memoir of Child Abuse and Marital Betrayal traces her ancestors passage from their German homeland through the familys multigenerational struggle to survive abuse and betrayal. Relating personal accounts of familial interactions verifies and endeavors to explain evil and horrific episodes committed by family members, who had vowed to love and protect each other. This book was written to help explain why such events occur and to soften the pain for others when they may encounter such events.
Listening explores the process and role of listening in human communication as a cognitive process, as a social function, and as a critical professional competency. While introducing students the theory and research of listening scholarship, Worthington and Fitch-Hauser also help students to build practical skills and achieve the desired outcomes of effective listening.
This fully revised third edition explores the essential role of listening to human communication across contexts and cultures. Based on the premise that listening is a goal-directed activity, this book blends theory with practical application and builds knowledge, insight, and skills to help the reader become a more effective listener. In this new edition, theory and research has been updated with an emphasis on how the growing reliance on mediated communication affects how individuals communicate in their personal, professional, and educational lives. It introduces students to emerging concepts and methods such as neurodiversity and fMRI as well as evolving professional and educational contexts including aural architecture and "the musical brain". Addressing listening as a cognitive process, social function, and critical professional competency, this is an essential textbook for undergraduate courses in listening and communication studies. In addition to a fully updated instructor’s manual containing discussion questions, activities and assignments, and exam questions, this new edition includes PowerPoint slides and videos. They are available at http://www.routledge.com/9781032491257.
A vital and comprehensive starting place for understanding the key concepts, this book explores 177 diverse types and styles of listening named in academic scholarship to date. This book is an encyclopaedic-style synthesis of existing literature related to listening styles and types. Through online academic resource curation and literature review synthesis, this key reference work offers a deep dive into the interdisciplinary foundations of listening. By providing a brief descriptive overview of each of the identified listening styles and types as well as the inclusion of key scholars related to them, this book challenges assumptions about “listening” as a singular communicative activity and offers students and scholars alike a place from which to draw key listening concepts. No other text has attempted to bring together previous listening scholarship in this expansive interdisciplinary way. This book promotes both the field of listening itself while also expanding opportunities for students of many disciplines to embed listening scholarship in their knowledge and practical application. The first of its kind, Listening: The Key Concepts is an expansive, state-of the-field exploration of listening scholarship that can be used as a guidebook for undergraduate and graduate students in Listening, Public Speaking, Interpersonal Communication, and Intercultural Communication courses as well as other related disciplines.
Listening, Belonging, and Memory puts connected listening at the center of current debates around whose voices might be listened to, who by, and why. Arguing that listening has to be understood in relation to the self, nation, age, witnessing, and memory, it uses examples from digital storytelling, listening projects, and critical media analysis to highlight connections between listening and power. It centers on voices, stories, and silence, how they interweave, and are activated, maneuvered, reconfigured, and denied. It focuses on the small, microengagements that crouch within the superstructures of violent border control and the censorious policing of sonic citizenry, identifying cracks in the reshuffling of histories and hierarchies that connected listening affords.
The unheard history of how race and racism are constructed from sound and maintained through the listening ear. Race is a visual phenomenon, the ability to see “difference.” At least that is what conventional wisdom has lead us to believe. Yet, The Sonic Color Line argues that American ideologies of white supremacy are just as dependent on what we hear—voices, musical taste, volume—as they are on skin color or hair texture. Reinforcing compelling new ideas about the relationship between race and sound with meticulous historical research, Jennifer Lynn Stoever helps us to better understand how sound and listening not only register the racial politics of our world, but actively produce them. Through analysis of the historical traces of sounds of African American performers, Stoever reveals a host of racialized aural representations operating at the level of the unseen—the sonic color line—and exposes the racialized listening practices she figures as “the listening ear.” Using an innovative multimedia archive spanning 100 years of American history (1845-1945) and several artistic genres—the slave narrative, opera, the novel, so-called “dialect stories,” folk and blues, early sound cinema, and radio drama—The Sonic Color Line explores how black thinkers conceived the cultural politics of listening at work during slavery, Reconstruction, and Jim Crow. By amplifying Harriet Jacobs, Frederick Douglass, Elizabeth Taylor Greenfield, Charles Chesnutt, The Fisk Jubilee Singers, Ann Petry, W.E.B. Du Bois, and Lena Horne as agents and theorists of sound, Stoever provides a new perspective on key canonical works in African American literary history. In the process, she radically revises the established historiography of sound studies. The Sonic Color Line sounds out how Americans have created, heard, and resisted “race,” so that we may hear our contemporary world differently.
Anna Deveare Smith's award-winning one-woman shows were borne of her uniquely brilliant ability to listen. In Talk to Me she applies her rare talent to the language of political power in America. Believing that character and language are inextricably bound, Smith sets out to discern the essence of America by listening to its people and trying to capture its politics. To that end she travels to some of America's most conspicuous places, like the presidential conventions of 1996, and some of its darkest corners, like a women's prison in Maryland. And along the way she interviews everyone from janitors to murderers to Bill Clinton himself. Memoir, social commentary, meditation on language, this book is as vastly ambitious as it is compellingly unique.
Through a series of exquisite encounters with children, and through a lucid opening up of new aspects of poststructuralist theorizing, Bronwyn Davies opens up new ways of thinking about, and intra-acting with, children. This book carefully guides the reader through a wave of thought that turns the known into the unknown, and then slowly, carefully, makes new forms of thought comprehensible, opening, through all the senses, a deep understanding of our embeddedness in encounters with each other and with the material world. This book takes us into Reggio-Emilia-inspired Swedish preschools in Sweden, into the author’s own community in Australia, into poignant memories of childhood, and offers the reader insights into: new ways of thinking about children and their communities; the act of listening as emergent and alive; ourselves as mobile and multiple subjects; the importance of remaining open to the not-yet-known. Defining research as diffractive, and as experimental, Davies’ relationship to the teachers and pedagogues she worked with is one of co-experimentation. Her relationship with the children is one in which she explores the ways in which her own new thinking and being might emerge, even as old ways of thinking and being assert themselves and interfere with the unfolding of the new. She draws us into her ongoing experimentation, asking that we think hard, all the while delighting our senses with the poetry of her writing, and the stories of her encounters with children.