MARC Record from marc_nuls

LEADER: 02928cam 2200385 i 4500
001 9925277601001661
005 20170124045928.5
008 160203t20162016maua b 001 0 eng c
010 $a 2016005605
020 $a9780674545441$q(hardback)
020 $a0674545443$q(hardback)
024 8 $a40026531325
035 $a99972665703
035 $a(OCoLC)940342197
035 $a(OCoLC)ocn940342197
040 $aMH/DLC$beng$erda$cHLS$dDLC$dOCLCO$dOCLCF$dBTCTA$dYDXCP$dBDX$dERASA$dHLS$dYDX$dOCLCO$dABG$dYUS$dNDS
042 $apcc
050 00 $aZ286.A83$bR83 2016
082 00 $a002.09$223
100 1 $aRubery, Matthew,$eauthor.
245 14 $aThe untold story of the talking book /$cMatthew Rubery.
264 1 $aCambridge, Massachusetts :$bHarvard University Press,$c2016.
264 4 $c℗♭2016
300 $a369 pages :$billustrations ;$c25 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references (pages 279-351) and index.
505 0 $aIntroduction: What is the history of audiobooks? -- Canned literature -- A talking book in every corner of dark-land -- How to read a talking book -- A free press for the blind -- From shell shock to shellac -- Unrecordable -- Caedmon's third dimension -- Tapeworms -- Audio revolution -- Afterword: Speed listening.
520 $aThis work traces the tradition from phonographic books made on wax cylinders to talking books made for blinded soldiers returning from the First World War and, much later, the commercial audiobooks heard today. Addressing the vexed relationship between orality and print, the author shows how talking books developed both as a way of reproducing printed books and as a way of overcoming their limitations. In an overview, he charts the talking book's evolution across numerous media (records, tapes, discs, digital files), its reception by a bemused public, and impassioned disputes over its legitimacy. Testimonials drawn from the archives of charities for war-blinded veterans and pioneering audio publishers, including Caedmon, Books on Tape, and Audible, recreate how audiences over the past century have responded to literature read out loud. This book poses a series of conceptual questions too: What exactly is the relationship between spoken and printed texts? How does the experience of listening to books compare to that of reading them? What influence does a book's narrator have over its reception? What methods of close listening are appropriate to such narratives? What new formal possibilities are opened up by sound recording? Sound technology turns out to be every bit as important as screens to the book's ongoing transformation.
650 0 $aAudiobooks$xHistory.
650 0 $aLiterature and technology$xHistory.
650 0 $aTalking books$xHistory.
947 $hCIRCSTACKS$r31786103065402
980 $a99972665703