首页> 外文期刊>Computers and Composition >A Review of Sounding Composition: Multimodal Pedagogies for Embodied Listening, Steph Ceraso. University of Pittsburgh Press, Pittsburgh, Pennsylvania (2018). 193 pp
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A Review of Sounding Composition: Multimodal Pedagogies for Embodied Listening, Steph Ceraso. University of Pittsburgh Press, Pittsburgh, Pennsylvania (2018). 193 pp

机译:《发声组成的回顾:丰富的听力多模式教学法》,斯蒂芬·塞拉索(Steph Ceraso)。匹兹堡大学出版社,宾夕法尼亚州匹兹堡(2018)。 193页

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摘要

"No, it's too loud," Lee Abbott (played by John Kraskinski) signs in American Sign Language to his 4-year-old son, Beau (Cade Woodward), who wished to pick up a space shuttle toy in a grocery store that was set against a monsters-invaded world in the critically acclaimed film, A Quiet Place (2018). In the remainder of the story, the family of five scrounges off an abandoned city in the year 2020 where hyper-hearing monsters were lurking to rampage and decimate anyone or anything that makes a noticeable sound. The film's background music produces silent and patient notes that become both engaging and thrilling alongside its nerve-racking storyline. Viewers may sometimes even silent themselves to help the characters in the film avoid getting noticed by the blood-thirsty monsters. Just as the role of sound—its design and effects—are central to the film, Steph Ceraso in her book, Sounding Composition: Multimodal Pedagogies for Embodied Listening, highlights how our modern lives revolve around a sonic reality. She does so by demonstrating how 21 st century rhetorical education can be reimagined to account for serious sonic experiences through the concept of multimodal listening.
机译:“不,声音太大了。”李·艾伯特(约翰·克拉斯金斯基(John Kraskinski)饰演)向他4岁的儿子博(伍德(Cade Woodward))用美国手语签名,他希望在一家杂货店里拿起航天飞机玩具,在备受赞誉的电影《安静的地方》(A Quiet Place,2018)中映衬着一个怪物入侵的世界。在故事的其余部分中,五口之家在2020年从一座废弃的城市中撤出,那里有听觉过度的怪兽潜伏在横冲直撞的地方,使任何人或任何发出明显声音的东西都消失了。这部电影的背景音乐产生了沉静而耐心的音符,并使其令人神往的故事情节变得既引人入胜又令人兴奋。观众有时甚至沉默自己,以帮助影片中的角色避免被嗜血的怪物注意到。正如声音的作用(其设计和效果)在电影中至关重要一样,史蒂芬·塞拉索(Steph Ceraso)在她的书《发声的构成:体现听觉的多模态教学法》中强调了我们的现代生活如何围绕声音的现实而旋转。她通过演示如何通过多模式聆听的概念来重新构想21世纪的修辞教育以解释严肃的声音体验来做到这一点。

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    《Computers and Composition》 |2019年第12期|102523.1-102523.4|共4页
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    Texas Tech University;

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  • 入库时间 2022-08-18 05:19:39

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