In the previous chapter, I posited that a phenomenological model of the listener's bodily experience of radio drama as a world can provide a critical tool with which to approach radio drama, and modes of radio dramaturgy. In this chapter, I continue this line of argument by providing a phenomenological account of the experience of radio drama; by suspending theorisation and instead describing the phenomenon of radio drama, I develop an analytical model in which the structure of radio dramaturgy can be understood as that of an act of listening
mode of listening to radio drama – a root cause of the crisis in the semantic paradigm – is already characterised by bodily immersion, focused engagement and a demand for experience; in the absence of other sounds, and physically connected to the radio-body through headphones or high-fidelity reproduction, her phenomenal field is occupied by, and resonates with, the radio-body's expression, and thus her perception of the dramatic world. Whereas listeners in the historical eras explored previously would encounter the radio-body as one source of sound competing against
. Our clothing practices and how we remember them are woven into our everyday lives, our changing sense of self and our sense of belonging to wider groups of people, both at the time when garments were worn and at the time they are remembered. By ‘Listening to Dress’, to how narratives are told, what is said and what is left unspoken, we can understand how interviewees fold and pleat their own life histories. The chapter also provides practical advice for other researchers using oral history methods.
Undertaking an oral history of dress
The semantic paradigm of British radio dramaturgy and its problems
Now that we have a phenomenological framework to analyse radio drama, I can begin to apply this framework to historical and contemporary radio dramaturgies in more concrete and specific detail, to critique aspects of practice and to explore possible future developments. I begin this with the chapter at hand, in which I analyse how conventional British radio drama listens to its world. I want to make a rather bold claim here: that conventional British radio production is dominated by a certain dramaturgical attitude, which results in a radio
A genealogy of the semantic paradigm of radio dramaturgy
In the previous chapter, I posited that British radio dramaturgy follows a semantic paradigm. I then argued that this paradigm could be critiqued for its disregard for resonance, and instead envisaged a hypothetical resonant mode of dramaturgy, through which the radio-body listens to itself. I then highlighted a significant critique of this hypothesis: the historical dominance of the semantic paradigm can imply that it is the ‘final’ form of radio drama.
Andrew Crisell follows such an argument in ‘Better than Magritte’ – an
Punctuation and the voicing of late medieval devotional literature
might understand the semantic coherence of a passage, thus subtly
shifting the potential interpretations audiences might arrive at
when reading a work or listening to it being read.
Many studies of medieval punctuation focus on a single
exemplum and interrogate the significance of the situatedness of
those marks for the production of semantic meaning. 5 A survey of such studies reveals
invention of synchronised sound, cine quinqui presented audiences with the kinds of marginal diction and slang that had rarely been heard on Spanish screens. The novelty of the delinquent voice subsequently elicited strong reactions in the Spanish media. Writing in the magazine Gaceta Ilustrada , the essayist and philosopher Julián Marías (father of novelist Javier) expressed dismay on listening to the dialogue of Deprisa, deprisa , which he dismissed saying ‘apenas es una lengua’ (it's barely a language), writing that
GMOs and food – is anyone
Debate, suspicion and incomprehension – but still, can we still talk?
Unlike the other chapters in this book there is no single food scandal or crisis
that symbolises the subject matter of this case study chapter, the risk politics
of genetically modified food. However, there are two sets of linked events, one
involving a scientist who worked at the world-renowned Rowett Institute and
lost his job there in 1998, and the other, a national debate known as GM
Nation? or the GM Public Debate, which took place in 2003 and was
This groundbreaking book is the first full-length study of British horror radio from the pioneering days of recording and broadcasting right through to the digital audio cultures of our own time. The book offers an historical, critical and theoretical exploration of horror radio and audio performance examining key areas such as writing, narrative, adaptation, performance practice and reception throughout the history of that most unjustly neglected of popular art forms: radio drama and “spoken word” auditory cultures. The volume draws on extensive archival research as well as insightful interviews with significant writers and actors. The book offers detailed analysis of major radio series such as Appointment with Fear, The Man in Black, The Price of Fear and Fear on Four as well as one-off horror plays, comedy-horror and experimental uses of binaural and digital technology in producing uncanny audio.
“It is only in his music [. . .] that the Negro in America has been able to tell his
story. It is a story which otherwise has yet to be told and which no American is prepared
to hear,” so wrote James Baldwin in “Many Thousands Gone.” Throughout his career, James
Baldwin returned to this incomprehension of African-American experience. He continually
privileged music in his literature, crafting his own literary blues to address it.
Baldwin’s blues resonated even more powerfully and painfully for its emotional and
geographical dislocation. In this article, Rashida K. Braggs argues that it was the
combination of music, word, and migration that prompted Baldwin’s own deeper
understanding. Exploring her term dislocated listening, Braggs investigates how listening
to music while willfully dislocated from one’s cultural home prompts a deeper
understanding of African-American experience. The distance disconcerts, leaving one more
vulnerable, while music impels the reader, audience, and even Baldwin to identify with
some harsh realities of African-American experience. Baldwin evokes the experience of
dislocated listening in his life and in “Sonny’s Blues.” Braggs also creates an experience
of dislocated listening through her video performance of Baldwin’s words, thus attempting
to draw the reader as well into a more attuned understanding of African-American