"Genres of Listening explores a unique culture of listening and communicating in Buenos Aires, Argentina. Xochitl Marsilli-Vargas shows how psychoanalytic listening (which is grounded in the fundamental formula, "When you say X, I hear Y") has become a therapeutic technology that has crossed from the clinical setting to become a central element of social interaction and cultural production in Buenos Aires, the city with the highest number of practicing psychologists and psychoanalysts in the world. Marsilli-Vargas' fieldwork shows that "the lay listener in Buenos Aires who translates the words of others into new interpretations is helping the person to listen to herself." Ultimately, Genres of Listening suggests that there could be other "genres" of listening, such as ethical listening, which have been vastly underexplored"--

In Genres of Listening Xochitl Marsilli-Vargas explores a unique culture of listening and communicating in Buenos Aires. She traces how psychoanalytic listening circulates beyond the clinical setting to become a central element of social interaction and cultural production in the city that has the highest number of practicing psychologists and psychoanalysts in the world. Marsilli-Vargas develops the concept of genres of listening to demonstrate that hearers listen differently, depending on where, how, and to whom they are listening. In particular, she focuses on psychoanalytic listening as a specific genre. Porteños (citizens of Buenos Aires) have developed a “psychoanalytic ear” that emerges during conversational encounters in everyday interactions in which participants offer different interpretations of the hidden meaning the words carry. Marsilli-Vargas does not analyze these interpretations as impositions or interruptions but as productive exchanges. By outlining how psychoanalytic listening operates as a genre, Marsilli-Vargas opens up ways to imagine other modes of listening and forms of social interaction.

This work gives a thorough revision of history through a psychological approach to verbal interaction between listeners and speakers. This book offers a large amount of information on the psychology of language and on psycholinguistics, and focuses on a new direction for a psychology of verbal communication. Empirical research includes media interviews, public speeches, and dramatic performances.

Now in its third edition, Teaching and Researching Listening renews its commitment to provide language educators, practitioners, and researchers in the fields of ESL, TESOL, and Applied Linguistics with a state-of-the-art treatment of the linguistic, psycholinguistic and pragmatic processes underpinning oral language use, and demonstrates how they influence listening in a variety of practical contexts. This revised edition incorporates significantly updated sections on neurological processing, pragmatic processing, automated processing, and pragmatic assessment, as well as coverage of emerging areas of interest in L1 and L2 instruction and research. Boxes throughout, including "Concepts" and "Ideas From Practitioners", help to both reinforce readers’ understanding of the topics covered and ground them in a practical context, while the updated chapter, "Exploring listening", contains an overhauled section on listening technologies that provide readers with a range of tools to explore other perspectives on listening. Combining detailed overviews of the underlying processes of listening with an exhaustive set of practical resources, this third edition of Teaching and Researching Listening serves as an authoritative comprehensive survey of issues related to teaching and researching oral communication for language teachers, practitioners, and researchers.

Popular music studies is a rapidly expanding field with changing emphases and agenda. This is a multi-volume resource for this area of study

Contemporary electronic music has splintered into numerous genres and subgenres, all of which share a concern with whether sound, in itself, bears meaning. Listening through the Noise considers how the experience of listening to electronic music constitutes a departure from the expectations that have long governed music listening in the West.

This volume focuses on multimodality in various communicative settings, with special attention to how non-verbal elements reinforce and add meaning to verbal expressions. The first part of the book explores issues related to the use of multimodal resources in educational interactions and English language classroom teaching, also involving learners with disabilities. The second part, on the other hand, investigates multimodality as a key component of communication that takes place in different specialized domains and genres. The book reflects a variety of methodological approaches that are grounded in both quantitative and qualitative techniques. These include multimodal discourse analysis, multimodal transcription, and multimodal annotation software capable of representing the interplay of different semiotic modes, such as speech, intonation, direction of gaze, facial expressions, gestures and spatial positioning of interlocutors. The research collected here highlights the increasingly important role of multimodality in communication across different genres and communicative contexts, and offers new perspectives on how to exploit multimodal resources to enhance the learning of English for both general and specific purposes.