Close listening: Poetry and the Performed Word

By Johanna Drucker, Charles Bernstein, Marjorie Perloff, Susan Stewart, Susan Howe

Shut Listening brings jointly seventeen strikingly unique essays, in particular written for this quantity, at the poetry studying, the sound of poetry, and the visible functionality of poetry. whereas the functionality of poetry is as previous as poetry itself, severe consciousness to trendy and postmodern poetry functionality has been unusually moderate. This quantity, that includes paintings by way of critics and poets reminiscent of Marjorie Perloff, Susan Stewart, Johanna Drucker, Dennis Tedlock, and Susan Howe, is the 1st entire advent to the ways that twentieth-century poetry has been practiced as a functionality artwork. From the functionality types of person poets and kinds of poetry to the relation of sound to which means, from historic and social ways to poetry readings to new imaginations of prosody, the entries accumulated the following examine a compelling diversity of issues for someone drawn to poetry. Taken jointly, those essays motivate new varieties of "close listenings"--not purely to the published textual content of poems but additionally to tapes, performances, and different expressions of the sounded and visualized observe. The time is true for this kind of quantity: with readings, spoken notice occasions, and the internet gaining an expanding viewers for poetry, shut Listening opens a couple of new avenues for the serious dialogue of the sound and function of poetry.

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I do not comprehend them and do not need to know them. Iambs bog down the ahead circulate of poetry" (cited in Meschonnic, 528). Such statements, Meschonnic issues out, are neither real nor unfaithful; particularly, they need to be understood as a part of the force towards rupture attribute of the early-twentieth-century avant-garde. And the shape Pound's personal prosody took—the "ideogrammizing of Western verse," in Meschonnic's words—had every little thing to do with the revolution in mass print tradition, a revolution that bred what Meschonnic calls the "theatre of the web page.

50 Or can it's defined in the course of the patinated rhetoric of the Nineteen Sixties as an after-effect of Ultralettrisme, whose doubtful accomplishment was once a failed radicality of the topic? From the plethora of statements on hand i select the next for its domestication of heterology right into a group of wish: "If concept is absolutely to discover a foundation in lived event, it should be loose. how to accomplish that is to imagine different by way of an identical. As you are making your self, think one other self who will make you in the future in it flip.

Listeners to such poems needs to discover ways to mentally and emotionally weave and bob, to be cozy listening to and studying either randomly and stealthily, to find, as though by chance, formerly inaccessible parts of language and proposal. every now and then dicy or very likely subversive, at different instances delivering a feeling of integration, objective, and perception, the aural ellipses of the modern poem invite listeners to reply with their very own internal resonances, to take the poem to its fast and relative subjective and goal recognition.

107-56. 18. See Jean-Francois Lyotard, "The enamel, the Palm," Sub-Stance, vol. 15 (1977), pp. 105-10. 19. The Ultralettristes aren't with no their Enlightement precursors. As early as 1714 the Abbe Fenelon proposed a kind of theater with no language in part 6 of his Lettre a l'academie, arguing that language get replaced by means of gestures and predenotative cries. This occasioned a answer from du Bos targeting the trouble of tragic composition composed completely of cries. For a close dialogue see Wladyslaw Folkierski, Entre le classicisme et le romantisme (Paris, 1925), p.

She or he believes in a society the place there's no frozen energy constitution, the place all individuals could make major initiatory offerings in issues affecting their very own lives. In any such society coercion is at a minimal & deadly violence is essentially nonexistent. ' "17 The aural ellipsis, then, within the Pronouns is that zone of the listening/ analyzing event that gives a keeping atmosphere during which to immerse oneself and perform the complicated, transformative interrelationship among self and different: he = she = they = you = all = I = it = we = one = thou = ye = this = these = those = that = someone = a person = an individual, and so forth, as every one of those pronouns replaces the former one in a set of poems making use of traces all in significant shape for use as directions for the dancers.

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